User Guide English Manual Version 1.
Table of Contents Introduction ............................................................ 4 Exporting the Song........................................... 20 System Requirements & Product Support ...... 4 Other Features Explained ................................ 21 Step Sequencer ............................................. 21 About This User Guide ...................................... 4 Drum Loops & Chop Mode ............................ 22 Pad Muting & Track Muting ...........................
Modes ............................................................... 64 Channel Mixer .............................................. 165 Main Mode..................................................... 65 MIDI Tracks ...................................................... 167 Grid View ....................................................... 84 Audio Tracks .................................................... 168 Audio Edit Mode ............................................ 88 Programs ..................
Introduction Thanks for choosing the MPC Live. Fusing Akai Professional’s legendary MPC layout and workflow with multi-core processing power, MPC Live is an unrivaled instrument for music production. Introducing a new approach to music production with an ultra-fast and super-intuitive workflow, the MPC Live is powered by a radiant 7” color multi-touch display.
Important Notes Read the included safety & warranty manual before using MPC Live. Before getting started and connecting devices to MPC Live or turning the hardware on/off, make sure all devices are switched off. To use MPC Live in Controller Mode (to control the MPC software): Before installing the MPC software, make sure your computer meets the system requirements described at akaipro.com.
2. Installation To use MPC Live in Controller Mode (to control the MPC software), follow these steps to download and install the required drivers & 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. 3. Open the file and double-click the installer application. 4. Follow the on-screen instructions to complete the installation.
Features This chapter explains the features and functions of your MPC Live. Top Panel 6 7 6 8 6 9 6 4 10 3 3 1 5 11 12 13 14 15 16 3 3 2 22 20 21 19 17 18 16 1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Live’s current operation. Touch the display (and use the hardware controls) to control the MPC interface. See the later Touchscreen section to learn how to use some basic functions. 2.
. 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). 9. 16 Level: Press this button to activate/deactivate 16 Level.
Touchscreen Here is some general information about how to use the MPC Live touchscreen: x2 Tap a button or option to select it. Use the data dial or –/+ buttons to change its setting or value Double-tap a button to access advanced editing options. In some cases, this will show a numeric keypad that you can use to enter a value (an alternative to the data dial or –/+ buttons). Tap the upper-left part of the touchscreen to return to the previous view.
Rear Panel 6 17 12 13 13 13 8 14 10 9 7 11 16 3 15 5 4 1 2 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). When the battery is fully charged or when it is disconnected from a power outlet, then this light will turn off. 4.
Tutorial / Basic Concepts This chapter should help you to familiarize yourself with some basic features in MPC Live. To get the most out of this chapter, we recommend reproducing each of the described steps. Important: MPC Live’s four Q-Link knobs control up to four parameters at a time—up to 16 within each screen. Whenever this manual instructs you to use the Q-Link knobs to adjust parameters, you can use the Q-Link button (above the QLink knobs) to move through the four columns of four Q-Link knobs.
• To delete a selected file, press and hold Shift and then tap Delete File at the bottom of the touchscreen. • To preview a selected sound, tap and hold Play () at the bottom of the touchscreen. • To enable or disable the audition function and set its volume level, tap Audition at the bottom of the touchscreen. In the screen that appears, tap Auto to enable or disable it, and tap and drag the level slider up or down to set the volume level. Tap Audition once more to hide the window.
Saving & Renaming We recommend doing some renaming of your programs and samples before going further. The collection of drum samples you loaded earlier (and their respective pad assignments) are arranged into a program. When you load this program in the future, you will be able to use all of the samples that belong to it. Let’s rename the exisiting program as we’ll want to create more programs later on. To rename a program: 1. Press Main to enter Main Mode. 2.
Editing Note Events In the grid, you can see your recorded notes (or note events) as a sequence. To enter Grid View, press Main, and then tap the grid icon on the left edge of the touchscreen. In the Grid View, you can do any of the following: • To zoom in or out, tap the magnifying-glass icon in the upper-right corner. Then, in the grid, spread two fingers apart or pinch two fingers together. You can do this for each axis, horizontal or vertical.
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. Press a pad to show its parameters in the touchscreen. To adjust its volume, tap and drag the Volume knob up or down. Alternatively, use the data dial or –/+ buttons. To make finer adjustments, double-tap the knob and adjust the larger version that appears. Tap anywhere else to return to the previous screen.
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. You can work with multiple tracks in a single sequence (e.g., a drum track, a bass track, a piano track, etc.).
To load and edit a bass sound: 1. Press Shift+Menu/Browse to show the Browser. Then, use the touchscreen to navigate to where your bass sounds are located, and load one to the project’s sample pool. (You can look at this earlier section if you forgot how to do this!) 2. 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.
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. In Program Edit Mode, tap the Filter Env tab to show its parameters. 2. Double-tap the Type drop-down menu, and select a filter. Let’s try working with Lowpass 4 Pole. 3.
Recording an Audio Track We’ve already created some MIDI tracks, so let’s record some actual audio for our next track: 1. Press Main to go back to Main Mode. 2. Tap the Audio tab at the bottom of the touchscreen. Audio 001 will appear in the Track field. 3. If the channel strip is not already shown on the left side of the screen, tap Input Config (in the lower part of the touchscreen) or the small eye icon (in the upper-left part of the touchscreen) to show it. 4.
Creating a Song This section explains how to make a song out of your sequences. Before starting, make sure that you have recorded some sequences (which we described earlier). To enter Song Mode, make sure playback is stopped, press Menu, and then tap Song. You’ll see each of the sequences you’ve created in this project assigned to a pad. The sequence playlist is to the left of the pads. As a song plays, it moves through each step of the sequence playlist. Each step contains a sequence you assigned.
Other Features Explained This chapter describes various advanced features. For a fuller explanation of these features, please refer to their corresponding sections in the Operation chapter. Step Sequencer You’ve already learned how to record note events on a track, but you can quickly enter note events in the Step Sequencer by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum machine. To enter the Step Sequencer, press Menu, and then tap Step Sequencer.
Drum Loops & Chop Mode Modern music producers often use drum loops to add grit and nuance to programmed beats. This section explains how to use Sample Edit Mode to work with drum loops. Use the Browser to locate a drum loop, and then double-tap it to add it to the current program. The loop does not have to match the tempo of anything in the project. To enter Sample Edit Mode, press Menu, and then tap Sample Edit. 1.
Pad Muting & Track Muting Pad Mute Mode and Track Mute Mode let you silence different pads and tracks to see what the sequence sounds like without those samples or parts. To enter Pad Mute Mode, press Menu and then tap Pad Mute. 1. Press Play to play the sequence. 2. Tap the Program field at the top of the touchscreen, and then use the data dial or –/+ buttons to select your drum program. Alternatively, double-tap the Program field, and then tap a program to select it. 3.
Sampling (Recording) This section describes recording new samples of your own, which you can use in your projects. Important: To record any audio, you need to connect an audio source to your MPC Live or to your computer’s audio interface. To open the Sampler, press Menu and then tap Sampler. 1. Connect an audio source to the input/inputs of your MPC Live. 2. Turn the Rec Vol knob to set the input level while playing your audio source. You should now see the level in the meter.
Sample Editing You may need to edit your newly recorded samples using Sample Edit Mode. To enter Sample Edit Mode, press Menu and then tap Sample Edit. In Sample Edit Mode: To switch between Trim Mode and Chop Mode, tap the Trim/Chop tab at the bottom of the touchscreen. In this example, use Trim Mode. To set the sample’s start point, press Q-Link to select the first bank of Q-Link knobs (the Start field will be outlined gold).
Recording Automation with the XY Pad Automating various parameters is a good way to add some motion and dynamism to your sequences. 1. Press Menu to open the Menu, and then tap XYFX to enter XYFX Mode. 2. Double-tap the XYFX Location field, and select Program. 3. When you first enter this mode in a project, you will be prompted to “load” XYFX to the program. Tap Insert XYFX to do this. 4. Tap Setup to show the Setup panel, which controls how the XY pad behaves. 5.
