Page 1: User Guide
User Guide English Manual Version 1.0...
Page 2: Table Of Contents
Table of Contents Introduction ............5 Tutorial ..............17 System Requirements & Product Support ..5 Starting Up ............17 About This User Guide ........5 Creating a Drum Kit ......... 17 Important Notes ..........6 Creating a Drum Sequence ......18 Setup ..............
Page 3 Operation .............. 33 Modes ..............71 Main Mode ............. 72 General Features ..........34 Grid View ............92 Control Types ..........34 Audio Edit Mode ..........96 Programs ............40 About Programs ..........40 Drum Programs ..........41 Track View ............ 102 Keygroup Programs ...........
Page 4 Modes (continued) Appendix .............. 201 Program Edit Mode ........149 Effects & Parameters ........201 Drum Programs ..........149 Keygroup Programs ......... 156 Reverbs ............201 Clip Programs ..........164 Plugin Programs ..........167 MIDI Programs ..........168 Delays ............203 CV Programs ...........
Page 5: Introduction
Introduction Thanks for choosing the MPC X. Fusing Akai Professional’s legendary MPC layout and workflow with multi-core processing power, MPC X is an unrivaled instrument for music production. Introducing a new approach to music production with an ultra-fast and super-intuitive workflow, the MPC X is powered by a radiant 10.1-inch color multi-touch display.
Page 6: Important Notes
Important Notes Read the included safety & warranty manual before using MPC X. Before getting started and connecting devices to MPC X or turning the hardware on/off, make sure all devices are switched off. To use MPC X in Controller Mode (to control the MPC software): Before installing the MPC software, make sure your computer meets the system requirements described at akaipro.com.
Page 7: Installation
Click OK when you are done. Important: We highly recommend using your MPC X’s sound card (Akai Pro MPC X ASIO). If you need to use the internal sound card on a Windows computer, we recommend downloading the latest ASIO4ALL driver at asio4all.com.
Page 8: Features
Features This chapter explains the features and functions of your MPC X. Top Panel 32 33 28 29 30 51 52 16 17 18 19 20 53 54 23 24 25 26 27 34 35 37 38 Navigation & Data Entry Controls 1.
Page 9: Pad & Q-Link Controls
5. Numeric Keypad: If the selected field in the display is a number, press these numbered buttons as you would on a standard numeric keypad to enter a value. Press the keypad’s Enter to enter it. (A numeric keypad with additional operations will appear on the touchscreen, as well.) 6.
Page 10: Mode & View Controls
16. Project: Press this button to use the Q-Link knobs to adjust parameters related to the current project. Press and hold Shift and then press this button to enter the Project Q-Link Edit Mode directly. See Operation > Modes > Q-Link Edit Mode to learn about this.
Page 11: Transport & Recording Controls
32. Track Mute/Pad Mute: Press this button to view Track Mute Mode where you can easily mute tracks within a sequence or set mute groups for each track. Press and hold Shift and press this button to view Pad Mute Mode where you can easily mute pads within a program or set mute groups for each pad within a program.
Page 12: I/O & Level Controls
I/O & Level Controls 44. Gain 1/2: Use these knobs to adjust the gain of the incoming signal from Input 1/2 on the rear panel or Inst 1/2 on the front panel. Use the Rear/Front switches below the knobs to determine the input. Use the level meter to check the recording level.
Page 13: Touchscreen
Touchscreen Here is some general information about how to use the MPC X touchscreen: Double-tap a button to access advanced editing Tap a button or option to select it. Use the data dial or –/+ buttons to change its setting or value options.
Page 14: Front Panel
Front Panel 4 5 6 1. SD Card Slot: Insert a standard SD/SDHC card into this slot to access its files directly using MPC X. 2. Footswitch Inputs (FS 1/2) (1/4” / 6.35 mm): Connect optional 1/4” (6.35 mm) TS footswitches to these inputs. 3.
Page 15: Rear Panel
Rear Panel 1. Power Input: Use the included power adapter to connect MPC X to a power outlet. This must be connected to a power outlet in order for MPC X to power on. 2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging. 3.
Page 16: Basic Concepts
Basic Concepts This chapter should help explain some fundamental aspects of MPC X. The MPC workflow is quite different from traditional digital audio workstations (DAWs). In most typical DAWs, each track uses an instance of each instrument, and all tracks are always playing even if they don’t contain any audio or MIDI information.
Page 17: Tutorial
Tutorial This chapter should help you to familiarize yourself with some basic features in MPC X. To get the most out of this chapter, we recommend reproducing each of the described steps. On the following pages we will create a short song to show you some of MPC X’s most important features. Starting Up Make sure you have completed all of the steps described in Introduction >...
Page 18: Creating A Drum Sequence
To preview a selected sound, tap and hold Play () at the bottom of the touchscreen. To enable or disable the audition function and set its volume level, tap Audition at the bottom of the touchscreen. In the screen that appears, tap Auto to enable or disable it, and tap and drag the level slider up or down to set the volume level.
Page 19: Saving & Renaming
Saving & Renaming We recommend doing some renaming of your programs and samples before going further. The collection of drum samples you loaded earlier (and their respective pad assignments) are arranged into a program. When you load this program in the future, you will be able to use all of the samples that belong to it. Let’s rename the exisiting program as we’ll want to create more programs later on.
Page 20: Editing Note Events
Editing Note Events In the grid, you can see your recorded notes (or note events) as a sequence. To enter Grid View, press Main, and then tap the grid icon on the left edge of the touchscreen. In the Grid View, you can do any of the following: To zoom in or out, tap the magnifying-glass icon in the upper-right corner.
Page 21: Making Basic Sound Edits
Making Basic Sound Edits Let’s make sure the samples are properly tuned and have good levels. Press Prog Edit to enter Program Edit Mode. Press a pad to show its parameters in the touchscreen. To adjust its volume, tap and drag the Volume knob up or down.
Page 22: Creating A Bass Track
Creating a Bass Track Let’s try recording a bass line. Unlike a drum kit, it’s important to be able to play and record a bass sound chromatically, so this will be slightly different than setting up the drum kit. Adding a bass line over the drum part means we need to work on a new track. A track is simply a layer of a sequence. Each track uses a program within your project.
Page 23 To load and edit a bass sound: 1. Press Browse to show the Browser. Then, use the touchscreen to navigate to where your bass sounds are located, and load one to the project’s sample pool. (You can look at this earlier section if you forgot how to do this!) 2.
Page 24 Let’s record that bass line now. Prepare your recording as described earlier, and record some bass notes. You can edit your recording just like we’ve done earlier. Once you’ve recorded it, let’s tweak the sound a bit in the Filter section: 1.
Page 25: Recording An Audio Track
Recording an Audio Track We’ve already created some MIDI tracks, so let’s record some actual audio for our next track: 1. Press Main to go back to Main Mode. 2. Tap the Audio tab at the bottom of the touchscreen. Audio 001 will appear in the Track field. 3.
Page 26: Creating A Song
Creating a Song This section explains how to make a song out of your sequences. Before starting, make sure that you have recorded some sequences (which we described earlier). To enter Song Mode, make sure playback is stopped, press Shift+Next Seq/Song. In Song Mode, each of the sequences you’ve created in this project assigned to a pad.
Page 27: Other Features Explained
Other Features Explained This chapter describes various advanced features. For a fuller explanation of these features, please refer to their corresponding sections in the Operation chapter. Step Sequencer You’ve already learned how to record note events on a track, but you can quickly enter note events in the Step Sequencer by using the pads as “step buttons,”...
Page 28: Drum Loops & Chop Mode
Drum Loops & Chop Mode Modern music producers often use drum loops to add grit and nuance to programmed beats. This section explains how to use Sample Edit Mode to work with drum loops. Use the Browser to locate a drum loop, and then double-tap it to add it to the current program. The loop does not have to match the tempo of anything in the project.
