Page 1 User Guide English Manual Version 2.13...
Page 2: Table Of Contents
Features ..............11 Top Panel ............36 Touchscreens ............11 Rear Panel ............40 MPC X / MPC X Special Edition......12 MPC Studio mk2 ..........41 Top Panel ............12 Top Panel ............41 Navigation & Data Entry Controls ....... 12 Navigation &...
Page 3 Tutorial ..............49 Operation ..............75 General Features ..........76 Starting Up ............49 Control Types ..........76 Creating a Drum Kit ..........49 Knobs ............... 76 Parameter Values ..........76 Drop-Down Menus / Lists ........77 Creating a Drum Sequence ........ 51 Selectors ............
Page 4 Time Counter/Locate ........105 XYFX Mode ........... 185 Timing Correct (TC) ........107 Sample Edit Mode ......... 188 Settings ............190 Metronome (Click/Metro) ....... 109 Trim Mode ............191 Automation ............ 110 Assigning Samples ........195 Processing Slices & Samples ....... 197 Global..............
Page 5 Pad Group ............306 Technical Specifications ........377 Track Mute Mode .......... 307 Track Mute ............308 MPC X / MPC X Special Edition ....377 Track Group ............ 309 MPC Live ............380 Next Sequence Mode ........310 MPC Live II ............ 382 Song Mode ............
Page 6 Device Control View ........450 Auto Sampler ..........407 Q-Links ............450 Crossfade Looping .......... 409 MPC X Control Map ........451 MPC Live Control Map ......... 453 Mode Selection Shortcut ......... 410 Ethernet Adapter Support ........ 455 Pad Perform Mode: Chromatic Type ....410 Improved Preferences Organization ....
Page 7 WayOutWare Odyssey ......... 482 AIR FX Bundle ..........486 New Features ..........520 Standalone Audio Interface Support ....490 MPC X Special Edition Support ......520 FX Racks ............490 Drum and Keygroup Program Improvements ... 490 Updates in MPC 2.12 ........521 File Browser Enhancements......
Page 8: Introduction
This user guide explains how to create music using MPC X, MPC X Special Edition, MPC Live, MPC Live II, MPC One, MPC One+, MPC Key 61, MPC Key 37, MPC Studio mk2 and MPC Touch. There is similar documentation available for MPC products that use an LCD and for the MPC software application.
Page 9: Important Notes
2. Installation section for more information. Setup 1. Connection Here is just an example of how to use MPC X in your setup. Items not listed under Introduction > Box Contents of your included Quickstart Guide are sold separately. Headphones Footswitch...
Page 10: Installation
& software: 1. Go to akaipro.com and register your product. If you don’t have an Akai Professional account yet, you will be prompted to create one. 2. In your Akai Professional account, download the MPC software package.
Page 11: Features
Features This chapter explains the features and functions of each MPC model with a touchscreen: Live, Live MPC One, MPC Key MPC Key 37, and Touch. Note: If you are using the MPC Studio mk2, the display does not function as a touchscreen but can be used in conjunction with the software to select tracks, programs, and files, as well as edit samples or change project parameters.
Page 12: Mpc X / Mpc X Special Edition
MPC X / MPC X Special Edition Note: Mentions of the features and functions of MPC X hardware throughout this guide also apply to the MPC X Special Edition unless otherwise noted. Top Panel 32 33 28 29 30 51 52...
Page 13: Pad & Q-Link Controls
3. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field on the screen. 4. –/+: Press these buttons to increase or decrease the value of the selected field on the screen. 5.
Page 14: Mode & View Controls
15. Note Repeat/Latch: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly. The rate is based on the current tempo and Time Correct settings. Press and hold Shift and then press this button to “latch” the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated.
Page 15: Transport & Recording Controls
30. Pad Mixer: Press this button to view the Pad Mixer where you can set a program’s levels, stereo panning, routing, and effects. 31. Ch. Mixer: Press this button to view the Channel Mixer where you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes and main outputs.
Page 16: 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 17: 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.
Page 18: 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.
Page 19: Mpc Live
MPC Live Top Panel 11 12 13 14 15 16 20 21 1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Live’s current operation. Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions.
Page 20 8. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (127), regardless of how much force you use. Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (64).
Page 21: Rear Panel
Rear Panel 13 13 13 1. Power Input: Use the included power adapter to connect MPC Live to a power outlet. 2. Power Switch: Turns MPC Live’s power on/off. 3. Charging Indicator: This light (behind the vent) will turn on when MPC Live’s internal battery is charging (when the power input is connected to a power outlet).
Page 22: Mpc Live Ii
MPC Live II Top Panel 6 6 6 6 11 12 7 8 9 13 14 15 16 18 19 20 21 1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Live II’s current operation. Touch the display (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions.
Page 23 8. Full Level / Half Level: Press this button to activate/deactivate Full Level. When activated, the pads will always trigger their samples at the maximum velocity (127), regardless of the amount of force you use. Press and hold Shift and then press this button to activate/deactivate Half Level. When activated, the pads will always trigger their samples at half-velocity (64).
Page 24 20. Next Seq / XYFX: Press this button to view Next Sequence Mode where you can trigger different sequences simply by playing the pads. This is useful for live performances, letting you change a song’s structure in real time. Press and hold Shift and press this button to view XYFX Mode, which turns the touchscreen into an XY pad where each axis represents the range of an effect parameter.
Page 25: Rear Panel
Rear Panel 14 14 14 15 16 1. Power Input: Use the included power adapter to connect MPC Live II to a power outlet. 2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging.
Page 26: Mpc One / Mpc One
MPC One / MPC One+ Note: Mentions of the features and functions of MPC One hardware throughout this guide also apply to the MPC One+ unless otherwise noted. Top Panel 16 17 18 19 23 24 25 26 27 28 29 Navigation &...
Page 27: Pad & Q-Link Controls
Pad & Q-Link Controls 6. Pads: Use these pads to trigger drum hits or other samples. The pads are velocity-sensitive and pressure- sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You can also customize their colors.
Page 28: Transport & Recording Controls
18. 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 29: Front Panel
Front Panel 1. SD Card Slot: Insert a standard SD, SDHC or SDXC card into this slot to access its files directly using MPC One. 2. Phones (1/8” / 3.5 mm): Connect standard 1/8” (3.5 mm) stereo headphones to this output. Rear Panel 12 11 1.
Page 30: Mpc Key 61
MPC Key 61 Top Panel 17 18 19 20 21 22 23 12 13 1. Display: This full-color multi-touch display shows information relevant to MPC Key 61’s current operation. Touch the display (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions.
Page 31 15. Grid / Step Seq: Press this button to enter Grid View Mode, where you can view and edit the note events of each track of a sequence in a project and their velocities. Press and hold Shift and press this button to view Step Sequencer Mode where you can create or edit sequences by using the pads as "step buttons,"...
Page 32 29 30 32 31 23 24 24. Menu / Browse: Press this button to open the Mode Menu. You can tap an option on the Menu screen to enter that mode, view, etc. Press and hold Shift and then press this button to view the Browser. You can use the Browser to locate and select programs, samples, sequences, etc.
Page 33 32. Copy / Delete: Press this button to copy one pad to another in Clip and Drum programs. When the From Pad field is selected, press the “source” pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the “destination”...
Page 34: Rear Panel
Rear Panel 1. Power Input: Use the included power adapter to connect MPC Key 61 to a power outlet. 2. Power Switch: Turns MPC Key 61’s power on/off. 3. Network: Connect a standard Ethernet cable to this port to use Ableton Link and other compatible devices with MPC Key 61.
Page 35 12. CV/Gate Out (1/8" / 3.5 mm, TS): MPC Key 61 will send control voltage (CV) and/or Gate signals over these outputs to optional external synths or sequencers. Use standard 1/8” (3.5 mm) TS cables to send a single CV/Gate signal per output. 13.
Page 36: Mpc Key 37
MPC Key 37 Top Panel 1. Display: This full-color multi-touch display shows information relevant to MPC Key 37’s current operation. Touch the display (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions. 2.
Page 37 14. Edit / XYFX: Press this button to view Program Edit Mode, which contains all parameters for editing your programs. Press and hold Shift and press this button to view XYFX Mode, which turns the touchscreen into an XY pad where each axis represents the range of an effect parameter.
Page 38 29. Mute / Pad: 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 39 35. Copy / Delete: Press this button to copy one pad to another in Clip and Drum programs. When the From Pad field is selected, press the “source” pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the “destination”...
Page 40: Rear Panel
Rear Panel 1. Power Switch: Turns MPC Key 37’s power on/off. 2. Power Input: Use the included power adapter to connect MPC Key 37 to a power outlet. 3. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging. 4.
Page 41: Mpc Studio Mk2
MPC Studio mk2 Note: This hardware differs from other MPC hardware in this manual in that it acts primarily as a controller for the MPC software. To learn more about how to use the MPC software, consult the MPC software User Guide. This can be accessed by opening the MPC software, and then navigating in the menu to Help >...
Page 42: Mode & View Controls
9. Copy / Delete: Press this button to copy one pad to another. Use the Copy from pad field to select the “source” pad (the pad you want to copy) and use the Copy to pad field to select the “destination” pad. You can select multiple destination pads, and you can select pads in different pad banks.
Page 43: Transport & Recording Controls
17. Program Select / Track Type: Press this button and use the data dial or -/+ buttons to change the Program for the selected track. Press and hold Shift, press this button and use the data dial or -/+ buttons to change the track type for the selected track: Drum, Keygroup, Plugin, MIDI, Clip or CV.
Page 44: Rear Panel
34. Locate: Press this button and then use the pads to add and select locator markers in the timeline. When on, tap Pads 9-14 to set up to six locators on the timeline, and tap Pads 1-6 to jump to each locator. Additionally, the current playhead position will be shown on the display in Bars : Beats : Ticks when this button is activated.
Page 45: Mpc Touch
MPC Touch Top Panel 12 13 14 15 16 17 21 22 1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Touch’s current operation. Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions.
Page 46 9. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (127), regardless of how much force you use. Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (64).
Page 47: Rear Panel
Rear Panel 1. Power Input: Use the included power adapter to connect MPC Touch to a power outlet. 2. Power Switch: Turns MPC Touch’s power on/off. 3. USB Port: Use the included USB cable to connect this high-retention-force USB port to an available USB port on your computer.
Page 48: Basic Concepts
Basic Concepts This chapter should help explain some fundamental aspects of the MPC universe. 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 49: Tutorial
To get the most out of this chapter, we recommend reproducing each of the described steps. Note: Mentions of the features and functions of MPC X and MPC One hardware throughout this guide also apply to the MPC X Special Edition and MPC One+, respectively, unless otherwise noted.
Page 50 Tap Audition once more to hide the window. To show the information for the current drive (MPC X, MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Key 37), press and hold Shift and then tap Drive Info at the bottom of the screen. The drive’s information will appear in a new window.
Page 51: Creating A Drum Sequence
Creating a Drum Sequence Now that your drum kit is set up, let’s record a drum sequence. 1. Press Menu to enter the Menu, and then tap Grid View. 2. Press Tap repeatedly at the speed you want to record your sequence. Your MPC hardware will detect the rate and adjust itself automatically.
Page 52: 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 existing program as we’ll want to create more programs later on.
Page 53 To enter a folder, double-tap it. Alternatively, turn the data dial or use the –/+ buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Operation >...
Page 54: Editing Note Events
Editing Note Events In the grid, you can see your recorded notes (or note events) as a sequence. To enter the Grid View, press Menu, and then tap Grid View. 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 55 To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See Operation > General Features > Timing Correct (TC) to learn about this. To adjust the velocity of the selected notes, tap Velocity at the bottom of the screen, and then use the data dial or –/+ buttons.
Page 56: Making Basic Sound Edits
Let’s make sure the samples are properly tuned and have good levels. Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X, MPC One), or Edit (MPC Key 61, MPC Key 37).
Page 57 The snare drum may need some reverb to give it a more spatial sound. Tap Effects at bottom of the screen so the first square under it is lit to view the Insert Effects tab. Press the pad with your snare drum sound to select it. To add an effect: 1.
Page 58: 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 59 2. After loading a bass sample to the sample pool, don’t use the Sample Assign tab like you did when creating a drum program; keygroup programs are different. Instead, press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X, MPC One), or Edit (MPC Key 61, MPC Key 37).
Page 60 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 61: Recording An Audio Track
8. Turn the 3/4 Rec Gain (MPC X), Rec Vol (MPC Live, MPC Live II, MPC One, MPC Key 37, MPC Touch), or Gain (MPC Key 61) knob to set the input level while playing your audio source. You should now see the level in the meter.
Page 62: Creating A Song
To enter Song Mode, make sure playback is stopped, and then press Menu, and then tap Song to enter Song Mode. Alternatively, press Song (MPC X). In Song Mode, each of the sequences you’ve created in this project assigned to a pad. The sequence playlist is to the left of the pads, showing the song’s structure.
Page 63: Exporting The Song
Exporting the Song Want to share your new song? Just export it first. To export a song: 1. While in Song Mode, tap Export at the bottom of the screen. 2. In the Audio Mixdown screen that appears, do the following: •...
Page 64: Other Features Explained
To enter the Step Sequencer, press Menu, and then tap Step Sequencer. Alternatively, in some modes, you can tap the steps icon on the left edge of the screen. You can also press Step Seq (MPC X, MPC Live II, MPC One), or Shift+Grid/Step Seq (MPC Key 61, MPC Key 37).
Page 65: Drum Loops & Chop Mode
To enter Sample Edit Mode, press Menu, and then tap Sample Edit to enter Sample Edit Mode. Alternatively, press Sample Edit (MPC X, MPC One, MPC Key 61, MPC Key 37), or Shift+Mute/Sample Edit (MPC Live II). 1. Tap the Sample field at the top of the screen, and then use the data dial or –/+ buttons to select the loaded drum loop.
Page 66 Let’s use this chopped sample to create a new program in which each of these slices is an individual sample. We can also automatically create corresponding note events to play back these slices sequentially. 1. Press and hold Shift and then tap Convert at the bottom of the screen to enter the Convert or Assign Slices window.
Page 67: Pad Muting & Track Muting
To enter Pad Mute Mode, press Menu, and then tap Pad Mute to enter Pad Mute Mode. Alternatively, press Shift+Track Mute/Pad Mute (MPC X, MPC One, MPC Key 37), or Shift+Mute/Pad (MPC Key 61). 1. Press Play to play the sequence.
Page 68 To enter Track Mute Mode, press Menu, and then tap Track Mute to enter Track Mute Mode. Alternatively, press Track Mute (MPC X, MPC One, MPC Key 37), or Mute (MPC Key 61). 1. Press Play to play the sequence.
Page 69: Sampling (Recording)
Input 1,2. 3. Turn the 3/4 Rec Gain (MPC X), Rec Vol (MPC Live, MPC Live II, MPC One, MPC Key 37, MPC Touch), or Gain (MPC Key 61) knob to set the input level while playing your audio source. You should now see the level in the meter.
Page 70 In the Keep or Discard Sample window: To name the new sample, tap the Edit Name field and use the virtual keyboard to enter a name. To assign the new sample to a program, tap the Program field, and then use the data dial or –/+ buttons to select the desired program.
Page 71: Sample Editing
To enter Sample Edit Mode, press Menu, and then tap Sample Edit to enter Sample Edit Mode. Alternatively, press Sample Edit (MPC X, MPC One, MPC Key 61, MPC Key 37), or press Shift+Mute/Sample Edit (MPC Live II). In Sample Edit Mode: To switch between Trim Mode and Chop Mode, tap the Trim/Chop tab at the bottom of the screen.
