Support and discussion for all of Akai’s modern standalone MPCs including the MPC X / X SE, MPC Live 1, 2 & 3, MPC One / One+, MPC Key 37/61.
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By Danoc Fri Jan 27, 2017 12:11 am
Eyalc wrote:Ditto. It'll be a nice, and welcomed change.

I just don't understand why people keep questioning why a standalone is valuable :hmmm: CLEARLY enough people asked for it, that Akai decided to invest the time and money to develop it. That should be enough of an answer - LOTS of people wanted it, so CLEARLY it's valuable to have (for lots of reasons). When I go to studios, it's ridiculous how many laptops have to be propped up just to work on music these days. There's more laptops in the room than there are instruments. It will be nice to at least be able to get rid of one of those laptops. LOL


That was wonderfully said. Standalone and the MPCx is great for my situation. I really don't care someone's setup is.

Imagine this if l got the MPCx and my computer goes down, guess what l can still rock on my MPCx!
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By Wormhelmet Fri Jan 27, 2017 12:33 am
You know, I don't really get the line of questioning either. What makes someone want to understand anothers preference or workflow so much?

When some guy comes on here stating we need our vst's and plugin fx and 100 to 200 tracks for a West European floor burner and aludes that others needing less must be hobbyists, I have no desire to figure out what in the world makes it essential to have all that going on to make a successful track.

There were guys making successful floor burner tracks sweeping the world with much less than those requirements, but its not really my friggin business why that guy needs what he needs. Don't care at all. I do it like I do it and look for gear that helps me do it the way I'm comfortable doing it. Thats all I'm concerned about. Nothing more.
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By Icepulse Fri Jan 27, 2017 1:05 am
Wormhelmet wrote:You know, I don't really get the line of questioning either. What makes someone want to understand anothers preference or workflow so much?

When some guy comes on here stating we need our vst's and plugin fx and 100 to 200 tracks for a West European floor burner and aludes that others needing less must be hobbyists, I have no desire to figure out what in the world makes it essential to have all that going on to make a successful track.

There were guys making successful floor burner tracks sweeping the world with much less than those requirements, but its not really my friggin business why that guy needs what he needs. Don't care at all. I do it like I do it and look for gear that helps me do it the way I'm comfortable doing it. Thats all I'm concerned about. Nothing more.


Although I must admit that, when someone sneers at another as being a "hobbyist", because of a preference for less "advanced" equipment, my first reaction is to hear what wizardry they're generating. And I'm almost invariably underwhelmed. I consider that attitude to be completely artless and like "Bob Ross".

Beck's "One Foot In The Grave" sounds like it was recorded on a Panasonic portable cassette deck. But it's 10x more interesting than his more recent glossy 256-track efforts. In my estimation.
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By Danoc Fri Jan 27, 2017 2:16 am
Fanu wrote:
Danoc wrote:What he says at Machine Masters, nothing can compare to the MPC standalone sequencer.

https://www.youtube.com/watch?v=_eKBmnf3JIc&t=29s


I do have faith that Akai will make this thing damn good. If Akai really want to make a tight sequencer, it's them if anyone who can pull it off.
I get the vibe they're really taking it seriously this time and these things will be a different league from 2500 etc.


FANU you are my MPC brother for life!

Ima show my faith as soon as it drops lm getting it. Only way l don't is if they run out! :smoker:
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By Danoc Fri Jan 27, 2017 2:21 am
Icepulse wrote:
Wormhelmet wrote:You know, I don't really get the line of questioning either. What makes someone want to understand anothers preference or workflow so much?

When some guy comes on here stating we need our vst's and plugin fx and 100 to 200 tracks for a West European floor burner and aludes that others needing less must be hobbyists, I have no desire to figure out what in the world makes it essential to have all that going on to make a successful track.

There were guys making successful floor burner tracks sweeping the world with much less than those requirements, but its not really my friggin business why that guy needs what he needs. Don't care at all. I do it like I do it and look for gear that helps me do it the way I'm comfortable doing it. Thats all I'm concerned about. Nothing more.


Although I must admit that, when someone sneers at another as being a "hobbyist", because of a preference for less "advanced" equipment, my first reaction is to hear what wizardry they're generating. And I'm almost invariably underwhelmed. I consider that attitude to be completely artless and like "Bob Ross".

