Sample kits for mpc4k in 24/96 format,, where are they???

Mohammed, when u sample off vinyl to 24 bit then process the sample (filter, eq, comp, fx) the outcome cant even be compared to the outcome of an original sample of 16 bit processed thru the same units. only use 16 after mastering only, only while rendering.

Mohammed wrote:I shouldnt have to explane to any of you guys about if i sample from vinyl or not.... The fact is,,, the mpc4k is a 24bit machine, and there aint enough stuff out there to use the mpc's sonic capabilities.

Sampling from vinyl on 24bit wouldnt add much to the sonic quality of the sample because of some theoretical headroom ditter **** i will not get into now.

Platinum Dums, Scarbee Rhodes,,, Garritan,,etc etc all these are sample instruments
with 24 bit quality samples,, but they cant be used at 24 bit because those cd's are not made for mpc4k format.

Why don't you learn how to put those SONIC CAPABILITIES to use and process samples exactly how you want them. If you want them a certain way then you gotta process and put your touch on it dog. Do the dam thang and everything will be cool.

Mohammed wrote:That is very whack,,,, that mpc-tutor site got all specific sample kits for the mpc1000 and the mpc2000, but nothing for the 4000, i feel passed over,,,,
I bought the mpc4k over the mv8k because of the 24bit processing,, but as it turns out, i hardly ever use it because there are no 24 bits sample kits available.

The reason I do not make such kits is simple - there is no real demand for it. Honestly, there have only been 2 or 3 people to make such a request to me for 24bit kits - on the other hand, I am bombarded with requests for MPC1000 multisamples, ready-made drum kits for the MPC2000XL etc, which is what I am working on at the moment because I know I will make the money back on the time and effort put into them. Unfortunately, MPC-Samples is not some multi-million dollar business - I sell a few sample packs a week, and that's it.

So it's not a case of passing you over, just a matter of resources and finances. Also, it is a lot more efficient to create a kit in 16bit format, because that way that single kit will work in MPC2000/XL and 4000.

Im making some usefull drumkits and mapped instruments. Most 24bits, 48000hz. (drums only 16bits) If someone has space to upload, Ill be glad to put them there. If its a fast connection, off course..

MPC-Tutor wrote:

Mohammed wrote:That is very whack,,,, that mpc-tutor site got all specific sample kits for the mpc1000 and the mpc2000, but nothing for the 4000, i feel passed over,,,,
I bought the mpc4k over the mv8k because of the 24bit processing,, but as it turns out, i hardly ever use it because there are no 24 bits sample kits available.

The reason I do not make such kits is simple - there is no real demand for it. Honestly, there have only been 2 or 3 people to make such a request to me for 24bit kits - on the other hand, I am bombarded with requests for MPC1000 multisamples, ready-made drum kits for the MPC2000XL etc, which is what I am working on at the moment because I know I will make the money back on the time and effort put into them. Unfortunately, MPC-Samples is not some multi-million dollar business - I sell a few sample packs a week, and that's it.

So it's not a case of passing you over, just a matter of resources and finances. Also, it is a lot more efficient to create a kit in 16bit format, because that way that single kit will work in MPC2000/XL and 4000.

Ah ok, thanx for explainging.. Now the other problem is that its not possible to convert 24bit GIGA or Halion EXS etc sample kits to MPC4k format withou converting to 16bit. Wouldnt it be a great idea to implement a converting application in AkaSYS??? Im sure it wouldnt be to hard to implement.

when you stop being lazy, over time your collection will grow quite a bit

Starting off it may seem a little hard

IF YOU BUILD IT THEY WILL COME.......

got some gems dropped on my from a 20 yr old engineer(20 yrs in the game)

Most def you will gain benefit that is hearable by using 24bit instead of 16, if you have any idea how computers work which is bascially by bits, and how bit rate works in specifically which is pretty much the amount of values you have have to describe that particular part in time (accuraccy of recording the COLOR or how it SOUNDS persay) that may be a little bit confusing, but this is just general

