Polynominal wrote:I just did cut a support ticket to Akai regarding the upcoming changes with MPC OS 3.
I don't know if this is interesting for everyone but I tried to deliver the major pain points I have with this update
If someone feels the urge to do the same feel free to copy & paste and cut your own ticket.
Here is what I wrote:
"The introduction of the MPC 3 OS brings profound changes to the proven workflows of MPCs that have been appreciated by musicians and producers for decades. These changes particularly affect the "Track Mutes" and "Programs" functions.
Changes to Track mutes in MPC 3 OS
Traditionally, track mutes in the MPCs were local to each sequence, allowing certain tracks in a sequence to be muted while other sequences remained unchanged. This was particularly useful for establishing a song structure in the creation phase and for live performances where musicians could decide on the fly which elements of a sequence to play or mute. With the new MPC 3 OS, however, the track mutes are global for the entire project, which means that changing the mute settings in one sequence will affect all other sequences. This reduces flexibility and makes it more difficult to manipulate complex arrangements on the fly. This a significant disadvantage as it limits the creative control that was previously possible.
Changes to Programs in MPC 3 OS
Previously, programs could be used in an MPC to quickly and easily try out different sounds or instruments without having to switch between tracks. This was ideal for sound design and experimenting with different sounds while staying in a single track. In the coming MPC OS 3, however, this flexibility is limited as the system is now designed so that each track has a fixed program. Users now have to switch between different tracks to use different programs, which can slow down the workflow and limit creative flexibility. It hinders the ease of use and quick experimentation with sounds that MPCs are known for, which is especially important in the creation phase.
In summary, while these changes aim to evolve the MPC into a more modern and powerful system, they may also limit the traditional workflows that characterize MPCs.
Why the workarounds offered are not really a replacement for the removed core features:
Workarounds for Track Mutes in MPC 3 OS
With the switch to global track mutes instead of local mutes, there are some workarounds that do not fully provide the original flexibility:
Automated mutes: some users might try to replace track mutes with automations to mute certain parts of a track. However, this requires much more upfront work and does not offer the spontaneous control that local mutes provide.
Use of submixes or multiple sequences: Another approach could be to create multiple sequences or submixes to achieve similar mute effects. However, this leads to a more complex setup and can make project management more difficult, especially for live performances.
Synchronization issues: Since mutes are now global, it can be difficult to perform specific mutes in one part of a song without having unintended effects on other parts of the project.
Workaround programs in MPC 3 OS
The limitation of using programs in MPC 3 OS means that users will need to use workarounds to achieve similar flexibility:
Switching between tracks for different programs: Instead of switching programs within a track, users now have to switch between different tracks. However, this can interrupt the workflow and make it difficult to quickly explore sounds.
Prior program assignments: Some users could pre-assign all the programs they need on different tracks and then switch between them. However, this requires extensive planning and takes away the spontaneous nature that was possible with previous MPC versions.
Limited creative freedom: These workarounds often result in limited creative freedom by making it difficult to quickly customize and experiment with different sounds.
Overall, while these workarounds are useful, they are not a complete replacement for the flexibility and spontaneity that previous versions of the MPC offered. Users will have to adapt and potentially compromise, which can be frustrating for some producers and musicians.
The fun thing about an MPC is that it specifically encourages a non-linear approach, you can create the chorus first, then the verse and then the intro. You can always try or change something by quickly changing the programs in the tracks and muting.
This is where the original features are crucial to get results faster and to be able to quickly try out several approaches in the creative process and change them later without much effort.
This is what makes the MPC workflow so spontaneous and flexible.
Please don't remove these features because they make the difference to a DAW, you could just as well use a DAW on a big screen if these features were removed.
moonlake wrote:Polynominal wrote:I just did cut a support ticket to Akai regarding the upcoming changes with MPC OS 3.
I don't know if this is interesting for everyone but I tried to deliver the major pain points I have with this update
If someone feels the urge to do the same feel free to copy & paste and cut your own ticket.
Here is what I wrote:
"The introduction of the MPC 3 OS brings profound changes to the proven workflows of MPCs that have been appreciated by musicians and producers for decades. These changes particularly affect the "Track Mutes" and "Programs" functions.
Changes to Track mutes in MPC 3 OS
Traditionally, track mutes in the MPCs were local to each sequence, allowing certain tracks in a sequence to be muted while other sequences remained unchanged. This was particularly useful for establishing a song structure in the creation phase and for live performances where musicians could decide on the fly which elements of a sequence to play or mute. With the new MPC 3 OS, however, the track mutes are global for the entire project, which means that changing the mute settings in one sequence will affect all other sequences. This reduces flexibility and makes it more difficult to manipulate complex arrangements on the fly. This a significant disadvantage as it limits the creative control that was previously possible.