Page 72 Let’s apply some processing to the sample. To open the Process Sample window, tap Process at the bottom of the screen. 1. Use the data dial or –/+ buttons to select the desired process in the Function field. Alternatively, tap Function or double-tap the Function field, and then tap the desired process.
Page 73: Recording Automation With The Xy Pad
7. Tap the automation button to cycle through the available automation modes; alternatively, press Read/Write (MPC X, MPC Key 61) or Automation (MPC Key 37). Make sure the button is red (the Write (W) option). 8. Press Play Start to start recording.
Page 74: Using Mpc As A Controller
Using MPC as a Controller If you are using the MPC software on your computer, you can switch MPC X/Live/Live II/One/Key 61/Key 37 into Controller Mode, allowing you to use it to control the software. MPC Studio and MPC Touch already operate as a controller only.
Page 75: Operation
Looper). • MPC X: As an alternative to tapping a control on the screen to select it, you can use the cursors to navigate through the controls on the screen. The center cursor acts as an Enter key. •...
Page 76: General Features
• Double-tap the knob to show it in a larger screen. Alternatively, press the data dial, or the center cursor or Enter (MPC X), when the knob is selected. Tap and drag the larger version that appears, or use the data dial or –/+ buttons to adjust the value.
Page 77: Drop-Down Menus / Lists
Drop-Down Menus / Lists To select an option for a drop-down menu, do any of the following: • Tap the field to select it, and then use the data dial or –/+ buttons to select an option. • Double-tap the field. In the list that appears (examples below), tap the desired option. Alternatively, use the data dial or the –/+ buttons to select an option.
Page 78: Buttons
Buttons Buttons usually have two states: selected and deselected (active or inactive, respectively). Some may have more than two states. To switch between or cycle through a button’s states, do either of the following: • Tap it. • If it is outlined in red (and is not a mute button), use the data dial or –/+ buttons. Checkboxes Checkboxes have two states: checked and unchecked (enabled or disabled, respectively).
Page 79: Envelopes
Envelopes To set the stages of an envelope, do either of the following: Tip: Tap the expand-rectangle icon above the envelope to show a close-up view. • Tap and drag a “handle” of an envelope stage in the desired direction. •...
Page 80: Grid View Tools
Grid View Tools In the 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 81: Audio Edit Tools
Audio Edit Tools In Audio Edit Mode, these six tool icons enable you to use different functions in the waveform. Tap one to select its mode: Marquee: Marquee Mode: To select a track region, tap the upper third of it. To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.
Page 82: 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 83: Drum Programs
To load a sample into a drum program: 1. Press Browse (MPC X, MPC One, MPC Studio), Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61, MPC Touch), or Load (MPC Key 37) to show the Browser. Find and select a sample, and then tap Load to load it to the program.
Page 84 Alternatively, assign samples in a drum program in Program Edit Mode in one of these two ways: 1. Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X, MPC One), or press Edit (MPC Key 61, MPC Key 37).
Page 85: Plugin Programs
To adjust the volume and panning of a track using the plugin program: 1. Press Menu, and then tap Channel Mixer to enter the Channel Mixer. Alternatively, press Ch. Mixer (MPC X), Track Mix (MPC One), or Mix (MPC Key 61, MPC Key 37).
Page 86: Keygroup Programs
To assign samples in a keygroup program: 1. Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X, MPC One), or press Edit (MPC Key 61, MPC Key 37). 2. Tap Samples to view any of the last three pages. These...
Page 87: 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 88 Alternatively, assign clips in a clip program this way: 1. Press Browse (MPC X, MPC One, MPC Studio), Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61, MPC Touch), or Load (MPC Key 37) to show the Browser. Find and select a clip, and then tap Load to load it to the program.
Page 89: Midi Programs
To adjust the volume and panning of a track using the MIDI program: 1. Press Menu, and then tap Channel Mixer to enter the Channel Mixer. Alternatively, press Ch. Mixer (MPC X), Track Mix (MPC One), or Mix (MPC Key 61, MPC Key 37).
Page 90: 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.
Page 91: Menu
Menu The Menu lets you select any of the 21 modes, save or start a new project, set your preferences, switch between Standalone Mode and Controller Mode (except MPC Studio and MPC Touch), or view your system resources. To open the Menu, press Menu, or tap the icon in the upper-left corner of the screen while on the normal page of your current mode.
Page 92: Save
Save To open the save selector window, tap the Save button at the bottom of the screen. To save a project, tap Project or Project As. If a project has not been saved before, both options will open the save path window, described below. If a project has been saved before, tapping Project will automatically overwrite the most recently saved version.
Page 93 To enter a folder, double-tap it. Alternatively, turn the data dial or use the –/+ buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Modes >...
Page 94: Preferences
Important: For MPC X, MPC Live, MPC Live II, MPC One, MPC Key 61, and MPC Key 37, the Preferences will appear differently in Controller Mode than in Standalone Mode. Some of the options described in this section may be available in only one of these modes or in a different order.
Page 95: Wi-Fi
Bluetooth MIDI controllers (e.g., LPD8 Wireless or LPK25 Wireless) or a Bluetooth computer keyboard with it. These settings are available only for MPC X, MPC X SE, MPC Live, MPC Live II, MPC One+, MPC Key 61, and MPC Key 37 when used in Standalone Mode.
Page 96: Midi / Sync
These meters are useful when adjusting the Pad Threshold and Pad Sensitivity parameters (above). Footswitch 1 & Footswitch 2 (MPC X only): These determine how connected footswitches will work. Screen Dimming: This determines how much time must pass before your MPC hardware automatically dims its touchscreen (if it uses a battery, this can help preserve battery life).
Page 97: Sequencer
Range Down / Range Up: Use these fields to determine the range of pitch bend in semitones. VU Meter Source (MPC X only): This determines what audio signal level is shown in the level meters (on the right side of the screen). When set to Main, the level meters show the audio signal sent out of Outputs 1/2 (the Main L/R outputs on the rear panel).
Page 98: Project Defaults
Record Track Mute and Solo Events: When enabled, track mute and solo events are recorded when you are in Track Mute Mode (timing correct settings will affect the recorded position events). When disabled, track mute and solo events will not be recorded while in Track Mute Mode. This feature is useful if you want to use Track Mute Mode to record track mutes or solos into your sequences as opposed to using Track Mute Mode for performance or listening purposes only.
Page 99: Project Load/Save
Standalone Mode, Out 1,2–31,32 in Controller Mode; MPC Live/Live II do not use Out 7,8 and MPC One/Key 61/Key 37 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them). These sounds include: samples, programs, and projects in the Browser; sample playback, Cue Preview, and Slice Preview in Sample Edit Mode;...
Page 100 (e.g., the Warp function in Audio Edit Mode for audio tracks or in Program Edit Mode for clip programs). (For MPC X/Live/Live II/One/Key 61/Key 37, this option is available only when using your MPC hardware in Controller Mode.) Note: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely.
Page 101: Splice
Splice The settings on this screen control integration with the Splice platform. To access Splice from this page: 1. First, make sure your MPC hardware is connected to a Wi-Fi network. See Preferences > Wi-Fi to learn how to connect to a wireless network. You will also need access to a web browser. 2.
Page 102: Sync
Sync Tap the Sync field (in the center of the top of the screen) and then turn the data dial or use the –/+ buttons to set whether your MPC hardware receives MIDI Clock information (MIDI Clock), MIDI Time Code information (MTC), communication from Ableton Link, or none of these (Off). Alternatively, double-tap Sync and tap the desired option to select it.
Page 103: Midi Monitor
Mode Tap this icon to switch MPC X/Live/Live II/One/Key 61/Key 37 between Standalone Mode and Controller Mode (MPC Studio and MPC Touch already operate as a controller only). 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...
Page 104: System Resources
Drives: The Drives indicator shows the available storage space on any detected external storage devices or the internal drive of MPC X/Live/Live II/One/Key 61/Key 37. To delete samples from the project (to create more free RAM space for sampling time, audio recording, etc.), tap Purge.
Page 105: Time Counter/Locate
Time Counter/Locate In most of the available modes, there is a time counter at the top of the screen. 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 106 You can use this screen to set time markers, allowing you to jump automatically to precise locations in a sequence. You can set up to six time markers. To set a time marker, tap the time counter at the top of the screen, find the desired time, and then tap Set next to the desired time marker.
Page 107: Timing Correct (Tc)
Timing Correct (TC) The Timing Correct window contains various settings to help quantize the events in your sequence. You can quantize note events on MIDI tracks or track regions on audio tracks (though you cannot apply all types of quantization to audio tracks). To open the Timing Correct settings: In Main Mode or List Edit Mode: Tap the TC field at the top of the screen.
Page 108 Use the Time Division selector to set the quantization value. Events will “snap” to these time divisions on the grid. The T indicates a triplet-based value. Alternatively, press and hold Note Repeat while in Main Mode, and then use the six buttons at the bottom of the screen. Use the Swing field to set the amount of swing from 50% to 75%.
Page 109: Metronome (Click/Metro)
Use the Output field to set which pair of outputs will play the metronome click: Out 1,2–7,8 in Standalone Mode, Out 1,2–31,32 in Controller Mode (MPC Live/Live II do not use Out 7,8, and MPC One/Key 61/Key 37 do not use Out 3,4– 7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them).
Page 110: Automation
In the Channel Mixer, if you do not see a program automation button in the channel strip, make sure the Mixer field is set to Audio Tracks or Programs. Tap the program automation button to cycle through its two states. Alternatively, press Read/Write (MPC X, MPC Key 61) or Automation (MPC Key 37).
Page 111: 16 Level
16 Level Press the 16 Level button on your MPC hardware 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 how hard you press them.
Page 112: Erase
Erase The Erase function erases all or part of a track in a specific sequence. To open the Erase window, press the Erase button. Alternatively, while in Main Mode, tap the pencil icon on the right edge of the section, and then tap Erase in the screen that appears. To select the sequence you want to erase, use the Sequence field.
Page 113: Effects
Effects You can apply various effects to the pads, keygroups, audio tracks, programs, submixes, and main 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 114 To load an effect, double-tap it. Alternatively, tap Select, press the data dial, or press the center cursor or Enter (MPC X). To cancel, tap Close or anywhere outside the list. When you edit an effect, you will see this window: To adjust a parameter, tap and drag its slider.
Page 115: 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 116 To load a pad insert effect in the Pad Mixer: 1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at the top of the screen to select the desired track—the program it uses will be selected automatically. 2.
Page 117: Keygroups
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 118 To load a keygroup insert effect in the Pad Mixer: 1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at the top of the screen to select the desired track—the program it uses will be selected automatically. 2.
Page 119: Audio Tracks
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. 2.
Page 120: Programs
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 121 To load XYFX for a program in XYFX Mode: 1. Select the desired program in another mode, and then enter XYFX Mode. 2. If you have not yet used XYFX Mode for this program, tap Insert XYFX on the screen to load it and show the XY pad.
Page 122: Submixes
Submixes You can load up to four insert effects to each submix. You can do this in the Channel Mixer only. To load a submix insert effect: 1. Use the Mixer field in the upper-left corner to select Submixes. 2. In the touchscreen, tap the pad that corresponds to the desired program. Alternatively, double-tap the Submix field below the Mixer field and tap the desired program.
Page 123: Main Outputs
Main Outputs You can load up to four insert effects to each main output (a stereo pair of channels: Outputs 1/2, Outputs 3/4, etc.). You can do this in Main Mode or the Channel Mixer. To load a main output insert effect in Main Mode: 1.
Page 124: 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 125: Pads
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 126: Keygroups
Keygroups You can set the send levels for keygroups in Program Edit Mode or the Pad Mixer. To set the send levels for a keygroup in Program Edit Mode: 1. While using the desired program, press the desired pad to select its keygroup. Alternatively, use the Keygroup field at the top of the screen.
Page 127: Audio Tracks
Audio Tracks You can set the send levels for audio tracks in the Channel Mixer only. To set the send levels for an audio track: 1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Audio Tracks. 2.
Page 128: Submixes
Submixes You can set the send levels for submixes in the Channel Mixer only. To set the send levels for a submix: 1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Submixes. 2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level). 3.
Page 129: Audio Mixdown
MPC Key 61/MPC Key 37 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them). The mixdown will be taken from these outputs. Check Separate Programs to create a mixdown of each program used in the sequence or song.
Page 130: Battery Usage
Battery Usage Important: Only MPC Live and MPC Live II may use battery power. MPC X, MPC One, MPC Key 61, MPC Key 37, and MPC Touch must be connected to a power outlet. MPC Studio operates on USB power only.
Page 131: Standalone Vs. Controller Mode
Standalone vs. Controller Mode MPC X, MPC Live, MPC Live II, MPC One, MPC Key 61, and MPC Key 37 can function in two ways: Standalone Mode and Controller Mode. (MPC Studio and MPC Touch already operate as a controller only.) To enter Standalone Mode, do one of the following: •...
Page 132 To enter Controller Mode: 1. Make sure the USB-B Port on your MPC X/Live/Live II/One/Key 61/Key 37 is connected to your computer. 2. On your computer, open the MPC software. 3. If MPC X/Live/Live II/One/Key 61/Key 37 is powered off, press the power switch to power it on.
Page 133: Modes
Modes The MPC hardware has a Menu page that lets you select any one of several modes. This chapter describes the various features and functions of each one. Click a button below to skip directly to that chapter. Note: The Menu above is available when the currently selected track is a MIDI track. When an audio track is selected, it will show an icon for Audio Edit Mode instead of Grid View.
Page 134: 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 screen shows the project name and timing information. The Project field shows the name of the current project.
Page 135 The In and Out boxes indicate your MPC hardware is receiving or sending (respectively) MIDI messages from or to your computer. Tap here to open the MIDI Monitor and view the latest incoming or outgoing MIDI messages. See Operation > Menu > MIDI Monitor for more information.
Page 136 On the left edge of the screen, next to the five mode icons, there are two small icons that control the channel strip. To show or hide the channel strip, tap the eye icon. The icon below the eye icon indicates the type of channel strip (see next description). The channel strip contains some important settings for the current pad, program, track, or main output, depending on the currently selected icon: To view the pad channel strip, tap the single-pad icon.
Page 137 Solo or Mute under the LED meters (MPC X). To change the program’s automation, tap the program automation button to toggle between the two states. Alternatively, press Read/Write (MPC X, MPC Key 61) or Automation (MPC Key 37). When set to Read (R), the program will read automation data but will not record any additional automation over it.
Page 138 Mute under the LED meters (MPC X). To change the audio track’s automation, tap the track automation button to toggle between the two states. Alternatively, press Read/Write (MPC X, MPC Key 61) or Automation (MPC Key 37). When set to Read (R), the audio track will read automation data but will not record any additional automation over it.
Page 139: Sequence Section
Sequence Section 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 140 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, though there are fewer options for audio tracks than for MIDI tracks.
Page 141 The Erase function erases all or part of a track in a specific sequence. To select the sequence you want to erase, use the Sequence field. To select the track you want to erase within the sequence, use the Track field. To set the time range of the sequence you want to erase, use the Bar, Beat, and Tick fields.
Page 142 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. This option is available for MIDI tracks only. To select the sequence you want to transpose, use the Sequence field.
Page 143 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. The bar in each field and all bars in between them will be deleted.
Page 144 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 145 The Copy Events function copies a range of events or selected audio track regions from a sequence and adds them to another at a specified point. To select the “source” sequence, use the From Sequence field. This is the sequence whose content you want to copy.
Page 146 –/+ buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump...
