How do you deactivate the MPC X Anti-Aliasing Filters?

CharlesRandolph wrote:

Fre$hBreath wrote:I don't agree with this. You can't polish the turd that are Akai's digital plugins. Although I love my MPC X for what it does limitations and all the simple truth is Akai does not make respectable plugins for serious studio grade production and mixing.

The truth of the matter is they are not good at analog modeling at all, and I suspect this is because they don't really care to do so like developers such as Universal Audio, Softube, Waves, Eventide, SoundToys, Plugin Alliance/Brainworx, and Slate Digital who put in a lot of work in recreating the sound of classic and modern analog hardware.

I'm not a big fan of digital processing with stock plugins which is why I use analog gear in my processing in addition to using the industry's best analog modeled plugins. It's also why I'm currently investing in building three analog 500 Series racks of hardware preamps, compressors, and EQs from reliable brands such as Neve, SSL, API, Elysia, SPL, Chandler, Maag, Moog, LouderThanLiftoff, and BAE to name a few.

Yes it's up to the user, but a skilled engineer with developed ears armed with the best mixing tools will always succeed in their sonic goals much quicker than someone muddling around for a longer period of time with inferior gear.

99% of people could not tell the difference between low end or high end effects, digital or analogue effects, plug in or analogue compressor. I'm all for quality gear but this particular post is about Anti Aliasing Filter in the MPC X. The reason they put a Aliasing Filter in the samplers, is to maintain the integrity of the sample source. The reason you buy a MPC X is to not have Aliasing. If you want to turn that off get an Ensoniq EPS 16.

You've mentioned

Fre$hBreath wrote:All I wanted to know was it possible to turn the Anti-Aliasing off as a means to remove a few steps to achieving a certain lo-fi sound I prefer and this topic has turned into another discussion altogether...

You want to remove those steps, buy cheap gear, that have cheap A/D D/A convertors. You'll get that sound all day long and it won't cost you $700 dollars, per 500 series modules. If you want Dirt use Dirt.

I have a lot more gear than I listed in my signature, but only enough space in my home studio for certain items. But aside from my MPC X I also have the ASR-X-Pro, ASR-X, ASR-10, Mirage, S900, and I'm possibly going to get the Emax which sounds similar to the SP-1200. I also own several analog drum machines, synths, a mixing console, a half inch 8-Track tape machine and some outboard gear...

Frisbi wrote:So why you buy MpC if you don't like digital sound?
Mpc Live and X are totally digital and never claimed to be analog or use analog modeling.
Not all that is digital is bad, not all that is analog is good and good digital is better than bad analog.
I think the best thing is how devices sound and I find that MPC sounds really good if you learn how to use it.
And anyway your discussion is a bit pointless since what is good for me maybe is not good for you.
There's nothing wrong in MPC effects, its just you like them or not.
For example I find Reverbs and Phaser really useless for me but maybe someone else will like them.
I don't understand why you like your MPC X if you don't like its effects. Effects are very important when it comes to an electronic musical device for me.
And anyway you can use the outputs of your MPC to route a send out to an external hardware effect, it is what I make to have a good reverb and I use a completely digital Boss Reverb that I like a lot

I didn't buy the MPC X for it's effects the same for all my Ensoniq samplers which happen to have excellent effects. I invested in my MPC X for it's workflow and to continue the work that began with my MPC Renaissance. I also use my Universal Audio Apollo system for my inputs and outputs as I mostly work in controller mode.

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CharlesRandolph wrote:

Fre$hBreath wrote:I have a lot more gear than I listed in my signature, but only enough space in my home studio for certain items. But aside from my MPC X I also have the ASR-X-Pro, ASR-X, ASR-10, Mirage, S900, and I'm possibly going to get the Emax which sounds similar to the SP-1200. I also own several analog drum machines, synths, a mixing console, a half inch 8-Track tape machine and some outboard gear...

Man.....that's a lot of samplers. You must have 1000's of Zips, MO, Floppy Disk. Keeping all that gear in tip top shape is a job in itself. Your cost in cables alone, is a mortgage payment.

Something like that...

If I had all that gear I would use the best of both worlds. I would take one day to run all my favourite drumsounds through the SP and S900 and use all those samplers as FX units, deactivating the filters on those machines if possible to get the desired result before recording it into the X/ Live. The more the samples sound how I want them to before entering the box, the less processing they need inside the box or during mixing in daw.