Changes to Programs in MPC 3 OS
Previously, programs could be used in an MPC to quickly and easily try out different sounds or instruments without having to switch between tracks. This was ideal for sound design and experimenting with different sounds while staying in a single track. In the coming MPC OS 3, however, this flexibility is limited as the system is now designed so that each track has a fixed program. Users now have to switch between different tracks to use different programs, which can slow down the workflow and limit creative flexibility. It hinders the ease of use and quick experimentation with sounds that MPCs are known for, which is especially important in the creation phase.
In summary, while these changes aim to evolve the MPC into a more modern and powerful system, they may also limit the traditional workflows that characterize MPCs.
Why the workarounds offered are not really a replacement for the removed core features:
Workarounds for Track Mutes in MPC 3 OS
With the switch to global track mutes instead of local mutes, there are some workarounds that do not fully provide the original flexibility:
Automated mutes: some users might try to replace track mutes with automations to mute certain parts of a track. However, this requires much more upfront work and does not offer the spontaneous control that local mutes provide.
Use of submixes or multiple sequences: Another approach could be to create multiple sequences or submixes to achieve similar mute effects. However, this leads to a more complex setup and can make project management more difficult, especially for live performances.
Synchronization issues: Since mutes are now global, it can be difficult to perform specific mutes in one part of a song without having unintended effects on other parts of the project.
Workaround programs in MPC 3 OS
The limitation of using programs in MPC 3 OS means that users will need to use workarounds to achieve similar flexibility:
Switching between tracks for different programs: Instead of switching programs within a track, users now have to switch between different tracks. However, this can interrupt the workflow and make it difficult to quickly explore sounds.
Prior program assignments: Some users could pre-assign all the programs they need on different tracks and then switch between them. However, this requires extensive planning and takes away the spontaneous nature that was possible with previous MPC versions.
Limited creative freedom: These workarounds often result in limited creative freedom by making it difficult to quickly customize and experiment with different sounds.
Overall, while these workarounds are useful, they are not a complete replacement for the flexibility and spontaneity that previous versions of the MPC offered. Users will have to adapt and potentially compromise, which can be frustrating for some producers and musicians.
The fun thing about an MPC is that it specifically encourages a non-linear approach, you can create the chorus first, then the verse and then the intro. You can always try or change something by quickly changing the programs in the tracks and muting.
This is where the original features are crucial to get results faster and to be able to quickly try out several approaches in the creative process and change them later without much effort.
This is what makes the MPC workflow so spontaneous and flexible.
Please don't remove these features because they make the difference to a DAW, you could just as well use a DAW on a big screen if these features were removed.
Very good write up.
Would like to sign this in a way... How/ where do you open a support ticket?
hyena wrote:...(being completely honest the slice motion thang IS forward thinking tho...)
wavejockey wrote:one more thing
i'd like AKAI to create one more update for MPC2 where they fix the MMC functionality
it's (still) in the manual for gods sake!
submo wrote:wavejockey wrote:one more thing
i'd like AKAI to create one more update for MPC2 where they fix the MMC functionality
it's (still) in the manual for gods sake!
Yeah, I'm hoping this, and the Multi Channel Midi bug gets fixed for MPC2. I'm not quite sold on MPC3 yet.
moonlake wrote:
Very good write up.
Would like to sign this in a way... How/ where do you open a support ticket?
wavejockey wrote:can you play (out) those slices/that sequence with other samples/aka sounds?
(e.g. play the sequence from above not with the amen beat but with an electronic kit - or orchestral sounds, i'm just suggesting)
Monotremata wrote:moonlake wrote:There is a reason that mixing consoles and a lot of other things have per track mute (and solo) buttons.
Which is exactly how the MPC works now. It mutes the audio in the mixer, not the MIDI events. That's the big issue with it. You mute now, its ALL muted instead of just the MIDI data on the one sequence.
Polynominal wrote:I just did cut a support ticket to Akai regarding the upcoming changes with MPC OS 3.
I don't know if this is interesting for everyone but I tried to deliver the major pain points I have with this update
If someone feels the urge to do the same feel free to copy & paste and cut your own ticket.
Here is what I wrote:
"The introduction of the MPC 3 OS brings profound changes to the proven workflows of MPCs that have been appreciated by musicians and producers for decades. These changes particularly affect the "Track Mutes" and "Programs" functions.