Page 147: Track Section
Track Section The Track section shows the current track, program type, and its information. The Track section while using a MIDI track. The Track section while using an audio track. 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 148 While using an audio track: Tap the Record Arm button to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track. Tip: You can select multiple tracks in the Track View by pressing and holding Shift while tapping the Arm button to each track.
Page 149 The Clear function erases all events from the track and resets all of its settings. To confirm your choice, tap Clear. To return to the previous screen, tap Cancel. The Explode function immediately splits the current track into multiple tracks—one for each distinct pad or note (pitch, not event).
Page 150 The Pitch Quantize function forces the pitches of note events into a specific scale. To select the desired root note of the scale, use the Root Note field. To select a type of scale, use the Scale field. To determine which note events will be quantized, tap the Only apply to selected events checkbox.
Page 151 The Generate Random Events function creates random melodic or drum patterns on the current MIDI track. To select the type of events you want to create, use the Event Type field to select Drum Events or Melodic Events. To select how the events will be created relative to the existing events on the track, use the Replace field: Replace All Events: Select this option to replace all...
Page 152 If Event Type is set to Melodic Events: To define a specific note range over which the events will be generated, use the Start Note or End Note fields. To enable or disable legato, tap the Legato checkbox. When on, the generated notes will be extended or shortened to create a long, unbroken phrase from the first note event’s start point to the last note event’s end point.
Page 153 –/+ buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump...
Page 154 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 screen. Alternatively, press Main. To edit the name of the track, tap the top of the screen and use the virtual keyboard that appears. The Delete function erases the entire audio track.
Page 155 –/+ buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump...
Page 156: Program Section
Program Section 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.
Page 157 While viewing plugin programs, the Plugin Program field shows the name of the program. Use the Plugin field to select the plugin the program is using. In the screen that appears, you can tap the Type or Manufacturer button at the bottom of the screen to enable or disable sorting of your plugins by type or maker. Note: You have to specify the disk directory where your plugins are located.
Page 158 To edit the program, tap the pencil icon on the right edge of the section. The Program 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 screen. Alternatively, press Main.
Page 159 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 160 The Copy Pads function lets you copy one or more pads from one program to another. To select the type of pad copy you would like to perform, use the Copy Type field. You can copy a single Pad, a Pad Bank or a Range of pads. Pad: Use the From Program and Pad fields to select the program and pad you would like to copy from, and use the To Program and Pad...
Page 161 –/+ buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump...
Page 162: Grid View
Grid View The 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 163 In the Grid View, these four tool 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 164 The Settings window lets you configure certain Grid View settings. To view the Settings, tap the gear icon. Use the Snap Mode selector to set how events “snap” to the grid. Absolute: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time Correct window).
Page 165 Regardless of which tool is selected, you can do any of the following to move, lengthen, shorten, or transpose any selected note/notes. To automatically set the grid to view one pad bank and two bars, tap the grid-and-magnifying-glass icon in the lower-left corner.
Page 166 To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See General Features > Timing Correct (TC) to learn about this. 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 167: 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. Note: The Audio Edit option is available when the currently selected track is an audio track. When a MIDI track is selected, it will show an icon for Grid View instead of Audio Edit Mode.
Page 168 Read/Write (MPC X/Key 61) or Automation (MPC Key 37) so it is off. 8. Tap the Rec Arm button next to the pan knob or press Rec Arm (MPC X) to record-enable the track. 9. Press Rec to record-arm the sequence.
Page 169 The top of the screen shows the track name, sequence and timing information, and editing tools. Use the Track field to select which track of the current sequence you want to show in the grid. Use the Bars field to set the length of the sequence. The time counter at the top of the screen indicates the current playhead position.
Page 170 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. To erase a note, double-tap it. Eraser: Erase Mode: To select multiple track regions, tap and drag across the grid to create a box that highlights them.
Page 171 The Settings window lets you configure certain Audio Edit Mode settings. To view the Settings, tap the gear icon. Use the Snap Mode selector to set how events “snap” to the grid. Absolute: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time Correct window).
Page 172 On the left edge of the screen, next to the five mode icons, there are two small icons that control the channel strip. To show or hide the channel strip, tap the eye icon. The channel strip contains some important settings for the audio track or main output, depending on the currently selected icon: To view the track channel strip, tap the waveform icon.
Page 173 To record-enable the track, tap the Record Arm button or press Rec Arm (on MPC X when the track name is shown in the display strip below the level meters). When you begin audio recording, the audio signal will be recorded to this track.
Page 174 Copy or Cut. Turn the data dial to move the highlighted track region, and then press the data dial, or the center cursor or Enter (MPC X), to paste it at its current location. Alternatively, press and hold Shift, and then tap Paste (respectively).
Page 175 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 176: Track View
• Press Menu, and then tap Track View. • Press Shift+Main/Track (MPC X, MPC Live, MPC Key 61, MPC Key 37, MPC Touch). • Press and hold Mode and press Pad 1 (MPC Studio). Each horizontal strip represents a track in the current sequence. MIDI tracks and audio tracks are grouped together.
Page 177 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. When off, only tracks with a sequence, program, etc. will appear. To open the Timing Correct settings, tap TC at the bottom of the screen.
Page 178: 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 Input fields to select MIDI input port and channel that the track will use. Use the Output fields to select the MIDI output port and channel that the track will use.
Page 179 Tap the Filter button to open the Track MIDI Perform Settings window, where you can set parameters for incoming MIDI data. • Note Range: This determines the Note Min and Note Max range that passes MIDI. Notes outside this range will not be heard in the track.
Page 180: 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 Output field to set the track’s output/outputs.
Page 181: Step Sequencer
• Press Menu, and then tap Step Sequencer. • Press Step Seq (MPC X, MPC Live II, MPC One) or Shift+Grid/Step Seq (MPC Key 61, MPC Key 37). • Press and hold Mode and press Pad 15 (MPC Studio). The top of the screen shows the track name and information as well as sequence and timing information.
Page 182 Use the BPM field to adjust the tempo of the sequence. To set whether the sequence follows its own tempo (Seq) or a global tempo (Gbl), tap the Seq/Gbl button next to the BPM field. Alternatively, press and hold Shift and then press Tap. The time counter at the top of the screen indicates the current playhead position.
Page 183 To adjust the velocities of the steps, do any of the following: • Tap anywhere on the velocity bar of a step. The top of the velocity bar will jump to that point. • Use the slider on the right edge of the screen to increase or decrease the velocities of all steps. •...
Page 184 The third button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options: • Across the entire bar, the velocities will ascend to a peak and then descend from it. •...
Page 185: Xyfx Mode
Press Menu, and then tap XYFX. • Press XYFX (MPC X), Shift+Next Seq/XYFX (MPC Live II, MPC One), or Shift+Edit/XYFX (MPC Key 61, MPC Key 37). When you first enter this mode in a project, you may be prompted to load XYFX to the program. Tap Insert XYFX to do this.
Page 186 Touch or move your finger on the gridded part of the screen. 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 187 XY Mode with a manually controlled effect. Use the Attack knob to set the length of the attack phase of the envelope, which is triggered when you touch the XY pad. In other words, this determines how long it takes the effect to fully respond to your touch. Use the Release knob to set the length of the release phase of the envelope, which is triggered when you release the XY pad.
Page 188: Sample Edit Mode
• Press Menu, and then tap Sample Edit. • Press Sample Edit (MPC X, MPC One, MPC Key 61, MPC Key 37) or Shift+Mute/Sample Edit (MPC Live II). • Press and hold Mode and press Pad 5 (MPC Studio). To select a sample to edit, do any of the following: •...
Page 189 Tap the Zoom + or Zoom – buttons (respectively) at the bottom of the screen. • Turn Q-Link Knob 4 (Zoom on MPC X) or the fourth Q-Link knob in the fourth column (MPC Live/Live II/One/ Key 61/Key 37/Touch). •...
Page 190: 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 191: Trim Mode
Trim Mode We recommend using Trim Mode to crop the start and/or ends from a sample. To enter Trim Mode, tap the Trim/Chop button in the lower-left corner so it says Trim. There are two pages of parameters in Trim Mode, which can be accessed by tapping the > or < arrows on the sides of the page. Use the Start and End fields to set the position of the start point and end point of the sample (respectively).
Page 192 Use your MPC hardware 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 193 Use either of the Tune fields to transpose the sample up or down from its original pitch. Alternatively, press Tune and use the data dial or -/+ buttons (MPC Studio only) to change the coarse tuning. Press and hold Shift and then press Tune and use the data dial or -/+ buttons (MPC Studio only) to change the fine tuning.
Page 194 Use the Slice field. • Turn Q-Link Knob 16 (Select Slice on MPC X) or the fourth Q-Link knob in the fourth column (MPC Live/ Live II/One/Key 61/Key 37/Touch). When Link Slices is enabled (after you have created slices in Chop Mode), changing the start point of a slice will also change the end point of the previous slice.
Page 195: Assigning Samples
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 screen 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 196 If you set the Assign To field to Make new sample, this will create a new sample in your project. (The original sample will remain as it is.) Use the Pad field to select the desired pad. Alternatively, press the desired pad. Check the Crop Sample box to delete the unused parts from the sample when it’s created and assigned.
Page 197: Processing Slices & Samples
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 screen to open the Function window, which displays an overview of all available editing processes.
Page 198 The Delete process deletes the region between the start point and end point and closes the gap between them. 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 199 The Reverse process reverses the region between the start point and end point. 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.
Page 200 The Time Stretch process lengthens or shortens the sample without changing its pitch. This is useful for matching the durations of two samples with different pitches. You can enter the original tempo of the sample and the desired tempo after processing. Use the Beat field to set the desired value number of beats.
Page 201 The Bit Reduce process lowers the bit resolution of a sample, effectively reducing degree faithful reproduction. You can reduce it down to 1 bit. (The sound is similar to the Resampler effect, but Bit Reduce will permanently alter the sample.) Tip: Use this on drum loops to get a dirty, “old-school”...
Page 202: Chop Mode
This method divides a sample into several slices based on the tempo (beats per minute). Use the Bars field to set how many bars are in the sample. Alternatively, turn Q-Link Knob 11 (Bars on MPC X) or the second Q-Link knob in the third column (MPC Live/Live II/One/Key 61/Key 37/Touch).
Page 203 • Use the Slice field. • Turn Q-Link Knob 16 (Select Slice on MPC X) or the first Q-Link knob in the fourth column (MPC Live/Live II/One/Key 61/Key 37/Touch). • When the headphones icon (in the upper-right corner) is selected, tap a slice in the waveform.
Page 204 When Link Slices is enabled, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable Link Slices if you are trying to create slices that use non-contiguous parts of the sample.
Page 205: Converting Or Assigning Slices
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 screen to open the Convert or Assign Slices window.
Page 206 If you set the Convert To field to New clip program, this will create a new clip program and assign the sample’s slices to its pads as clips. The pads will simply refer to the slices in this sample instead of creating new samples. This is useful for reducing clutter in your project.
Page 207 If you set the Convert 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. This is useful for reducing clutter in your project. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.
Page 208: Processing Slices
If you set the Convert To field to Patched phrase, this will create a new sample that will play based on the tempo of your Sequence, and places it in the current project. The patched phrase will have the same name as the original sample but appended with pp and will use a different icon when viewing your project information.
Page 209 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. Tip: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc.
Page 210 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 211: 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 212 Tap each pad to hear its sample/samples. The sample on its first layer will automatically appear in the waveform display for editing. 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 Number of Beats field to match the number of beats in the sequence.
Page 213 The Link Slices button does not have a function in Program Mode. 0 Snap forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This can help to avoid clicks and glitches when playing a sample. To enable or disable 0 Snap, press and hold Shift, and then tap 0 Snap at the bottom of the screen.
Page 214: Assigning Samples
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 screen 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 215: Processing Slices
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 216 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. Tip: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc.
Page 217 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 218: Program Edit Mode
To enter Program Edit Mode, do either of the following: • Press Menu, and then tap Program Edit. • Press Prog Edit (MPC X, MPC One) or Edit (MPC Key 61, MPC Key 37). • Press and hold Mode and press Pad 6 (MPC Studio). Drum Programs When using drum programs, Program Edit Mode lets you edit the parameters for each pad.
Page 219 Tap the down-arrow icon at the top of the screen (next to the Program field) to open the Flatten Pad window, which renders all samples on a pad as an audio sample and places it on the first layer of that pad. The resulting sample is the audio signal produced by that pad at full velocity (127) after the pad channel strip, which means that it includes any assigned pad insert effects and the results of warping the sample.
Page 220 Tap the location icon at the top of the screen to open the Edit Zones window, which is a feature for drum programs and clip programs. This window displays an overview of any selected pads. Use the Mode selector to set how the selected pads will be edited: Current: Only the currently selected pad can be edited.
Page 221: Global
Global In the Global tab, you can set the playback mode and tuning for the overall Program. Semi lets you transpose the program up to 36 semitones up or down. Fine provides fine-tuning of the program up to 99 cents up or down. Poly (polyphony) sets the playback mode for the program’s pads.
Page 222 Use the Sample Play selector to determine how much of the sample is played. One Shot: The entire sample will play from start to end. Use this when you want to play short sounds. Note Off: The entire sample will play from start to end after the pad has been pressed and released. Note On: The sample will play only as long as the pad is held.
Page 223: Samples
Samples Each pad can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters. Tap Samples to cycle through its four available tabs. On all four sections, you can access the Settings window, which lets you configure certain settings in the Samples tab. To view the Settings, tap the gear icon.
Page 224 The first Samples tab contains the sample waveform for each layer and controls for its pitch, timing, and playback. The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls.
Page 225 The green/S marker and red/E 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, do any of the following: •...
Page 226 Use the Reverse button to select in which direction the sample will play. When on, the sample will play in reverse. When off, the sample will play in the normal forward direction. 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 (in the LFO Modulation tab) to Note On instead of One Shot and (2) set the Slice field (in the first Samples tab) to Pad instead of All or a slice number.
Page 227 Tap Warp to enable or disable warping of the sample. When enabled, lengthening or shortening the sample (based on the BPM) will not change its pitch. When disabled, lengthening or shortening the sample will also change its pitch and vice versa. Use the Stretch field to set the “stretch factor,”...
Page 228 The second Samples tab contains controls for its pitch, volume level and panning. Semi lets you transpose the selected layer up to 36 semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi field on the first Samples tab. Fine provides fine-tuning of each layer by cents.
Page 229 The third Samples tab contains the control for its offset and velocity range. Use the Offset slider to determine a time offset for the sample’s playback. Positive values (right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value.
Page 230 The fourth Samples tab contains the controls for adding randomization to sample parameters such as pitch, level and panning. Use the Pitch knobs to adjust the amount of randomization applied to each sample layer’s pitch. Use the Level knobs to adjust the amount of randomization applied to each sample layer’s volume. Use the Pan knobs to adjust the amount of randomization applied to each sample layer’s stereo placement.
Page 231: Envelopes
Envelopes Tap Envelopes to cycle through its three available tabs. The first Envelope tab contains the amplitude modulation envelope. Pad Level controls the overall volume level of the loaded sample/samples. Pad Pan controls the overall panning of the loaded sample/samples in the stereo field. The Amp Envelope controls affect level changes over time.
Page 232 The second Envelope tab contains the filter modulation envelope. Use the Type field to select a filter for the selected pad. See 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 233 The third Envelope tab contains the pitch modulation envelope. Global Semi lets you transpose the pad up to 36 semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi field on the Global tab. Fine provides fine-tuning of each layer by cents.
