REGARDING TIME-STRETCH

Yes sir

CharlesRandolph wrote:Tube Digga showed, it's the MAN not the gear. Learn the gear!

CharlesRandolph wrote:Tube Digga

To be clear (since some people seem more interested in ad hominems than respectfully discussing subjects like grown ups), Tube D's approach is extremely convoluted, uninspiring, and certainly not good for "workflow". It's essentially treating the loop like an archaic Propellerhead ReCycle REX file and slicing it up with tales. Additionally, this approach does NOT work well for melodic loops, especially loops with strings and other melodic content.

Let's just call it what it is: MPC Live/X's standalone warp (live time stretching) is absolute ass. If enough people make this known to Akai, maybe they'll take it seriously and fix it.

It's called a work around and knowing how to use your gear. There are options you can do, that works with melodic loops as well, if you learn the machine.

EnochLight wrote:To be clear (since some people seem more interested in ad hominems than respectfully discussing subjects like grown ups), Tube D's approach is extremely convoluted, uninspiring, and certainly not good for "workflow". It's essentially treating the loop like an archaic Propellerhead ReCycle REX file and slicing it up with tales. Additionally, this approach does NOT work well for melodic loops, especially loops with strings and other melodic content.

Let's just call it what it is: MPC Live/X's standalone warp (live time stretching) is absolute ass. If enough people make this known to Akai, maybe they'll take it seriously and fix it.

CharlesRandolph wrote:It's called a work around and knowing how to use your gear. There are options you can do, that works with melodic loops as well, if you learn the machine.

Sure, because convoluted and workflow killing "work arounds" are always a better option than having the developer fix a glaring issue.

EnochLight wrote:To be clear (since some people seem more interested in ad hominems than respectfully discussing subjects like grown ups), Tube D's approach is extremely convoluted, uninspiring, and certainly not good for "workflow". It's essentially treating the loop like an archaic Propellerhead ReCycle REX file and slicing it up with tales. Additionally, this approach does NOT work well for melodic loops, especially loops with strings and other melodic content.

Let's just call it what it is: MPC Live/X's standalone warp (live time stretching) is absolute ass. If enough people make this known to Akai, maybe they'll take it seriously and fix it.

Ahah I totally agree.
I find it funny we debate about warp algorithm on Mpc standalone.
It's very easy: it's a crap.
Not enough cpu for a good one and that's it.
Everybody is aware of this, Akai included.
To have a good warp algorithm, we need a better cpu.
Look at Ableton, and take a look at how much cpu (macbook pro one, much more powerful then Mpc one) is taken by cpu for the standard warp algorithm.
Then switch to the best one, the last one. Very very hungry.
So draw your conclusions.
Mpc standalone warp algorithm is not even at the level of the worst Ableton one, not to talk about PT elastic audio.
We cannot have a good warp algorithm with current cpu in Mpc standalone.
It's just a technical issue.

EnochLight wrote:Sure, because convoluted and workflow killing "work arounds" are always a better option than having the developer fix a glaring issue.

Perhaps you can wait around 6 month for a fix, but this workaround takes minutes at most, once you know how to do it.

EnochLight wrote:Let's just call it what it is: MPC Live/X's standalone warp (live time stretching) is absolute ass. If enough people make this known to Akai, maybe they'll take it seriously and fix it.

This. Time-stetch is awful too (not just warping).

Folks get too excited about Splice and Ableton "integrations" when the platform needs improved in ways that actually foster creativity and composition. This is another example. But, I can connect to my Splice folder. (note - I don't use splice, don't actually have a splice folder - just saying).

people come over from ableton and logic to standalone mode on the mpc and don't expect to have to give anything up... traditionally on hardware, you always worked around it's limitations... found a way where possible to turn the cons into features. Anyone who has been on the mpc train would take this time stretch over the first one they implemented on the 2000xl any day.

Not to say they shouldn't work on it, but why the hell are you doing serious time stretching on the MPC anyways? As a matter of fact, what hardware unit is anyone ever using to do serious time stretching? Not too many i can think of that are going to be on par with got damn izotope on a computer.

Exactly! A person moves hands back and forth and now we have scratching. Person stand closed to speaker with guitar and now we feedback effects. Machine doesn't have enough sample time, so we sped up the sample and pitch it down and now we have the SP1200 sound. Auto-Tune wasn't made to be a noticeable Vocal effect, but look at how they use it.

