Modulation Matrix...info for video

EDIT***Part 2 is in this STRING and added BELOW*** June 18 2013
EDIT***Part 1 of the VIDEO HAS BEEN ADDED BELOW*** June 6 2013

Hi All,
So much talk about the Mod Matrix in the Multi thread I guess we really need to keep the energy in the right place. Here.

I am far from being a ninja on the MPC4000 but I have begun doing the reading to see about the confusion with the Modulation matrix screen. So it makes sense for sure to make a video.

While thinking it over it seems to me that the problem for many might be that some are not really deep into synthesis. I am not a big time synth programmer but I understand Oscilloscopes, LFO, VCO, OSC, VCA, Amps, TVA, filters, & pitch to a point.

I would think that in making this video I will use another synth (my Vsynth to help explain a few things). IF you guys can think of things to try then post them here. Synth programming can get deep and the matrix in the MPC4000 has lots space to route sources to usages.

So I guess a starting point would have to be taking waves (Sine, etc.) and turning it into an instrument sound.

Add your thoughts...let me know if I am wrong in where I am headed.

Seems like the fundamentals are necessary and not trying to get too deep. That can be a project for another time. Won't get started on this until I finish the other video.

Cheers,
Ian
PART 1: The Warm up


Part 2 the sophomore(6/17/2013)

Good idea.

The way I look at the mod matrix is as a huge grid, similar to how it was on the VCS3 synth, but with more power:

VCS3 matrix:


Here you can visually see which inputs (down the left hand side), affect which outputs (across the top).

The 4k effectively has a similar matrix inside of it, but with ~40 inputs and ~60 destinations, effectively making a 40x60 grid rather than the 16x16 on the VCS3.

In addition, rather than a yes/no modulation on the VCS, you have a 'depth' (-100 / 0 to +100) at each grid cell, and you can have up to 64 entries.

It's insanely powerful, and I use it a fair amount when patch making, if you have any specific questions, just send me a PM.

@ MXBDEV your screen shot is a great analogy. I have never used that synth. Looks very straight forward.

Only problem I see with using the MPC4000 instead of another synth is the obvious...a dedicated synth has the knobs and sliders right in front of you. That is half the fun turning a knob and WOW!

This is a great vid regarding programming...we must be able to do the same thing in the MPC once you have a wave in there.



cheers,
Ian

This may help too. Reason is a good visual Ian. If you view the combinator as a multi then the mixer, program and program matrix is all there. Each of the knobs are like qlink and each routing within the modulation matrix is shown.

mxdev hits a 6 on his first ball

The VCS3 pin matrix is exactly where this whole "mod matrix" concept goes back to (in 1969!)

It was also used on the ARP 2500 modular synth (which you can see in "Close Encounters of the Third Kind" )

In the 1980s, Oberheim started putting digital equivalents (i.e. menu-based) in their big synths like the Matrix 12 (the clue is in the name and the Expander.

The fundamental concept is: you've got loads of signal SOURCES, and loads of possible DESTINATIONS, and the matrix provides a tidy way to quickly send signals where you want. (Unfortunately the MPC4000 version isn't exactly always "quick" to select stuff, as it involves a lot of jog-wheel scrolling!)

It's also worth emphasising that all the sources and destinations in the matrix are inside a PROGRAM on the MPC4000.... each Program has its own matrix... you can't send modulations between Programs.

It is very powerful in concept

HOWEVER.....
there is (in my view) a bit of an "elephant in the room" with the MPC4000 modulation matrix... and it is one that you will need to address in the video:

the problem is the 'Depth' scaling referred to above. As far as I'm concerned, Akai's dev team in Japan implemented this in a totally cack-handed way.
You can set a Depth value in the matrix of "+/- 100" ... however you can also usually set the 'output level' of the source (e.g. an LFO - the Depth goes up to 100) ... and the destination that you are modulating will also have it's own min and max values (e.g. attack rate in an Envelope, or Amplitude level of a sample).
The net result is that it is incredibly easy to run out of "headroom" for the modulation, and you find that the destination gets stuck at a "ceiling" and doesn't actually end up changing at all.... so you get levels sticking at maximum, pans stuck full right, filter cutoff stuck fully open.

For this reason, many people's attempts to experiment with the Mod Matrix go nowhere!

It's a shame the MPC4000 OS didn't scale the signal levels more intuitively/intelligently, or didn't provide some kind of "metering" so it was easier to see what was going on.

Ian Canefire wrote:@ MXBDEV your screen shot is a great analogy. I have never used that synth. Looks very straight forward.

Only problem I see with using the MPC4000 instead of another synth is the obvious...a dedicated synth has the knobs and sliders right in front of you. That is half the fun turning a knob and WOW!

This is a great vid regarding programming...we must be able to do the same thing in the MPC once you have a wave in there.

cheers,
Ian

Great video just for the fun of it I followed every step exactly like in the video on my 4k including sampling the unfiltered synth sound from the video into my 4k, looping it and making it into a keygroup program with a 4pole filter and the amp env and it worked like a charm. I used qlink set to replace to control lfo depth as the amount the author stated and the lfo rate. To change lfo waveforms I had to change from program screen set to multi. Of course the lfo rate and depth can be change from main page.

@ Blue....your video is helpful, nice one. Regarding you recreating the sound, that is what I figured. Would have to be the same result. The actual quality of the sound may be different because of the output source in a computer and the MPC4000...plus the bit rate and all that. Thus it seems that if someone wanted to get into the MPC all they have to do is watch those kinds of videos and have at it. Nothing really confusing about the mod matrix other than a lack of knowledge we might have on synth programming.