Operation This chapter explains the complete features and functions of your MPC Live. Important: • When accessing the secondary functions of buttons on your MPC Live, you can do this one of two ways: (1) pressing and holding Shift and then pressing the desired button or (2) double-pressing the desired button. This manual describes these operations using only the first option, but both are acceptable. • Almost every mode shown in the touchscreen has 1–6 buttons at the bottom.
General Features Battery Usage Although you can power MPC Live by from a power outlet (using the included power adapter), you can use its internal battery, which typically has four hours of life, depending on CPU and how you’re using MPC Live. While powering MPC Live from its internal battery, the battery icon in upper-right corner of the touchscreen will show its current battery life. (The icon below it indicates whether MPC Live is in Standalone Mode or Controller Mode.
Parameter Values To set the value for a parameter, do either of the following: • Tap the field to select it, and then use the data dial or –/+ buttons to adjust the value. When the value has decimal places, you can sometimes press and hold Shift and then use the data dial or –/+ buttons to adjust the value by smaller increments. • Double-tap the field or hold your finger on it for a second. In the screen that appears, use the numeric keypad, the data dial, or the –/+ buttons to adjust the value.
Selectors Selectors show all available options. One of them is always selected. The selected option is highlighted while the others are dark. To select an option, tap it. Buttons Buttons usually have two states: selected and deselected (active or inactive, respectively). Some may have more than two states. 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.
Sliders To adjust the position of a slider, do any of the following: • Tap and drag the slider to the desired position. • Tap the desired position (this works only on some sliders). • Tap the slider to select it, and then use the data dial or –/+ buttons to adjust the position (this works only on some sliders). • Double-tap the slider, and then tap and drag the larger version that appears, or use the data dial or –/+ buttons to adjust the value. Tap anywhere else to return to the previous screen.
Grid View Tools In Grid View, these four icons enable you to use different functions in the grid. Tap one to select its mode: Pencil: Draw Mode: To enter a note in an empty grid square, tap the grid square. To select a note, tap it. To move a note, tap and drag it to another grid square. To erase a note, double-tap it. Eraser: Erase Mode: To erase a note, tap it. Select Box: Select Mode: To select a note, tap it. To select multiple notes, tap and drag across the grid to create a box around them.
Audio Edit Tools In Audio Edit Mode, these five icons enable you to use different functions in the waveform. Tap one to select its mode: Arrow: Select Mode: To select a track region, tap it. To move a track region, tap and drag it. To resize a track region, tap and drag the lower part of the region’s edge. Eraser: Erase Mode: To erase a track region, tap it. Scissors: Cut Mode: To split two track regions, tap it. Mute: Mute Mode: To mute or unmute a track region, tap it.
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. To learn about editing your programs to your preference, see the Modes > Program Edit Mode chapter. A drum program uses one or more samples as its sound source.
Drum Programs A drum program uses one or more samples as its sound source. It contains (1) a list of samples and (2) the settings for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.). Drum programs are used mostly for creating drum parts and quickly and easily assigning samples to pads. To create a drum program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the four-squares icon, which indicates a drum program. 3.
Alternatively, assign samples in a drum program this way: 1. Press Menu and then tap Program Edit to enter Program Edit Mode. 2. Tap Samples. This lets you view the samples assigned to all four layers of the current keygroup as well as tuning and level parameters for each layer. 3. Tap a pad to select it (and play its assigned samples, if any). The pad will be lit green. 4. Tap the field for a layer, and then use the data dial or – /+ buttons to select a sample.
Keygroup Programs A keygroup program uses one or more samples as its sound source. It contains It contains (1) a list of samples and (2) the settings for each sample (i.e., pitch tuning, effects, etc.). Keygroup programs are used to play samples chromatically with a MIDI keyboard or the MPC pads. To create a keygroup program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the piano-keys icon, which indicates a keygroup program. 3.
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. By default, the 16 pads are divided into four columns of four pads. Each column represents a mute group; when a pad is playing a clip, all other pads in that same mute group are turned off.
To load a clip into a clip program: 1. Press Main to enter Main Mode. 2. Tap Edit Clips to view the pads and clip settings. 3. Press or tap a pad to select it (and play its assigned samples, if any). The pad in the touchscreen will be lit red, and its number will appear in the Pad field. 4. Tap the Sample field, and then use the data dial or –/+ buttons to select a clip. Alternatively, double-tap the Sample field, and then tap a clip to select it.
Plugin Programs A plugin program contains an instance of a plugin through which you can send your track’s MIDI data. This lets you use the same instance of a plugin with multiple tracks (rather than load an instance of a plugin on every track, which can be cumbersome and CPU-intensive). Important: Plugin programs are available only while using MPC Live in Controller Mode with the desktop version of the MPC software. To create a plugin program: 1. Press Main to enter Main Mode. 2.
MIDI Programs A MIDI program lets you send your track’s MIDI data to an external MIDI device like a synth or drum machine. To create a MIDI program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the MIDI-jack icon, which indicates a MIDI program. 3. If the project does not contain a MIDI program yet, a new MIDI program will be added automatically to the project and appear in the Program field below.
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. Important: CV programs are available only while using MPC X. MPC Live does not have CV ports. To create a CV program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the CV icon, which indicates a CV program. 3.
Menu The Menu lets you select any of the 20 modes, save your project, set your preferences, switch between Standalone Mode and Controller Mode, or view your system resources. To open the Menu, press Menu, or tap the icon in the upper-left corner of the touchscreen while on the normal page of your current mode. When viewing the Menu, do any of the following: To enter a mode, tap it. Important: If a sequence is currently playing, you will not be able to enter Song Mode.
Save To save the project, tap the disk icon at the top of the touchscreen. If you have already saved the project, your changes will be saved. If you have not saved the project yet, use the Save window to save the project: To select the storage device you want to view, tap it in the Storage column on the left. Internal is the MPC Live’s internal drive. MPC Documents is a shortcut to the MPC Documents folder on the internal drive.
Sequencer The settings on this screen determine how sequencing works in Grid View and in the Step Sequencer. Display Resolution: This is the display resolution (in PPQN—pulses per quarter note) of pulse values in certain areas of the operating system. Please note that this setting affects the display resolution, not the timing.
WiFi/Bluetooth The settings on this screen will determine how MPC Live’s wireless and Bluetooth connections work. We will add this functionality in a near-future release. Check akaipro.com to ensure you are using the latest software version. Your MPC Live’s current firmware (which includes its standalone operating system) is in the Info screen of these Preferences. Project Defaults The settings on this screen determine various default values for any new project that you create.
Other The settings on this screen determine how other features work in the hardware and operating system. Tap Tempo: This determines how many times you have to press the Tap Tempo button before the new tempo is recognized. Flash Tap Tempo Light: When enabled, the Tap Tempo button’s light will flash in time with the tempo. When disabled, the Tap Tempo button’s light will be off. Bank Button Press: This determines how the Pad Bank buttons work.
Legal This screen shows legal information relevant to MPC. For complete legal information, visit akaipro.com/product-legal Mode Tap this icon to switch MPC Live between Standalone Mode and Controller Mode. In the screen that appears, select whether you want to save your current project before switching (Save), switch without saving your project (Don’t Save), or stay in the current mode and project (Cancel).
Time Counter In most of the available modes, there is a time counter at the top of the touchscreen. This indicates the current playhead position. To adjust the position, tap it, and then use the use the data dial or the –/+ buttons. To open the Locate screen and adjust its settings, double-tap the time counter. To close the Locate screen, tap the X in the upper-right corner or anywhere outside the window. To move forward or backward a step, tap the Step < or Step > button, respectively.
Automation You can set the automation for programs and audio tracks to be “written,” “read,” or disabled entirely. You can do this globally or for individual programs and audio tracks. Global In several modes, there is a button in the upper-right corner that controls the global automation. When you tap this button to change its state, it will change the automation state for all programs in the project.
