Is it me, or do the newer Mpc's soud "too clean"?

Is there any difference between the software MPC and the Hardware MPC sound using the same soundcard or HW outs? Does the software MPC have ant perceivable ‘sound’ qualities compared to any other computer software?does the MPC LIVE/ONE/X outputs/process ……impart any ‘character’ on the sound?

mpc_fan_2022 wrote:an addition is an addition no matter on which device it is done, that's what digital summing is, it's the same algorithm everywhere. it's DSP 101. Enough with the bullshit.

How about multiplication, division, rounding, clipping, not present at all on the signal path people refer to as "summing", or not possible to have a detectable difference? What's the internal bit depth of an MPC 2000 and is it fixed point or floating point? I wonder if it can be reasonably assumed that when people refer to "summing" in a digital audio system, they purely mean only addition operations without multiplying, dividing, rounding and clipping. Panning law? I'm not convinced that there couldn't possibly be any differences in the parts that can be referred to as "summing".

dryad-66 wrote:Is there any difference between the software MPC and the Hardware MPC sound using the same soundcard or HW outs? Does the software MPC have ant perceivable ‘sound’ qualities compared to any other computer software?does the MPC LIVE/ONE/X outputs/process ……impart any ‘character’ on the sound?

Try it. Make a project that works on both and compare their audio exports.

I want to see what others think.interesting question….

dryad-66 wrote:Is there any difference between the software MPC and the Hardware MPC sound using the same soundcard or HW outs?

No.

dryad-66 wrote:Does the software MPC have ant perceivable ‘sound’ qualities compared to any other computer software?

This is subjective.

dryad-66 wrote:does the MPC LIVE/ONE/X outputs/process ……impart any ‘character’ on the sound?

No, but then again - it's subjective. Depends on what you do to said sound before you output/process it.

I tend to wonder about people that purchase an MPC and sample in through spdif 'to get that Akai sound'

But then again, it's those same people that'll pay $1800 for an MPC 1000 in 2023.

richie wrote:I tend to wonder about people that purchase an MPC and sample in through spdif 'to get that Akai sound'

But then again, it's those same people that'll pay $1800 for an MPC 1000 in 2023.

**** that almost made me spit out my tea at work.

Monotremata wrote:**** that almost made me spdif out my tea at work.

Monotremata wrote:
**** that almost made me spit out my tea at work.

Hey Mono, been a while.

It's pretty crazy the comments I've read on here and on YouTube saying as such.

A sucker is born every minute

Folks arent used to hearing the entire spectrum in nyquist range (20Hz to 20kHz) imho anything above 8k is useless noise and anything below 40 is just cloudy rumble.

To emulate tape:
hpf 16kHz
lpf 40Hz

and then if you want that decimated ring use the decimator, mpc60, mpc3000 or sp ring.

ok,
i finally bought back an mpc 1000 (with jjos2xl, hdd and max ram, waiting for the fatpads, now it has new padsensor and cool black normal mpcstuff pads, which are pretty bad after being used to the good mpc live pads...)
i can't do anything but confirm what my impressions were from memory now that i can compare the mpc1000 to the mpclive mk1 realtime in the flesh.
as i remembered, it has nothing to do with "grit" or lofi or nasty sound. the sound of the 1000 (and of course the 2500) is crystal clear, pristine, very similar to the current mpc line. where it differs is its strength, its punchyness, even with some very dull drum samples i hear better dynamics and better overall sound coming out of the 1000, especially when different sounds are mixed internally. as i recalled, the filters are really nothing to write home about, but they do their job, and with jjos2xl great q-link control they are very fun to use.
the sequencer, oh boy, even if it's old it is such a joy to play with, time signature freely and easily changeable PER BAR, step recording, the overall feeling of being home i think jjos2xl is my favourite sequencer EVER (and i tried many, hardware and software).
of course, everything regarding browsing and managing is tedious compared to touchscreen goodness, file loading and saving, renaming etc... sample editing tho... i was afraid of being too spoiled by the gorgeous touch screen but overall is a very cool experience, chopping too...

anyway, this said....
the weekend before getting my new 1000 i performed a liveset on a mid sized but very punchy P.A. and the mpc live performed very well, the sound is more than good, clear and punchy and huge, so, there's absolutely no "need" to go back, but the 1000 is on another level. not necessary, but if you are like me, obsessed by the magical psychophisiological properties of a proper kick\snare\hat\bass groove that kicks you in the balls on a dancefloor than i suggest to check it for yourself. the dynamics are simply something else, requiring ZERO effort to spit out a GREAT sound!

p.s.: another quick comparison i've done is: mpc live mk1 vs sp404mk2 vs mpc 1000.
verdict is: sp404mk2 a bit more powerful than mpc live , but mpc 1000 eats them both alive. now what is worriyng me a bit is that i'm afraid of running the 1000 outs into the sp for live fx... tried it and it definitely sounds weaker thru the sp, while the live definitely sounds stronger thru the sp...
one solution is to use an aux send on the mixer to send a copy of the 1000 signal to the sp and then using faders to "xfade" between original and effected (of course you need a pre-fader aux send to do it properly)... but i think i'll end up not using the sp...

Ultros wrote:Folks arent used to hearing the entire spectrum in nyquist range (20Hz to 20kHz) imho anything above 8k is useless noise and anything below 40 is just cloudy rumble.

To emulate tape:
hpf 16kHz
lpf 40Hz

and then if you want that decimated ring use the decimator, mpc60, mpc3000 or sp ring.

you swapped the filter names eheheh
anyway i think you are totally wrong re: high frequency. if you have the bad habit of filtering out very high frequencies you just kill what's called the "air" of a signal, its higher harmonics, which are barely audible but contribute to the sparkling quality of a good full range sound.
of course nowadays people are used to listen to music with very shitty sound systems... but that's a problem, not a feature

A reason you may find the SP404 mk2 sounding "weaker" is that it enforces a -3db of headroom on the incoming line level signal. I'm playing around with a few different internal FX to see if there is a straightforward way to overcome this, but everything so far has shown that the SP404 mk2 with FX can boost you to 0db, but with some level of coloring. Isolator is a good example of this, hit all three bands to +12db, and if you check the wav form, it's not the same, which makes sense, but is a bummer...

NearTao wrote:A reason you may find the SP404 mk2 sounding "weaker" is that it enforces a -3db of headroom on the incoming line level signal. I'm playing around with a few different internal FX to see if there is a straightforward way to overcome this, but everything so far has shown that the SP404 mk2 with FX can boost you to 0db, but with some level of coloring. Isolator is a good example of this, hit all three bands to +12db, and if you check the wav form, it's not the same, which makes sense, but is a bummer...

true, also things like WarmSaturator very often boost the signal over its nominal amplitude.
also, it may depend on your settings, if you have the limiter on, what your attenuator is set to etc...i must add i'm using the mpc 1000 with the -6db setting on the output attenuator.

get rid of the crutch, and work on that kick... oh and please keep hyping the 60... if ever i sell mine i want armen's prices