Page 234: Lfo
A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be used for modulation purposes. Use the Wave field to select the LFO waveform type: Sine (best suited for smooth modulations) Triangle (best suited for smooth modulations) S&H (samples a random value and holds it until the next value is generated) Saw (can generate interesting filter or volume changes) Saw Down (can generate interesting filter or volume changes)
Page 235: Modulations
Modulations Use the Velocity Sensitivity sliders to set how much velocity is required to modulate certain other parameters: • Sample Start sets how much velocity is needed (for a triggered pad) to modulate the sample start point. • Filter Cutoff uses the velocity of a pad to modulate the cutoff frequency directly. •...
Page 236: Effects
To enable or disable all four insert effects, tap the All On/Off button in the upper-right corner. To load a factory FX rack, tap the Akai folder icon. You can choose from a number of preset combinations of insert effects by applications like Drums and Percussion, Voice, LoFi, Mastering, and more.
Page 237 To adjust the effect’s parameters, tap the pencil icon. Use the sliders to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global. Sends The audio of the pad will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned main output at the designated return levels.
Page 238: 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 screen. To view a specific tab of parameters, tap the Global, Samples, Envelopes, LFO, Porta/Mod or Effects button at the bottom of the screen.
Page 239: Global
Global In the Global tab, you can set the playback mode and tuning for the overall program. Global Semi lets you tune the program up to 36 semitones up or down. Global Fine provides fine-tuning of the program up to 99 cents up or down. Transpose shifts the pitch of the MIDI notes sent to the program up to 36 semitones up or down.
Page 240 Key Group Semi lets you transpose the sample 36 semitones up or down, while Key Group Fine provides fine- tuning of each layer up to 99 cents up or down. Tip: The Edit Layers section has some parameters similar to those in this section (Level, Pan, Semi, Fine, Note Range).
Page 241 Mute Group allows you 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. A mute group affects pads within that program only;...
Page 242: Samples
Samples Each keygroup can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters. Tap Samples to cycle through its four available tabs. On all four sections, you can access the Settings window, which lets you configure certain settings in the Samples tab. To view the Settings, tap the gear icon.
Page 243 The first Samples tab contains the sample waveform for each layer and controls for its pitch, timing, and playback. The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls.
Page 244 The green/S marker and red/E 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, do any of the following: •...
Page 245 Use the Slice field to select what part/parts of the sample will play: All: The entire sample will play. Pad: The sample will play from the Pad Start position to the Pad End position, described earlier. This also lets you activate Pad Loop (if the Sample Play field in the Global tab is set to Note On).
Page 246 The second Samples tab contains controls for its pitch, volume level and panning. Semi lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi field on the first Samples tab. Fine provides fine-tuning of each layer by cents.
Page 247 The third Samples tab contains the control for its offset, velocity range and root note. Use the Offset slider to determine a time offset for the sample’s playback. Positive values (right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value.
Page 248 The fourth Samples tab contains the controls for adding randomization to sample parameters such as pitch, level and panning. Use the Pitch knobs to adjust the amount of randomization applied to each sample layer’s pitch. Use the Level knobs to adjust the amount of randomization applied to each sample layer’s volume. Use the Pan knobs to adjust the amount of randomization applied to each sample layer’s stereo placement.
Page 249: Envelopes
Envelopes Tap Envelopes to cycle through its three available tabs. The first Envelope tab contains the amplitude modulation envelope. Keygroup Level controls the overall volume level of the loaded sample/samples. Keygroup Pan controls the overall panning of the loaded sample/samples in the stereo field. The Amp Envelope controls affect level changes over time.
Page 250 The second Envelope tab contains the filter modulation envelope. Use the Type field to select a filter for the selected pad. See 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 251 The third Envelope tab contains the pitch modulation envelope. Global Semi lets you transpose the keygroup up to 36 semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi field on the Global tab. Fine provides fine-tuning of each layer by cents.
Page 252: Lfo
A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be used for modulation purposes. Use the Wave field to select the LFO waveform type: Sine (best suited for smooth modulations) Triangle (best suited for smooth modulations) S&H (samples a random value and holds it until the next value is generated) Saw (can generate interesting filter or volume changes) Saw Down (can generate interesting filter or volume changes)
Page 253: Porta / Mod
Porta / Mod Use the Portamento fields to adjust the settings for pitch gliding. The Time slider sets the length of the glide between notes. Tap the Quantize button to synchronize the portamento time with the project tempo. Tap the Legato button to enable or disable pitch gliding for all triggered notes or just legato notes. Use the Velocity Sensitivity sliders to set how much velocity is required to modulate certain other parameters: •...
Page 254: Effects
To enable or disable all four insert effects, tap the All On/Off button in the upper-right corner. To load a factory FX rack, tap the Akai folder icon. You can choose from a number of preset combinations of insert effects by applications like Drums and Percussion, Voice, LoFi, Mastering, and more.
Page 255 To adjust the effect’s parameters, tap the pencil icon. Use the user interface or sliders to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global. Sends The audio of the program will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned main output at the designated return levels.
Page 256: 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 257 The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this. 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 while viewing the Pad tab.
Page 258: Program
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 259: Pad
The upper half of the screen 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. The green marker and red marker are the start point and end point (respectively).
Page 260 Below is a brief step-by-step process so you can get familiar with setting up a clip. Continue reading the rest of this chapter to learn how to use the parameters in this window. To assign and edit a clip: 1. Assign a sample to a pad using the Program tab (described earlier).
Page 261 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 how the clip is played. One Shot: When you press the pad, the entire clip will play from start to end and then stop.
Page 262: Plugin Programs
Plugin Programs For plugin programs, you will see a graphical representation of the plugin interface, or an overview of all available plugin parameters with a slider for each. To select an effect preset, use the dropdown menu at the top of the screen. To load a saved preset, tap the folder icon at the top of the screen.
Page 263: 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 screen to access the available parameters. Tap the Edit button in the top-right of the page to edit the MIDI program assignments and naming.
Page 264: Cv Programs
CV Programs For CV programs, you will see an overview of all available CV outputs with a slider for each. The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this. Use the sliders to set the value of each parameter.
Page 265: 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 266: List Edit Mode
List Edit Mode List Edit Mode has some of the features of the Grid View—as well as some additional ones—but with a different interface/workflow. The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes.
Page 267 The Settings window lets you configure certain List Edit Mode settings. To view the Settings, tap the gear icon. Use the Hitting Pad Selects All Events selector to turn the feature on or off. When On, pressing a pad will automatically select all note events for that pad in the sequence on that track.
Page 268 The red arrow () on the left side of the list represents the audio playhead’s current position. If your sequence is playing, the arrow will move accordingly. The following icons indicate the corresponding types of events: Note Track Mixer Automation (Volume, Pan, Mute, Solo) Track MIDI CC Automation (0–127) Track Parameter Automation (Aftertouch, Pitchbend, Channel Pressure, or Program Change) Program Mixer Automation (Volume, Pan, Mute, Solo, or Send 1–4)
Page 269 To select an event, tap it. To select multiple events, press and hold Shift and tap each event. To insert a note event, press Rec or Overdub so the button is lit, and then press a pad. A note event will be created at the current location using the pad you pressed.
Page 270: Browser
You can also audition (preview) your samples before loading them. Important: You can install an additional SATA drive in your MPC X, MPC Live, MPC Live II, MPC Key 61, or MPC Key 37 hardware, allowing for even more storage space. See Appendix >...
Page 271 To enter a folder, double-tap it or tap Open in the lower-right corner. Alternatively, press the data dial, or press the center cursor or Enter (MPC X), to enter a selected folder. You can also tap one of the folder buttons (1–5)
Page 272 Use the six filter buttons to show only specific types of files in the list below. Folders will still be shown in the list. To show project files only, tap the P/page icon. To show sequence files only, tap the bars icon. To show program files only, tap the four-squares icon.
Page 273: Sample Assign
Alternatively, use the data dial or –/+ buttons to select a sample, and press the data dial, or press the center cursor or Enter (MPC X), to assign it. You can also tap and drag from the sample name to the desired pad.
Page 274: Sampler
2. Connect a synthesizer or other line-level audio source to the input/inputs of your MPC hardware. 3. Turn the 3/4 Rec Gain (MPC X), Gain (MPC Key 61), or Rec Vol (MPC Live, MPC Live II, MPC One, MPC Key 37, MPC Touch) knob to set the input level while playing your audio source.
Page 275 Use the threshold slider to adjust the threshold. Alternatively, turn Q-Link Knob 1 (MPC X) or the first Q-Link knob in the fourth column (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Key 37, MPC Touch).
Page 276 Use the Max Length field to define the maximum sampling time. Alternatively, turn the Q-Link Knobs 3 and 4 (MPC X) or the third and fourth Q-Link knobs in the fourth column (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Key 37, MPC Touch): Minutes and Seconds.
Page 277: 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 278 After you stop your recording, the Keep or Discard Sample window will appear. Use the Edit Name field to name the new sample. Tap it and use the virtual keyboard that appears. Use the Program field to assign the new sample to a program. Select <none> if you want to save it to the project without assigning it to a program.
Page 279: 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 280: Pad Tap
Use the Create New Program field to assign the new sample to a new program: Off: No program will be created. The slices will still be added to your project’s sample pool. With Non-Destructive Slices: In the new program, each pad’s Slice setting will be set to the corresponding slice number.
Page 281: Pad Hold
Pad Hold 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 and holding a pad immediately starts or continues recording directly to that pad (make sure you are using the desired program before you start recording).
Page 282: Auto Sampler
Auto Sampler The Auto Sampler allows you to capture and convert any plugin preset or external instrument preset into a Keygroup sampler patch. To open the Auto Sampler, press the Auto Sampler icon in the toolbar. Sample Source Information The Track name and Program name fields show the target track and program that will be sampled.
Page 283: Looper
2. Connect a synthesizer, audio player, etc. to the input/inputs of your MPC hardware. 3. Turn the 3/4 Rec Gain (MPC X), Gain (MPC Key 61), or Rec Vol (MPC Live, MPC Live II, MPC One, MPC Key 37, MPC Touch) knob to set the input level while playing your audio source. You should now see the level in the meter.
Page 284 Tip: To avoid possible clicks or feedback while input monitoring, reduce the level of the audio sources. Use the threshold slider to adjust the threshold. Alternatively, turn Q-Link Knob 1 (Threshold on MPC X) or the first Q-Link knob in the fourth column (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Key 37, MPC Touch). The threshold slider will work only when Sync is off (see below).
Page 285 Use the Bars field to define the length of your loop. Regardless of how much or how little audio you record, this is how long your loop will be. Use the Sync button to sync or un-sync the looper with sequence playback.
Page 286 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 287 To export the loop as a sample: 1. Tap Export to open the Export Loop as a Sample window. 2. Tap the Edit Name field and use the virtual keyboard that appears to enter a new name. 3. Optional: Use the Program field to assign it directly to a program. To ignore this feature, select <none>. 4.
Page 288: Pad Mixer
To enter the Pad Mixer, do any of the following: • Press Menu, and then tap Pad Mixer. • Press Pad Mixer (MPC X), Shift+Track Mix/Pad Mix (MPC One), or Shift+Mix/Pad (MPC Key 61, MPC Key 37). • Press and hold Mode and press Pad 7 (MPC Studio).
Page 289 Use the Program field in the upper-left corner to select the program whose pads you want to view. Remember that only drum programs, keygroup programs, or clip programs will display properly in the Pad Mixer. Use the Track field at the top of the screen to select the desired track. The time counter in the upper-right corner the current playhead position.
Page 290: Levels
Levels When the Level tab is selected, use the data dial or –/+ buttons to adjust the level of the currently selected pad. The level sliders and meters in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the level slider and meter.
Page 291: 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 on the screen. 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 292: Insert Effects
Insert Effects When the Insert tab is selected, use the data dial or –/+ buttons to open a window where you can select an effect for the currently selected pad. Instead of level sliders, there are fields that display 0–4 boxes to indicate which insert slots have a loaded effect. The level meters in each pad show a visual representation of the level.
Page 293: Channel Mixer
• Press Menu, and then tap Channel Mixer. • Press Ch. Mixer (MPC X), Track Mix (MPC One), or Mix (MPC Key 61, MPC Key 37). • Press and hold Mode and press Pad 8 (MPC Studio). The Channel Mixer works like an audio mixer with various settings for each channel, shown in a 4x4 array. Their functionality is mostly identical.
Page 294 When Mute is selected, mute tracks, programs, returns, submixes, or main outputs by doing any of the following: • Turn or press the center cursor or Enter (MPC X), or the data dial (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Key 37, MPC Touch). •...
Page 295 Send Levels (audio tracks, programs, and submixes only) When the Send tab is selected, use the data dial or –/+ buttons to adjust the send level of audio tracks, programs, or submixes. The level sliders in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the level slider.
Page 296: Midi Tracks
MIDI Tracks The MIDI Track Mixer shows levels, panning, and mute states for all used tracks. To view a specific setting on all tracks, tap Level, Pan, or Mute at the bottom of the screen. Tap Mute/Solo/Rec Arm to switch between them. When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.
Page 297: 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 screen. Tap Mute/Solo/Rec Arm to cycle through them. When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.
Page 298 Adjust the pan knob or level slider to change the panning or level of the track. Tap the Record Arm button or press Rec Arm (MPC X) to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track.
Page 299: 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 screen. Tap Mute/Solo to switch between them. Tap Send or Insert to cycle through the four available slots for each. When a program is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.
Page 300 Tap the automation button to toggle between its two states. Alternatively, press Read/Write (MPC X, MPC Key 61) or Automation (MPC Key 37). When set to Read (R), the program will read automation data but will not record any additional automation over it.
Page 301: Returns
MPC Key 61/MPC Key 37 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them). Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded.
Page 302: Submixes
Submixes The Submixer shows levels, panning, mute states, send and insert effects, and routing for the eight available submixes. To view a specific setting on all submixes, tap Level, Pan, Mute, Send, Insert, or Route at the bottom of the screen.
Page 303: Main Outputs
MPC One/MPC Key 61/MPC Key 37 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them). To view a specific setting on all outputs, tap Level, Pan, Mute, or Insert at the bottom of the screen. You can tap Insert multiple times to cycle through the four available slots.
Page 304: Pad Mute Mode
• Press Menu, and then tap Pad Mute. • Press Shift+Track Mute/Pad Mute (MPC X, MPC One, MPC Key 37), or Shift+Mute/Pad (MPC Key 61). • Press Pad Mute (MPC Studio). There are two tabs you can view in this mode: Pad Mute or Pad Group. Tap each button in the lower-left corner to select it.
Page 305: 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 306: Pad Group
Pad Group The pad group feature extends the concept of pad mutes: you can mute or unmute multiple pads (on a single track) by pressing one pad that you have assigned to a mute group. This is useful if you want to hear a track without a particular group of sounds or if you want to isolate specific sounds in various combinations.
Page 307: Track Mute Mode
• Press Menu, and then tap Track Mute. • Press Track Mute (MPC X, MPC One, MPC Key 37), or press Mute (MPC Key 61). • Press and hold Shift and press Pad Mute (MPC Studio). There are two tabs you can view in this mode: Track Mute or Track Group. Tap each button in the lower-left corner to select it.
Page 308: Track Mute
Tap the gear icon to open the Track Mute Settings window. Check the Instant Track Mute box to instantly mute all audio on a track when mute is enabled. When unchecked, any sustained sounds will continue to play when mute is enabled. Check the Play Track Mute and Solo Events to play back track muting and soloing recorded with automation.
Page 309: Track Group
Track Group The track group feature extends the concept of track mutes: you can mute or unmute multiple tracks (in a single sequence) by pressing one pad that you have assigned to a track group. This is useful if you want to hear a track without a particular group of sounds or if you want to isolate specific sounds in various combinations.