16 Level Press the 16 Level button on your MPC Live 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.
Effects You can apply various effects to the pads, keygroups, programs, submixes, and master outputs, using insert and send/return effects. This chapter can help you get a good overall understanding of how the effects work. See Appendix > Effects & Parameters for a list of all available effects (with a brief description of each) and their editable parameters. Overview In a program, each pad or keygroup can have up to four insert effects applied to it.
When viewing loaded effects, you will see this window: To select an effect, use the field for each insert slot. A window (described below) will appear. To edit the parameters of a loaded effect, tap the pencil icon next to the insert slot. To clear the insert slot, tap the trash can icon next to it. To enable or disable an effect slot, tap the On/Off button next to it. To enable or disable all four effect slots, tap the All On/All Off button in the upper-right corner.
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. If you want to apply the same effect to all pads, do this with a program insert effect (see Insert Effects > Programs). To load a pad insert effect in Main Mode: 1.
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. To load a keygroup insert effect in Main Mode: 1.
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. To load a program insert effect in Main Mode: 1. Use the Track field to select the track that uses the program with the desired pad—the program it uses will be selected automatically. 2.
Submixes You can load up to four insert effects to each submix. You can do this in the Channel Mixer only. Important: Submixes are available only while using MPC Live in Controller Mode with the desktop version of the MPC software. To load a submix insert effect: 1. Set the Mixer field in the upper-left corner to 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. 3.
Send/Return Effects Send/return effects work in the following way: 1. A pad, keygroup, program, or submix sends its audio to up to four returns at its designated send level. 2. That audio is processed by the effects on the return. Each return can have up to four effects loaded. 3. The processed audio is sent back to its pad, keygroup, program, or submix at a designated return level. You can load send/return effects and set return levels only in the Channel Mixer, described below.
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. Tap the Effects tab in the lower-right corner. 3. Use the Send knobs to set the send level for each return. To set the send levels for a pad in the Pad Mixer: 1. Use the Program field at the top of the touchscreen to select the desired program.
Programs You can set the send levels for programs in the Channel Mixer only. To set the send levels for a program: 1. In the Channel Mixer, set the Mixer field in the upper-left corner to Programs. 2. Tap the Send tab at the bottom of the touchscreen (tap it multiple times to select a different send level). 3. In the touchscreen, tap the pad that corresponds to the desired program. Alternatively, double-tap the Program field below the Mixer field. 4. To set the send level, use the data dial or –/+ buttons.
Audio Mixdown The Audio Mixdown screen lets you render and export either the current sequence or song as an audio file. In Song Mode, this will export the entire song. In Main Mode, this will export the current sequence only. To open the Audio Mixdown screen in Song Mode, tap Export at the bottom edge of the touchscreen. To open the Audio Mixdown screen in Main Mode, tap the Project field in the upper-left corner of the touchscreen, and then tap Export.
Standalone vs. Controller Mode MPC Live can function in two ways: Standalone Mode and Controller Mode. To enter Standalone Mode, do one of the following: • If MPC Live is not connected to a computer, simply press the power switch to power it on. • If MPC Live is connected to your computer and you want to keep your MPC software open, press Menu to enter the Menu, and then tap the monitor/cable icon in the upper-right corner. When the Switch to Standalone Mode window appears, tap Standalone to continue.
To enter Controller Mode: 1. Make sure MPC Live’s USB-B Port is connected to your computer. 2. On your computer, open the MPC software. 3. If MPC Live is powered off, press the power switch to power it on. 4. If MPC Live is currently in Standalone Mode, press Menu to enter the Menu, and then tap the MPC chip icon in the upper-right corner. When the Enter Controller Mode window appears, tap Controller Mode to continue. (If you tap Cancel, you can continue using MPC Live in Standalone Mode.
Modes MPC Live has a Menu page that lets you select any one of 20 modes. This chapter describes the various features and functions of each one. Click a button below to skip directly to that chapter.
Main Mode Main Mode gives you an overview of the most-used functions. To enter Main Mode, do one of the following: • Press Main. • Press Menu, and then tap Main. The top of the touchscreen shows the project name and timing information. The Project field shows the name of the current project. To view the Project window, tap the Project field. The Project window will appear, showing a list of available programs, sequences, and samples in the project.
The Timing Correct window contains various settings to help quantize the note events in your sequence. To open the Timing Correct settings, tap the TC/clock icon at the top of the touchscreen. To apply the settings you selected, tap Do It. To cancel and return to the previous screen, tap Close. Use the Type selector to set how timing corrections are applied. Start: The start points of note events will be extended or shortened to align with the closest time division marker in the grid.
Use the Events selector to set the target range for the time correction. You can apply the time correction to All note events or to just the Selected ones. When Range is selected, you can define the bars as well as the pads or keys that will be quantized. The Click/Metro menu contains all settings regarding the metronome (click track). To open the metronome settings, tap the Metro/ metronome icon at the top of the touchscreen. Use the Count-In field to set if/when the metronome counts before recording.
In Main Mode, these are the buttons at the bottom of the touchscreen: MIDI: Tap this button to view only MIDI tracks in the Track section. Audio: Tap this button to view only audio tracks in the Track section. Track –/+: Tap one of these buttons to switch to the previous or next track, respectively. Mute: Tap this button to mute the current track. Solo: Tap this button to solo the current track. The left edge contains icons to quickly enter one of five modes.
The channel strip contains some important settings for the current pad, program, track, or master output, depending on the currently selected icon: To view the pad channel strip, tap the single-pad icon. To view the program channel strip, tap the four-squares icon. To view the track channel strip, tap the bars icon. To view the master channel strip, tap the crown icon.
When viewing the track channel strip while using a MIDI track (any program type): • The first field shows the current track (which you can change) and its name. • The second field shows the name of the program the track is using. • To solo or mute the track, tap Solo or Mute (respectively). • To change the panning or level of the track, adjust the pan knob or level slider. The blue level meter next to the slider shows the track’s current velocity level.
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. To set whether the sequence follows its own tempo (Sequence) or a master tempo (Master), tap the Sequence/Master button under the BPM field. Alternatively, press and hold Shift+Tap Tempo.
To edit the sequence, tap the pencil icon on the right edge of the section. The Sequence Edit/Copy window will open. You can use any of these functions as described below. To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the touchscreen. Alternatively, press Main. To edit the name of the sequence, tap the top of the touchscreen and use the virtual keyboard that appears. The Erase function erases all or part of a track in a specific sequence.
The Transpose function transposes a range of events on a track in a sequence. The events within that range will shift accordingly in the Grid View. To select the sequence you want to transpose, use the Sequence field. To select the track you want to transpose within the sequence, use the Track field. To set the time range of the sequence you want to transpose, use the two sets of Bar, Beat, and Tick fields. The left fields set the start of the time range, and the right fields set the end of the time range.
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. To confirm your choice, tap Do It. To return to the previous screen, tap Function or anywhere outside the window. To cancel and return to Main Mode, tap Cancel.
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. This is the sequence where the source sequence will be copied. To confirm your choice, tap Do It. To return to the previous screen, tap Function or anywhere outside the window. To cancel and return to Main Mode, tap Cancel.
The Copy Events function copies a range of events from a sequence and add them to another at a specified point. To select the “source” sequence, use the From Sequence field. This is the sequence whose events you want to copy. To select the “source” track, use the From Track field. This is the track whose events you want to copy. To set the time range of the events you want to copy, use the Bar, Beat, and Tick fields.
The Track section shows the current track, program type, and its information. The Track field shows the track number and its name. To edit the name of the track, tap the cursor icon on the right edge of the section and use the virtual keyboard that appears. While using a MIDI track, the program selector indicates the type of program through which the track is being routed. The specific program name is displayed below in the Program section.