Page 29: Pad Muting & Track Muting
Pad Muting & Track Muting Pad Mute Mode and Track Mute Mode let you silence different pads and tracks to see what the sequence sounds like without those samples or parts. To enter Pad Mute Mode, press Shift+Track Mute/Pad Mute. 1.
Page 30: Sampling (Recording)
Sampling (Recording) This section describes recording new samples of your own, which you can use in your projects. Important: To record any audio, you need to connect an audio source to your MPC X or to your computer’s audio interface. To open the Sampler, press Sampler.
Page 31: Sample Editing
Sample Editing You may need to edit your newly recorded samples using Sample Edit Mode. To enter Sample Edit Mode, press Sample Edit. In Sample Edit Mode: To switch between Trim Mode and Chop Mode, tap the Trim/Chop tab at the bottom of the touchscreen. In this example, use Trim Mode.
Page 32: Recording Automation With The Xy Pad
Recording Automation with the XY Pad Automating various parameters is a good way to add some motion and dynamism to your sequences. 1. Press XYFX to enter XYFX Mode. 2. Double-tap the XYFX Location field, and select Program. 3. When you first enter this mode in a project, you will be prompted to “load”...
Page 33: Operation
Operation This chapter explains the complete features and functions of your MPC X. Important: • When accessing the secondary functions of buttons on your MPC X, you can do this one of two ways: (1) pressing and holding Shift and then pressing the desired button or (2) double-pressing the desired button.
Page 34: General Features
General Features Control Types The MPC X uses the following types of control elements: Knobs To set the value for a knob, do any of the following: • Tap and drag the knob up or down. • Tap the knob to select it, and then use the data dial or –/+ buttons to adjust the value.
Page 35 Parameter Values To set the value for a parameter, do either of the following: • Tap the field to select it, and then use the data dial or –/+ buttons to adjust the value. When the value has decimal places, you can sometimes press and hold Shift and then use the data dial or –/+ buttons to adjust the value by smaller increments.
Page 36 Selectors Selectors show all available options. One of them is always selected. The selected option is highlighted while the others are dark. To select an option, tap it. Buttons Buttons usually have two states: selected and deselected (active or inactive, respectively). Some may have more than two states.
Page 37 Sliders To adjust the position of a slider, do any of the following: • Tap and drag the slider to the desired position. • Tap the desired position (this works only on some sliders). • Tap the slider to select it, and then use the data dial or –/+ buttons to adjust the position (this works only on some sliders).
Page 38 Grid View Tools In Grid View, these four icons enable you to use different functions in the grid. Tap one to select its mode: Pencil: Draw Mode: To enter a note in an empty grid square, tap the grid square. To select a note, tap it.
Page 39 Audio Edit Tools In Audio Edit Mode, these five icons enable you to use different functions in the waveform. Tap one to select its mode: Arrow: Select Mode: To select a region of an audio track, tap it. To move a region of an audio track, tap and drag it. To adjust the start or end point of a region of an audio track, tap and drag the lower part of its left or right edge.
Page 40: Programs
Programs About Programs Each track you create within a sequence is routed through a program. There are six types of programs, each of which determines how the track sounds or what it is used for. A single project can hold up to 128 programs. This chapter covers how to create each program type.
Page 41: Drum Programs
Drum Programs A drum program uses one or more samples as its sound source. It contains (1) a list of samples and (2) the settings for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.). Drum programs are used mostly for creating drum parts and quickly and easily assigning samples to pads.
Page 42 Alternatively, assign samples in a drum program this way: 1. Press Prog Edit to enter Program Edit Mode. 2. Tap Samples. This lets you view the samples assigned to all four layers of the current keygroup as well as tuning and level parameters for each layer. 3.
Page 43: Keygroup Programs
Keygroup Programs A keygroup program uses one or more samples as its sound source. It contains (1) a list of samples and (2) the settings for each sample (i.e., pitch tuning, effects, etc.). Keygroup programs are used to play samples chromatically with a MIDI keyboard or the MPC pads.
Page 44: Clip Programs
Clip Programs A clip program uses several samples that can be looped (clips). Each clip can be assigned to a pad, which you can press to trigger the clip according to a quantization setting. This lets you create intriguing, layered performances by launching different combinations of clips together.
Page 45 To load a clip into a clip program: 1. Press Main to enter Main Mode. 2. Tap Edit Clips to view the pads and clip settings. 3. Press or tap a pad to select it (and play its assigned samples, if any). The pad in the touchscreen will be lit red, and its number will appear in the Pad field.
Page 46: Plugin Programs
Plugin Programs A plugin program contains an instance of a plugin through which you can send your track’s MIDI data. This lets you use the same instance of a plugin with multiple tracks (rather than load an instance of a plugin on every track, which can be cumbersome and CPU-intensive).
Page 47: Midi Programs
MIDI Programs A MIDI program lets you send your track’s MIDI data to an external MIDI device like a synth or drum machine. To create a MIDI program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the MIDI-jack icon, which indicates a MIDI program. 3.
Page 48: Cv Programs
CV Programs A CV program lets you send your control voltage (CV) signals to an external MIDI device like a synth or drum machine that uses CV. To create a CV program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the CV icon, which indicates a CV program. 3.
Page 49: Menu
Menu The Menu lets you select any of the 20 modes, save your project, set your preferences, switch between Standalone Mode and Controller Mode, or view your system resources. To open the Menu, press Menu, or tap the icon in the upper-left corner of the touchscreen while on the normal page of your current mode.
Page 50: Save
Save To save the project, tap the disk icon at the top of the touchscreen. Alternatively, press Shift+Browse/Save. If you have already saved the project, your changes will be saved. If you have not saved the project yet, use the Save window to save the project: To select the storage device you want to view, tap it in the Storage column on the left.
Page 51 Sequencer The settings on this screen determine how sequencing works in Grid View and in the Step Sequencer. Display Resolution: This is the display resolution (in PPQN—pulses per quarter note) of pulse values in certain areas of the operating system. Please note that this setting affects the display resolution, not the timing. Instant Track Mute: When disabled, if you mute a track, its Note On messages will be ignored, and samples and notes that are playing will finish playing their entire length (this is how legacy MPCs’...
Page 52 WiFi/Bluetooth The settings on this screen will determine how MPC X’s wireless and Bluetooth connections work. We will add this functionality in a near-future release. Check akaipro.com to ensure you are using the latest software version. Your MPC X’s current firmware (which includes its standalone operating system) is in the Info screen of these Preferences. Project Defaults The settings on this screen determine various default values for any new project that you create.
Page 53 Other The settings on this screen determine how other features work in the hardware and operating system. Tap Tempo: This determines how many times you have to press the Tap Tempo button before the new tempo is recognized. Flash Tap Tempo Light: When enabled, the Tap Tempo button’s light will flash in time with the tempo. When disabled, the Tap Tempo button’s light will be off.
Page 54: Mode
Mode Tap this icon to switch MPC X between Standalone Mode and Controller Mode. In the screen that appears, select whether you want to save your current project before switching (Save), switch without saving your project (Don’t Save), or stay in the current mode and project (Cancel). You cannot freely switch between Standalone and Controller Modes without also closing your current project.
Page 55: Time Counter