Page 310: Next Sequence Mode
• Press Menu, and then tap Next Sequence. • Press Next Seq (MPC X, MPC Live II, MPC One). • Press and hold Mode and press Pad 9 (MPC Studio). The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See General Features >...
Page 311 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. During playback, change the next sequence that will play by pressing the corresponding pad or tapping it on the screen.
Page 312: Song Mode
• Press Menu, and then tap Song Mode. • Press Shift+Next Seq/Song (MPC X). • Press and hold Mode and press Pad 10 (MPC Studio). Important: If a sequence is currently playing, stop playback before entering Song Mode. You cannot enter Song Mode during playback.
Page 313 The sequence playlist on the left lists of the “steps” of a song. Each step has (in columns, left to right): • the step number (each song can contain up to 999 steps) • a sequence number and name • how many times the sequence plays (each step can play up to 999 times;...
Page 314 To change a step’s sequence: 1. In the desired step, tap the sequence name. 2. Use the data dial or –/+ buttons to select another sequence. To delete a step, tap it, and then tap Delete in the lower-right corner of the screen. To clear the entire sequence playlist (delete all steps), tap Clear.
Page 315: Q-Link Edit Mode
To select an edit mode for the Q-Link knobs, tap one of the five buttons at the bottom of the screen. If you are using MPC X, you can also press one of the five Q-Link buttons above the Q-Link knobs (Project, Program, Pad Scene, Pad Param, or Screen Control/Edit): Project: In this edit mode, the Q-Link knobs can control 16 parameters within the current project overall.
Page 316 To show the Q-Links window, press and hold any of the Q-Link buttons: Project, Program, Pad Scene, Pad Param, or Screen Control/Edit (MPC X) or the Q-Link button (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Key 37, MPC Touch).
Page 317: Project
One/MPC Key 61/MPC Key 37 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them). Next to the second row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you...
Page 318 Use the Parameter field to select the parameter you want to control with the currently selected Q-Link knob. When the MIDI Track tab is selected: Mixer: Off, Volume, Pan, Mute, Solo When the Audio Track tab is selected: Mixer: Off, Volume, Pan, Mute, Solo, Send 1–4 Insert 1–4: Off, other available parameters depend on the effect When the Program tab is selected and Type is set to Program: Mixer: Off, Volume, Pan, Mute, Solo, Send 1–4...
Page 319: Program/Audio Track
Program/Audio Track In the Program/Audio Track Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the currently selected program or audio track. When a MIDI track is selected: Next to the top row of Q-Link knobs on the screen, 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 320 When Type is set to Pad: Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4 Program: Filter Env Attack Curve Layer Semi Tune (1–4) Layer Reverse (1–4) Tuning Filter Env Decay Curve Layer Fine Tune (1–4) Layer Offset (1–4) Filter Cutoff Filter Env Release Curve Velocity to Start...
Page 321 When an audio track is selected: Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs: Mixer: general mixer parameters Insert 1–4: parameters for its program insert effects Use the Parameter field to select the parameter you want to control with the Q-Link knobs.
Page 322: 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. (These assignments are automatically saved with other user settings.
Page 323: Pad Parameter
Pad Parameter In the Pad Parameter 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 324: 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 325: 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, enter Main mode and tap the pencil icon in the Program section to open the edit options, and then 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 another track in Main mode that uses the desired program.
Page 326 Use the Single Pad/All Pads select to determine whether you are setting the color for a Single Pad or All Pads. Tip: To quickly assign that color to all pads in the program, press and hold Shift while tapping a color button. Use the color buttons to select which color you are assigning.
Page 327: Midi Control Mode
MIDI Control Mode You can use MIDI Control Mode on your MPC hardware 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.
Page 328: Pads
Note: The Control field menu will show many more hardware controls than are actually available on your MPC hardware. This is because the list includes all possible controls from all current MPC models (MPC X, MPC Live, MPC Touch, etc.). You can edit only the controls that are described in this chapter.
Page 329: Buttons
Buttons These are the MIDI parameters you can edit for each button. You can edit the Erase, Tap, Undo/Redo, or Copy/Delete buttons: Control: This is the hardware control you are currently editing (Erase, Tap, Undo, or Copy). Light LED: This determines how the button’s LED (or multiple LEDs) will behave. When set to Never, the LEDs will always be off.
Page 330: 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 your MPC hardware. When set to Never, the LEDs will always be off.
Page 331: Xy Pad
XY Pad These are the MIDI parameters you can edit for each axis of the XY pad: Control: This is the axis you are currently editing (XYFX X-Axis or XYFX Y-Axis). This field will be hidden if you tapped the XY tab to show the XY pad’s parameters. You can tap the Hardware tab to show this field. Mute: This button determines whether the axis is muted or not.
Page 332: Midi Learn
MIDI Learn You can use the MIDI Learn function to assign external MIDI controllers to various parameters in your specific MPC project: • Mixer parameters such as volume, pan, mute, and solo for MIDI or audio tracks, programs, returns, submixes, and main outputs •...
Page 333 • Rel CC Offset: When the control is a knob, turning it will send the CC message (determined by the Data field), starting from the current value. This is for use with 360° knobs controlling parameters that have a maximum and minimum position. •...
Page 334: Keyboard Control
Keyboard Control The keyboard control screen allows you to edit the functions of the keybed on MPC Key 61 and MPC Key 37. To access Keyboard Control, press the Keyboard Control button on your MPC Key 61 or MPC Key 37. You can then edit the following parameters.
Page 335 External Keyboard Routing MIDI Output Port: This determines the MIDI port where the keyboard will output MIDI externally. Keyboard sends MIDI here: Check this box to send all MIDI from the keyboard to the selected MIDI Output port. MIDI Channel: This determines which MIDI channel (1–16) the keyboard will use to send messages externally.
Page 336: Ableton Control Mode
• Tap Pad Perform in the Program section of Main Mode. • Press Pad Perform (MPC X). • Hold Shift and press 16 Level (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Key 37, and MPC Touch).
Page 337 Use the type selector in the top-left to determine what will be mapped over the pads: Chromatic: Each pad is assigned a note, ascending by one semitone with each pad. Pads with notes in the key determined by the Scale will be lit, while pads with notes between the scale degrees will be unlit. Notes: Each pad is assigned a note, ascending by one scale degree with each pad.
Page 338 Use the Scale & Octave fields to determine the root note and the scale type. Root Note (pitch and register): This is the starting point of the scale. The available notes are all chromatic notes across the range of the pads. The pad that’s assigned the root note will be lit differently (and highlighted on the screen) to indicate where the scale starts in each octave.
Page 339: Appendix
Appendix Effects & Parameters This chapter lists the available effects. To learn more about how effects work with MPC, please see General Features > Effects. Effects with a * next to their name are not included with MPC and are available for purchase from thempcstore.com. Note: Some of these effects have a “sync”...
Page 340 AIR Diff Delay This is a delay line effect that is synchronized to Parameter Value Range Default Value your session tempo and uses an adjustable amount Time of diffusion to emulate the dissipation of echoes in Sync Off: 1 – 1000 ms 161 ms reverberant space.
Page 341 AIR Non-Lin Reverb This is a spatial effect, designed to produce synthetic, Parameter Value Range Default Value processed ambience with special gated and reversed reverb Pre-Delay 0–250 ms 0 ms effects. Dry Delay 0–1500 ms 0 ms Time 0–1000 ms 250 ms 0–100% (dry–wet) 50% Diffusion...
Page 342 AIR Spring Reverb This is a spatial effect, designed to emulate the sound of a Parameter Value Range Default Value spring reverb tank. Pre-Delay 0–250 ms 3 ms Time 1.0–10.0 s 4.0 s 0–100 (dry–wet) Diffusion 0–100% 100% Width 0–100% Low Cut 20.0 Hz –1.0 kHz 141 Hz Delay Analog Sync...
Page 343 Delay Mono Sync This mono effect delays the original signal for a specified Parameter Value Range Default Value period of time (synced to the project tempo) and plays it Dry/Wet 0–100 (dry–wet) back over an adjustable period of time. Time 1 bar –...
Page 344 Delay Stereo Stereo Delay operates similarly to Mono Delay but in true Parameter Value Range Default Value stereo. Dry/Wet 0–100 (dry–wet) Time 2–2000 ms Feedback 0–100 Damping 0–100 Delay Sync (Stereo) This effect is the same as Delay Stereo but is synced to the Parameter Value Range Default Value...
Page 345 Reverb Large 2 This is a less CPU-intensive spatial effect, emulating the Parameter Value Range Default Value sound of a 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 This is a spatial effect, designed to emulate the sound of a Parameter...
Page 346 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 347: Dynamics
Dynamics Options: AIR Channel Strip, Compressor, Expander*, Limiter, Maximizer, AIR Noise Gate, Pumper, Transient, Compressor, Compressor Opto, Compressor VCA, Compressor Vintage, Mother Ducker Input, Mother Ducker, Transient Shaper AIR Channel Strip This specially-designed plugin combines multiple effects with a fast interface. The EQ section provides a highpass filter, low and high shelves, and a fully parametric mid-band.
Page 348 AIR Compressor This basic compressor effect changes the dynamic Parameter Value Range Default Value range of a signal by automatically reducing its gain if it Threshold -60.0 – 0 dB -48.0 dB exceeds a certain level (the threshold). Ratio 1.0:1 – 100.0:1 3.9:1 Output 0.0 –...
Page 349 AIR Noise Gate This effect is similar to a compressor, but instead of Parameter Value Range Default Value attenuating audio signal that rises above a threshold, a noise Threshold -120.0 – 0.0 dB -48.0 dB gate attenuates audio signal that falls below a threshold by a set amount.
Page 350 Compressor Opto The Opto Compressor is modeled after a vintage Parameter Value Range Default Value compressor type using an optical circuit to control the Dry/Wet 0–100 (dry–wet) volume reduction of the input signal. These compressors are usually associated with soft and unobtrusive attack and Input -6 –...
Page 351: Eq/Filter
Mother Ducker Input Add this effect as an insert to the track you want to use as a Parameter Value Range Default Value trigger input, such as a kick drum track. Bus 1–8 Bus 1 Mother Ducker Add this effect as an insert to the track you want to have the Parameter Value Range Default Value ducking effect applied to.
Page 352 AIR Filter Gate This effect chops your audio signal into Parameter Value Range Default Value rhythmic patterns with variable filtering, Pattern Straight, Pulse, Pumper, Marching, Straight amplitude and panning. Fader, Offbeats, Off+Pan, L/R Pan, LL/RR Pan, Slow Pan, Rand Pan, Shorter, Longer, Reverse, Random, Keyed 1–2, Half Time, 12-Step, Ducked, Trance 1–6, Tech 1–6...
Page 353 AIR Kill EQ This effect can zap out the Low, Mid or High broadband Parameter Value Range Default Value frequency from an audio signal. High Thru, Kill Thru Thru, Kill Thru Thru, Kill Thru Output -20.0 – +20.0 dB 0.0 dB High Gain -Inf –...
Page 354 AIR Para EQ (continued) Parameter Value Range Default Value Low Out/In Out, In Output -20.0 – +20.0 dB 0.0 dB High Cut 120 Hz – 20.0 kHz 20.0 kHz Freq High Cut Type 6, 12, 18, 24 dB 12 dB High Cut Out/In Out, In Low Cut Freq...
Page 355 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 Filter This effect is a static filter without modulation.
Page 356 LP Shelving Filter This filter differs from the standard filter type, as it attenuates Parameter Value Range Default Value all frequencies after the cutoff point equally. Frequency 10–19999 Hz 1500 Resonance 0–100 Gain -18.0 – 18.0 dB PEQ 2-Band, 2-Shelf This effect is a combination of one two-band parametric Parameter Value Range...
Page 357: Harmonic
Harmonic Options: AIR Amp Sim, AIR Diode Clip, Distortion, Flavor, AIR Freq Shift, Lo-Fi, AIR Talk Box, Tube Drive, Decimator, Distortion Amp, Distortion Custom, Distortion Fuzz, Distortion Grimey, Distortion Overdrive, Frequency Shifter, Granulator, Resampler, TouchFX, XYFX AIR Amp Sim This effect simulates guitar and bass amplifiers with a Parameter Value Range Default Value...
Page 358 AIR Distortion This effect is a multi-type distortion that adds color to your Parameter Value Range Default Value audio signal with varying types and amounts of distortion. Mode Hard, Soft, Wrap Hard Drive 0 – 60 dB 15 dB Output 0–100% 100% 0–100% (dry-wet) 100%...
Page 359 AIR Lo-Fi This effect is used to bit-crush, down-sample, clip, rectify and mangle an audio signal. Parameter Value Range Default Value Lo-Fi Bit Depth 1.0 – 16.0 bit 16.0 bit Sample Rate 500 Hz – 50.0 kHz 50.0 kHz 0–100% 100% Distortion Clip...
Page 360 AIR Tube Drive This effect is designed to reproduce the sound of an Parameter Value Range Default Value overdriven tube amplifier. Drive 0–100% Headroom -30.0 – 0.0 dB -15.0 dB Saturation 0–100% Output -20.0 – +20.0 dB 0.0 dB Decimator Decimator down-samples the incoming signal by removing Parameter Value Range...
Page 361 Distortion Fuzz This popular effect uses hard clipping of the audio signal, Parameter Value Range Default Value which, at extreme settings, can turn a standard waveform Dry/Wet 0–100 (dry–wet) into a square wave, producing a “razor” effect. Drive 0–100 Output 0–100 0–100 Low-Mid...
Page 362 Granulator This effect turns your incoming audio into small grains of Parameter Value Range Default Value sound that can be looped, pitch shifted, and manipulated Grain Density 1.0–300.0 68.0 in new and interesting ways. grains/sec grains/sec Grain Window 20.0–1000.0 ms 608.0 ms Grain Length 10.0–200.0 ms...
Page 363: Modulation
Modulation Options: Chorus*, Ensemble, Flanger, Fuzz-Wah, AIR Half Speed, Multi-Chorus, Phaser, AIR Pitch Shifter, AIR Stereo Width, Stutter, Auto Wah, Autopan Sync, Autopan, Chorus 2-Voice, Chorus 4-Voice, Flanger Sync, Flanger, Phaser Phaser Phaser Sync, Tremolo Sync, Tremolo AIR Chorus * This effect is a compact but powerful plugin for Parameter Value Range...
Page 364 AIR Fuzz Wah This is a multi-effect that combines transistor-like distortion and wah. Parameter Value Range Default Value Fuzz-Wah 0–100% (dry–wet) 100% Order Fuzz>Wah, Wah>Fuzz Fuzz>Wah Fuzz Mix 0–100% (dry–wet) 100% Wah Mix 0–100% (dry–wet) 100% Fuzz Drive 0 – 40 dB 20 dB Fuzz Tone 1.00 –...
Page 365 AIR Multi-Chorus This effect applies a thick, complex chorus effect to your Parameter Value Range Default Value audio signal. Rate 0.01 – 10.0 Hz 1.00 Hz Depth 0.00 – 24.00 ms 6.00 ms Voices 3, 4, 6 0–100% (dry–wet) Chorus Low 20.0 Hz –...
Page 366 AIR Stutter This effect creates mind-blowing glitch effects using a Parameter Value Range Default Value wide range of volume, pan and pitch stutter effects. Intervals 1/64 – ¼ 1/16 Sync Off, On Steps 2–64 Step Length 0–100% 100% Freeze Off, On Decay 50.0 ms –...