Beck's "One Foot In The Grave" sounds like it was recorded on a Panasonic portable cassette deck. But it's 10x more interesting than his more recent glossy 256-track efforts. In my estimation.


Yoy hit it on the head. Just because someone wants the Live don't mean they are hobbyists. That person may feel they don't need the MPCx nor want the size etc.
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By Icepulse Fri Jan 27, 2017 3:49 am
Danoc wrote:You hit it on the head. Just because someone wants the Live don't mean they are hobbyists. That person may feel they don't need the MPCx nor want the size etc.


I listen to several young producers that work almost exclusively w/ 2000xls, and their output is the most interesting thing going. You can call it "old" all day, but it simply is doper to my ear than new joints from pro producers plugged in w/ FL Studio or Live, most often. So I can't be schooled about that. Pro's turn silver to gold no matter what the limitations.
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By Loosecaboose Fri Jan 27, 2017 5:45 am
Icepulse wrote:
Danoc wrote:You hit it on the head. Just because someone wants the Live don't mean they are hobbyists. That person may feel they don't need the MPCx nor want the size etc.


I listen to several young producers that work almost exclusively w/ 2000xls, and their output is the most interesting thing going. You can call it "old" all day, but it simply is doper to my ear than new joints from pro producers plugged in w/ FL Studio or Live, most often. So I can't be schooled about that. Pro's turn silver to gold no matter what the limitations.


Damu on the 2000..
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By hønse Fri Jan 27, 2017 10:46 am
hønse wrote:Alright. I wonder if it would be possible to connect a knobby MIDI controller to the "Live", if I want more knobs for live performance. That would be a pretty flexible setup :)


I think what Hønse means is connecting an external hardware midi controller to the Live and control the parameters within the standalone Live. Like connecting a midi controller to your daw to control the levels, pans, sends etcetera in your daw. But in this case the daw is your standalone mpc Live. As I've ordered the Live i'm really hoping for it. I've got a Behringer BCR2000 (which is great). If you could connect a controller like that and set it up to control different parameters from the sixteen pads like the X does, it would be nearly the same as the 16 Q-links on the X. Without the OLED displays. On the BCR2000 (leds but not OLED) you have 32 knobs and you can switch through presets with a dedicated button. Only would take an hour to set every midi cc for the Live.
I think Andy Mac mentioned somewhere that you can hook up an external midi controller to control certain parameters, but I don't know how many parameters are midi assignable. Still no manual. I want to read the manual for some pre-fun! ;)
If it isn't possible then I'll be ok with switching trough the four Q-link banks. But the more one knob a function the better. So maybe next year I'll buy the X too.


Yeah, that's the kind of setup I'm hoping for. Would be great to have the MPC live for portability, but then connect some extra knobs when performing Live or composing in the studio!
Last edited by hønse on Fri Jan 27, 2017 7:46 pm, edited 2 times in total.
By Don Blake Fri Jan 27, 2017 1:44 pm
Having bought the Mpc 5000 and the Renaissance day 1 I do not trust akai at all these days.....

However this new MPC lineup is looking impressive.
I mainly use a 1000 nowadays but the thought of being able to use one of the new mpcs in the same way is appealing to me. Then when I finish a beat I can plug it into a computer and add my effects and master it without **** around. It seems to be the best of both worlds.
This is the kind of workflow I want and seems to be too good to be true.
Now I don't know if it's going to be as easy or reliable as I want but akai have definitely got my attention with the live and the x.

The question I'm asking my self is "do I want to be a beta tester again?".
This might not be the case with the new mpcs but akais track record is crap.

The other thing is that Im a flag ship kind of person but I honestly think the mpc live looks far better for the price than the x.
By ImNotDedYet Fri Jan 27, 2017 2:45 pm
pk1 wrote:
Danoc wrote:
:worthy: A person that gets it.