There is no one way to do this. That is why people have to make videos of themselves with the modulation routing screen. To get more ideas out there.

I am torn between comparison video (MC909 vs MPC4000) or just straight MPC4000 (sine wave adjust this, tweak that, tremolo, vibrato, wah wah)

peace
Ian

Ian Canefire wrote:
So I guess a starting point would have to be taking waves (Sine, etc.) and turning it into an instrument sound.

Ive donne some experiments on singlecycle waveforms/ synth sounds in the 1K ( got yesterday my 4K btw. )
i´ve got astounding sounds from my 1K with simpliest soundsettings. ( i usually work with a nice modularsynth)
It´s all about the waves.
My recomendation would be to get fisrt a hung for cutting your waves,
don´t put too much effort in the soundsettings at first i´d say.
first the waves, differ them for different keys.
Thats the way i gonna experiment now.
I take my waves out of every thing. I don´t think in terms of "Synth" whne looking for waves.
think in terms of "spectra"
very timeconsuming work tough.
...still to master that pitch thing, that the samples get the desired pitch.

Hi,
I've been working on examples to try to think of the best way to make the video make sense. Also doing a ton of reading.

Listen! THE MANUAL FOR THE AKAI S6000 IS THE BOMB!

How in the world did Akai go from such a good manual to an alright manual in the MPC4000 in such a short time? Talk about clear and concise. On a whim I just figured I would go in there and look for anything about modulation or programs. The S6000 manual is a treasure.

Seems like they assume people know a lot of stuff once dealing with the MPC4000. All I can say is that it strikes me as weird.

Also learning that the basic settings in the modulation screen seem to be set up with some thought. It isn't random.

Peace
Ian

Ian Canefire wrote: Listen! THE MANUAL FOR THE AKAI S6000 IS THE BOMB!

How in the world did Akai go from such a good manual to an alright manual in the MPC4000 in such a short time? Talk about clear and concise.

Well, as far I can recall, the S5000/6000 docs were written by Steve Howell (www.hollowsun.com) who worked for Akai at the time. He also wrote the Ak.Sys manual.

But for the MPC4000, Akai's Japanese HQ insisted on designing the MPC4000 OS themselves and writing the docs in Japanese...... they were then translated to English by a translation agency. That is why they are in such a bland, dry writing style.

Obviously, Akai's UK and US arms complained a lot to Akai Japan that they were cocking up the MPC4000 OS and docs - but Akai Japan just would not be told.... and then went bust and were bought out by Numark. EPIC FAIL!

@...Feline...that really makes sense. The Ak.sys manual is better than the MPC4000 manual and much of what is in it is the same as that in the S6000 manual.

I need to research this man you speak of and try to interview him. I swear a movie could be made about the MPC4000. Or a least a good documentary.

Cheers,
Ian

Hey All,
I just spent the better part of last night hanging out with an ARP Odyssey. We sampled a saw and a square and put it in the MPC4000. The synthesist and I then attempted to delve into the MPC4000's mod matrix. It was his first time hands on with the MPC4000. We got some good sounds. Video is coming soon( tonight) and will be the first of three. Sadly I am not versed enough in much of the MPC4000 functions so I was slowing down the process. (not good enough at assigning Qlinks and such)

The Arp is a really nice synth. The owner had the white version. Usually you see the black. We didn't get into the Tilt Velocity or much of the MPC4000 but we got a start. I swear I am going to delve so deep into the MPC4000 and expose every modulation matrix feature I can before summer ends and make the videos.

Cheers,
Ian

When next I go over to his place...I think it might be wise to skype with one of you MPC Aficionados at the same time so that if I get stumped you can help out. Plus an MPC guru meeting with an old school musician/service engineer/synthesist will be a truly wonderful combo.

Here is part One: the Warm up!

Ian Canefire wrote:@...Feline...that really makes sense. The Ak.sys manual is better than the MPC4000 manual and much of what is in it is the same as that in the S6000 manual.

I need to research this man you speak of and try to interview him. I swear a movie could be made about the MPC4000. Or a least a good documentary.

Cheers,
Ian

Steve hangs out a lot on the Sound on Sound forums, he's usually very amenable to chat about such matters.

There were a lot of shenanigans going on with the MPC4000, with Akai going bust twice (!?!?) before the OS reached v1.71 ..... to be honest I can't really remember all the details 10 years on, but they were very annoying for us users at the time.
For instance, it took about a year after the MPC4000 release before the SysEx worked *at all*, I hope I'm not blowing my own trumpet but I remember raising a bug report about that, and they brought out OS 1.50 which actually made SysEx work again.... from the sorts of emails floating back and forth, it seemed the code had finally been wrested from Japan and some new developer in the UK or USA was doing their best to fix it.

feline1 wrote:it seemed the code had finally been wrested from Japan and some new developer in the UK or USA was doing their best to fix it.

There's an old thread on here somewhere that suggests that 1.71 came from these shores. I don't know how true that is?

@ Ian

Hmmmm... It might be worth hitting record when you've worked out how to get things working. If you're tying things to LFOs you need to increase their Depth in the Edit 2 screen.

Tilt Velocity=Reverse Velocity. Reverse Velocity is useful when you are layering two programs in internal midi port. You can have one program set for velocity>amp like a piano program and the other program a pad program set to tilt velocity>amp so when played together one sound gets softer as the other gets louder and vice versa as long as both are on the same midi channel. Just like mainstage in logic or your triton keyboard.

Old Akai use strange terminology but all synths operate on the same principle.


Ps I always set my auto load program to Velocity>>Amp on startup. This is especially good for drums and whatnots.