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Recognisable I moved twice in three years between 2010 and 2013. The steep Amsterdam staircases are no joke. Won’t let go of my modest 500 pieces of vinyl collection, but the moving around plus the size of the tiny intercity apartments made me to let go of quite some gear.

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This whole debate about the effects... 10-12 years ago I made a habit of slagging off Reason on forums, how it sounded too crap to make music with and you needed REAL GEAR to make good tunes. I had some gear but my tunes weren't (aren't) very good.

Meanwhile, some people with more sense than me were basically inventing a new genre that would later turn into some of the music that's affected me the most, dubstep. A lot of them used Reason, and nobody cared.

In retrospect, this is exactly how basically every genre of rhythmic music has evolved, from rock over punk to hiphop and techno. How do you expect to make music with that Fender, it's just a plank with strings on... why are you turning that up so loud... drum machines have no soul... 303s can't bass... **** all that, I'm not falling for it again. The phaser doesn't give you what you expect from a phaser, doesn't mean it's not a good sound.

CharlesRandolph wrote:

Menco wrote:Recognisable I moved twice in three years between 2010 and 2013. The steep Amsterdam staircases are no joke. Won’t let go of my modest 500 pieces of vinyl collection, but the moving around plus the size of the tiny intercity apartments made me to let go of quite some gear.

500 records is like 10 crates, but up and down stairs, that like 50 crates. My philosophy on gear is, if I can't incorporate it into, my exist system, without unplugging or re-patching, I don't need it.

Word. In 2012 I had this ‘genius’ idea to have my drums in a S950, chops in my MPC2500, Reason for sounds, Gaia as my synths all running directly into Logic for plugins and FX. I tryed that setup for 6 months, never finishing a beat because I was always plugging, syncing connecting and browsing instead of composing. Sold all that including a S3000XL except for the MPC. Went for the ‘as much in the box as possible’. Never been happier and more creative.

rvense wrote:This whole debate about the effects... 10-12 years ago I made a habit of slagging off Reason on forums, how it sounded too crap to make music with and you needed REAL GEAR to make good tunes. I had some gear but my tunes weren't (aren't) very good.

Meanwhile, some people with more sense than me were basically inventing a new genre that would later turn into some of the music that's affected me the most, dubstep. A lot of them used Reason, and nobody cared.

In retrospect, this is exactly how basically every genre of rhythmic music has evolved, from rock over punk to hiphop and techno. How do you expect to make music with that Fender, it's just a plank with strings on... why are you turning that up so loud... drum machines have no soul... 303s can't bass... **** all that, I'm not falling for it again. The phaser doesn't give you what you expect from a phaser, doesn't mean it's not a good sound.

That’s some real talk.

CharlesRandolph wrote:

Menco wrote:If I had all that gear I would use the best of both worlds. I would take one day to run all my favourite drumsounds through the SP and S900 and use all those samplers as FX units, deactivating the filters on those machines if possible to get the desired result before recording it into the X/ Live. The more the samples sound how I want them to before entering the box, the less processing they need inside the box or during mixing in daw.

100% Sometimes people collect more, than they actually plan to use. Once I moved studios, that collector mentally bit the dust. Gear and especially Vinyl. You want to know who your friends are, Ask them to help move over 10,000 records.

A lot of assumptions are being made here, but I'm entertained nonetheless...

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CharlesRandolph wrote:

Fre$hBreath wrote:A lot of assumptions are being made here, but I'm entertained nonetheless...

You said you have ASR-X-Pro, ASR-X, ASR-10, Mirage, S900 and you looking for the MPC X to do LO FI. The Mirage and S900 can give you that, so why even look anywhere else. Creating, Collecting, or Collecting Dust?

It would take 10 minutes at least to turn on ASR-X-Pro, ASR-X, ASR-10, Mirage, S900 and load the sounds.

You must do an awful lot of talking and not enough listening outside of the internet. I asked specifically if Anti-Aliasing could be turned off for a specific reason.

Once again I will be getting a MPC Live for traveling so there are certain things I'd like to do while making beats on the road before bringing them back home for completion in my MPC X and for final mix in Studio one.