Time Counter In most of the available modes, there is a time counter at the top of the touchscreen. This indicates the current playhead position. To adjust the position, tap it, and then use the use the data dial or the –/+ buttons. To open the Locate screen and adjust its settings, double-tap the time counter.
Page 56: Automation
Automation You can set the automation for programs and audio tracks to be “written,” “read,” or disabled entirely. You can do this globally or for individual programs and audio tracks. Global In several modes, there is a button in the upper-right corner that controls the global automation. When you tap this button to change its state, it will change the automation state for all programs in the project.
Page 57: 16 Level
16 Level Press the 16 Level button on your MPC X to activate or deactivate 16 Level. When first activated, the selected pad (Pad A01 by default) will be temporarily copied to all 16 pads. The pads will now output the same note number as the initial pad, but a selectable parameter will be fixed at values that increase as the pad numbers increase (e.g., Pad 1 is the minimum, Pad 16 is the maximum), regardless of...
Page 58: Effects
Effects You can apply various effects to the pads, keygroups, audio tracks, programs, submixes, and master outputs, using insert and send/return effects. This chapter can help you get a good overall understanding of how the effects work. Appendix > Effects & Parameters for a list of all available effects (with a brief description of each) and their editable parameters.
Page 59 To view, load, edit, or clear effects, tap the area under the Inserts field. This usually appears in a channel strip (next to a level slider and pan knob). When viewing loaded effects, you will see this window: To select an effect, use the field for each insert slot. A window (described below) will appear.
Page 60: Insert Effects
Insert Effects Pads You can load up to four insert effects to each pad. You can do this in Main Mode, the Pad Mixer, or Program Edit Mode. Tip: When using pad insert effects, they will be applied to the selected pad only. This means that you could apply unique combinations of effects to each pad within a program.
Page 61 Keygroups You can load up to four insert effects to each keygroup. You can do this in Main Mode, the Pad Mixer, or Program Edit Mode. Important: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.
Page 62 Programs You can load up to four insert effects to each program. You can do this in Main Mode, XYFX Mode, and the Channel Mixer. Note: In XYFX Mode, the effects act like a single insert effect on that program. In fact, XYFX is the name of the insert effect that is loaded when use this mode.
Page 63 Audio Tracks You can load up to four insert effects to each audio track. You can do this in Main Mode and the Channel Mixer. To load an audio track insert effect in Main Mode: 1. When the Audio tab is selected (in the lower-left corner), use the Track field to select the audio track.
Page 64 Submixes You can load up to four insert effects to each submix. You can do this in the Channel Mixer only. Important: Submixes are available only while using MPC X in Controller Mode with the desktop version of the MPC software.
Page 65: Send/Return Effects
Send/Return Effects Send/return effects work in the following way: 1. A pad, keygroup, audio track, program, or submix sends its audio to a return at a designated send level. 2. That audio is processed by the effects on the return. Each return can have up to four insert effects loaded and activated.
Page 66 Pads You can set the send levels for pads in Program Edit Mode or the Pad Mixer. To set the send levels for a pad in Program Edit Mode: 1. While editing the desired program in Program Edit Mode, press the desired pad to select it. 2.
Page 67 Programs You can set the send levels for programs in the Channel Mixer only. To set the send levels for a program: 1. In the Channel Mixer, set the Mixer field in the upper-left corner to Programs. 2. Tap the Send tab at the bottom of the touchscreen (tap it multiple times to select a different send level).
Page 68: Audio Mixdown
Audio Mixdown The Audio Mixdown screen lets you render and export either the current sequence or song as an audio file. In Song Mode, this will export the entire song. In Main Mode, this will export the current sequence only. To open the Audio Mixdown screen in Song Mode, tap Export at the bottom edge of the touchscreen.
Page 69: Standalone Vs. Controller Mode
Standalone vs. Controller Mode MPC X can function in two ways: Standalone Mode and Controller Mode. To enter Standalone Mode, do one of the following: • If MPC X is not connected to a computer, simply press the power switch to power it on. •...
Page 70 To enter Controller Mode: 1. Make sure MPC X’s USB-B Port is connected to your computer. 2. On your computer, open the MPC software. 3. If MPC X is powered off, press the power switch to power it on. 4. If MPC X is currently in Standalone Mode, press Menu to enter the Menu, and then tap the MPC chip icon in the upper-right corner.
Page 71: Modes
Modes MPC X has a Menu page that lets you select any one of 20 modes. This chapter describes the various features and functions of each one. Click a button below to skip directly to that chapter.
Page 72: Main Mode
Main Mode Main Mode gives you an overview of the most-used functions. To enter Main Mode, do one of the following: • Press Main. • Press Menu, and then tap Main. The top of the touchscreen shows the project name and timing information. The Project field shows the name of the current project.
Page 73 The Timing Correct window contains various settings to help quantize the note events in your sequence. To open the Timing Correct settings, tap the TC/clock icon at the top of the touchscreen. To apply the settings you selected, tap Do It. To cancel and return to the previous screen, tap Close.
Page 74 Use the Events selector to set the target range for the time correction. You can apply the time correction to All note events or to just the Selected ones. When Range is selected, you can define the locations (From and To) as well as the pads or keys that will be quantized.
Page 75 In Main Mode, these are the buttons at the bottom of the touchscreen: MIDI: Tap this button to view only MIDI tracks in the Track section. Audio: Tap this button to view only audio tracks in the Track section. Track –/+: Tap one of these buttons to switch to the previous or next track, respectively. Mute: Tap this button to mute the current track.
Page 76 The channel strip contains some important settings for the current pad, program, track, or master output, depending on the currently selected icon: To view the pad channel strip, tap the single-pad icon. To view the program channel strip, tap the four-squares icon. To view the track channel strip, tap the bars icon (when the MIDI tab is selected) or the waveform icon (when the Audio tab is selected).
Page 77 When viewing the track channel strip while using a MIDI track: The first field shows the current track (which you can change) and its name. The second field shows the name of the program the track is using. Tap Solo or Mute to solo or mute the track (respectively). Adjust the pan knob or level slider to change the panning or level of the track.
Page 78 The Sequence section shows the current sequence and its information. Use Sequence field to select a sequence. To edit the name of the sequence, tap the cursor icon on the right edge of the section, and use the virtual keyboard that appears. Use the BPM field to adjust the tempo of the sequence.
Page 79 To edit the sequence, tap the pencil icon on the right edge of the section. The Sequence Edit/Copy window will open. You can use any of these functions as described below. To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the touchscreen.
Page 80 The Transpose function transposes a range of events on a track in a sequence. The events within that range will shift accordingly in the Grid View. To select the sequence you want to transpose, use the Sequence field. To select the track you want to transpose within the sequence, use the Track field.
Page 81 The Delete Bars function removes a range of bars from a sequence. To select the sequence whose bars you want to delete, use the Sequence field. To set the range of bars you want to delete, use the First Bar and Last Bar fields.
Page 82 The Copy Sequence function copies the contents of one sequence to another. To select the “source” sequence, use the Copy Contents of Sequence field. This is the sequence whose events you want to copy. To select the “destination” sequence, use the Over Contents of Sequence field.
Page 83 The Copy Events function copies a range of events from a sequence and add them to another at a specified point. To select the “source” sequence, use the From Sequence field. This is the sequence whose events you want to copy. To select the “source”...