To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open. While using MIDI tracks, you can use any of these functions as described below. To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the touchscreen. Alternatively, press Main. To edit the name of the track, tap the top of the touchscreen and use the virtual keyboard that appears. The Clear function erases all events from the track and resets all of its settings.
The Bounce to Audio Track function immediately renders the track (for the current sequence only) as an audio track in the project. The Main Mode will automatically switch to the Audio tab. By default, it will be named Audio and appended with a number (e.g., Audio 002). This function does not work for tracks that use MIDI programs or CV programs. If you have already used this function on this track, then you will be asked if you want to overwrite the existing sample with this new one or cancel.
The Delete function erases the entire audio track. To confirm your choice, tap Clear. To return to the previous screen, tap Cancel. The Clear Regions function erases all regions from the audio track without erasing the track itself. The Reset Channel Strip function: • clears all Insert effect slots; • turns Mute, Solo, automation, and Monitor off; • resets the pan knob to the center; • resets the level slider to 0.00 dB; and • turns the Record Arm button off.
The Program section shows the current program. This section will appear differently depending on the type of program selected in the Track section above it. For all program types while using MIDI tracks, you can do the following: To edit the name of the program, tap the cursor icon on the right edge of the section. Use the virtual keyboard that appears to enter a new name, and then tap Do It. To create a new program of the currently selected type, tap the + icon.
While viewing MIDI programs, the MIDI Program field shows the name of the program. Use the MIDI Port field to select the port over which the program sends its MIDI data. Note: You also have to configure the MIDI ports in the Preferences. To see user guide in the MPC software and learn how to do this, click the Help menu and select MPC User Manual. Use the Program Ch field to select the program change message the program sends out.
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.
Grid View Grid View lets you view and edit the note events of each track of a sequence in a project and their velocities. This mode has two different appearances: one for drum programs and one for keygroup programs, MIDI programs, and plugin programs. For drum programs, the left column shows you all available pads in a vertical view with their corresponding data. For keygroup programs, plugin programs, and MIDI programs, the left column shows a vertical “piano roll” keyboard.
In Grid View, these four icons enable you to use different functions in the grid. Tap one to select its mode: Pencil: Draw Mode: To enter a note in an empty grid square, tap the 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 erase a note, tap it. Select Box: Select Mode: To select a note, tap it. To select multiple notes, tap and drag across the grid to create a box around them.
The left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them: To enter Main Mode, tap the house icon. To enter Grid View, tap the grid icon. To enter the Track View, tap the bars-and-magnifying-glass icon. To enter the Step Sequencer, tap the vertical-bars icon. To enter XYFX Mode, tap the XY icon. Regardless of which tool is selected, you can do any of the following to move, lengthen, shorten, or transpose any selected note/notes.
To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the touchscreen. This feature is described here in the Main Mode chapter. To select a time division directly, double-tap the down arrow () in the upper-left corner of the grid and select a time division. To adjust the metronome settings, press and hold Shift, and then tap Click at the bottom of the touchscreen. This feature is described here in the Main Mode chapter.
Audio Edit Mode Audio Edit Mode lets you view and edit the audio tracks of a sequence in a project. To enter Audio Edit Mode, press Menu, and then tap Audio Edit Mode. Audio Edit Mode. Below is a brief step-by-step process so you can get started recording audio tracks quickly. Continue reading the rest of this chapter to learn how to use Audio Edit Mode in different cases. To record in Audio Edit Mode (or Main Mode): 1.
8. Tap the Rec Arm button next to the pan knob to record-enable the track. 9. Press Rec or Overdub to record-arm MPC Live. 10. To start recording, press Play or Play Start—then play your audio source. You should hear your existing sequence playing in the background. You’ll see the waveform appear as a single “track region” as you record. 11. To stop recording, press Stop. The top of the touchscreen shows the track name, sequence and timing information, and editing tools.
The Settings window lets you configure certain Audio Edit Mode settings. To view the Settings, tap the gear icon. Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead. Follow: Depending on the zoom setting, the waveform display will scroll along in the background while keeping the audio playhead centered. Page: The waveform display will move to the “next page” to follow the audio playhead. Off: The waveform display will not move at all.
• To change the audio track’s automation, tap the track automation button to cycle through its three states: When off, the program will ignore automation data. If you have already recorded or entered automation, tapping this will switch between Read (R) and Write (W) only, but you can override this and turn it off by pressing and holding Shift while tapping the button.
Regardless of which tool is selected, you can do any of the following to edit the selected audio track regions. Tip: If you want to hear only the audio track while editing, use the Solo button in the track channel strip to solo it. To select a track region, tap the arrow icon to enter Selection Mode and tap a track region. When a track region is selected, all region parameters will be available to edit. To undo your last action, press Undo. To redo the last action you undid, press Shift+Undo/Redo.
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. Use the Semi and Fine fields if you want to change the pitch (this is useful for matching the durations of two samples with different pitches).
Track View Track View gives you an overview of the tracks of each sequence. Use this mode to edit tracks and sequences simultaneously. To enter the Track View, do either of the following: • Press Menu, and then tap Track View. • Press Shift+Main/Track. Each horizontal strip represents a track in the current sequence. MIDI tracks and audio tracks are grouped together. MIDI tracks are listed first, audio tracks are listed second. To move through the list of tracks, swipe up or down.
The left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them: To enter Main Mode, tap the house icon. To enter Grid View, tap the grid icon. To enter Audio Edit Mode, tap the waveform-in-box icon. To enter the Track View, tap the bars-and-magnifying-glass icon. To enter the Step Sequencer, tap the vertical-bars icon. To enter XYFX Mode, tap the XY icon. To open the Timing Correct settings, tap TC at the bottom of the touchscreen.
Audio Tracks All audio tracks in the project are grouped together in the lower half of the Track View. To show or hide them, tap the or arrow icon. Use the Input field to set the track’s input/inputs. Use the Arm button to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track. You can select multiple tracks by pressing and holding Shift while tapping the Arm button to each track. Use the Monitor button to set how your audio track will be monitored.
Step Sequencer The Step Sequencer lets you create or edit sequences by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum machine. This is available for MIDI tracks only, not audio tracks. To enter the Step Sequencer, press Menu, and then tap Step Sequencer. The top of the touchscreen shows the track name and information as well as sequence and timing information. The Track field shows the name of the current track.
The left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them: • To enter Main Mode, tap the house icon. • To enter Grid View, tap the grid icon. To enter Audio Edit Mode, tap the waveform-and-box icon. • To enter the Track View, tap the bars-and-magnifying-glass icon. • To enter the Step Sequencer, tap the vertical-bars icon. • To enter XYFX Mode, tap the XY icon.
Tap Presets to show or hide the preset sequence controls. These controls let you manipulate and transform the velocities of the current bar in the sequence. The first button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options: • The velocities will ascend to a single peak at the end of the bar. • The velocities will ascend to two peaks—one after each half of the bar.
XYFX Mode XYFX Mode turns the touchscreen into an XY pad where each axis represents the range of an effect parameter. As you move your finger on the XY pad, the current position will determine the current value of the two parameters. You can use this mode to create interesting effect automation on your tracks. The effect you control in XYFX Mode acts like an insert effect on that program. In fact, XYFX is the name of the insert effect you have to load to the program before you can use this mode.
Touch or move your finger on the gridded part of the touchscreen. A marker will follow your finger to indicate the current position. The X axis is the horizontal axis, increasing in value as you move right. The Y axis is the vertical axis, increasing in value as you move up. Each axis is labeled with its assigned parameter. When an effect has a beat division parameter, the current division will be highlighted as an entire column.
Sample Edit Mode Sample Edit Mode lets you edit samples using various functions. To enter Sample Edit Mode, press Menu, and then tap Sample Edit. To select a sample to edit, do any of the following: • Use the Sample field at the top of the touchscreen. • In Main Mode, tap the Project field at the top of the touchscreen, and then double-tap a sample in the list on the right side.