Page 367 Chorus 4-Voice This effect is the same as Chorus 2-Voice, but adds Parameter Value Range Default Value additional voices for more pronounced modulation. Dry/Wet 0–100 (dry–wet) Delay 0–100 Amount 0–100 Width 0–100 Feedback 0–100 Rate 0–100 Flanger Sync This effect is the same as Flanger, but syncs to your project Parameter Value Range Default Value...
Page 368: Vocal
Tremolo Sync This effect uses an LFO (synced to project tempo) to Parameter Value Range Default Value increase and decrease the volume of the signal. Depending Dry/Wet 0–100 (dry–wet) on the LFO shape, this can produce a smooth wave effect (sine wave) or a stuttering “on-off”...
Page 369 AIR Vocal Harmonizer This effect can create up to four-part realistic vocal Parameter Value Range Default Value harmonies and complex doubling effects. Each vocal part A–G# has its own level, delay, formant, mode and interval parameters. Scale Major, Minor, Harm Major Minor, Melo Minor, Dorian, Phrygian,...
Page 370: 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 371 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 372 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 373 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.) Program Edit Mode is where you can edit and assign samples (read more about this in Operation >...
Page 374 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 375: Sata Drive Installation
Your MPC X, MPC Live, MPC Live II, or MPC Key 61 can support nearly any standard 2.5” SATA drive on the market—either a solid-state drive (SSD) or hard-disk drive (HDD). Make sure it uses a 2.5” (63.5 mm) form factor and uses (or can use) one of these file systems: exFAT, FAT32, NTFS, or EXT4 (for read and write capability) or HFS+ (for read-only capability).
Page 376: Midi Machine Control (Mmc)
MIDI Machine Control (MMC) Your MPC hardware can send and receive MIDI Machine Control (MMC) messages, a standard protocol for transport controls. The MPC hardware can send these messages: MPC Button MMC Command Sent MMC Record Strobe , then MMC Record Exit (when recording starts) Overdub MMC Record Strobe...
Page 377: Technical Specifications
Technical Specifications Specifications are subject to change without notice. MPC X / MPC X Special Edition Digital Audio System ADCs 24-bit @ 44.1, 48, or 96 kHz 24-bit @ 44.1, 48, or 96 kHz DACs Digital Signal Processing 32-bit floating point Mic Inputs 1–2...
Page 378 (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) Sensitivity...
Page 379 Memory 2 GB (MPC X) 4 GB (MPC X Special Edition) Internal 16 GB (MPC X) (6 GB user storage) Storage 48 GB (MPC X Special Edition) (10 GB user storage) Expandable via SATA connections File System Compatibility exFAT (read & write) (recommended) FAT32 (read &...
Page 380: Mpc Live
MPC Live Digital Audio System ADCs 24-bit @ 44.1, 48, or 96 kHz DACs 24-bit @ 44.1, 48, or 96 kHz 32-bit floating point Digital Signal Processing Line Inputs Dynamic Range 113.5 dB (A-weighted) (2) balanced 108 dB (1 kHz, +4 dBu, A-weighted) 1/4”...
Page 381 Mechanical Pads (16) velocity- and pressure-sensitive pads, RGB-backlit (8) banks accessible via Pad Bank buttons Knobs (4) 360° touch-sensitive Q-Link knobs (4) Q-Link knob columns accessible via Q-Link button (1) 360° encoder for value/data adjustment and selection via push Display 7”...
Page 382: Mpc Live Ii
MPC Live II Digital Audio System ADCs 24-bit @ 44.1, 48, or 96 kHz DACs 24-bit @ 44.1, 48, or 96 kHz 32-bit floating point Digital Signal Processing Line Inputs Dynamic Range 113 dB (A-weighted) (2) balanced 108.5 dB (1 kHz, +4 dBu, A-weighted) 1/4”...
Page 383 Headphone Output Dynamic Range 111 dB (A-weighted) (1) 1/8” (3.5 mm) (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones) THD+N 0.003% stereo headphone 20 Hz – 20 kHz Frequency Response (+0.0 / -0.2 dB) (<1% THD, 32 Ω headphones) Maximum Power Delivered +35 mW Maximum Output Level...
Page 384 Power via power adapter: 19 V, 3.42 A, center-positive, included via battery: lithium-ion, rechargeable, up to 4 hours of battery life Dimensions 16.2” x 9.6” x 1.8” (width x depth x height) 411.5 x 243.8 x 45.7 mm Weight 7.45 lbs. 3.38 kg...
Page 385: Mpc One / Mpc One
MPC One / MPC One+ Digital Audio System ADCs 24-bit @ 44.1, 48, or 96 kHz DACs 24-bit @ 44.1, 48, or 96 kHz 32-bit floating point Digital Signal Processing Line Inputs 1–2 Frequency Response 20 Hz – 20 kHz (+0/-0.8 dB) (2) balanced 1/4”...
Page 386 File System Compatibility exFAT (read & write) (recommended) FAT32 (read & write) NTFS (read & write) EXT4 (read & write) HFS+ (read only) Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV Wi-Fi Frequency 2.4 GHz / 5 GHz 802.11a/b/g/n/ac Standard Max. Power 2.4 GHz Wi-Fi: +17 dBm 5 GHz Wi-Fi: +17 dBm Bluetooth...
Page 387: Mpc Key 61
MPC Key 61 24-bit @ 44.1, 48, or 96 kHz Digital Audio System ADCs DACs 24-bit @ 44.1, 48, or 96 kHz Digital Signal Processing 32-bit floating point 20 Hz – 20 kHz Mic Inputs1–2 Frequency Response (+0.2 / -1.0 dB) (2) balanced XLR+1/4”...
Page 388 Outputs 3–4 Frequency Response 20 Hz – 20 kHz (+0.03 / -0.2 dB) (2) impedance- Dynamic Range 115 dB (A-weighted) balanced 1/4” (6.35 mm) TRS 0.004% THD+N (1 kHz, -1 dBFS) Maximum Output Level +16 dBu 50 Ω Output Impedance 20 Hz –...
Page 389 2.4 GHz / 5 GHz Wi-Fi Frequency Standard 802.11a/b/g/n/ac Max. Power 2.4 GHz Wi-Fi: +17 dBm 5 GHz Wi-Fi: +17 dBm Bluetooth Version HID, A2DP Profile (2) 1/4” (6.35 mm) Combo XLR/TRS inputs (1 stereo pair) Connections (1) 1/4” (6.35 mm) TRS sustain pedal input (TS compatible) (1) 1/4”...
Page 390: Mpc Key 37
MPC Key 37 Digital Audio System ADCs 24-bit @ 44.1, 48, or 96 kHz DACs 24-bit @ 44.1, 48, or 96 kHz 32-bit floating point Digital Signal Processing Line Inputs 1–2 Frequency Response 20 Hz – 20 kHz (+0.2/-0.5 dB) (2) balanced 1/4”...
Page 391 File System exFAT (read & write) (recommended) Compatibility FAT32 (read & write) NTFS (read & write) EXT4 (read & write) HFS+ (read only) Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV Wi-Fi Frequency 2.4 GHz / 5 GHz 802.11a/b/g/n/ac Standard Max. Power 2.4 GHz Wi-Fi: +17 dBm 5 GHz Wi-Fi: +17 dBm Bluetooth...
Page 392: Mpc Studio Mk2
MPC Studio mk2 (16) velocity- and pressure-sensitive pads, RGB-backlit Pads (8) banks accessible via Pad Bank buttons (1) 360° push encoder for display navigation and selection Knobs Touch Strip (1) multi-function 5.5" (140 mm) touch-capacitive controller with LED indicators Buttons (39) LED backlit dedicated function buttons Full-color LCD Display...
Page 393: Mpc Touch
MPC Touch Line Inputs Dynamic Range 102 dB (A-weighted) (2) balanced 99 dB (1 kHz, +4 dBu, A-weighted) 1/4” (6.35 mm) TRS THD+N 0.002% (1 kHz, +4 dBu, -1 dBFS) Frequency Response 20 Hz – 20 kHz (+0.1 / -0.1 dB) Maximum Input Level +15 dBu Input Impedance...
Page 394: Trademarks & Licenses
Trademarks & Licenses Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries. Ableton is a trademark of Ableton AG. 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 395: Addenda
Addenda Updates in MPC 2.1 New Features Exporting Expansions You can export MPC Expansion Packs (installed on your computer) to your MPC hardware for use in its Standalone Mode. (This has been added to Operation > Modes > Browser > Browse.) To export MPC Expansions: 1.
Page 396: Snap: Absolute & Relative
Snap: Absolute & Relative While editing a MIDI or audio track, you can now use the Grid View or Audio Edit Mode to move or copy events using two different ways of “snapping” note events to the grid: Absolute or Relative. (This has been added to Operation >...
Page 397: Pitch Quantization
Pitch Quantization In a MIDI track, you can now force the pitches of note events into a specific scale. This quantization process is available with other track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section.) To edit the track, tap the pencil icon on the right edge of the section.
Page 398: Step Sequencer: Velocity Adjustment Via Q-Links
While using the Step Sequencer, you can now use the Q-Link knobs to adjust the velocity of the note event at each step (the Q-Link knobs must be in the Screen edit mode). On MPC X, the number of each step will be shown under the corresponding Q-Link knob.
Page 399: Updates In Mpc 2.2
Updates in MPC 2.2 New Features MIDI Control Mode: MIDI Learn You can now use the MIDI Learn function to assign external MIDI controllers to various parameters in your specific MPC project: • Mixer parameters such as volume, pan, mute, and solo for MIDI or audio tracks, programs, returns, submixes, and main outputs •...
Page 400: Humanize
Ch: This is the MIDI channel the control is using. Data: This is the MIDI note number or CC number. Flip: Tap this box to select or deselect it. When selected, the control’s polarity will be reversed (e.g., a button’s “off”...
Page 401 The Humanize function applies randomization to the timing, length, and/or velocity of MIDI note events. To select whether or not humanization will be applied to the timing of MIDI events, tap the Humanize Time checkbox. To select the maximum number of pulses by which the timing of an event will be adjusted, use the Amount (Pulses) slider.
Page 402: Generate Random Events
Generate Random Events You now create random melodic or drum patterns on the current MIDI track. This process is available with other track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section). To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open. To open the Generate Random Events window, tap Generate Random Events.
Page 403 If Event Type is set to Drum Events: To select the pad bank that will be used to generate the events, use the Bank field or select Range to use the Start Pad and End Pad menus to define a specific pad range instead. To define a specific pad range over which the events will be generated, use the Start Pad or End Pad fields.
Page 404: Project Template
To set the maximum number of note events that can be sounding simultaneously in the track, use the Polyphony field to select 1–8. To determine whether or not the notes will use a scale, tap the Constrain Notes to Scale checkbox. When on, the notes will be within the scale determined by the Scale menu.
Page 405: Updates In Mpc 2.3
2. Open the Arpeggiator window by doing either of the following: • Press and hold the Note Repeat button, then tap Arp at the bottom-right of the screen. • Alternatively, press the Arpeggiator F-Key (MPC X). To activate the Arpeggiator, tap Enable so it is checked.
Page 406 The Rhythm section of the Arpeggiator window is available when Action is set to Note Repeat or Rhythm. The Note Repeat action provides traditional MPC Note Repeat behavior. When the Rhythm arpeggiator action is selected, hold down a chord and the arpeggiator will play the held notes in a rhythmic pattern.
Page 407: Auto Sampler
To open the Auto Sampler: 1. Open the Sampler mode by doing either of the following: • Press Menu and then tap Sampler. • Press Sampler (MPC X). 2. Press the Auto Sampler icon in the toolbar. Sample Source Information The Track name and Program name fields show the target track and program that will be sampled.
Page 408 Sampling Use the Note length slider to set the length of the sampled note in seconds. Use Tail slider to set the length of the Audio Tail in seconds. This will add extra seconds to the end of the resulting audio file. This is useful if you are capturing samples whose sounds exceed the defined audio length (e.g., long reverb or delay, one-shot samples with long decays, etc.).
Page 409: Crossfade Looping
1. Open Sample Edit mode by doing either of the following: • Press Menu, and then tap Sample Edit. • Press Sample Edit (MPC X). 2. Make sure the loop Lock setting is set to Off. 3. Tap the Loop button to select the Forward (FWD) loop mode.
Page 410: Mode Selection Shortcut
Mode Selection Shortcut You can now press and hold the Menu button on your MPC hardware and press a pad to select a menu mode. The pads follow the 4x4 layout of the Mode Menu. Pad Perform Mode: Chromatic Type You can now use Pad Perform Mode to set the pads to follow a chromatic layout.
Page 411: Split Events
Split Events You can now easily split note events, useful for creating intricate hi-hat parts or quintuplet/sextuplet motifs or drum beats. (This has been added to Operation > Modes > Main Mode > Track Section.) To edit the track, tap the pencil icon on the right edge of the Main Mode screen. The Track Edit window will open.
Page 412: Air Instrument Plugins
AIR Instrument Plugins MPC now includes three new plugin instruments: AIR TubeSynth, AIR Bassline, and AIR Electric. AIR Bassline The AIR Bassline plugin emulates the sound of classic mono synths, with a contemporary twist. Bassline also comes packaged with four integrated AIR effects (Chorus, Delay, Compressor and Hype), as well as two built-in distortion algorithms (Overdrive and Clip).
Page 413 Velocity/Global/Chorus Use this tab to adjust the Velocity Control settings and Global volume. You can also apply and adjust the settings for the built-in Chorus effect. Parameter Description Value Range Velocity Amp Control The amount of effect velocity has on amplitude 0–100% control.
Page 414 Compressor/Hype Use this tab to apply and adjust the settings for the built-in Compressor and Hype effects. Parameter Description Value Range Compressor Threshold Signal level after which the compressor will be applied. 0.0 – -60. dB Ratio Amount of compression applied. 1.0:1 –...
Page 415: Air Electric
AIR Electric The AIR Electric plugin emulates the sound of classic electric pianos. Dedicated Pickup, Envelope, Bell and Noise parameter sections provide a huge amount of flexibility to configure the timbre of the electric piano sound. Electric also includes five AIR effects: Tremolo, Tube Distortion, Chorus, Delay and Spring Reverb.
Page 416 Bell/Noise Use this tab to apply and adjust the settings for the Bell and Noise sounds. Parameter Description Value Range Bell Tune Pitch of the bell sound, in semitones above the root 0– 60 semitones pitch. Dry/PU Mix of Dry versus Pickup signal for the bell sound. -100% –...
Page 417 Trem/Tube/Chorus Use this tab to apply and adjust the settings for the built-in Tremolo, Tube (Overdrive), and Chorus effects. Parameter Description Value Range Tremolo Rate Modulation speed of the effect. When Sync is set to Free: 0.25 – 13.00 Hz When Sync is set to Sync: 8/4 –...
Page 418 Spring Reverb Use this tab to apply and adjust the settings for the built-in Spring Reverb effect. Parameter Description Value Range Pre-Delay Length of time between dry signal and reverberated signal. 0–250 ms Time Length of reverb tail. 1.0 – 10.0 s Wet/dry amount of the reverb effect.
Page 419: Air Tubesynth
AIR TubeSynth The AIR TubeSynth plugin emulates the sound of classic vintage analog polysynths. TubeSynth is based on the highly acclaimed AIR Vacuum Pro desktop synth plugin and also includes 5 integrated AIR effects. Oscillator Use this tab to adjust the settings for the two variable Oscillators and the Sub Oscillator.
Page 420 Mixer / Filter Use this tab to control EQ for Oscillator 2, set the levels of the oscillators and effects, and edit the low-pass filter. Parameter Description Value Range Osc 2 EQ Gain Amount of gain applied to the selected Frequency. -48 –...