Page 84 The Track section shows the current track, program type, and its information. The Track field shows the track number and its name. To edit the name of the track, tap the cursor icon on the right edge of the section and use the virtual keyboard that appears.
Page 85 To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open. While using MIDI tracks, you can use any of these functions as described below. To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the touchscreen.
Page 86 The Bounce to Sample function immediately renders the track (for the current sequence only) as an audio sample and places it in the project’s sample pool. By default, it will be named Bounce - and appended with the track name. This function does not work for tracks that use MIDI programs or CV programs.
Page 87 While using audio tracks, you can use any of these functions as described below. To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the touchscreen. Alternatively, press Main. To edit the name of the track, tap the top of the touchscreen and use the virtual keyboard that appears.
Page 88 The Save Current Channel Strip function saves the current settings of the track channel strip (for the current audio track) to an external storage device or MPC X’s internal drive. To select the storage device you want to view, tap it in the Storage column on the left.
Page 89 The Program section shows the current program. This section will appear differently depending on the type of program selected in the Track section above it. For all program types while using MIDI tracks, you can do the following: To edit the name of the program, tap the cursor icon on the right edge of the section. Use the virtual keyboard that appears to enter a new name, and then tap Do It.
Page 90 While viewing MIDI programs, the MIDI Program field shows the name of the program. Use the MIDI Port field to select the port over which the program sends its MIDI data. Note: You also have to configure the MIDI ports in the Preferences.
Page 91 The Duplicate to Track function immediately creates an identical program on a new track. The duplicate program will use the same name but appended with a number (e.g., Program 002). The new track will be named Track and appended with a number (e.g., Track 06). The Bounce to Sample function immediately renders all tracks that use that program (for the current sequence only) as an audio sample and places it in the project’s sample pool.
Page 92: Grid View
Grid View Grid View lets you view and edit the note events of each track of a sequence in a project and their velocities. This mode has two different appearances: one for drum programs and one for keygroup programs, MIDI programs, and plugin programs. For drum programs, the left column shows you all available pads in a vertical view with their corresponding data.
Page 93 In Grid View, these four icons enable you to use different functions in the grid. Tap one to select its mode: Pencil: Draw Mode: To enter a note in an empty grid square, tap the grid square. To select a note, tap it. To move a note, tap and drag it to another grid square.
Page 94 The left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them: To enter Main Mode, tap the house icon. To enter Grid View, tap the grid icon. The MIDI tab in the lower-left corner of the touchscreen in Main Mode must be selected for this icon to be shown.
Page 95 To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the touchscreen. This feature is described here in the Main Mode chapter. To select a time division directly, double-tap the down arrow () in the upper-left corner of the grid and select a time division.
Page 96: Audio Edit Mode
Audio Edit Mode Audio Edit Mode lets you view and edit the audio tracks of a sequence in a project. To enter Audio Edit Mode, press Menu, and then tap Audio Edit Mode. Audio Edit Mode. Below is a brief step-by-step process so you can get started recording audio tracks quickly.
Page 97 8. Press Rec Arm or tap the Rec Arm button next to the pan knob to record-enable the track. 9. Press Rec or Overdub to record-arm MPC X. 10. To start recording, press Play or Play Start—then play your audio source. You should hear your existing sequence playing in the background.
Page 98 The Settings window lets you configure certain Audio Edit Mode settings. To view the Settings, tap the gear icon. Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead. Follow: Depending on the zoom setting, the waveform display will scroll along in the background while keeping the audio playhead centered.
Page 99 The channel strip contains some important settings for the audio track or master output, depending on the currently selected icon: To view the track channel strip, tap the waveform icon. To view the master channel strip, tap the crown icon. When viewing the track channel strip while using an audio track: The first field defines the input source of the external audio signal (Input 1,2, Input 3,4, or one of Input 1–4).
Page 100 Regardless of which tool is selected, you can do any of the following to edit the selected audio track regions. Tip: If you want to hear only the audio track while editing, use the Solo button in the track channel strip to solo it. To select a track region, tap the arrow icon to enter Selection Mode and tap a track region.
Page 101 To reverse the selected track region, tap Reverse. To mute the selected track region, tap Mute. To lengthen or shorten the selected track region without changing its pitch, tap Warp, which will enable the Semi, Fine, and BPM fields next to it. Use the BPM field to change the tempo, which will change the length of the track region accordingly.
Page 102: Track View
Track View Track View gives you an overview of the tracks of each sequence. Use this mode to edit tracks and sequences simultaneously. To enter the Track View, do either of the following: • Press Menu, and then tap Track View. •...
Page 103 The Settings window lets you configure certain Track View settings. To view the Settings, tap the gear icon. Use the Show Unused Tracks selector to turn this feature on or off. When on, tracks with a sequence, program, etc. will still appear in the Track View.
Page 104: Midi Tracks
MIDI Tracks All MIDI tracks in the project are grouped together in the upper half of the Track View. To show or hide them, tap the  or  arrow icon. Use the Program field to select the program that the track will use. Use the Length field to set how long the track is.
Page 105: Audio Tracks
Audio Tracks All audio tracks in the project are grouped together in the lower half of the Track View. To show or hide them, tap the  or  arrow icon. Use the Input field to set the track’s input/inputs. Use the Arm button to record-enable the track.
Page 106: Step Sequencer
Step Sequencer The Step Sequencer lets you create or edit sequences by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum machine. This is available for MIDI tracks only, not audio tracks. To enter the Step Sequencer, do either of the following: •...
Page 107 The left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them: • To enter Main Mode, tap the house icon. • To enter Grid View, tap the grid icon. To enter Audio Edit Mode, tap the waveform-and-box icon.
Page 108 Tap Presets to show or hide the preset sequence controls. These controls let you manipulate and transform the velocities of the current bar in the sequence. The first button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options: •...
Page 109: Xyfx Mode
XYFX Mode XYFX Mode turns the touchscreen into an XY pad where each axis represents the range of an effect parameter. As you move your finger on the XY pad, the current position will determine the current value of the two parameters. You can use this mode to create interesting effect automation on your tracks. The effect you control in XYFX Mode acts like an insert effect on that program.
Page 110 Touch or move your finger on the gridded part of the touchscreen. A marker will follow your finger to indicate the current position. The X axis is the horizontal axis, increasing in value as you move right. The Y axis is the vertical axis, increasing in value as you move up.
Page 111: Sample Edit Mode
Sample Edit Mode Sample Edit Mode lets you edit samples using various functions. To enter Sample Edit Mode, do either of the following: • Press Sample Edit. • Press Menu, and then tap Sample Edit. To select a sample to edit, do any of the following: •...
Page 112 The green marker and red marker are the start point and end point (respectively). These two points define the region of the sample that will be played. To move the start point or end point of the selected region, do any of the following: •...
Page 113: Settings
Settings The Settings window lets you configure certain Sample Edit Mode settings. To view the Settings, tap the gear icon. Use the Cue Play Mode selector to set how the cue playhead will play audio. One Shot: Tapping Play Cue will play the entire sample from the cue playhead. Toggle: Tapping Play Cue once will start playback from cue playhead.
Page 114: Trim Mode
Trim Mode We recommend using Trim Mode to simply crop the end/ends from a sample. To enter Trim Mode, tap the Trim/Chop button in the lower-left corner so it says Trim. Use the Start and End fields to set the position of the start point and end point of the sample (respectively).
Page 115 Use the MPC X pads to play certain parts of the selected sample: Play to Loop Play from Play Loop Play Loop Start Loop Start Continuous Play Sample Play Sample Play All No function (One Shot) (Note On) Play from Play to Play to Play from...
Page 116 Use the Tune field to transpose the sample up or down from its original pitch. Tap From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence. Use the Beats field to match the number of beats in the sequence.
Page 117 Assigning Samples You can assign your new sample directly to a pad from Trim Mode. To assign a sample, tap Assign at the bottom of the touchscreen to open the Assign Sample window. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample.
Page 118 Processing Slices & Samples Tap the Process button to open the Process window, where you can select an editing option for the sample. Use the Function field to select an editing process. Double-tap it or tap Function at the bottom of the touchscreen to open the Function window, which gives an overview of all available editing processes.
Page 119 The Silence process replaces the region between the start point and end point with silence. The Extract process deletes the regions before the start point and after the end point and saves it as a new sample in your current project.
Page 120 The Fade In process sets a fade-in between the start point and end point. The following types are available: Linear fades the audio in with a linear curve—a straight line between the start and end. Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end.
Page 121 The Gain Change process raises or lowers the volume of the sample. You can adjust it up to 18 dB, higher or lower. This function is different than Normalize because it will allow volumes beyond clipping level. This may be a desired effect, but remember to watch your output level! The Copy process saves a copy of the sample.
Page 122: Chop Mode
Chop Mode Whereas Trim Mode crops only the end/ends off of a sample, Chop Mode divides the sample into multiple regions called slices. We recommend using Chop Mode when working with a long sample with different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage).
Page 123 To play a slice, do either of the following: • Press the pad that corresponds to the slice. If your sample has more than 16 slices, use the additional pad banks. • When the headphones icon (in the upper-right corner) is selected, tap a slice in the waveform. When the One Shot feature is enabled, you can press a pad once to play the entire slice.
Page 124 Converting or Assigning Slices You can assign your new sample directly to a pad from Chop Mode. You can also convert it into a new program or patched phrase. To convert or assign a sample, press and hold Shift, and then tap Convert at the bottom of the touchscreen to open the Convert or Assign Slices window.
Page 125 If you set the Convert To field to New program with new samples, this will create a new sample from each slice and assign them to pads in a new program. The new program will be named after the sample and appended with ch.
Page 126 If you set the Convert To field to Make new sample, this will create a new sample in your project. (The original sample will remain as it is.) Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.
Page 127 Processing Slices Press and hold Shift, and then tap the Process button to open the Process window, where you can select an editing option for the currently selected slice. (This has fewer options than Trim Mode. Unavailable ones are darkened.) Use the Function field to select an editing process.
Page 128 The Silence process replaces the region between the start point and end point with silence. The Extract process deletes the regions before the start point and after the end point and saves it as a new sample (with a name you enter) in your current project.
Page 129 The Fade In process sets a fade-in between the start point and end point. The following types are available: Linear fades the audio in with a linear curve—a straight line between the start and end. Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end.
Page 130: Program Mode
Program Mode Program Mode lets you edit a sample in the context of the program in which you’ll use it. You can adjust the pad parameters as though you were in Program Edit Mode, auditioning and hearing how it will sound in the program’s audio path.
Page 131 Tap From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence. Use the Number of Beats field to match the number of beats in the sequence. To tune the sample to the sequence, tap Match. The Tune field will adjust automatically and close the window.
Page 132 Assigning Samples You can assign your new sample directly to a pad from Program Mode. To assign a sample, tap Assign at the bottom of the touchscreen to open the Assign Sample window. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample.
Page 133 Processing Slices Press and hold Shift, and then tap the Process button to open the Process window, where you can select an editing option for the currently selected slice. (This has fewer options than Trim Mode. Unavailable ones are darkened.) Use the Function field to select an editing process.
Page 134 The Silence process replaces the region between the start point and end point with silence. The Extract process deletes the regions before the start point and after the end point and saves it as a new sample (with a name you enter) in your current project.
Page 135 The Fade In process sets a fade-in between the start point and end point. The following types are available: Linear fades the audio in with a linear curve—a straight line between the start and end. Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end.
Page 136: Sampler
Sampler The Sampler lets you record audio samples to use in your projects. Important: To record any audio, you need to connect an audio source to your MPC X or to your computer’s audio interface. To open the Sampler, do either of the following: •...
Page 137 Tap the Monitor button to enable or disable input monitoring. When on, the audio you hear in your headphones will be taken before it reaches the Sampler, ensuring zero latency. When off, the audio you hear in your headphones will be taken after it is processed in the Sampler, so there may be some latency, but you will hear the audio source as it sounds in the recording.
Page 138: Sample
Sample Using this method, you can insert slice markers directly in your sample as you record it. Slice markers divide the sample into multiple regions called slices, which you can adjust in the Chop Mode of Sample Edit Mode (see Sample Edit Mode >...
Page 139: Slice
Slice Using this method, the pads correspond to slices of the currently recorded sample. Slice markers divide the sample into multiple regions called slices, which you can adjust in the Chop Mode of Sample Edit Mode (see Sample Edit Mode > Chop Mode for more information).
Page 140: Pad Tap
Pad Tap Important: This mode works for drum programs only; you must select a drum program before using this mode. Otherwise, this feature will not do anything, even though it may appear to work. With this method, pressing a pad immediately starts or continues recording directly to that pad (make sure you are using the desired program before you start recording).
Page 141: Pad Mute Mode
Pad Mute Mode Pad Mute Mode lets you easily mute pads within a program or set mute groups for each pad within a program. To enter Pad Mute Mode, do either of the following: • Press Shift+Track Mute/Pad Mute. • Press Menu, and then tap Pad Mute.
Page 142: Pad Mute
Pad Mute You can mute or unmute individual sounds (on a single track) in real time by pressing the pads. This is useful if you want to hear a track without a particular sound or if you want to isolate specific sounds or combinations of sounds. Tip: This function is similar to muting pads one at a time in the grid—but more convenient.
Page 143: Pad Mixer
Pad Mixer In the Pad Mixer, you can set a program’s levels, stereo panning, routing, and effects. This mode appears differently for each type of program: For drum programs, this mode shows a pad with controls for each individual pad (of 128). For keygroup programs, this mode shows a pad with controls for each individual keygroup (up to 128).
Page 144: Levels
The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this. To view a specific setting on all channels, tap the Level, Pan, Mute, Send, Insert, or Route button at the bottom of the touchscreen.
Page 145: Mute
Mute When the Mute tab is selected, mute the currently selected pad by doing any of the following: • Turn the data dial. • Use the –/+ buttons. • Tap the pad in the touchscreen. When a pad is muted, its M button will light red. Send Effects When the Send tab is selected, use the data dial or –/+ buttons to adjust the send level of the currently selected pad.
Page 146: Routing
Routing When the Route tab is selected, use the data dial or –/+ buttons to select the output of the currently selected pad. Usually, this is set to Program. Double-tap a pad in the touchscreen to select a different destination (Out 1,2–7,8 in Standalone Mode, Out 1,2–31,32 in Controller Mode).
Page 147: Next Sequence Mode
Next Sequence Mode Next Sequence Mode lets you trigger different sequences simply by playing the pads. This is useful for live performances, letting you change a song’s structure in real time. To enter Next Sequence Mode, do either of the following: •...
Page 148 In Next Sequence Mode, every pad is assigned to a sequence, starting from Pad A01 with Sequence 1 and ascending from there. The pads will show the names of their corresponding sequences. Empty pads correspond to unused sequences. The currently selected pad will flash green.
Page 149: Program Edit Mode
Program Edit Mode Program Edit Mode contains all parameters for editing your Programs. For drum programs, this mode includes the parameters of four layers as well as all synthesis parameters and insert effect settings. See the Drum Programs section to learn more. For keygroup programs, this mode contains slightly more parameters than drum programs.
Page 150 Master In the Master tab, you can set the playback mode and tuning for the overall Program. Polyphony sets the playback mode for the program’s pads. In Mono Mode, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute all other currently playing pads in that program.
Page 151 Important: The parameters on the second, third, and fourth Samples tabs work in conjunction with Chop Mode (in Sample Edit Mode). Here’s how it works: When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads, you can convert a slice using Non-Destructive Slice or Pad Parameters.
Page 152 Use the Pad Loop button to cycle through the available Pad Loop modes. Important: For Pad Loop to work, you must (1) set the Sample Play field to Note On instead of One Shot and (2) set the Slice field to Pad instead of All or a slice number. Off: The sample will not loop.
Page 153 Filter Envelope Use the Type field to select a filter for the selected pad. Appendix > Glossary > Filter for an explanation of the available filter types. Use the Cutoff knob to set the cutoff frequency for low- pass and high-pass filter types or the center frequency for band-pass and band-stop filter types.
Page 154 LFO Modulation The Modes controls let you set the behavior for each pad’s samples in a drum program. Use the Mute Group field to assign the selected pad to one of the 32 available groups. When pads assigned to the same mute group receive MIDI notes, the last pad played will silence all other pads in that mute group.
Page 155 Use the Rate field to determine the LFO frequency when Sync is on. At lower values, it might take some time for the LFO to complete a cycle, while higher values will come closer to audible range. Use the Sync field to set if the LFO’s rate is synchronized with the tempo. You can select one of several time divisions (a .
Page 156: Keygroup Programs
Keygroup Programs When using keygroup programs, Program Edit Mode lets you edit the parameters for each keygroup. To select a keygroup, press a pad within that keygroup. Its parameters will appear on the screen immediately. Alternatively, use the Keygroup field at the top of the touchscreen.
Page 157 Master In the Master tab, you can set the playback mode and tuning for the overall program. Polyphony sets the playback mode for the program’s keygroups. In Mono Mode, only one keygroup will sound at a time. If a keygroup is played while another (or the same one) is still playing its sample/samples, the new keygroup will immediately mute all other currently playing keygroups in that program.
Page 158 Use the KG Polyphony (keygroup polyphony) field to determine how the keygroup will play. When set to Mono, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute all other currently playing pads in that program.
Page 159 Important: The parameters on the second, third, and fourth Samples tabs work in conjunction with Chop Mode (in Sample Edit Mode). Here’s how it works: When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads, you can convert a slice using Non-Destructive Slice or Pad Parameters.
Page 160 Use the Pad Loop button to cycle through the available Pad Loop modes. Important: For Pad Loop to work, you must (1) set the Sample Play field to Note On instead of One Shot and (2) set the Slice field to Pad instead of All or a slice number. Off: The sample will not loop.
Page 161 Filter Envelope Use the Type field to select a filter for the selected pad. Appendix > Glossary > Filter for an explanation of the available filter types. Use the Cutoff knob to set the cutoff frequency for low- pass and high-pass filter types or the center frequency for band-pass and band-stop filter types.
Page 162 LFO Modulation The Velocity Sensitivity controls determine how much the velocity affects the pitch of the sound (Pitch), the attack of the filter envelope (Attack), the volume level of the sound (Amp), and the panning of the sound (Pan). When you press a pad softly, only minimal modulation is applied.
Page 163 Effects You can select up to four insert effects for each keygroup. To learn how to use insert effects in MPC X, please see General Features > Effects > Insert Effects. Important: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.
Page 164: Clip Programs
Clip Programs When using clip programs, Program Edit Mode lets you assign a sample (a loop called a clip) to each pad in a single bank. You can also edit various settings to determine how each pad launches its assigned clip. To select a pad, press it.
Page 165 Program This tab is where you can assign clips to each pad and adjust the program’s overall tuning and quantization. To assign a sample to a pad, press or tap a pad to select it (it will play its assigned samples, if any). Tap the Sample field, and then use the data dial or –/+ buttons to select a clip.
Page 166 The upper half of the touchscreen shows the clip waveform. The lower half shows the editing controls. The waveform display shows the “active” section of the clip waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in bars, beats, and ticks.
Page 167: Plugin Programs
Tap Warp to lengthen or shorten the clip without changing its pitch, and use the BPM field to change the tempo. Use the Coarse and Fine sliders if you want to change the pitch. Use the Pad Play field to determine the clip is played. One Shot: When you press the pad, the entire clip will play from start to end and then stop.
Page 168: Midi Programs
MIDI Programs For MIDI programs, you will see an overview of all available MIDI CCs with a slider for each. Use the sliders to set the value of each parameter. Use the six tabs at the bottom of the touchscreen to access the available parameters.
Page 169: Anatomy Of An Envelope
Anatomy of an Envelope An envelope creates a variable control signal. It can be used, for instance, to modulate the filter settings of a sound over a given period of time. For drum programs, use the AD/AHDS selector to select an AD or AHDS envelope. When Sample Play is set to Note-On, it will use an ADSR envelope.
Page 170: Looper
Looper The Looper lets you record and overdub audio in real time—a great tool for live performance as well as spontaneous moments in the studio. You can export the loop as a sample to use in your project. To open the Looper, do either of the following: •...
Page 171 The upper-left Input Source field defines whether you are going to record an external audio signal (Input 1,2, Input 3,4, or one of Input 1–4) or an internal signal from within MPC X (Resample L, Resample R, or Resample L+R). Resampling does not require an audio connection because the source is within MPC X and is therefore recorded without any loss in audio quality.
Page 172 To record with the Looper: Important: To record without erasing any audio you’ve already recorded in the loop, use the Overdub button. To overwrite the audio you’ve already recorded, use the Replace button. If Record To is set to Play: To start recording, tap the Replace or Overdub button as the loop is playing.
Page 173: Track Mute Mode
Track Mute Mode Track Mute Mode lets you easily mute tracks within a sequence or set track groups, enabling you to mute multiple tracks at once. To enter Track Mute Mode, do either of the following: • Press Track Mute. •...
Page 174: Track Mute
Track Mute This is useful if you want to hear a sequence without a particular track (e.g., muting your keyboard track to focus on the bass) or if you want to isolate specific sounds or combinations of sounds that are separated by track. Tip: This function is similar to, but more convenient than, muting tracks one at a time in the Track View.
Page 175: Channel Mixer
Channel Mixer In the Channel Mixer, you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes (while using MPC X in Controller Mode), and masters. To open the Channel Mixer, do either of the following: •...
Page 176 Mute/Solo/Rec Arm Tap this tab to cycle it through Mute, Solo, and Rec Arm functions. When Mute is selected, mute tracks, programs, returns, submixes, or masters by doing any of the following: • Turn or press the center cursor or Enter. •...
Page 177: Midi Tracks
Insert Effects (Audio Tracks, Programs, Returns, Submixes, and Masters only) When the Insert tab is selected, use the data dial or –/+ buttons to adjust the insert effect level of audio tracks, programs, returns, submixes, or masters. The level sliders in each pad show a visual representation of the level. Double-tap a pad in the touchscreen to open a large version of the level slider.
Page 178: Audio Tracks
Audio Tracks The Audio Track Mixer shows levels, mute/solo/record-arm states, send and insert effects, and routing for all used tracks. To view a specific setting on all tracks, tap Level, Pan, Mute/Solo/Rec Arm, Send, Insert, or Route at the bottom of the touchscreen.
Page 179: Programs
Programs The Program Mixer shows levels, panning, mute states, send and insert effects, and routing for all programs. To view a specific setting on all programs, tap Level, Pan, Mute/Solo, Send, Insert, or Route at the bottom of the touchscreen. Tap Mute/Solo to switch between them. Tap Send or Insert to cycle through the four available slots for each.
Page 180: Returns
Returns Pads, programs, and audio tracks can each be sent to up to four send channels. Their audio signals will be routed to the send channels at their designated send levels. After being processed by the effects on those channels, their signals are then sent back based on their return settings (levels, panning, etc.).
Page 181: Submixes
Submixes The Submixer shows levels, panning, mute states, send and insert effects, and routing for the eight available submixes. Important: Submixes are available only while using MPC X in Controller Mode with the desktop version of the MPC software. To view a specific setting on all submixes, tap Level, Pan, Mute, Send, Insert, or Route at the bottom of the touchscreen.
Page 182: Song Mode
Song Mode Song Mode lets you arrange sequences in a specific order and/or repetition to create songs. You can edit the structure of a song during playback for easy, on-the-fly composing. A project can contain up to 32 songs, each consisting of up to 999 “steps.” Each step can have an assigned sequence as well as the number of times that sequence will repeat.
Page 183 To insert a step: 1. Tap a step in the sequence playlist after which you want to insert a step. 2. Tap Insert in the lower-right corner of the touchscreen. To change a step’s sequence: 1. In the desired step, tap the sequence name. 2.
Page 184: Browser
Browser The Browser lets you navigate your MPC X’s internal and external hard disks to load samples, sequences, songs, etc. Using filter buttons and user-definable folders, you can easily adapt it to your preferred workflow. You can also audition (preview) your samples before loading them. Important: You can install an additional SATA drive in your MPC X, allowing for even more storage space.
Page 185 To get the most efficient use of the Browser, set the file paths to your favorite drive locations first. There are five folder buttons labeled 1–5 in the upper-right corner. You can set these to be shortcuts to five locations on MPC X’s internal drive and/or any connected USB drives or SD cards, giving you quick access to your files.
Page 186 When the Sample Assign tab is selected, you can do any of the following: To select a program in the project, double-tap the Program field at the top of the touchscreen. In the list that appears, tap the desired program. Alternatively, tap the Program field and then use the data dial or the –/+ buttons to select a location.
Page 187: Pad Perform Mode
Pad Perform Mode Pad Perform Mode lets you assign musical scales/modes, chords, or progressions to the pads for more creative performance. To enter Pad Perform Mode, do either of the following while using a keygroup program, MIDI program, plugin program, or CV program: •...
Page 188 Use the Type selector to determine what will be mapped over the pads: Notes: Each pad is assigned a note, ascending by one scale degree with each pad. Chords: Each pad is assigned a chord, the root note ascending by one scale degree with each pad. All available chords will play in the key determined by the Scale.
Page 189 Use the Chord fields to determine what chord type will play when pressing a pad. The resulting chord will use those scale degrees based off of the pad’s root note. You can use this only when the Type is set to Chords or Chromatic Chords. When set to Chords, the available chords are: 1-3-5 (major/minor) 1-3-5-7 (major7/minor7)
Page 190: Pad Color Mode
Pad Color Mode Pad Color Mode lets you assign specific colors to your pads in each program. To enter Pad Color Mode, make sure you have first selected a track that uses the desired program, and then press Menu, and tap Pad Color. Important: If you are already in Pad Color Mode and want to assign pad colors for another program, exit Pad Color Mode first, and then select a track that uses the desired...
Page 191: Q-Link Edit Mode
Q-Link Edit Mode Q-Link Edit Mode lets you determine what the Q-Link knobs control in other modes. This is helpful when you want to use the Q-Link knobs to control parameters that might not be shown in the current mode—or parameters that are shown across different modes. To enter Q-Link Edit Mode, do any of the following: •...
Page 192 Tap the Learn button to turn Learn Mode on or off. When on, adjusting a control in the MPC software window will immediately assign it to the currently selected Q-Link knob. This button is not available while in Screen Q-Link Edit Mode where the Q-Link knobs are unassignable. To assign a function to a Q-Link knob in Learn Mode: 1.
Page 193: Project
Project In the Project Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the current project. Next to the top row of Q-Link knobs in the touchscreen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs: MIDI Track: MIDI track parameters.
Page 194: Program
Program In the Program Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the currently selected program or audio track. Next to the top row of Q-Link knobs in the touchscreen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs: Mixer: general mixer parameters Program: program parameters...
Page 195: Pad Scene
Pad Scene In the Pad Scene Q-Link Edit Mode, the Q-Link knobs control your favorite 16 parameters for the currently selected pad. You can select another pad simply by pressing it, allowing you to adjust the same 16 parameters for that new pad.
Page 196: Pad Parameters
Pad Parameters In the Pad Parameters Q-Link Edit Mode, the Q-Link knobs control the same pad parameter for the each of the 16 pads in the current pad bank. For example, if the Parameter is set to Level, the 16 Q-Link knobs will adjust the 16 independent Level settings for each pad in the current pad bank.
Page 197: Screen
Screen In the Screen Q-Link Edit Mode, the Q-Link knobs will control only the parameter or group of parameters in your currently selected mode (e.g., Main Mode, Sample Edit Mode, etc.).
Page 198: Midi Control Mode
MIDI Control Mode You can use MIDI Control Mode on your MPC X to customize what MIDI messages are sent from certain controls on your hardware. This custom “control map” will then work whenever you are in MIDI Control Mode. The edits you make in MIDI Control Mode will be retained with the current MPC project In Standalone Mode, this feature enables you to use MPC X to control external MIDI devices connected to its MIDI out.
Page 199: Pads
Pads These are the MIDI parameters you can edit for each pad: Control: This is the hardware control you are currently editing (Pad 1–Pad 16). Bank: This is the pad bank the pad belongs to. If you check the Set All box, the pad’s messages and parameters will be identical across all eight banks.
Page 200: Q-Link Knobs