The green marker and red marker are the start point and end point (respectively). These two points define the region of the sample that will be played. To move the start point or end point of the selected region, do either of the following: • Tap and drag its marker left or right. • Use the Start or End fields shown below the waveform. • Use the first bank Q-Link knobs to adjust the start point or the second bank of Q-Link knobs to adjust the end point.
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. Tapping it once more will stop playback. Use the Cue Preview selector to set if any audio plays as you move the cue playhead.
Trim Mode We recommend using Trim Mode to simply crop the end/ends from a sample. To enter Trim Mode, tap the Trim/Chop button in the lower-left corner so it says Trim. Use the Start and End fields to set the position of the start point and end point of the sample (respectively). Alternatively, tap and drag the start (S) or end (E) marker left or right, or use the first bank Q-Link knobs to adjust the start point or the second bank of Q-Link knobs to adjust the end point.
Use the MPC Live pads to play certain parts of the selected sample: Play Loop 13 Play to Loop Start 14 Play from Loop Start 15 16 Play Sample Play Sample (One Shot) (Note On) Play All 09 Play Loop Continuous No function 10 11 12 Play from Start Play to Start Play to End Play from End (Note On) (Note On) (Note On) (Note On) 05 06 07 08 Play from Start Play to Start Play to End Play from End (One Shot) (One Shot) (One Shot) (One Shot) 01 02 03 04 Play Sample (One Sho
Use the Tune field to transpose the sample up or down from its original pitch. Tap From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence. Use the Beats field to match the number of beats in the sequence. To tune the sample to the sequence, tap Match. The Tune field will adjust automatically and close the window. The sample is now tuned to the sequence. To tune the sample to the sequence and adjust the sequence tempo, tap To Sequence.
Assigning Samples You can assign your new sample directly to a pad from Trim Mode. To assign a sample, tap Assign at the bottom of the touchscreen to open the Assign Sample window. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project.
Processing Slices & Samples Tap the Process button to open the Process window, where you can select an editing option for the sample. Use the Function field to select an editing process. Double-tap it or tap Function at the bottom of the touchscreen to open the Function window, which gives an overview of all available editing processes. You can use any of these functions as described below. To return to Sample Edit Mode, tap Cancel. To return to the Process window, tap the top of the touchscreen.
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. Use the Edit Name field (and the virtual keyboard that appears) to name the new sample. Tip: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc. to use separately in the project.
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. Exp fades the audio in with an exponential curve—slowly rising in the beginning and growing steeper towards the end. The Fade Out process sets a fade-out between the start point and end point.
The Gain Change process raises or lowers the volume of the sample. You can adjust it up to 18 dB, higher or lower. This function is different than Normalize because it will allow volumes beyond clipping level. This may be a desired effect, but remember to watch your output level! The Copy process saves a copy of the sample. Use the Edit Name field (and the virtual keyboard that appears) to name the new sample. Otherwise, the process will add a consecutive number after the sample name.
Chop Mode Whereas Trim Mode crops only the end/ends off of a sample, Chop Mode divides the sample into multiple regions called slices. We recommend using Chop Mode when working with a long sample with different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage). To enter Chop Mode, tap the Trim/Chop button in the lower-left corner so it says Chop. Use the Start and End fields to set the position of the start point and end point (respectively) of the currently selected slice.
To play a slice, do either of the following: • Press the pad that corresponds to the slice. If your sample has more than 16 slices, use the additional pad banks. • When the headphones icon (in the upper-right corner) is selected, tap a slice in the waveform. When the One Shot feature is enabled, you can press a pad once to play the entire slice. When this is disabled, pressing the pad and holding it will play the slice; releasing it will stop playback.
Converting or Assigning Slices You can assign your new sample directly to a pad from Chop Mode. You can also convert it into a new program or patched phrase. To convert or assign a sample, press and hold Shift, and then tap Convert at the bottom of the touchscreen to open the Convert or Assign Slices window. If you set the Convert To field to New [program type] program using slices, this will create a new program and assign the sample’s slices to its pads.
If you set the Convert To field to New program with new samples, this will create a new sample from each slice and assign them to pads in a new program. The new program will be named after the sample and appended with ch. The new samples will be appended with SI-# (where # is a consecutive number). Check the Crop Samples box to delete the unused parts from the sample when they are created and assigned. This feature is destructive, though the project will still contain your original sample.
If you set the Convert To field to Make new sample, this will create a new sample in your project. (The original sample will remain as it is.) Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. 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.
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. Double-tap it or tap Function at the bottom of the touchscreen to open the Function window, which gives an overview of all available editing processes.
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. to use separately in the project. The Normalize process increases a sample’s level to the highest level possible without distortion.
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. Exp fades the audio in with an exponential curve—slowly rising in the beginning and growing steeper towards the end. The Fade Out process sets a fade-out between the start point and end point.
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. To enter Program Mode, tap the Program button at the bottom of the touchscreen. The pads will show their assigned samples in the current Program. Use the Start and End fields to set the position of the start point and end point of the sample (respectively).
Tap From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence. Use the Number of Beats field to match the number of beats in the sequence. To tune the sample to the sequence, tap Match. The Tune field will adjust automatically and close the window. The sample is now tuned to the sequence. To tune the sample to the sequence and adjust the sequence tempo, tap To Seq.
Assigning Samples You can assign your new sample directly to a pad from Program Mode. To assign a sample, tap Assign at the bottom of the touchscreen to open the Assign Sample window. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project.
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. Double-tap it or tap Function at the bottom of the touchscreen to open the Function window, which gives an overview of all available editing processes.
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. to use separately in the project. The Normalize process increases a sample’s level to the highest level possible without distortion.
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. Exp fades the audio in with an exponential curve—slowly rising in the beginning and growing steeper towards the end. The Fade Out process sets a fade-out between the start point and end point.
Sampler The Sampler lets you record audio samples to use in your projects. Important: To record any audio, you need to connect an audio source to your MPC Live or to your computer’s audio interface. To open the Sampler, press Menu and then tap Sampler. To set up the Sampler before recording: 1. Make sure to reduce the volume levels of your audio source and speakers, headphones, and/or monitors before you make any connections to avoid “pops” or feedback. 2.
Tap the Monitor button to enable or disable input monitoring. When on, the audio you hear in your headphones will be taken before it reaches the Sampler, ensuring zero latency. When off, the audio you hear in your headphones will be taken after it is processed in the Sampler, so there may be some latency, but you will hear the audio source as it sounds in the recording. Tip: To avoid possible clicks or feedback while input monitoring, reduce the level of the audio sources.
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 > Chop Mode for more information). This is useful when working with a long sample with different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage).
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). This is useful when working with a long sample with different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage).
Pad Tap Important: This mode works for drum programs only; you must select a drum program before using this mode. Otherwise, this feature will not do anything, even though it may appear to work. With this method, pressing a pad immediately starts or continues recording directly to that pad (make sure you are using the desired program before you start recording). Pads with assigned samples are lit bright yellow. Pads without samples are lit dim yellow. To start recording to a pad, press it.
Pad Mute Mode Pad Mute Mode lets you easily mute pads within a program or set mute groups for each pad within a program. To enter Pad Mute Mode, press Menu, and then tap Pad Mute. 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. See the following Pad Mute and Pad Group sections to learn about each. Use the Program field at the top of the touchscreen to select a program.
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. To mute pads in this mode: 1. If the Pad Mute tab in the lower-left corner is not already selected, tap it. 2. Select the desired pad bank.
Pad Mixer In the Pad Mixer, you can set a program’s levels, stereo panning, routing, and effects. This mode appears differently for each type of program: For drum programs, this mode shows a pad with controls for each individual pad (of 128). For keygroup programs, this mode shows a pad with controls for each individual keygroup (up to 128). For clip programs, this mode shows a pad with controls for each individual clip (up to 16).
