Exchange tips and tricks for the Akai MPC4000
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By Mr.Chrisgalactic Thu Mar 20, 2014 10:58 pm
Yesterday I didn't want to do the usual routine that I always do so I started poking around the 4000 and I knew about this feature that allows you to add an FX while sampling and I finally gave it a shot yesterday and my goodness, did it open up more possibilities. I think the worst part is that their still stuff this machine can do that I am not aware of, the good news is you will always feel like you have a new machine because the amount of things the 4000 is capable to do. :-D
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By Lampdog Fri Mar 21, 2014 4:59 am
Combine those features mentioned in the manual to create functions that don't natively/naturally exist. THAT'S when serious doors open up.

Your welcome.
By dustymaestro Tue Mar 25, 2014 9:11 pm
I was trying to figure out what exactly log (logarithmic) and lin (linear) do. I stumbled across editing how you view the waveforms in trim mode. So far I like these settings.

View: bipolar
Fill: off

It makes editing easier on the eyes and makes more sense with those settings.

I dont get what linear and logarithmic do in the scale field.

I also just remembered about find start and end in the trim page. :Sigh:
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By Ian Canefire Tue Mar 25, 2014 10:31 pm
Regarding linear and log. Reading about it is not as much fun as applying it and listening to the difference. While doing the Mod matrix videos I started playing with the log and lin fields on other synths I have and it then made sense.

I have found that when making a bass tone, if you use log it comes out nice. Some synths like a few of the Korgs have Linear, Log and Exponential curve shapes. So there are times when you want to switch this way the sound comes out over time.

The trick was to learn on another synth for me because the layout of the MPC is not particularly intuitive if you don't understand synthesis.

At first I was just switching things but once I had two people show me and explain then the light bulb went on. I can't stress enough how helpful it was to just look at the roland SH-201 and just study its layout. Even if you don't have one just look at pics online and take it in for a moment. If you can get your hands on one in a store or borrow one even better. Then you can go into the MPC 4000 and turn up! SH 201 manual is a good read also. It was made to explain synthesis.

peace
Ian
Last edited by Ian Canefire on Wed Mar 26, 2014 8:46 am, edited 1 time in total.
By dustymaestro Wed Mar 26, 2014 6:16 am
Thanks, I get it now. It would of helped if the speakers were on. lol. Initially I was just trying to figure something out, so I had the speakers off.

That graph is exactly how it sounds.

Im going to check out that sh 201. :smoker:
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By Ian Canefire Wed Mar 26, 2014 8:43 am
Hi, just know that the sh201 doesnt explain linear or log on the front of it. I was talking about it as a tool for basic understanding. The more parameter controls the better the synth The mod matrix in the 4000 is where the power lies.
Peace
ian
Last edited by Ian Canefire on Wed Mar 26, 2014 3:10 pm, edited 1 time in total.
By 313 studio tricks Wed Mar 26, 2014 1:59 pm
Ian Canefire wrote:Hi, just now that the sh201 doesnt explain linear or log on the front of it. I was talking about it as a tool for basic understanding. The more parameter controls the better the synth The mod matrix in the 4000 is where the power lies.
Peace
ian


wut kina beats u be makin blud?
By 313 studio tricks Wed Mar 26, 2014 2:22 pm
log + & log - just means the response to input wont be equal on the output. log is short for logarithmic and essentially denotes an exponential response to some input. as the diagram shows above, a logarithmic response curves in a predictable manner. you could say that a log - response curves towards the max output value late during control input, and log + starts out responding very quickly during control input and then levels off before maximum output value is reached. in both cases, the curve is symmetrical and can vary in degree of severity. a slight log curve will only deviate from a linear response curve by a little and will look like a bow and arrow like the above diagram does.

all this basically means that if your faders are set to a log - response curve, when you start moving the fader from the minimum towards the maximum, it will not change the output value much until you reach about half way and then the output value will rise very quickly towards maximum. so, before half way, the response is less than linear and after half way the response is more than linear.

where this applies to synth parameters is when you have a control like an envelope or lfo that is routed to say, a filter, they act as your input control (the fader was our input control in the example above) and if you set a logarithmic response curve, in the case of log - your filter will respond more 'dramatically' where as with log + it will respond less dramatically. of course 'drama' is relative to the filter type and intended application. oh and your artistic vision. ;)

in case you were wondering, a linear response is: what you input as your control mirrors the output. the output can be scaled, but basically every point along the input equals another point in the output that is scaled an exact amount along the entire input range.

hope that makes sense.

Image
By dustymaestro Sun Mar 30, 2014 1:42 am
3 I got you, I got to better understand it myself before I can tell you how it works.

If you look up vector synthesis on wikipedia, I think. It explains it.

I think you were the guy asking about modulating sample start points. Jim Fowler and myself said use the mod matrix, well I think what we said was a form of vector synthesis.

What we didnt talk about was those sounds crossfading into each other. You basically have around 4 sounds that morph in and out together to make interesting, moving, alive sounds.

Highly regarded keyboards like the Korg Oasys use it.

You guys need to learn this because alot of those sounds in the sample cds can be changed from dry to flavorful. :worthy: