Akai MPCX User Manual page 216

CV 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
messages (CV messages determine the pitch of notes while Gate messages determine note
activation and length). CV messages are sent from the CV out ports of your MPC X and to the CV
in ports of your external MIDI device.
Please note that each external MIDI device uses a specific control voltage range, which
determines how many volts are used in each octave (e.g., 1V/oct). Be mindful of this when
setting it up with the MPC software and/or controller hardware—mismatched voltage ranges can
produce unusual/undesirable "re-scaling" of the octaves.
Decay Decay describes the descent rate of an
maximum and the envelope drops to the level defined by the sustain value.
Envelope An envelope is used to modulate a sound-shaping component within a given time. For instance,
an envelope that modulates the cutoff frequency of a filter opens and closes this filter over a
period of time. An envelope is started via a trigger, usually a MIDI note.
The classic ADSR envelope consists of four individually variable phases: attack, decay, sustain,
and release. Attack, decay and release are time or slope values, while sustain is an adjustable
level. Once an incoming trigger is received, the envelope runs through the attack and decay
phases until it reaches the programmed sustain level. This level remains constant until the trigger
is terminated. The envelope then initiates the release phase until it reaches the minimum value.
You can see and read about the envelopes used in the MPC software in
Program Edit Mode > Anatomy of an
Filter A filter is a component that allows some of a signal's frequencies to pass through it and
dampens other frequencies. The most important aspect of a filter is the filter cutoff frequency.
Filters generally come in four categories: low-pass, high-pass, band-pass, and band-stop.
These are the available filters in the MPC X:
A low-pass filter (the most common type) dampens all frequencies above the cutoff frequency.
A high-pass filter in turn dampens the frequencies below the cutoff.
A band-pass filter allows only those frequencies around the cutoff frequency to pass. All
others are dampened.
A band-stop filter does the opposite of a band-pass: it dampens only the frequencies around
the cutoff frequency.
A band-boost filter boosts the frequencies around the cutoff frequency, similar to what a band
on an equalizer would do. All other frequencies pass through normally.
The number of poles in a filter's "slope" determines how extreme or subtle the effect of the
filter will be. Filters with one or two poles produce a more subtle sound while filters with six or
eight poles are much more pronounced.
In the MPC X, the Model filters are analog-style emulations of famous vintage synth filters.
Model1 is a four-pole filter that distorts at high input levels. Model2 uses a mellow resonance
with a "fattening" distortion in the lower frequencies. Model3 can produce howling, piercing
resonances and extreme sub frequencies—watch your speakers!
In the MPC X, the Vocal filters are formant filters that emulate the human voice. Vocal1
produces "ah" and "ooh" vowel sounds. Vocal2 uses three bands to produce "oh" and "ee"
vowel sounds. Vocal3 uses five bands to emulate an idealized model of the vocal tract.
In the MPC X, MPC3000 LPF is a dynamic, resonant low-pass filter (12 dB/oct) that was used
on the original MPC3000, released in 1994.
Please also see the entry for Resonance, an essential characteristic of a filter's sound.
Gate Gate messages are analog messages sent to external synthesizers, drum machines, etc. Gate
messages are typically used in conjunction with
of notes while Gate messages determine note activation and length). Gate messages are sent
from the CV out ports of your MPC X and to the CV/Gate in ports of your external MIDI device.
envelope once the attack phase has reached its
Envelope.
CV messages (CV messages determine the pitch
Gate
Operation > Modes >
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