Page 421 Envelope Use this tab to adjust the various envelope settings. Parameter Description Value Range Filter Envelope Attack Length of time for the filter to reach full level. 1.00 ms – 100 s Decay Length of time for the filter to reach sustain level. 1.00 ms –...
Page 422 Use this tab to adjust the settings for the low-frequency oscillators. Parameter Description Value Range LFO 1/LFO 2 Shape Waveshape of the low-frequency oscillator. Sine, Square. Saw Up, Saw Down, Pump, S&H, Drift Destination Where the low-frequency oscillator is sent. LFO1: Off, Pitch, Filter, Level, Pan LFO2: Pitch, Osc 1/2 Shape,...
Page 423 Setup Use this tab to adjust plugin setup parameters. Parameter Description Value Range Controller Destinations Velocity 1 Send Velocity data to one of the following control Amp, Cutoff, Osc1 destinations. Shape, Osc2 Shape, Osc1&2 Shape Depth Amount of modulation applied. 0–100% Velocity 2 Send Velocity data to one of the following control...
Page 424 Chorus Use this tab to apply and adjust the settings for the built-in Chorus effect. Parameter Description Value Range Rate Modulation speed of the effect. 0.01 – 10.0 Hz Delay Length of time the wet signal is offset from the dry signal. 0.00 –...
Page 425 Reverb / Compressor / Hype Use this tab to apply and adjust the settings for the built-in Reverb, Compressor and Hype effects. Parameter Description Value Range Reverb Mode Type of reverb applied. Hall, Stadium, Room, Abstract Time Length of reverb tail. 0.4 s –...
Page 426: Plugin Preset Support
Plugin Preset Support Internal Akai effects now include all new plugin editors and factory presets. To load a plugin preset: 1. Open a plugin instrument or effects plugin editor. 2. At the top of the instrument or effect editing window will be a dropdown menu for selecting presets. Double-tap the menu to open it, and tap a preset to select it.
Page 427: Updates In Mpc 2.4
Updates in MPC 2.4 New Features AIR FX Bundle Your MPC now includes the AIR FX Bundle—a collection of 28 effects designed with ease of use in mind with all new touch-interface layouts. These effects include the legendary AIR Creative FX collection that has been used ®...
Page 428 AIR Ensemble This effect applies fluid, shimmering modulation effects Parameter Value Range Default Value to the audio signal. Rate 0.01 – 10.0 Hz 1.00 Hz Depth 0.00 – 24.00 ms 6.00 ms Width 0–100% 100% 0–100% (dry–wet) 75% Mod. Delay 0.00 –...
Page 429 AIR Freq Shift This effect shifts the audio signal's individual frequencies Parameter Value Range Default Value for unique effects. Mode Up, Down, Up & Down, Stereo Frequency 10.0 mHz – 10.0 kHz 316 mHz Feedback 0–100% 0–100% (dry–wet) 100% AIR Fuzz Wah This is a multi-effect that combines transistor-like distortion and wah.
Page 430 AIR Kill EQ This effect can zap out the Low, Mid or High broadband Parameter Value Range Default Value frequency from an audio signal. High Thru, Kill Thru Thru, Kill Thru Thru, Kill Thru Output -20.0 – +20.0 dB 0.0 dB High Gain -Inf –...
Page 431 AIR Multi-Chorus This effect applies a thick, complex chorus effect to your Parameter Value Range Default Value audio signal. Rate 0.01 – 10.0 Hz 1.00 Hz Depth 0.00 – 24.00 ms 6.00 ms Voices 3, 4, 6 0–100% (dry–wet) Chorus Low 20.0 Hz –...
Page 432 AIR Reverb This is a spatial effect, with a wide range of reverb types to add space or room to your audio signal. Parameter Values Default Value Reverb Pre-Delay 0–250 ms 0 ms Room Size 0–100% 100% Time 0.4 ms – +inf s 1.9 s 0–100% Early Reflection...
Page 433 AIR Stereo Width This effect creates a wider stereo presence in an audio Parameter Value Range Default Value signal. Width 0–200% 100% Delay 0.0 – 8.0 ms 0.0 ms Level Trim -Inf – 0.0 – +12.0 dB 0.0 dB Pan Trim L100 –...
Page 434 12 all new plugins from AIR include the following: AIR Channel Strip This specially-designed plugin combines multiple effects with a fast interface. The EQ section provides a highpass filter, low and high shelves, and a fully parametric mid-band. For dynamics, the AIR Compressor and Gate algorithms are perfect for achieving hard-hitting drum sounds.
Page 435 AIR Delay This is a classic delay line effect with a variable feedback Parameter Value Range Default Value filter. Additional Ratio and Width parameters enable you Time to achieve a wide range of stereo delay effects. Sync Off 1 ms – 2.00 s 388 ms Sync On 1/32 –...
Page 436 AIR Filter This effect applies a filter to the audio Parameter Value Range Default Value signal and then applies selectable Cutoff Freq 55.0 Hz – 20.0 kHz 20.0 kHz saturation or reduction to the filtered signal. Reso Factor 0.7 – 20.0 Type LP4–1, BP2, BP4, HP2_LP1, HP3_LP1, HP4–1, BR2, BR4,...
Page 437 AIR Para EQ This effect is a powerful four-band parametric equalizer Parameter Value Range Default Value with four independent EQ ranges, adjustable Low and High Freq 1.2 – 20.0 kHz 6.00 kHz High EQ filter types, and dedicated Low Cut and High Cut.
Page 438: Air Instrument Layouts
AIR Pitch Shifter This effect alters the pitch of the audio signal and can be Parameter Value Range Default Value adjusted based on the source or style of the signal. Mode Vocal, Bass, Beats, Vocal Chords, Textures Shift -24.0 – 0 – 24.0 0–100% 100% AIR Pumper...
Page 439: Clip Program Improvements
Clip Program Improvements Internal Clip Program architecture has been significantly improved, allowing you to play up to 16 clip programs at the same time. Clips will continue to play when changing tracks or sequences, allowing you to seamlessly integrate them into live performance.
Page 440: Next Sequence Mode
Next Sequence Mode Next Sequence Mode now remembers the next sequence change when switching to another mode. Additional Transport Controls You can now hold Shift and press Stop to return the playhead to the beginning of the timeline.
Page 441: Updates In Mpc 2.5
Updates in MPC 2.5 New Features Splice Integration Your standalone MPC hardware now integrates with the Splice platform, allowing you to download and browse your Splice sample library on your standalone device. To access Splice: 1. First, make sure your MPC hardware is connected to a Wi-Fi network. See Preferences >...
Page 442: Browser Audition Warp And Sync
• Press Browse (MPC X) or Shift+Menu/Browse (MPC Live, MPC Touch) 2. Tap Audition at the bottom of the screen, or press the respective F-Key (MPC X only). 3. In the options that appear, enable Sync to set samples to be auditioned at the beginning of the next bar of the sequence when playback is active.
Page 443: Updates In Mpc 2.6
Updates in MPC 2.6 New Features Ableton Live Set Export You can now export MPC sequences as an Ableton Live Set (.ALS) file. To export the current sequence as an Ableton Live Set: 1. Open Main Mode by pressing Main, or by pressing Menu and then tapping Main.
Page 444: Grid Automation Lanes
Grid Automation Lanes You can now input, view and edit automation in Grid View and Audio Edit Mode. To add automation to a sequence: 1. Select a MIDI program or Audio program. 2. For MIDI programs, tap the grid icon to open Grid View. For Audio programs, tap the waveform-and-box icon to open Audio Edit Mode.
Page 445: Step Automation
While it is being adjusted, the current automation value will be shown next to the Parameter field, as well as in the display strip above the knobs (MPC X only). For MPC Live and MPC Touch, use Bank 1 of the knobs to control Steps 1–4, Bank 2 to control Steps 5–8, Bank 3 to control Steps 9–12 and Bank 2 to control Steps 13–16.
Page 446: Submixes
To assign an audio track or program to a submix: 1. Press Menu, and then tap Channel Mixer. Alternatively, press Ch. Mixer (MPC X only). 2. Set the Mixer field at the top of the display to Audio Tracks or Programs.
Page 447: Updates In Mpc 2.7
New Features Ableton Live Control Your standalone MPC X and MPC Live are now pre-mapped to control Ableton Live 10.1.2 or later for instant performance and production setup, providing an unparalleled level of integration with Ableton Live from a standalone device.
Page 448: Live Control Mode
Tap the Scene Launch arrows on the right side of the display to launch all clips in that row. Additionally, MPC's hardware controls are pre-mapped to give you hands-on control of parameters and functions. See the MPC X Control Map MPC Live Control Map for the complete mappings.
Page 449: Matrix View
MPC X: Hold Shift and use the cursor buttons. MPC Live: Hold Shift and use the Bank buttons. To launch a clip from the 4x4 Session Matrix, press the corresponding pad on your MPC X or MPC Live. You can also use the pads to launch scenes.
Page 450: Mixer View
The Q-Links on your MPC give you hands-on control of Ableton Live's key parameters. On MPC X, Q-Links 1–8 control track volume for the eight tracks currently in view, while Q-Links 9–16 control the device on the currently selected track, based on the "blue hand" in Ableton Live's Detail View. The OLED screens above each Q-Link also provide clear visual feedback of the parameter name and value being controlled.
Page 451: Mpc X Control Map
General Controls and Features Device Control Ableton Live Function Display In Ableton Live Control Mode, MPC X's display will show a dynamic representation of Ableton Live's software. Pads Press the pads to launch clips or scenes. Press the XYFX button to toggle between launching clips (the button is off) and launching scenes (the button is on).
Page 452 Transport Controls Device Control Ableton Live Function Record Enable and disable Arrangement Record Overdub Enable and disable Session Record. 10 Stop Stop playback. 11 Play Start playback from the Stop position. 12 Play Start Start playback from the Arrangement start (1:1:1). 13 <...
Page 453: Mpc Live Control Map
Shift Controls Press and hold MPC X's Shift button, and then press the following buttons for additional actions. Device Control Ableton Live Function Pads Selects a clip without launching it. Directional Cursors Moves the 4x4 Session Matrix focus on the display by eight rows or eight columns at a time.
Page 454 Device Control Ableton Live Function Q-Links Adjusts the currently selected parameters. Use the Q-Link button to toggle between Q-Link Banks 1 and 2 (which control Track Level for the eight tracks currently viewed) and Banks 3 and 4 (which are mapped to control the device on the current track, based on the location of the "blue hand"...
Page 455: Ethernet Adapter Support
Ethernet Adapter Support Standalone MPC hardware now supports USB-to-Ethernet adapters. Ethernet settings can be set in the Ethernet tab of the Preferences menu. Improved Preferences Organization The Preferences menu has been updated with improved organization. Wi-Fi, Ethernet and Bluetooth tabs have been grouped and are now located beneath the Info tab.
Page 456: Updates In Mpc 2.7.2
Updates in MPC 2.7.2 New Features MPC One Support MPC 2.7.2 adds support for the Akai Professional MPC One hardware. Note: Ableton Live Control is not available for MPC One.
Page 457: Updates In Mpc 2.7.3
New Features MPC Live II Support MPC 2.7.3 adds support for the Akai Professional MPC Live II hardware. MPC Live II Ableton Live Control The MPC Live II hardware is also pre-mapped to control Ableton Live 10.1.2 or later. See Addenda >...
Page 458 Device Control Ableton Live Function Q-Link Button Press this button to move forward between Q-Link Banks 1–4. Push and hold this button to bring up the Q-Links Overview window on the display. Q-Links Adjusts the currently selected parameters. Use the Q-Link button to toggle between Q-Link Banks 1 and 2 (which control Track Level for the eight tracks currently viewed) and Banks 3 and 4 (which are mapped to control the device on the current track, based on the location of the "blue hand"...
Page 459: Updates In Mpc 2.8
Updates in MPC 2.8 New Features MIDI Improvements MPC now supports multi-MIDI control, making MPC the ultimate MIDI sequencing studio centerpiece. In addition to getting the most out of the MIDI DIN ports on your MPC hardware, you can now use your hardware's USB ports to connect class-compliant MIDI devices such as USB keyboards, MIDI interfaces and USB-to-CV modules, allowing you to dramatically increase the MIDI input and output capabilities of MPC.
Page 460: Copy Pads
You can now also send MIDI from one track to another to layer two or more sound generators. For example, to layer two plugin instruments: 1. On Track 1, set the Program Type to Plugin and select a plugin instrument and preset. 2.
Page 461: Custom Progressions
Custom Progressions You can now create custom Progressions based on the current MIDI track from your standalone hardware. This process is available with other track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section).
Page 462: Global Automation Button
To turn automation off or on, hold Shift and tap the global automation button or program automation button. Pressing the Read/Write button on MPC X now also toggles between Read and Write states. Hold the Shift button and press Read/Write to turn automation off or on.
Page 463: Retrospective Record
Retrospective Record Your MPC hardware now captures MIDI events in the background, allowing you to recall performances when record was not enabled. To capture events using retrospective record, hold Shift and press Record after playing some notes to add the recent events to the current track. Single or Multi Record Arm You can now configure the behavior of the Record Arm buttons by adjusting the Record Arm setting under Preferences >...
Page 464: Updates In Mpc 2.9
Updates in MPC 2.9 New Features AIR DrumSynth The AIR DrumSynth plugins emulate the sound of classic drum machines and feature multiple synthesis types, advanced modeling and carefully crafted, built-in effects to create powerful contemporary drum sounds. To use AIR DrumSynth: 1.
Page 465 Trans/Dist Use this tab to adjust the settings for the Transient and Distortion effects. Parameter Description Value Range Transient Attack Decreases or increases the amount of -100 – 0 – +100% transient attack applied to the signal. Shape Adjusts the shape of the processed transient. 0–100% Sustain Percentage of sustain envelope subtracted -100 –...
Page 466 You can also use the DrumSynth:Multi plugin to access all DrumSynth sounds from one plugin, which includes additional dedicated effects and mixing controls. Note: You can only have one DrumSynth:Multi plugin active per project when in Standalone mode. DrumSynth 1–8 / Trans/Dist / EQ/Comp Use the first eight tabs in the Multi to control the same parameters as the individual DrumSynth plugins.
Page 467 Mixer / FX / Sends Use this tab to mix the individual drum sounds as well as control their effects. The Mixer / FX / Sends tab contains three different views that can be accessed by tapping the tab at the bottom of the display. Use the Mixer view to adjust the volume, panning, muting and soloing for each drum.
Page 468: Updates In Mpc 2.10
Updates in MPC 2.10 New Features Four New Instrument Plugins Your MPC hardware now includes four new plugin instruments: Hype, Mellotron, AIR Solina WayOutWare Odyssey. To use the new plugins: 1. Make sure you have downloaded the new Synth Content installation pack from your account at akaipro.com. 2.
Page 469: Air Hype
AIR Hype (continued) Filter / Amp Use this tab to adjust the filter and amplitude envelope settings. Parameter Description Value Range Filter Cutoff Cutoff frequency for the filter. 0–100% Reso Amount of resonance of the filter. 0–100% Filter Envelope Attack Length of time for the filter to reach full level.
Page 470 AIR Hype (continued) Effects 1 Use this tab to adjust the settings for the Low-Frequency Oscillator and Modulation, Distortion and Hype effects. Parameter Description Value Range Rate Speed of the low frequency oscillator. When Sync is set to 1st Note, Each Note, or Off: 0.03 – 30.00 Hz When Sync is set to Temp+Note or Tempo+Beat: 8/4 –...
