glitch when looping a trimmed sample

innovine wrote:What is the best way to have audio go out of the MPC, through external FX, and resample it back into the MPC so it is perfectly aligned with the original sound?

I'm not sure if perfect alignment would be possible since there's always going to be some latency.
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If you want the mpc to play some audio through some external effects, say some reverb, and record that, you could just use the REC mode.

Just set it a the appropriate threshold, set monitor to OFF, activate record, hit play, let the mpc record the reverb tails form the external fx, hit stop when there is no more audio coming from the fx unit.

Now you got the reverb tails in a sample with pretty much the same starting point as the original audio sample. Now you can mix the two together, or just play them in parallel at desired volume levels.

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I have not tried this technique since I usually apply effects at mixdown. I prefer to have my programs with dry samples, or with minimal amount of effects (especially if it's reverb tails).

Cheers for the help! I don't have enough external gear to have the luxury of applying effects at mixdown, I need to resample what I'm hearing and I'm pretty surprised and disappointed I can't just sample what I'm hearing and get it to loop in time with my sequence, without having to do a lot of manual pissing around.

ok

whatever you want to resample, does it loop perfectly with the sequence in the first place?

yes. this is making me sad

hm, ok. The original audio sample, is it located in an audio track or as a note in a drum or midi track?

it would be helpful if you would post the original sample, an audio file with a few bars, so we can hear how it seamlessly loops. And then post the modified sample, also a few bars, to hear the glitch.

Yes, I will try to do that if I get the time, thanks.

I think the problem is, as pointed out earlier in the thread, that audiotracks suck ass, and add a bit of space at the start and end. I have not tested deeply, but I am hoping it is the playback of the sample and not the recording which is affected.

Try this experiment yourself. Load a snare or clap sample into a program on a drum or midi track. Put a single hit on beat 2 and 4. Route the audo to the external outs, through a long reverb so you get a tail that stretches all the way from one hit to the next. Route the audio back in (using InThru?)

Now, when you run the sequencer, you only hear the audio coming from the external gear. How do you convert this to a 1-bar long sample, which can simply be triggered on the downbeat and have it smoothly looping?

So far, I have tried many things. The easiest way to record is to create an audio track. Set the loop to 1 bar. Hit record and playstart. The InThru records to the audio track. Playback stops at the end, it all looks fine. BUT, mute the original snare track or the InThru, and just listen to the audio track. You will hear a large gap or silent bit as the bar loops. Horrible! The initial reverb tail is also missing. This makes the problem much worse, as you need to record at least 2 bars, and cut the first bar off, but the Take is not properly synced with the sequencer, so automatically dividing it into two or three bar-length slices doesnt get the slice points right. I understand the concept of recording longer than the bar and playing the sample back in POLY, but that requires moving the take to a program, more on that in a minute.

So, what other record methods are left to try? I have tried going to Record mode and running the sequencer for a few bars. This gets me a good sample with all the reverb tails, but I have an even worse time trying to find where the start and end points are.

Being able to resample what I am hearing, have it loop, and make new sounds over it and resample again is a BIG part of what I want to do... I'm not sure what happened when I took the Take from the audio track and played it back from a program, but I think this didn't work either cos the take has silence at the start and end.. I'll try it again to see. If it is just a matter of always removing X number of samples from the start of the Take to compensate for latency then I can live with that..

Try this experiment yourself. Load a snare or clap sample into a program on a drum or midi track. Put a single hit on beat 2 and 4. Route the audo to the external outs, through a long reverb so you get a tail that stretches all the way from one hit to the next. Route the audio back in (using InThru?)

Why use InThru, why not just set the audio track to record the audio in (If you just want to record the reverb tails, separate from the clap/snares)? Or do you want to have the reverb tails mixed together with the original clap/snare hits, so you could mute/delete the drum track with the clap/snare hits and just use this new sample?

Now, when you run the sequencer, you only hear the audio coming from the external gear.

How's that? I think you will hear both the clap/snare samples and the audio from the external effects.

I understand the concept of recording longer than the bar and playing the sample back in POLY, but that requires moving the take to a program, more on that in a minute.

So you don't want to use a program for the re-sampled audio, only audio tracks?

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anyhow, I'm going have to try the experiment.

astronaut wrote:Why use InThru, why not just set the audio track to record the audio in (If you just want to record the reverb tails, separate from the clap/snares)? Or do you want to have the reverb tails mixed together with the original clap/snare hits, so you could mute/delete the drum track with the clap/snare hits and just use this new sample?

Yes, exactly. I am trying to mix down everything to one sample. Perhaps there is a better way than recording with InThru turned on? I was doing this mostly because it is very simple. I will try setting the audio track to record from audio in instead.

Now, when you run the sequencer, you only hear the audio coming from the external gear.

How's that? I think you will hear both the clap/snare samples and the audio from the external effects.

The original clap sound is going out 12, not the mains. So the only thing you hear from the MPC mains(or headphones) is the InThru. If you hear the claps its due to a wet/dry mix on the external gear.

So you don't want to use a program for the re-sampled audio, only audio tracks?

If I have to use a program then sure, I will. The audio track SEEMS like it is designed for this kind of thing though. I suppose that if I record several bars in Record Mode I can trigger that in a program, and the only problem is then finding the correct start point. Its probably possible to turn on the original clap again and adjust the recorded samples start so the claps line up exactly but this would take quite a bit of time and becomes hard if there are no clear transients.

anyhow, I'm going have to try the experiment.

I really appreciate all the help you're giving me.

Try this experiment yourself. Load a snare or clap sample into a program on a drum or midi track. Put a single hit on beat 2 and 4. Route the audo to the external outs, through a long reverb so you get a tail that stretches all the way from one hit to the next.

because you got the first hit not on the first beat but on the second using REC Mode is not a good choice.

I'd just go with the audio track method:

1) Make a 2 bar sequence

2) In the first bar put the hits on beat 2 and 4, leave the second bar empty

3) Route the audio to and back from the external reverb

4) Arm the audio track, hit play-start and let mpc record a 2 bar sample, or you can hit stop as soon as the reverb tails have played through.

5)Now just take this sample and place it on the first beat of each bar.

pretty much same method as I described in a previous post