When a pad is selected, you can view and adjust all of its settings in the left side of the touchscreen rather than using the tab buttons at the bottom. When viewing the channel strip: • The first field shows the current pad number. Press a pad or double-tap the field to select a different pad. • The second field shows where the pad is routed (which you can change). Usually, this is set to Program.
Send Effects When the Send tab is selected, use the data dial or –/+ buttons to adjust the send level of the currently selected pad. The level sliders in each pad show a visual representation of the level. Double-tap a pad in the touchscreen to open a large version of the level slider. You can select up to four send effects for each pad. You can use various effects included in your MPC Live as well as other VST and AU plugins installed on your computer.
Next Sequence Mode Next Sequence Mode lets you trigger different sequences simply by playing the pads. This is useful for live performances, letting you change a song’s structure in real time. To enter Next Sequence Mode, press Menu, and then tap Next Sequence. The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See General Features > Time Counter to learn about this.
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 in the touchscreen. If you do not select another sequence, the current sequence will repeat indefinitely.
Program Edit Mode Program Edit Mode contains all parameters for editing your Programs. For drum programs, this mode includes the parameters of four layers as well as all synthesis parameters and insert effect settings. See the Drum Programs section to learn more. For keygroup programs, this mode contains slightly more parameters than drum programs. See the Keygroup Programs section to learn more. For clip programs, this mode looks very different from that of other programs due to how clip launching works.
Master In the Master tab, you can set the playback mode and tuning for the overall Program. Polyphony sets the playback mode for the program’s pads. In Mono Mode, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute all other currently playing pads in that program. In Poly Mode, several pads can be triggered at the same time (limited only by the total number of voices available).
Important: The parameters on the second, third, and fourth Samples tabs work in conjunction with Chop Mode (in Sample Edit Mode). Here’s how it works: When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads, you can convert a slice using Non-Destructive Slice or Pad Parameters. A Non-Destructive Slice will let its pad to refer to that slice when you press it; the original sample remains intact and each slice marker is like a “bookmark” for a pad.
Use the Pad Loop button to cycle through the available Pad Loop modes. Important: For Pad Loop to work, you must (1) set the Sample Play field to Note On instead of One Shot and (2) set the Slice field to Pad instead of All or a slice number. Off: The sample will not loop. Forward: You can hold down the pad to cause that sample to repeat from the Loop Position to the end of the sample. Release the pad to stop the repeating playback.
Filter 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 lowpass and high-pass filter types or the center frequency for band-pass and band-stop filter types. Use the Reso knob to set the resonance/emphasis of the frequencies around the cutoff point. Tip: Use values lower than 80 to give more brilliance to the sound.
LFO Modulation The Modes controls let you set the behavior for each pad’s samples in a drum program. Use the Mute Group field to assign the selected pad to one of the 32 available groups. When pads assigned to the same mute group receive MIDI notes, the last pad played will silence all other pads in that mute group. A mute group affects pads within that program only; mute groups do not affect pads in other programs.
Use the Rate field to determine the LFO frequency when Sync is on. At lower values, it might take some time for the LFO to complete a cycle, while higher values will come closer to audible range. Use the Sync field to set if the LFO’s rate is synchronized with the tempo. You can select one of several time divisions (a . indicates a dotted note; a T indicates a triplet-based time division). When None is selected, Sync is off.
Keygroup Programs When using keygroup programs, Program Edit Mode lets you edit the parameters for each keygroup. To select a keygroup, press a pad within that keygroup. Its parameters will appear on the screen immediately. Alternatively, use the Keygroup field at the top of the touchscreen. To view a specific tab of parameters, tap the Master, Samples, Pan Velocity, Filter Env, LFO Modulation, or Effects button at the bottom of the touchscreen.
Master In the Master tab, you can set the playback mode and tuning for the overall program. Polyphony sets the playback mode for the program’s keygroups. In Mono Mode, only one keygroup will sound at a time. If a keygroup is played while another (or the same one) is still playing its sample/samples, the new keygroup will immediately mute all other currently playing keygroups in that program.
Use the KG Polyphony (keygroup polyphony) field to determine how the keygroup will play. When set to Mono, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute all other currently playing pads in that program. When set to Poly, several pads can be triggered at the same time, limited only by the total number of voices available.
Important: The parameters on the second, third, and fourth Samples tabs work in conjunction with Chop Mode (in Sample Edit Mode). Here’s how it works: When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads, you can convert a slice using Non-Destructive Slice or Pad Parameters. A Non-Destructive Slice will let its pad (keygroup) to refer to that slice when you press it; the original sample remains intact and each slice marker is like a “bookmark” for a pad.
Use the Pad Loop button to cycle through the available Pad Loop modes. Important: For Pad Loop to work, you must (1) set the Sample Play field to Note On instead of One Shot and (2) set the Slice field to Pad instead of All or a slice number. Off: The sample will not loop. Forward: You can hold down the pad to cause that sample to repeat from the Loop Position to the end of the sample. Release the pad to stop the repeating playback.
Filter 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 lowpass and high-pass filter types or the center frequency for band-pass and band-stop filter types. Use the Reso knob to set the resonance/emphasis of the frequencies around the cutoff point. Tip: Use values lower than 80 to give more brilliance to the sound.
LFO Modulation The Velocity Sensitivity controls determine how much the velocity affects the pitch of the sound (Pitch), the attack of the filter envelope (Attack), the volume level of the sound (Amp), and the panning of the sound (Pan). When you press a pad softly, only minimal modulation is applied. When you press it harder, the modulation amount also gets stronger depending on the setting of the corresponding knob.
Effects You can select up to four insert effects for each keygroup. To learn how to use insert effects in MPC Live, please see General Features > Effects > Insert Effects. Important: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well. To add an effect: 1. Double-tap the desired Inserts slot. A list of effects will appear. 2.
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. Its parameters will appear on the screen immediately. To view a specific tab of parameters, tap Program or Pad the bottom of the touchscreen. The Program tab is where you assign clips to pads (see Program below).
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. Alternatively, double-tap the Sample field, and then tap a clip to select it. To clear the assigned clip from a selected pad, assign a sample to a pad, but select None.
Pad The upper half of the touchscreen shows the clip waveform. The lower half shows the editing controls. The waveform display shows the “active” section of the clip waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in bars, beats, and ticks. The green marker and red marker are the start point and end point (respectively). These two points define the region of the sample that will be played.
Tap Warp to lengthen or shorten the clip without changing its pitch, and use the BPM field to change the tempo. Use the Coarse and Fine sliders if you want to change the pitch. Use the Pad Play field to determine the clip is played. One Shot: When you press the pad, the entire clip will play from start to end and then stop. Toggle: When you press the pad, the entire clip will play from start to end and loop indefinitely. Pressing it again— or launching another in the same mute group—will stop its playback.
MIDI Programs For MIDI programs, you will see an overview of all available MIDI CCs with a slider for each. Use the sliders to set the value of each parameter. Use the six tabs at the bottom of the touchscreen to access the available parameters. To assign a parameter to one of the sliders, use the MPC software. Note: To see user guide in the MPC software and learn how to do this, click the Help menu and select MPC User Manual.
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. Keygroup programs always use AHDS envelopes. With AHDS envelopes, the following happens when you trigger a sample: 1. Within the period of time you have defined with the attack (Atk), the sample volume rises to its maximum value. 2.
Looper The Looper lets you record and overdub audio in real time—a great tool for live performance as well as spontaneous moments in the studio. You can export the loop as a sample to use in your project. To open the Looper, press Menu, and then tap Looper. Below is a brief step-by-step process so you can get started quickly. Continue reading the rest of this chapter to learn how to use the Looper in different cases. To get started using the Looper: 1.
The upper-left Input Source field defines whether you are going to record an external audio signal (Input 1,2, Input 3,4, or one of Input 1–4) or an internal signal from within MPC Live (Resample L, Resample R, or Resample L+R). Resampling does not require an audio connection because the source is within MPC Live and is therefore recorded without any loss in audio quality. You can, for example, use Resample to record two or more samples by pressing the corresponding pads simultaneously.
