sound stop on release of pad?

how can i make the sound stop playing after i release the pad? which section of the manual?

also, is there a way to stop hearing the sound play after hitting the 'stop' button when you're playing a sequence?

i want to do jabs on the pads and i want to find a way make the machine stop playing the whole sample on that particular pad after i press 'stop' when i'm finished playing the sequence back. pressing stop is only stopping the drum beat while the longer melody track continues to play out.

i am still stuck in getting theses f'in samples to start on the right count. i start by sampling a melody (4 bars). i wait 1 bar count of the metronome to hit the sample pad after i hitting rec + play start. then i do the same thing for a 2 bar drum loop on a second sequence, waiting 1 bar of metronome to begin recording.

next, i set sequence to 2 to play simultaneously with seq.1. what happens? well, seq. 2 (drum loop) starts right when i press play start and seq.1 (the main melody sample) starts about 1 bar afterwards.

how can i make them both start together?

thanks.

XX

word. thanks tombstone. yeah, i'm highlife from the access/llcrew boards. been posting there since '98 or so. what's your name?

i FINALLY got an MPC and i went with the 60II. i was ****' with acid and cakewalk, which came with pre-looped sounds for a while back then, but knew that i needed to get some hardware like an MPC or sp1200 to really make the beats that i wanted to make. acid had some decent wav sample and drum loops which i used to make some 'fun' beats for me and my homies to mess around with. those progs. were good for an introduction to beatmaking but now i'm tryin' to learn this 60 i got last month and make better stuff with my own samples off rekkids.

thanks for the tip. that sounds about right. i must have 'poly' selected right now cuz i'm getting that trainwreck sound you spoke about.

could you explain how you would use 'mono' to chop drums? i don't know what you mean when you say that.

for drums, i've been sampling individual sounds from a couple of drum breaks i've got (kick, snare, hi-hat). this is a little tricky because i can't always find an OPEN kick, snare, or hi-hat within' the break.

also, i can't get my drum sounds to be FAT. they're sort of weak. no punch really (mostly in the kick and snare). i guess it could be due to the record quality itself? if i don't have a fat kick sound to begin with, it's not going to get any fatter by sampling it. the 60's don't have filters so i've just been trying to EQ my samples as best as possible with my vestax 06 before sampling. and i always sample at 95 recording level. maybe i need to increase my gain (switch in the back of the 60 and on the mixer istelf), or turn up the master volume on my mixer.

ok, i'm rambling now. i wish i could sit down with a few of you guys and have a session. that's ALL it would take for me to hit the ground running.

anyways, tombstone, that's crazy how you recognized me from the access boards. lemme know who you are and if you have any beats i can check out.

peace!

do you have the 3.10 version?

Make sure you watch the meters when you sample, try sampling when overdriven, and try not overdriving the same sample, hear the difference, and use it to your advantage when sampling.

In my opinion, the punch from the 60 really comes through with the envelopes, it took me a while to mess with that, but once you add a decay envelope you will get the punch it is famous for.

elmac, what do you mean decay envelope?

just messing with the decay a bit?

pardon my ignorance

yeah, mess with the decay, start moving the number up while you hit the pad and listen.

For short sounds changing the decay type from end to start can get you better results.

XX

XX

elmacaco wrote:Make sure you watch the meters when you sample, try sampling when overdriven, and try not overdriving the same sample, hear the difference, and use it to your advantage when sampling.

i'm not very clear on what you mean here regarding sampling 'when' overdriven and not overdriving the 'same sample.'

can you think of another way to describe this process? thanks, elmac.

L. Tombstone wrote:Anyway, I am a producer from the SF bay area. I used to go by the name Sonic Translator aka ST1, now it's simply ST...

hmm, i don't recognize the name. i'll check out your soundclick page when i get home.

man, the old lab was cool! that was so long ago. there a few of us OG posters on the new board, but yeah, a lot of people left after the switch.

i keep tellin' myself that someday i will connect with some of the board regulars as they are involved in the biz. i've had nothing but a good time meeting some influential peeps on that message board and the vinylexchange message board.

now, i hope to do the same here. elmac, ntalec and mpc3000le seem like a good group of folks to get to know. we have a nice lil' niche going for us here in this forum.

THIS SITE SUX

This forum does much more than talk about the MPC in general, it is often in excruciating detail, until the newbies get lazy, then it kinda sinks.

When you sample, the meter that tells you how loud the signal is, try boosting the gain on the screen until the meter shows >>>>>>>!!!! and also when it has no !!!! showing, and listen to the different sound you get.

L. Tombstone wrote: But hey, like I said on another thread, if you are into the Phil Collins kick thing, carry on sir.....