Page 471 AIR Hype (continued) Effects 2 Use this tab to adjust the settings for the Delay, Reverb, Compressor, Pumper and Limiter effects. Parameter Description Value Range Delay Time Amount of time between the dry signal and the 1/16 – 16/4 delayed signal. Feedback Amount of signal fed back into the delay line.
Page 472 AIR Hype (continued) Setup Use this tab to adjust the plugin setup parameters. Parameter Description Value Range Setup Transpose Transposition of the plugin, in semitones. -36 – 0 – +36 Tune Fine tuning of the plugin, in cents. -100 – 0 – +100 Glide Time Amount of time to slide from the pitch of one note to 0 ms –...
Page 473 AIR Mellotron The AIR Mellotron plugin is a software recreation of the classic tape keyboard, including reproductions of the original tape samples in both clean and dirty versions. Model Use this tab to adjust the settings for the tape sample. Parameter Description Value Range...
Page 474: Air Mellotron
AIR Mellotron (continued) Flavor / Compressor / EQ Use this tab to adjust the settings for the flavor, compressor and EQ effects. Each effect can be turned on and off by using the buttons on the right side. Parameter Description Value Range Flavor Use the button in the upper-right corner to enable or...
Page 475 AIR Mellotron (continued) Delay / Spring Reverb Use this tab to adjust the settings for the delay and spring reverb effects. Each effect can be turned on and off by using the buttons on the right side. Parameter Description Value Range Delay Use the button in the upper-right corner to enable or Off, On...
Page 476 AIR Solina The AIR Solina plugin is a software recreation of the classic string synthesizer. Ensemble Use this tab to adjust the voice and ensemble settings. Parameter Description Value Range Voice Click each button to enable or disable the selected Contra Bass, Cello, Viola, voice.
Page 477: Air Solina
AIR Solina (continued) Sound Use this tab to adjust additional settings for the plugin sound. Parameter Description Value Range Crescendo Length of time for the sound to reach full volume. 0 ms – 32 s Sustain Length of time for the sound to remain playing after 0 ms –...
Page 478 AIR Solina (continued) Flavor Use this tab to adjust the settings for the flavor and vinyl effects. Parameter Description Value Range Flavor Enables or disables the flavor effect. Off, On Timbre Selects an emulation type to color the sound. Varies Timbre Depth Amount of timbre emulation applied to the sound.
Page 479 AIR Solina (continued) Chorus / EQ Use this tab to adjust the settings for the chorus and EQ effects. Use the buttons on the right side to enable or disable each effect. Parameter Description Value Range Chorus Rate Modulation speed of the chorus effect. 0.05 –...
Page 480 AIR Solina (continued) Delay / Spring Reverb Use this tab to adjust the settings for the delay and spring reverb effects. Use the buttons on the right side to enable or disable each effect. Parameter Description Value Range Delay Time Amount of time between the dry signal and the delayed 1/16 –...
Page 481 WayOutWare Odyssey The WayOutWare Odyssey plugin is a software recreation of the classic analog synthesizer that captures the character and nuance of the original Odyssey using WayOutWare’s experience and expertise in circuit modeling and signal processing. VCO 1/2 Use this tab to adjust the settings for the voltage controlled oscillators.
Page 482: Wayoutware Odyssey
WayOutWare Odyssey (continued) Mod/Env Use this tab to adjust the settings for the low frequency oscillator, sample and hold generator, and envelope generator. Parameter Description Value Range LFO Tempo Determines whether LFO speed is free floating Off, On Sync or synced to project tempo. LFO Speed Speed of the low frequency oscillator.
Page 483 WayOutWare Odyssey (continued) Mix/Filter Use this tab to adjust the audio mixing and routing, as well as adjust the voltage controlled filter, high-pass filter, and voltage controlled amplitude. Parameter Description Value Range VCF Cutoff Cutoff frequency of the filter. 0.680 – 10.645 V, or 16.02 - 16012.70 Hz VCF Res Resonance of the filter.
Page 484 WayOutWare Odyssey (continued) Echo Use this tab to adjust the settings for the tape echo effect. Parameter Description Value Range Delay Use the switch in the bottom-left corner to enable or Off, On disable the delay effect. Sync Off, On Enable to sync the Echo Time to the Global Tempo, or disable to adjust the Echo Time by milliseconds.
Page 485 WayOutWare Odyssey (continued) Settings Use this tab to adjust general settings such as voice count, portamento and performance parameters. Parameter Description Value Range Voice Count Number of voices available. When set to Duo, each VCO Duo, 2–4 controls a separate note. Portamento Length of time to slide between notes.
Page 486: Air Fx Bundle
AIR FX Bundle Your MPC hardware now includes nine new insert effects, including a new AIR vocal effects suite, an improved AIR Diffuser Delay, and more. AIR Diff Delay This is a delay line effect that is synchronized to your Parameter Value Range Default Value...
Page 487 AIR Half Speed This effect can quickly create half-speed versions Parameter Value Range Default Value from any input material. Filter the processed audio Start, Stop using the built-in high pass and low pass filter to create dramatic transitions, and use the fade in and Loop Length 1/16 –...
Page 488 MPC now also includes a new AIR Vocal insert effects suite, designed to enhance working with voices in MPC. AIR Vocal Doubler This effect creates realistic vocal doubles to add Parameter Value Range Default Value width or thickness to a vocal line. Voices 1–8 Stereo Spread...
Page 489 Retune Time 1–1000 ms 32 ms Reference 420.0–460.0 Hz 440.0 Hz Two new Akai insert effects are also included: Sample Delay This effect is a utility delay plugin that can delay the Parameter Value Range Default Value left and right channels by different, small amounts to Left / Right 0–11025 Samples...
Page 490: Standalone Audio Interface Support
To load or save an FX rack, open any Inserts page (such as in the Program Edit, Channel Mixer or Pad Mixer modes): Tap the Akai folder icon to load one of the included factory presets. Tap the FX folder icon to load a previously saved custom preset file.
Page 491 Drum FX You can now quickly add effects to samples in a Drum program by using the built-in Drum FX To use the Drum FX: 1. Load a Drum Program. 2. Press Menu, and then tap Program Edit to open Program Edit mode.
Page 492: File Browser Enhancements
File Browser Enhancements The MPC File Browser now supports recursive searching. When searching for files, enter a search term and by default MPC will search for files that match the search term in the current and all available subfolders. To disable this, click the Settings icon next to the Search bar and uncheck You can now view the Size, Date Created, and Date Modified for each file in the File Browser.
Page 493: Midi Program Renaming
MIDI Program Renaming You can now rename any control in a MIDI program. This lets you save the MIDI program with renamed parameters and use it in any MPC project. To rename a MIDI control: 1. Select a MIDI program. 2.
Page 494: Updates In Mpc 2.10.1
New Features MPC Studio mk2 Support MPC 2.10.1 adds support for the Akai Professional MPC Studio mk2 hardware. This hardware differs from other MPC hardware in this manual in that it acts primarily as a controller for the MPC software.
Page 495 Touch FX Select this mode to use the touch strip as an expressive control for an effect parameter. The effect you control acts like an insert effect on the selected output. To configure the Touch FX settings from MPC Studio: 1.
Page 496 Use the controls on the left side of the Touch FX plugin window to adjust the settings for MPC Studio’s Touch Strip control. For other hardware, you can control the Touch Strip by assigning it to a MIDI control or by using the virtual touch strip on the touchscreen.
Page 497 Beat Sync Filter The touch strip controls a multi-mode filter with its cutoff Parameter Value Range Default Value frequency modulated by an LFO, which can be synced to the Cutoff 40.00–10000 Hz 34737.15 Hz project tempo. Resonance 0.00–1.00 0.50 Manual Speed Off, 0.10–50.00 Hz Off Depth 0.0–100.0%...
Page 498 Tape Stop The touch strip controls a tape stop effect that emulates the Parameter Value Range Default Value slowing down of analog tape playback. Cutoff 40.00–10000 Hz 2530.00 Hz Manual Stop 1.00 – 4.00 s 2.50 s Time Sync Stop Off, 1/4, 1/4t, 1/8, Time 1/8t, 1/16, 1/16t,...
Page 499 Granulator The touch strip controls a granulator effect, which turns your Parameter Value Range Default Value incoming audio into small grains of sound that can be Density 1.0–300.0 150.0 looped, pitch-shifted, and manipulated. grains/sec grains/sec Window Length 20.0–1000.0 ms 510.0 ms Grain Length 10.0–200.0 ms 105.0 ms...
Page 500 Sustain Select this mode to use the touch strip as you would a sustain pedal on a typical keyboard to enable or disable note sustain. When enabled, notes will continue sounding until sustain is disabled. Expression Select this mode to use the touch strip as you would an external expression pedal to control the MIDI CC11 expression control.
Page 501 When the Program source is selected, and a Pad is selected: Mixer: Level, Pan, Pad Mute, Pad Solo, Send 1–4 Program: Tuning Filter Env Decay Curve Layer Fine Tune (1–4) Layer Offset (1–4) Filter Cutoff Filter Env Release Curve Velocity to Start Layer Loop Xfade (1–4) Filter Resonance Pitch Env Attack...
Page 502 Note Repeat You can also use the touch strip for Note Repeat control. To enable Note Repeat, press and hold the Note Repeat button. You can then use the touch strip to control the rate of Note Repeat, as indicated by the LEDs next to the touch strip. To latch Note Repeat, press and hold Shift and press the Note Repeat button.
Page 503: Updates In Mpc 2.11
New Features MPC Key 61 Support MPC 2.11 adds support for the Akai Professional MPC Key 61 hardware. For a breakdown of MPC Key 61’s controls, Features > MPC Key MPC Key 61 also includes a new Keyboard Control menu for customizing how its 61-key keybed is used.
Page 504 External Keyboard Routing MIDI Output Port: This determines the MIDI port where the keyboard will output MIDI externally. Keyboard sends MIDI here: Check this box to send all MIDI from the keyboard to the selected MIDI Output port. MIDI Channel: This determines which MIDI channel (1–16) the keyboard will use to send messages externally.
Page 505 MPC Key 61 also includes touch strip and touch FX support. To use the touch strip with MPC Key 61: 1. Press the Touch Strip button to enter Touch Strip mode selection. 2. Press the Touch Strip button again repeatedly to cycle through the available Touch Strip modes as shown on MPC Key 61’s display: •...
Page 506: Sounds And Favorites
Sounds and Favorites MPC now includes two new menus for browsing included plugin instruments, the Sounds and Favorites menus. To enter the Sounds and Favorites menus, do any of the following: • In Main mode, select a plugin track and then tap the Sounds or Favorites buttons in the Program section. •...
Page 507 Tap Key Ranges to set the MIDI key ranges for each track. This can allow you to play multiple instruments from one keyboard. To add a new track, tap New Track, and then select the type of track to add. To instantly adjust the key range for drum tracks, tap Drum Split.
Page 508: New Plugin Instruments
Setlists Use the Setlists tab to create a list of projects to easily recall, such as for a live performance. To create a Setlist: 1. Open the Setlist tab from the Sounds page. 2. Tap and hold on an empty Setlist slot, and then tap Choose Project. 3.
Page 509 AIR Stage EP is the brand-new flagship electric piano instrument, delivering the lush and rich sounds of the most desirable electric pianos at your fingertips. Stage EP includes five detailed electric piano models, including acoustic mechanics and an FM tine synth, to capturing the magic and warm smoothness of the originals, while also adding the full spectrum of modern and classic electronic sounds.
Page 510: Insert Effect Updates
Activating Instrument Plugins If you have purchased an MPC instrument, you can activate it on up to three devices. Note: Activation requires an internet connection. To activate plugins: 4. Open the Preferences menu by pressing Menu or tapping the icon in the upper-left corner of the screen, and then tapping the Preferences icon at the bottom of the screen.
Page 511 Rack FX presets have been updated to include presets that use the AIR Flavor and AIR Amp Sim effects. • The Akai Granulator effect now includes three new parameters for more control over the grains: Reverse, Shape, and Skew. •...
Page 512: Menu Editing And Shortcuts Panel
Menu Editing and Shortcuts Panel You can now edit the order of MPC modes in the Menu. To edit the Menu appearance: 1. Press Menu, or tap the icon in the upper-left corner of the screen while viewing any mode. 2.
Page 513: Built-In Tuner
Built-In Tuner Standalone MPCs now include a built-in tuner function, allowing you to easily tune any connected audio sources such as guitars, basses, synth modules, and other pitched instruments. To access the tuner: 1. Open the Menu by pressing Menu, or tapping the icon in the upper-left corner of the screen while on the normal page of your current mode.
Page 514: Pad Perform And 16 Levels Enhancements
To apply probability or ratchet using 16 Levels: 1. Press the pad with the note where you would like to add probability or ratchet. 2. Press the 16 Levels button to open the 16 Levels window. 3. In the 16 Levels window, set the Type field to Probability or Ratchet. 4.
Page 515: Track Midi Perform Settings
Track MIDI Perform Settings The MPC Track View has been redesigned and you can now edit a MIDI track’s MIDI perform settings, making it easier to control multiple tracks at the same time on the same controller. To open the Track MIDI Perform Settings window: 1.
Page 516 The Drum Program note map is now Chromatic starting from C1 by default. The Project popup now has an Audition function key. Arpeggiator settings and XYFX location are now saved and recalled with your MPC project. In Program Edit mode, you can now tap the keyboard-plus icon at the top of the screen to quickly convert a drum sample to a new keygroup program.
Page 517: Air Flavor Pro And Mini D
Updates in MPC 2.11.6 New Features AIR Flavor Pro and Mini D MPC now supports the AIR Flavor Pro and AIR Mini D plugins, which are available for purchase at thempcstore.com. AIR Flavor Pro is the brand-new flagship lo-fi multi-effects plugin, designed to manipulate samples, melodies, loops, and instruments to the extreme for today’s modern lo-fi sound.
Page 518: Updates In Mpc 2.11.6
Updates in MPC 2.11.7 New Features VST Preset Loading You can now load presets saved in VST versions of MPC plugins into the internal versions for MPC standalone. To load a preset: 1. Open the plugin instrument or insert effect. 2.
Page 519: Updates In Mpc 2.11.7
MPC X Special Edition Support MPC 2.11.9 adds support for the Akai Professional MPC X Special Edition hardware. Note: Mentions of the features and functions of MPC X hardware throughout this guide also apply to the MPC X Special Edition unless otherwise noted.
Page 520: Updates In Mpc 2.11.9
Updates in MPC 2.12 New Features MPC One+ Support MPC 2.12 adds support for the Akai Professional MPC One+ hardware. Note: Mentions of the features and functions of MPC One hardware throughout this guide also apply to the MPC One+ unless otherwise noted.
Page 521: Updates In Mpc 2.12
Updates in MPC 2.12.2 New Features New Plugin Effects and Improvements Your standalone MPC now supports four new AIR plugin insert effects, which are available for purchase at thempcstore.com: AIR Chorus This effect is a compact but powerful plugin for Parameter Value Range Default Value...
Page 522 AIR Multitap Delay This effect is a versatile, creative delay plugin Parameter Value Range Default Value with a wide range of applications from subtle Delay stereo delays to complex repeating patterns. Sync On: 1/16 – 8/4 Sync Off: 0 ms – 4.00 s 2.25 s Feedback 0–100%...
Page 523: New Features
Updates in MPC 2.13 New Features MPC Key 37 Support MPC 2.13 adds support for the Akai Professional MPC Key 37 hardware. For a breakdown of MPC Key 37’s controls, Features > MPC Key Feature Improvements You can now select a project to automatically load each time you power on your standalone MPC. In the Project...

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