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. The Looper will start recording immediately. To stop recording, tap the Replace or Overdub button. The Looper will stop recording but continue playing.
Track Mute Mode Track Mute Mode lets you easily mute tracks within a sequence or set track groups, enabling you to mute multiple tracks at once. To enter Track Mute Mode, press Menu, and then tap Track Mute. 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. See the following Track Mute and Track Group sections to learn about each. Use the Sequence field at the top of the touchscreen to select a sequence.
Track Mute This is useful if you want to hear a sequence without a particular track (e.g., muting your keyboard track to focus on the bass) or if you want to isolate specific sounds or combinations of sounds that are separated by track. Tip: This function is similar to, but more convenient than, muting tracks one at a time in the Track View. To mute tracks in this mode: 1. If the Track Mute tab in the lower-left corner is not already selected, tap it. 2. Select the desired pad bank.
Channel Mixer In the Channel Mixer, you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes (while using MPC Live in Controller Mode), and masters. To open the Channel Mixer, press Menu, and then tap Channel Mixer. The Channel Mixer works like an audio mixer with various settings for each channel, shown in a 4x4 array. Their functionality is mostly identical. The name of the track, program, or channel is displayed at the top of each one.
Mute/Solo/Rec Arm Tap this tab to cycle it through Mute, Solo, and Rec Arm functions. When Mute is selected, mute tracks, programs, returns, submixes, or masters by doing any of the following: • Turn or press the data dial. • Use the –/+ buttons. • Tap the pad in the touchscreen. • Use the Q-Link button to select a row of four pads, outlined in the touchscreen. Turn each of the Q-Link knobs to mute or unmute each of the four outlined pads.
Insert Effects (Audio Tracks, Programs, Returns, Submixes, and Masters only) When the Insert tab is selected, use the data dial or –/+ buttons to adjust the insert effect level of audio tracks, programs, returns, submixes, or masters. The level sliders in each pad show a visual representation of the level. Double-tap a pad in the touchscreen to open a large version of the level slider. You can select up to four insert effects for each audio track, program, return, submix, or master.
Audio Tracks The Audio Track Mixer shows levels, mute/solo/record-arm states, send and insert effects, and routing for all used tracks. To view a specific setting on all tracks, tap Level, Pan, Mute/Solo/Rec Arm, Send, Insert, or Route at the bottom of the touchscreen. 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 touchscreen rather than using the tab buttons at the bottom.
Programs The Program Mixer shows levels, panning, mute states, send and insert effects, and routing for all programs. To view a specific setting on all programs, tap Level, Pan, Mute/Solo, Send, Insert, or Route at the bottom of the touchscreen. Tap Mute/Solo to switch between them. Tap Send or Insert to cycle through the four available slots for each.
Returns Pads, programs, and audio tracks can each be sent to up to four send channels. Their audio signals will be routed to the send channels at their designated send levels. After being processed by the effects on those channels, their signals are then sent back based on their return settings (levels, panning, etc.). This view displays the four return channels. The return mixer shows levels, panning, mute states, insert effects, and routing for all used tracks.
Submixes The Submixer shows levels, panning, mute states, send and insert effects, and routing for the eight available submixes. Important: Submixes are available only while using MPC Live in Controller Mode with the desktop version of the MPC software. To view a specific setting on all submixes, tap Level, Pan, Mute, Send, Insert, or Route at the bottom of the touchscreen. You can tap Send or Insert multiple times to cycle through the four available slots for each.
Song Mode Song Mode lets you arrange sequences in a specific order and/or repetition to create songs. You can edit the structure of a song during playback for easy, on-the-fly composing. A project can contain up to 32 songs, each consisting of up to 999 “steps.” Each step can have an assigned sequence as well as the number of times that sequence will repeat. To open Song Mode, press Menu, and then tap Song Mode. Important: If a sequence is currently playing, stop playback before entering Song Mode.
To insert a step: 1. Tap a step in the sequence playlist after which you want to insert a step. 2. Tap Insert in the lower-right corner of the touchscreen. To change a step’s sequence: 1. In the desired step, tap the sequence name. 2. 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 touchscreen. To clear the entire sequence playlist (delete all steps), tap Clear.
Browser The Browser lets you navigate your MPC Live’s internal and external hard disks to load samples, sequences, songs, etc. Using filter buttons and user-definable folders, you can easily adapt it to your preferred workflow. You can also audition (preview) your samples before loading them. Important: You can install an additional SATA drive in your MPC Live, allowing for even more storage space. See Appendix > SATA Drive Installation to learn more about this.
To get the most efficient use of the Browser, set the file paths to your favorite drive locations first. There are five folder buttons labeled 1–5 in the upper-right corner. You can set these to be shortcuts to five locations on MPC Live’s internal drive and/or any connected USB drives, giving you quick access to your files. To assign the current location to a folder button, press and hold Shift, and then tap one of the folder buttons (1–5).
When the Sample Assign tab is selected, you can do any of the following: To select a program in the project, double-tap the Program field at the top of the touchscreen. In the list that appears, tap the desired program. Alternatively, tap the Program field and then use the data dial or the –/+ buttons to select a location. To move through the sample pool, swipe up or down, turn the data dial, or use the –/+ buttons. To preview a selected sound, tap and hold Play () at the bottom of the touchscreen.
Pad Perform Mode Pad Perform Mode lets you assign musical scales/modes, chords, or progressions to the pads for more creative performance. To enter Pad Perform Mode, press Menu, and then tap Pad Perform while using a keygroup program, MIDI program, plugin program, or CV program. (Although you can enter Pad Perform Mode while using a drum program or clip program, it does not work with these programs.) The touchscreen will show the current pad bank’s mapping of notes or chords.
Use the Type selector to determine what will be mapped over the pads: Notes: Each pad is assigned a note, ascending by one scale degree with each pad. Chords: Each pad is assigned a chord, the root note ascending by one scale degree with each pad. All available chords will play in the key determined by the Scale. Chromatic Chords: Each pad is assigned a chord, the root note ascending by one scale degree with each pad. You can play any chord type regardless of the key determined by the Scale.
Use the Chord fields to determine what chord type will play when pressing a pad. The resulting chord will use those scale degrees based off of the pad’s root note. You can use this only when the Type is set to Chords or Chromatic Chords.
Pad Color Mode Pad Color Mode lets you assign specific colors to your pads in each program. To enter Pad Color Mode, make sure you have first selected a track that uses the desired program, and then press Menu, and tap Pad Color. Important: If you are already in Pad Color Mode and want to assign pad colors for another program, exit Pad Color Mode first, and then select a track that uses the desired program in another mode.
Q-Link Edit Mode Q-Link Edit Mode lets you determine what the Q-Link knobs control in other modes. This is helpful when you want to use the Q-Link knobs to control parameters that might not be shown in the current mode—or parameters that are shown across different modes. To select an edit mode for the Q-Link knobs, tap one of the five buttons at the bottom of the touchscreen: Project: In this edit mode, the Q-Link knobs can control 16 parameters within the current project overall.
Tap the Learn button to turn Learn Mode on or off. When on, adjusting a control in the MPC software window will immediately assign it to the currently selected Q-Link knob. This button is not available while in Screen Q-Link Edit Mode where the Q-Link knobs are unassignable. To assign a function to a Q-Link knob in Learn Mode: 1. Tap Learn so the button is lit. (This will stop playback. Resuming playback will exit Learn Mode.) 2. Touch or turn the desired Q-Link knob. 3.
Project In the Project Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the current project. Next to the top row of Q-Link knobs in the touchscreen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs: MIDI Track: MIDI track parameters. Use the MIDI Track field to select one of the MIDI tracks in your project. Audio Track: audio track parameters. Use the Audio Track field to select one of the audio tracks in your project.
Program In the Program Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the currently selected program.
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 16 parameter assignments are automatically saved with other user settings. Any project you load will use these assignments.) To select a pad, press it.
