![]() Roland Juno-106S was my first poly and is one of the most versatile and affordable vintage analog synths on the market today. Sometimes, this inspires me to write the pattern differently or just keep it for pattern doubling with another patch. I like to play and program synth patterns with electronic piano sounds first, then scroll through patches on the various synths until I stumble upon something unexpected. The Yamaha DX7 is used as a controller routed directly to the MPC MIDI input, with the MPC MIDI outputs routing to the Novation PEAK (MIDI out A) and the Roland Juno-106S (MIDI out B). In this production rig, a vintage drum machine sits alongside a modern wavetable synthesizer that includes the addition of classic analog and FM synth sounds. It has two MIDI ins (1 - 2) and two MIDI outs (A - B). The MPC2000XL can control any drum machine, synthesizer, or other device that uses standard MIDI messaging for cross-device communication. This is a good production habit to have in general, as it allows for the soloing of sounds during pre- and post-production. Then, I start programming each individual sound on separate tracks in the sequence. I begin by finger-drumming ideas on the pads until I come up patterns that I want to use. I can play and record the parts just how I hear them in my head, without having to figure out where that is on a standard step-sequencing grid. A performance-based controller, sampler, and sequencer integrated into a compact standalone device allows musicians to interact with digital music sequencing in new ways.Īs a lifelong percussionist, I have always been drawn to the innovative performance design of the MPC. The velocity sensitive pads on the MPC are responsive enough to be played with drumsticks, yet tactile enough to be played with fingers. ![]() It's a great way to come up with ideas for later arrangements in Song Mode. The track mute feature is something I use while programming the various parts, as it allows me to mute many tracks at the same time. So while programming the sounds, I use an internal method of mixing-while-I-work by changing the velocity of the individual programmed parts, which are accessible in the track section of the main sequence screen. This MPC doesn’t have the optional 8-out audio routing board installed, just stereo outs. This is where setting up the BPM, quantization timing, and the amount of bars for this beat loop are selected. I used this feature on the main beat loop I sampled.Īfter the drum sounds are sampled, assigned to pads, chopped up, and their playback preferences are selected, sequencing them begins by navigating to a unused sequence on the main screen. New to the XL, time-stretching and sound slicing allows you to work more directly with just the standalone unit, changing the speed of samples without drastically modifying the pitch. In previous models, changing the speed of a sample worked just like a turntable does, with speed and pitch intrinsically linked. Graphical waveform audio editing - a benchmark feature first introduced in the 2000 series of the MPC model line - enhances workflow efficiency, significantly improving upon the truncation-by-numbers editing procedure of previous models. The XL swivel screen and level surface design improves productivity by eliminating the need to hunch over, making extended sessions working with this machine much less fatiguing. The addition of 4 bank keys of 16 pads allows quick accessibility to the samples via my personal organization preferences: hi-hats and cymbals in bank A, kick drums in bank B, snares and claps in bank C, and vocals in bank D. All of the machine’s page menus and most of its functions can be accessed through the telephone keypad in the the upper left-hand corner, indicated by the blue buttons. Sampling and sequencing with the MPC2000XL is straightforward and streamlined. In the diagram, signal flow is represented by directional arrows, illustrating the configuration of the hardware: Audio patching, USB connections, MIDI paths for the controlling, programming, and playback of the synths, and MIDI Beat Clock synchronization routing. We're utilizing the Arturia Interface for playback, synchronization, and recording. Building upon that, we've added a Roland Juno-106S, Yamaha DX7, Novation PEAK, and Oberheim DX that all run through a Yamaha MG12XU Analog Mixer for audio monitoring. It starts with the same setup as last time: a Technics SL-1200 MK3 turntable connected to the MPC2000XL. The diagram below illustrates the technical schematic for this production rig. We're highlighting some key features of the MPC and also showing a preview of how to add the finishing touches in Ableton Live. Today, we're diving in with a hybrid setup consisting of the same MPC2000XL, a handful of synths, and a drum machine. ![]() The first installment of our "Making a Beat" series focused on using an AKAI MPC2000XL to sample vinyl records and produce a unique track.
0 Comments
Leave a Reply. |