Changes to Track mutes in MPC 3 OS
Traditionally, track mutes in the MPCs were local to each sequence, allowing certain tracks in a sequence to be muted while other sequences remained unchanged. This was particularly useful for establishing a song structure in the creation phase and for live performances where musicians could decide on the fly which elements of a sequence to play or mute. With the new MPC 3 OS, however, the track mutes are global for the entire project, which means that changing the mute settings in one sequence will affect all other sequences. This reduces flexibility and makes it more difficult to manipulate complex arrangements on the fly. This a significant disadvantage as it limits the creative control that was previously possible.
Changes to Programs in MPC 3 OS
Previously, programs could be used in an MPC to quickly and easily try out different sounds or instruments without having to switch between tracks. This was ideal for sound design and experimenting with different sounds while staying in a single track. In the coming MPC OS 3, however, this flexibility is limited as the system is now designed so that each track has a fixed program. Users now have to switch between different tracks to use different programs, which can slow down the workflow and limit creative flexibility. It hinders the ease of use and quick experimentation with sounds that MPCs are known for, which is especially important in the creation phase.
In summary, while these changes aim to evolve the MPC into a more modern and powerful system, they may also limit the traditional workflows that characterize MPCs.
Why the workarounds offered are not really a replacement for the removed core features:
Workarounds for Track Mutes in MPC 3 OS
With the switch to global track mutes instead of local mutes, there are some workarounds that do not fully provide the original flexibility:
Automated mutes: some users might try to replace track mutes with automations to mute certain parts of a track. However, this requires much more upfront work and does not offer the spontaneous control that local mutes provide.
Use of submixes or multiple sequences: Another approach could be to create multiple sequences or submixes to achieve similar mute effects. However, this leads to a more complex setup and can make project management more difficult, especially for live performances.
Synchronization issues: Since mutes are now global, it can be difficult to perform specific mutes in one part of a song without having unintended effects on other parts of the project.
Workaround programs in MPC 3 OS
The limitation of using programs in MPC 3 OS means that users will need to use workarounds to achieve similar flexibility:
Switching between tracks for different programs: Instead of switching programs within a track, users now have to switch between different tracks. However, this can interrupt the workflow and make it difficult to quickly explore sounds.
Prior program assignments: Some users could pre-assign all the programs they need on different tracks and then switch between them. However, this requires extensive planning and takes away the spontaneous nature that was possible with previous MPC versions.
Limited creative freedom: These workarounds often result in limited creative freedom by making it difficult to quickly customize and experiment with different sounds.
Overall, while these workarounds are useful, they are not a complete replacement for the flexibility and spontaneity that previous versions of the MPC offered. Users will have to adapt and potentially compromise, which can be frustrating for some producers and musicians.
The fun thing about an MPC is that it specifically encourages a non-linear approach, you can create the chorus first, then the verse and then the intro. You can always try or change something by quickly changing the programs in the tracks and muting.
This is where the original features are crucial to get results faster and to be able to quickly try out several approaches in the creative process and change them later without much effort.
This is what makes the MPC workflow so spontaneous and flexible.
Please don't remove these features because they make the difference to a DAW, you could just as well use a DAW on a big screen if these features were removed.
[/quote]
emdog wrote:No, you cannot. Though oddly it does recognize my Access Virus TI Darkstar as an audio interface over USB... it now prevents me from using USB Midi for the Virus since the Virus disables audio outputs when this happens
MPC-Tutor wrote:Genuine question for everyone asking that programs to return, what is your suggestion on how that would work within the unified track concept (because I don't see how Akai are going to roll back on unified tracks given MPC3 is centered around this)....
MPC-Tutor wrote:Genuine question for everyone asking that programs to return, what is your suggestion on how that would work within the unified track concept (because I don't see how Akai are going to roll back on unified tracks given MPC3 is centered around this).
If you have the ability to change the program on an existing track, then to maintain the unified track across all sequences the program would have to change on all sequences, otherwise it's no longer unified to have one sequence running that track with a different program.
So is the suggestion:
a) load up multiple programs into memory, but without loading them into a track, so basically a 'program pool' in memory, like mpc2.
b) tracks return to having a select box where you freely assign a program from the pool
c) changing the program on a track in any one sequence will change the program on that track across all sequences
Just remember that in mpc3 you can already change the program on a track (across all sequences) - just load another program to that track (from the browser), or merge or copy the kit from an existing track. IT's really the idea of being able to 'freely' switch back and forth between many kits that is missing in mpc3 (hence the 'send to' workaround being suggested).
Again, it's a genuine question because if you are suggesting x, y, and z happen, it's useful to explain to Akai how you see it working from a technical and practical perspective.