Pad Parameters In the Pad Parameters Q-Link Edit Mode, the Q-Link knobs control the same pad parameter for the each of the 16 pads in the current pad bank. For example, if the Parameter is set to Level, the 16 Q-Link knobs will adjust the 16 independent Level settings for each pad in the current pad bank. You could then set the Parameter to Pan and use the Q-Link knobs to adjust the panning of all 16 pads.
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.). These parameters are outlined in gold and sometimes have a Q in the corner.
MIDI Control Mode You can use MIDI Control Mode on your MPC Live to customize what MIDI messages are sent from certain controls on your hardware. This custom “control map” will then work whenever you are in MIDI Control Mode. The edits you make in MIDI Control Mode will be retained with the current MPC project In Standalone Mode, this feature enables you to use MPC Live to control external MIDI devices connected to its MIDI out.
Pads These are the MIDI parameters you can edit for each pad: Control: This is the hardware control you are currently editing (Pad 1–Pad 16). Bank: This is the pad bank the pad belongs to. If you check the Set All box, the pad’s messages and parameters will be identical across all eight banks. Set All: When this box is checked, the pad’s messages and parameters will be identical across all eight banks. When this box is unchecked, the pad’s messages and parameters will apply to the current pad only.
Q-Link Knobs These are the MIDI parameters you can edit for each Q-Link knob: Control: This is the hardware control you are currently editing (QLink 1–4). Light LED: Although you can edit this parameter, it does not actually have a function on MPC Live. When set to Never, the LEDs will always be off. When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the Q-Link knob.
Appendix Effects & Parameters This chapter lists the available effects. To learn more about how effects work in MPC Live, please see General Features > Effects. Note: Some of these effects have a “sync” version (e.g., Flanger Sync, Autopan Sync, etc.) whose rates will be affected by the current tempo. While viewing the rate of these effects, a “.” next to the time division indicates a triplet-based rate.
Reverb Large This is a spatial effect, designed to emulate the sound of a large hall.
Reverb Out Gate This is a hall reverb that has an additional control. The reverb Parameter effect is cut off when the output drops below the level set in Dry/Wet the Gate Out parameter.
Delay Sync (Stereo) Stereo Delay operates similarly to Mono Delay but in true stereo.
Delay Tape Sync Tape Delay emulates a delay system using an analog tape Parameter loop and a series of tape heads to produce an echo effect. This delay type yields a very distinct echo sound often heard Dry/Wet in reggae and dub-style music.
Flangers A flanger is a modulated delay to emulate the sound created when running two analog tape machines in parallel with a slight time disalignment. Slow Rate settings can produce a “whooshing” jet engine sound, while faster rates result in more of a “warble.
Autopans This effect uses an LFO to move the incoming signal back and forth across the stereo field, creating a rotary effect. Options: Autopan, Autopan Sync Autopan Parameter Value Range Default Value Dry/Wet 0–100 (dry–wet) 100 Rate 0–100 10 Parameter Value Range Default Value Dry/Wet 0–100 (dry–wet) 100 Rate 8 bars – 1/32 1/4 Autopan Sync Tremolos This effect uses an LFO to increase and decrease the volume of the signal.
Phasers The phaser is a classic effect, created by multiple ganged all-pass filters to create “notches,” or sharp spikes, in the frequency spectrum. The frequencies of these all-pass filters are usually modulated by an LFO to create a sweeping sound.
HP Filter Sync This effect is a high-pass filter with its cutoff frequency modulated by an LFO. Parameter Value Range Default Value Dry/Wet 0–100 (dry–wet) 100 Low Frequency 0–100 0 High Frequency 0–100 100 Resonance 0–100 50 Rate 8 bars – 1/32 1/4 Value Range Default Value 10–19999 Hz 1500 Resonance 0–100 0 Gain -18.0 – 18.0 dB 0.
Parametric EQs Options: PEQ 2-Band, 2-Shelf, PEQ 4-Band PEQ 2-Band, 2-Shelf This effect is a combination of one two-band parametric equalizer and two shelving filters. Parameter Value Range Default Value Low Frequency 22–1000 Hz 220 Frequency 1 82–3900 Hz 820 Frequency 2 220–10000 Hz 2200 High Frequency 560–19999 Hz 5600 Q1 0–100 0 Q2 0–100 0 Low Gain -18.0 – 18.0 dB 0.0 Gain 1 -18.0 – 18.0 dB 0.0 Gain 2 -18.0 – 18.0 dB 0.0 High Gain -18.0 – 18.0 dB 0.
Distortions Options: Distortion Amp, Distortion Fuzz, Distortion Grimey, Distortion Overdrive, Distortion Custom Distortion Amp This effect is designed to reproduce the sound of a tube amplifier at high volumes.
Distortion Custom This effect is a highly customized distortion, capable of a wide range of useable sounds. Parameter Value Range Default Value Dry/Wet 0–100 (dry–wet) 100 Drive 0–100 50 +Soft 5–75 2 +Clip 5–50 25 –Soft 5–75 2 –Clip 5–50 25 Low -18.0 – 18.0 dB 0.0 Mid -18.0 – 18.0 dB 0.0 High -18.0 – 18.0 dB 0.0 Output -18.0 – 18.0 dB 50 Compressors A compressor is an effect that changes the dynamic range of a signal by automatically reducing its gain.
Compressor VCA This compressor is more modern-sounding, with a slightly more transparent sound. A VCA Compressor tends to have quicker attack and release times than an Opto Compressor.
Other Options: Auto Wah, Frequency Shifter, Transient Shaper Auto Wah This effect is a low-pass filter modulated by an envelope that Parameter yields a classic funky “wah-wah”- like sound. The envelope is triggered by the incoming signal’s amplitude. The amount Dry/Wet of the envelope on the cutoff frequency is user-definable.
Glossary A lot of the terms in this manual are based on the MPC parameter names. This glossary briefly explains many of the technical terms used throughout. Aftertouch The majority of contemporary keyboards are capable of generating aftertouch messages. On this type of keyboard, when you press harder on a key you are already holding down, a MIDI aftertouch message is generated. This feature makes sounds even more expressive (e.g., through vibrato).
Filter A filter is a component that allows some of a signal’s frequencies to pass through it and dampens other frequencies. The most important aspect of a filter is the filter cutoff frequency. Filters generally come in four categories: low-pass, high-pass, band-pass, and band-stop. These are the available filters in MPC Live: A low-pass filter (the most common type) dampens all frequencies above the cutoff frequency. A high-pass filter in turn dampens the frequencies below the cutoff.
Modulation A modulation influences or changes a sound-shaping component via a modulation source. Modulation sources include envelopes, LFOs or MIDI messages. The modulation destination is a sound-shaping component such as a filter or a VCA. Note On & Note Off This is the most important MIDI message. It determines the pitch and velocity of a generated note. A note-on message will start a note. Its pitch is derived from the note number, which can range from 0 to 127. The velocity lies between 1 and 127.
Sequence A sequence is the most basic building-block of music you can compose on MPC Live. MIDI information from the MPC hardware pads, buttons, and Q-Link knobs are recorded to the tracks of a sequence. Each sequence contains 64 tracks. Each project can store up to 128 separate sequences. The length of a sequence can be set from 1 to 999 bars, which would be enough to create an entire song using only one sequence.
Technical Specifications 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 navigation and selection via push Buttons (22) dedicated function buttons; red-, amber-, or green-backlit Display 6.9” / 176 mm (diagonal) 5.9” x 3.7” / 150 x 93 mm (width x height) Full-color LED-backlit display with touch interface CPU Processor: 1.
Trademarks & Licenses Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries. AAX and RTAS are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other countries. ARM and Cortex are registered trademarks of ARM Limited (or its subsidiaries) in the EU and/or elsewhere. All rights reserved. ASIO, Cubase, and VST are trademarks of Steinberg Media Technologies GmbH.