I had arguments over this some said it was latency or jitters or quantizing. The fact was my notes be off and getting a standalone is going to eliminate that.
.


i understood what your problem was, i just wanted you too. one core of a macbook will smoke all MPC units.
so saying your computer is not accurately placing your hits is well, mistaken.

eclipxe wrote:I understand what you're saying. It isn't the sequencer or it's timing that you're taking about. It's latency. When you play standalone there is almost zero latency. The pad is hit and boom the sample is triggered instantly. The timing is all right there.
When you go through a DAW, you have latency from the controller to the computer and then back out from the DAW to the sound interface. That latency is what doesn't make your timing feel as tight and why notes end up out of place when recording. Your timing is tight but the latency makes it feel like the sequencer isn't right.

greavous420 wrote:How to solve this problem in the mpc software.... Set you audio device properly to minimise latency or turn on time correct on the MPC and choose an appropriate resolution before recording MIDI.

and
Living Bate wrote:I've got a 2kXL and a Renaissance, and I can quite honestly say I notice no difference in response times from hitting the pad to hearing the sound....
I can only assume people have their settings wrong, or are using busted azz lagging computers or something....
it really doesn't need to be like that....

so my point was your computer is not up to par, or your setting are not tight. i have zero latency when banging pads. i also have owned 1000, 3000, 2000, and still have my 2kxl. i truly don't have any difference in latency. and i never use quantize. what is your buffer settings?


jpeg wrote:also the gear4 music video has now been made private did anyone watch?

yes it was mostly about playing with the stems again. nothing you haven't already herd or seen.


When it comes to MIDI and using an external controller and a computer, the issue may be the computer - although it's NOT the CPU or RAM in the computer that causes issues, most likey it's not the DAW though. You need to understand MIDI.

There are two issues with MIDI and communication from a controller to a computer: latency and jitter. MIDI is a serial communication protocol. This means it can truthfully only send one item at a time. It's also slow. That slowness is what's referred to as latency. Latency is a fixed value and can be compensated for in most DAWs. Then, there's jitter. Jitter is differences in timing that are not consistent based on what other MIDI is being sent, what's being processed by the computer at the USB input, if the USB bus inside the computer is doing any other processing, if the controller is connected to a USB hub that has other traffic running through it at the same time, etc. And USB MIDI has more issues than the traditional MIDI din connections when it comes to jitter as the computation time for DIN connections is minimal while a USB requires some time to translate the stream of incoming MIDI. (USB is after all used to communicate many more things than merely MIDI)

I believe that latency, although it seems like that, is not what people are complaining about when using the Live and X in controller mode - this can be compensated for and most seasoned users know how to do this in their system. It's the subtle differences that produce inconsistent hits on the grid - the jitter that's the issue. And this is an issue that any item that communicates to a computer via USB suffers with.

There are reasons Expert Sleepers and GenSync sell close to $1000 products to tighten MIDI communication to a computer from external items via MIDI.

So now hopefully one can understand why recording the MIDI pad hits in standalone mode and not to the computer will avoid these "latency" issues. Best bet - connect your MIDI devices to the X/Live via DIN cables, record MIDI in standalone mode on the X/Live, send MIDI out to external items and record just the audio from the MPC/external synths/drum machines/etc to your DAW.
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By Danoc Fri Jan 27, 2017 4:12 pm
Loosecaboose wrote:I listen to several young producers that work almost exclusively w/ 2000xls, and their output is the most interesting thing going. You can call it "old" all day, but it simply is doper to my ear than new joints from pro producers plugged in w/ FL Studio or Live, most often. So I can't be schooled about that. Pro's turn silver to gold no matter what the limitations.



Ahhhhhh dam that was classic!!! boombap for real! that beat was off the chain. That's why I want a standalone!!!!
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By Danoc Fri Jan 27, 2017 5:26 pm
Icepulse wrote:
Danoc wrote:You hit it on the head. Just because someone wants the Live don't mean they are hobbyists. That person may feel they don't need the MPCx nor want the size etc.


I listen to several young producers that work almost exclusively w/ 2000xls, and their output is the most interesting thing going. You can call it "old" all day, but it simply is doper to my ear than new joints from pro producers plugged in w/ FL Studio or Live, most often. So I can't be schooled about that. Pro's turn silver to gold no matter what the limitations.


Yep I can attest to that, I almost got a used 2000xl but I don't want to record into an interface anymore. I want to stay inside the box, and I am seasoned to the point to make my joints sound great even inside the box. NYC taught me that sound cause I grew up in HipHop, and I do RnB, Pop, HipHop and Dance Hall music and Orchestral.