Getting 2 MPC 2000XL's in Sync

Hi.

I have 2 MPC 2000XL's and want to use them on stage together almost like a dj performance, mixing tracks together and fading back and forth between them. Is there any way of getting them in sync to tell each other tempos etc? Thanks, Ben

Yup.
Set one to send Midi Time Code (MTC) and set the other to Slave to MTC. Connect a Midi cable from the first one's output ot the second one's input. Then hit play.
The Manual will tell you how to do it in greater detail.

Ya know...
You might have more fun manually triggering them. The problem is when they're both sync'd up, you wont be able to load anything. It's kinda more fun to manually sync them up. Just think... 1..2..3..4...Pop hit play. That's what I do. It ads an element of error which makes you more creative.

Im feeling you def. If i want to go back and forth between them.

eg. -

1. make a track at 90bpm
2. bring in a 90bpm beat from the other mpc (in sync)
3. increase to 100bpm
3. bring in a beat from other mpc at 100bpm

Im saying that if one is master and other is slave, can i increase the tempo on the slave and it will increase the tempo on the master so i can go back and forth between mpcs?

Thanks again, Ben

Unless all your sequences are the same length and tempo, I've found MTC is not helpfull. Since it sends absolute time, it wont be any good for fading from one to the other unless they are both running one super long sequence. Midi clock is typically your best bet when matching the clock of multiple MIDI devices for looping. You still run into a big issue in that you cannot stop the slave or it will be offbeat when you restart it. Therefore this method really only makes sense if you have all your sequences loaded up from the start. The only solution to this I've ever seen is:
http://home.netspeed.com.au/aistorm/sync2.html

Otherwise you can always just match the beats yourself like a DJ. It actually isn't too hard once you get the hang of working the dial on the tempo like a pitch slider. Although it isn't the easiest method, it is the most flexible. I really wish someone made a simple midi clock generator with a pitch slider on it like the MC-909, I think a lot of people could make use out of that.

Thanks for that. Am definately going to order one of those. Im trying to think about my tracks now. I wonder how im going to 'dj' with my mpc tracks. I think that there is a lot to think about i.e getting all the parts from logic into the mpc, in mono and all on one program to save memory and for organisation. It seems there is a hell of a lot to think about. Im not really sure how its all going to work.

Has anyone got any advice?

Thanks, Ben

judging from a ten year experience as a sound engineer, seeing hundreds of bands live, many of which have midi gear, i would say that soundwise keep it simple. the main mistake that new bands make is that they hide behind the equipment. you and your performance are the main attraction. use rather less sounds than too many sounds (deduct sounds from your album trax) and make it really obvious for the audience that you are doing all those things live. the less sounds, the more honest your performance will be because the audience can follow what you are doing...

i agree that you should trigger your samples yourself and forget about midi...
nobody gives a shit if you **** up sometimes live as long as you are entertaining and original. strap the mpc to your body and jump around with it....

Wise words.

Yes. Definately wise words. Thanks! I wonder whether you think its best to get all the parts for one of your tracks into the MPC on one program and then totally build it new on stage. Or do you go on with lots of different programs and some parts already programmed on certain tracks?

Thanks again, this is all really helping.

Ben

here are a couple of setups i used:

1 roland sp202 strapped to my leg. triggering beats on pads while playing guitar: that was lofi guerilla style, lots of fun, some mistakes but everyone knows exactly whats going on since the pads are illuminated.

2 APS file, changing programs with the sequences, instead of triggering samples, used the track mutes, pretty safe but fiddly to program.

3 one drum program. played hihat and shakers live and backing vocals. the most enjoyable setup! looks good too!

setup 3 was easiest for the sound as well since the soundguy only had to get used to one set of sounds.

i think everything is a trade off between:
sonic fidelity / performance / economics

I'm getting guilty of gear pigging in that it's getting pretty crammed. I'm rocking 2 sampelrs (2kclassic and SU700) with an Alesis Micron, a 1200, and a TV/DVD Player. I'm putting it all into a mixer and give the sound man 2 channels. However, it's all essential..

I used to just rock 2 samplers, but it gets a bit boring, so the 1200, and Micron make it more live. Usually when your pounding pads on an MPC, all the non MPC heads have no idea what your doing. You might as well be peeling Bananas. But when you start playing keys or cutting up an LP, people know what your doing. I've even strapped MIDI pads on the my chest. It's entertaining to watch... but kind of at the expense of your dignity....
-PP

Im going to buy one of those mungo sync boxes. Im wondering if one unit is the master and one is the slave and if this box stops the slave, will i be able to load new sequences on the master? If i have the mpcs in a handshake connection (midi out to midi in of another and the same for the other). Maybe i will be able to tell both machines to send and receive, so when i hit the big red button (mungo sync2) i can decide which is the master and which is the slave?

Am i talking madness?

Thanks, Ben