Q-Link Knobs These are the MIDI parameters you can edit for each Q-Link knob: Control: This is the hardware control you are currently editing (QLink 1–4). Light LED: Although you can edit this parameter, it does not actually have a function on MPC X. When set to Never, the LEDs will always be off.
Page 201: Appendix
Appendix Effects & Parameters This chapter lists the available effects. To learn more about how effects work in MPC X, please see General Features > Effects. Note: Some of these effects have a “sync” version (e.g., Flanger Sync, Autopan Sync, etc.) whose rates will be affected by the current tempo.
Page 202 Reverb Large This is a spatial effect, designed to emulate the sound of a Parameter Value Range Default Value large hall. Dry/Wet 0–100 (dry–wet) Pre-Delay 1–100 Early Reflection 0–100 Density 0–100 Diffuse 0–100 Decay 0–100 Lo-Cut 0–100 Hi-Cut 0–100 Reverb Large 2 This is a less CPU-intensive spatial effect, emulating the Parameter Value Range...
Page 203: Delays
Reverb Out Gate This is a hall reverb that has an additional control. The reverb Parameter Value Range Default Value effect is cut off when the output drops below the level set in Dry/Wet 0–100 (dry–wet) the Gate Out parameter. Pre-Delay 1–100 Early Reflection...
Page 204 Delay Sync (Stereo) Stereo Delay operates similarly to Mono Delay but in true Parameter Value Range Default Value stereo. Dry/Wet 0–100 (dry–wet) Time 1 bar – 1/16 triplets 1/4 Feedback 0–100 Damping 0–100 Delay LP LP Delay is identical to the Mono Delay, but it uses a Parameter Value Range Default Value...
Page 205 Delay Tape Sync Tape Delay emulates a delay system using an analog tape Parameter Value Range Default Value loop and a series of tape heads to produce an echo effect. Dry/Wet 0–100 (dry–wet) This delay type yields a very distinct echo sound often heard in reggae and dub-style music.
Page 206: Flangers
Flangers A flanger is a modulated delay to emulate the sound created when running two analog tape machines in parallel with a slight time disalignment. Slow Rate settings can produce a “whooshing” jet engine sound, while faster rates result in more of a “warble.” Options: Flanger, Flanger Sync Flanger...
Page 207: Autopans
Autopans This effect uses an LFO to move the incoming signal back and forth across the stereo field, creating a rotary effect. Options: Autopan, Autopan Sync Autopan Parameter Value Range Default Value Dry/Wet 0–100 (dry–wet) Rate 0–100 Autopan Sync Parameter Value Range Default Value Dry/Wet...
Page 208: Phasers
Phasers The phaser is a classic effect, created by multiple ganged all-pass filters to create “notches,” or sharp spikes, in the frequency spectrum. The frequencies of these all-pass filters are usually modulated by an LFO to create a sweeping sound. Options: Phaser Phaser...
Page 209: Lp (Low-Pass) Filters
HP Filter Sync This effect is a high-pass filter with its cutoff frequency Parameter Value Range Default Value modulated by an LFO. Dry/Wet 0–100 (dry–wet) Low Frequency 0–100 High Frequency 0–100 Resonance 0–100 Rate 8 bars – 1/32 HP Shelving Filter This filter differs from the standard filter type, as it attenuates Parameter Value Range...
Page 210: Parametric Eqs
Parametric EQs Options: 2-Band, 2-Shelf, PEQ 4-Band PEQ 2-Band, 2-Shelf This effect is a combination of one two-band parametric Parameter Value Range Default Value equalizer and two shelving filters. Low Frequency 22–1000 Hz Frequency 1 82–3900 Hz Frequency 2 220–10000 Hz 2200 High Frequency 560–19999 Hz...
Page 211: Distortions
Distortions Options: Distortion Amp, Distortion Fuzz, Distortion Grimey, Distortion Overdrive, Distortion Custom Distortion Amp This effect is designed to reproduce the sound of a tube Parameter Value Range Default Value amplifier at high volumes. Dry/Wet 0–100 (dry–wet) Drive 0–100 Tone 0–100 Dynamics 0–100...
Page 212: Compressors
Distortion Custom This effect is a highly customized distortion, capable of a Parameter Value Range Default Value wide range of useable sounds. Dry/Wet 0–100 (dry–wet) Drive 0–100 +Soft 5–75 +Clip 5–50 –Soft 5–75 –Clip 5–50 -18.0 – 18.0 dB -18.0 – 18.0 dB High -18.0 –...
Page 213: Bit Reducers
Compressor VCA This compressor is more modern-sounding, with a slightly Parameter Value Range Default Value more transparent sound. A VCA Compressor tends to have Dry/Wet 0–100 (dry–wet) quicker attack and release times than an Opto Compressor. Input -6 – 18 dB Attack 0–100 Release...
Page 214: Other
Other Options: Auto Wah, Frequency Shifter, Transient Shaper Auto Wah This effect is a low-pass filter modulated by an envelope that Parameter Value Range Default Value yields a classic funky “wah-wah”- like sound. The envelope Dry/Wet 0–100 (dry–wet) is triggered by the incoming signal’s amplitude. The amount of the envelope on the cutoff frequency is user-definable.
Page 215: Glossary
Glossary This glossary briefly defines and explains many of the technical terms used throughout this manual. The majority of contemporary keyboards are capable of generating aftertouch messages. On this Aftertouch type of keyboard, when you press harder on a key you are already holding down, a MIDI aftertouch message is generated.
Page 216 CV stands for control voltage, an analog method of sending control messages to external synthesizers, drum machines, etc. CV messages are typically used in conjunction with Gate messages (CV messages determine the pitch of notes while Gate messages determine note activation and length).
Page 217 LFO is an acronym for low-frequency oscillator. The LFO generates a periodic oscillation at a low frequency and features variable waveshapes. Similar to an envelope, an LFO can be used to modulate a sound-shaping component. MIDI MIDI stands for musical instrument digital interface. Developed in the early 1980s, MIDI enables interaction between various types of electronic music instruments from different manufacturers.
Page 218 A program is a file that contains a list of all samples to be used, and settings for each sample Program (e.g., pad assignments, loop points, pitch tuning, effects, etc.) MPC X’s Program Edit Mode is where you can edit and assign samples (read more about this in Operation >...
Page 219 Stretch Factor The stretch factor is a value generated by the Warp algorithm in the software. When you record an audio file, the current sequence tempo will be embedded with it. This information is stored within the sample file when you save the project. When you warp an audio track region, the warping algorithm uses this sequence tempo and the current value in the BPM field to generate the stretch factor.
Page 220: Sata Drive Installation
SATA Drive Installation To create more internal storage space on your MPC X, you can purchase a SATA (Serial ATA) drive and install it yourself, but read this chapter first. Your MPC X can support nearly any standard 2.5” SATA drive on the market—either a solid-state drive (SSD) or hard- disk drive (HDD).
Page 221: Technical Specifications
Technical Specifications Digital Audio System ADCs 24-bit @ 44.1, 48, or 96 kHz DACs 24-bit @ 44.1, 48, or 96 kHz Digital Signal Processing 32-bit floating point Mic Inputs 1–2 Dynamic Range 112 dB (A-weighted) (2) balanced XLR+1/4” 111 dB (1 kHz, +4 dBu, A-weighted) (6.35 mm) TRS THD+N...
Page 222 (A-weighted, 63 mVrms @ 1kHz, -1 dBFS, 20 Ω source) Phono Inputs Dynamic Range 108 dB (2) unbalanced RCA (A-weighted, 4 mVrms @ 1kHz, 20 Ω source) 86 dB 0.005% THD+N (1 kHz, -46 dBu, -1 dBFS) Maximum Input Level 63 mVrms (1 kHz) 2 mVrms...
Page 223 Mechanical Pads (16) velocity- and pressure-sensitive pads, RGB-backlit (8) banks accessible via Pad Bank buttons Knobs (16) 360° touch-sensitive Q-Link knobs for parameter adjustment (7) 270° knobs for gain, mix & level adjustment Display 10.1” full-color 1280 800 display with capacitive multi-touch Memory 2 GB 16 GB...
Page 224: Trademarks & Licenses
Trademarks & Licenses Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries. ASIO and VST are trademarks of Steinberg Media Technologies GmbH. The Bluetooth word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Akai Professional is under license.
Page 225 akaipro.com...

Akai MPCX User Manual

Introduction

System Requirements & Product Support

About this User Guide

Important Notes

Setup

1 Connection

2 Installation

3 Getting Started

Features

Top Panel

Front Panel

Rear Panel

Basic Concepts

Tutorial

Starting up

Creating a Drum Kit

Creating a Drum Sequence

Saving & Renaming

Editing Note Events

Making Basic Sound Edits

Creating a Bass Track

Recording an Audio Track

Creating a Song

Exporting the Song

Other Features Explained

Operation

General Features

Modes

Appendix

Effects & Parameters

Glossary

SATA Drive Installation

Technical Specifications

Trademarks & Licenses

Quick Links

User Guide

Related Manuals for Akai MPCX

Summary of Contents for Akai MPCX