Your sample rate beyond 44.1 is pretty much useless, because technically you cannot HEAR frequencies outside of the 20hz - 20khz range, although if you are one of those people that believes that you can feel or notice them missing if they arent there you will prob boost your sample rate, but if your not one of those people like me might as well stick with 44.1, because when you dither down, its dropping parts of your sound and this may give you an undesired effect

But thats just a little general little thing, if you understand how bit rate and sample rate work it should be perfectly logical

yo here is some 24 bit sample kits
http://mediasoftware.sonypictures.com/l ... =7777-4701
they are .wav files.

sup,

This is why i go 24bit when recording,

16bit gives u a dynamic range of 96db,
with 8bit giving u a range of 48db,
and 24bit gives us a range of 144db

To work out the dynamic range of a sample resolution multiply the number of bits by six.

The difference(dynamic range) between the loudest and quietest sounds we can hear is around 140db....so 24bit is a dream come true as for clippin/headroom .....down side is more hd space is needed..

Ice i agree and disagree!
some peeps i know swear by 96khz,they say it enables accurate recording of frequencies at the upper threshold of humman hearing and beyond, claiming it sounds more open and airy,but then again i bet if i played them a 24bit 96khz sample and then a 24bit 44.1khz they would have a hard time telling them apart on top spec monitors......but hey theres always two sides to the coin eh?':)'

binger0 wrote:yo here is some 24 bit sample kits
http://mediasoftware.sonypictures.com/l ... =7777-4701
they are .wav files.

I just stole a shit load of samples

Ya I agree with ya Reveal

I was in class with the teacher and shit, and he did a blind test on both 44.1 and 96 both 24 bit on several different sounds and from different sources, no one could tell the difference we were guessing, he brung in a few engineers as well they couldnt do anything more than guess either

But there was a real small noticable different between something that was dithered down especially from 192 to 44.1 than on 44.1 already, after the dithering it lost a little bit

sup ice ,

Yeah thats funny ish,
it makes you wonder,,,mabye its just that peeps think the higher the better which does seem to be logical, but as ya just said in practice its real hard to tell without just guessing.

Im also not to keen on using dither(96khz),i dunno about it,the noise shapping algorithms in protools pow-r-dither, seem to make a worring amount of difference to a mix,mos def when youve spent a lot of time crafting a mix ya happy with, ive done a few mixes at 24bit 96khz now,i its hard tell if its worth it or not.

do u always go 24bit 44.1khz ? when mixing/sampling?

When comparing a single sound recorded at 24 bit, vs a single sound recorded at 16 bit, you will hardly notice a difference. A total production with all audio at 24 vs a total production at 16 bit is a difference between day and night. I think the same goes for KHZ, but bits are more important for our kind of music, because you gotta have headroom if you want to make it sound phat

Hi,

24 bit recording is useful for recorsing and summing as youhave greater headroom plus greater fidelity when recording lower volume sections. If just playing back well recorded samples then you aren't going to hear much of a diference.

With regards to 96K operation, it's useful when processing sounds. E.g. The better DSPFX cards (such as Universal Audio's UAD1) upsample some of their FX to 96K for processing then down sample again for playback. the reasons for this are quite complex and too involved to go into here (look up Nyquist theorem if you are interested) but safe to say that you aren't going to be noticing much of a difference just on playback.

Essentially you wanna record at 24 bit when possible, especially when dealing with material that has a large dynamic range as when you compress / limit and bring up the levels of the quieter sections they won't have thge same fidelity as the loud sections.

With 96K it's really for FX or super high fidelity (i.e. Classical Orchestral Recording). To make a real comparison you need to be using super high quaility recording path (great mic, good cables, great pre-amp excellent converters). If you are comparing something recorded on a £400 mic, through a £250 pre-amp into the MPC then you aren't gonna notice a difference. . .

Cheers

TS