I say look at the warping/time-stretching as the same things. Take your sample, loop it, put in the mpc live/x and warp or time stretching, then pitch it down and boom. You have that MPC LIVE/X warp sound. It's all about perceptive. So I'm going to call it the Charles Randolph MPC Warp Effect aka C.R.E, since I'm thinking out of the box.

mr_debauch wrote:people come over from ableton and logic to standalone mode on the mpc and don't expect to have to give anything up... traditionally on hardware, you always worked around it's limitations... found a way where possible to turn the cons into features. Anyone who has been on the mpc train would take this time stretch over the first one they implemented on the 2000xl any day.

Not to say they shouldn't work on it, but why the hell are you doing serious time stretching on the MPC anyways? As a matter of fact, what hardware unit is anyone ever using to do serious time stretching? Not too many i can think of that are going to be on par with got damn izotope on a computer.

CharlesRandolph wrote:Exactly! A person moves hands back and forth and now we have scratching. Person stand closed to speaker with guitar and now we feedback effects. Machine doesn't have enough sample time, so we sped up the sample and pitch it down and now we have the SP1200 sound. Auto-Tune wasn't made to be a noticeable Vocal effect, but look at how they use it.

I say look at the warping/time-stretching as the same things. Take your sample, loop it, put in the mpc live/x and warp or time stretching, then pitch it down and boom. You have that MPC LIVE/X warp sound. It's all about perceptive. So I'm going to call it the Charles Randolph MPC Warp Effect aka C.R.E, since I'm thinking out of the box.

mr_debauch wrote:people come over from ableton and logic to standalone mode on the mpc and don't expect to have to give anything up... traditionally on hardware, you always worked around it's limitations... found a way where possible to turn the cons into features. Anyone who has been on the mpc train would take this time stretch over the first one they implemented on the 2000xl any day.

Not to say they shouldn't work on it, but why the hell are you doing serious time stretching on the MPC anyways? As a matter of fact, what hardware unit is anyone ever using to do serious time stretching? Not too many i can think of that are going to be on par with got damn izotope on a computer.

C.R.E - I’m crediting you for that!

Eyalc wrote:C.R.E - I’m crediting you for that!

Send Royalties in the A.M now we have C.R.E.A.M!

CharlesRandolph wrote:Perhaps you can wait around 6 month for a fix, but this workaround takes minutes at most, once you know how to do it.

Most have been waiting years for a fix, with no fix in sight - so it will likely never be addressed by Akai as they see users like yourself content with cumbersome wofkflow killing work-arounds who feel being pulled several minutes out of the zone is somehow OK.

Eyalc wrote:

EnochLight wrote:Let's just call it what it is: MPC Live/X's standalone warp (live time stretching) is absolute ass. If enough people make this known to Akai, maybe they'll take it seriously and fix it.

This. Time-stetch is awful too (not just warping).

Folks get too excited about Splice and Ableton "integrations" when the platform needs improved in ways that actually foster creativity and composition. This is another example. But, I can connect to my Splice folder. (note - I don't use splice, don't actually have a splice folder - just saying).

On a side note, I've actually found Splice integration to be quite useful - enough so to where I ended up signing up for their cheapest monthly plan to keep getting fresh content. I tend to gravitate towards Sample Magic libraries, and find that (sometimes) getting their libraries via Splice is cheaper - though it tends to be hit or miss.

But yeah, the standalone warp quality truly is sad. But, as they say, c'est la vie. I just tend to use standalone warp (as intended) as sparingly as possible, if not at all.

EnochLight wrote:Most have been waiting years for a fix, with no fix in sight - so it will likely never be addressed by Akai as they see users like yourself content with cumbersome wofkflow killing work-arounds who feel being pulled several minutes out of the zone is somehow OK.

It's not broken, that's the Classic Charles Randolph MPC Warp technique aka C.R.E.A.M technique. Try to reproduce that sound on another machine. The artifacts and how the warp handles the sound, is absolute incredible. This is the defining feature of the MPC. People buy the SP1200 for the crunch on the drums. Now you can buy the MPC LIVE/X for the warp on the sample.

Now if you really want to bring out those artifact, sample the sound at half speed, add a low pass on it, pitch it up 3 semi tone, then apply auto warp and set it to the BPM you want.