User Guide English Manual Version 1.
Table of Contents Welcome to the MPC .................................................................................................................................. 5 System Requirements and Product Support ..................................................................................... 5 About This Manual ................................................................................................................................ 6 Important Notes..................................................
Program Edit Mode ............................................................................................................................. 58 Master Section ................................................................................................................................. 59 Simultaneous Play Section (Drum Programs Only) ......................................................................... 59 Mute Target Section (Drum Programs Only) ....................................................
Sample Edit Mode ............................................................................................................................... 81 Waveform Display ........................................................................................................................... 82 Edit Section...................................................................................................................................... 83 Pad Section ..........................................................
Welcome to the MPC Thanks for choosing the MPC! Fusing Akai Professional's legendary MPC layout and workflow with the power of your computer, MPC Essentials is an unrivaled instrument for music production. The essential instrument for computer-based music production, MPC Element brings powerful musicmaking capability to your computer in a slimline design that's made to produce. You get cutting-edge features, including MPC Note Repeat and Swing, along with the all-new MPC Essentials software.
About This Manual This manual was written to help you get familiar with the MPC Element hardware and MPC Essentials software. To avoid confusion, the terminology in this manual is based on the MPC parameter names. You will find the various terms explained in the Glossary at the end of this manual. We also used a uniform set of symbols to show topics of particular interest or significance: Information: Important or helpful information on a given topic.
Important Notes • Read the included Safety and Warranty Manual before using the MPC hardware. • Before getting started and connecting devices to the MPC hardware or turning the hardware on/off, make sure all devices are switched off. Installation Before installing the MPC software, make sure your computer meets the system requirements described at akaiprompc.com. This applies whether you'll use MPC software as a plugin or standalone application. Windows® 1. Open the folder where the downloaded .
Unlocking MPC Essentials Follow these steps to unlock the MPC software before using it. 1. Connect your MPC hardware to a USB port on your computer. 2. Power on the MPC hardware. 3. Open the MPC software. 4. In the dialogue box that appears, click Unlock Now. 5. Enter your information in the window that appears. 6. If your computer is connected to the Internet, click Unlock Now, and enjoy your MPC! 7. If your computer is not connected to the Internet, follow these additional steps: 8.
MPC Hardware Overview This chapter explains the features and functions of your MPC Element.
1. USB Port: Use the included USB cable to connect this USB port to an available USB port on your computer. This connection allows MPC Element to send/receive MIDI data to/from the software. 2. MIDI In: Use the included 1/8"-MIDI adapter and a five-pin MIDI cable to connect the MIDI Out of an optional external MIDI device to the MIDI In of MPC Element. Important: Do NOT connect audio devices (e.g., headphones, monitors, etc.) to the 1/8" MIDI In or MIDI Out jacks.
14. 16 Level: Press this button to activate/deactivate 16 Level. When activated, the last pad that was hit 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 hit them.
Quick Start Starting Up 1. Power on your computer, and make sure the MPC hardware driver and software are both properly installed on your computer. 2. Connect your MPC hardware to your computer with a standard USB cable. After that, open the MPC software. Now, you're ready to go! Recording a Drum Sequence First, let's set up a Program so we can record a drum Sequence: 1.
Let's record a drum Sequence: 1. Click the Rec button to activate Record Mode. 2. To start the actual recording, click Play. The pre-count will count one measure before the software starts to record. We recommend recording only one sound (pad) at a time, especially if you aren't familiar with playing on the pads. 3. Play a simple bass drum pattern. The note events you just recorded will automatically be placed in the grid (in this case, on 16th notes). The initial measure length is two bars.
Organizing Samples and Editing Note Events We recommend doing some naming and editing before recording further. Let's use the software, which is easier for editing. The collection of drum samples you loaded earlier (and their respective pad assignments) are arranged in a Program: • To rename a Program, right-click the Program in the Project Information panel, and select Rename. Enter a suitable name for the Program. • To rename a sample, right-click the name of a sample (e.g.
Recording a Bass Sequence Recording a melodic instrument like piano or bass works differently in the software from recording drums. 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. Let's set up a Program so we can record a bass Sequence: 1. In the Sequence Section in the lower half of the window, click the Type drop-down menu, and select Keygroup. 2.
Let's add a second layer and set the Layers' velocity ranges so our bass sounds different when played at a higher velocity (as a real bass would): 1. Go back to the File Browser and select a different bass sample that sounds similar but a little bit brighter. 2. Double-click a sample to add it to the Project. 3. Back in the Layer section, click the Layer 2 dropdown menu and select the new bass sample. Hit a pad—both samples will sound at once.
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 in this chapter)! Click the Song tab to open Song Mode. Each of the Sequences you've created in this Project is assigned to a pad. Click and drag a pad with the desired Sequence onto the Sequence Playlist to the left of the pads.
Operation (Software) This chapter explains the complete features and functions of the MPC Essentials software. Important: When using the MPC Essentials software as a plugin, its features and functions are very similar to how it's described in this chapter but with some notable differences, discussed in the Operation (Plugin) chapter. Remember: • In this manual, whenever the MPC Element can be used to control a parameter or a function, this is explained separately in a light red box labeled Hardware.
General Features Adjusting the Controls Tip: If you use a computer mouse with scroll wheel, you can use it to affect some of these controls: move your mouse pointer over the control and use the scroll wheel to change it. If you hold down your keyboard's Shift key while doing this, you can increase the resolution. The MPC software uses the following types of control elements: Knobs To set a value, click the knob, hold the mouse button, and drag the knob up and down.
Switches Switches are represented by "LEDs." If a function is active, its LED will be lit red. To activate a function, click it. Any other LEDs in its set will be automatically deactivated. Buttons Click a button to activate or deactivate its function. Buttons are red when they are activated. Envelope Displays Click the respective "handle" of an envelope and drag into the desired direction to change an envelope parameter.
Program Types About Programs A Program is a file that contains (1) a list of all samples used and (2) the settings for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.) Program Edit Mode lets you edit and assign samples. A single Project can hold a total of 128 Programs.
To load samples into a Drum Program, click and drag a sample onto the desired pad (in the pad display or its row in the grid) from one of the following locations: • the File Browser • the Project Information panel • your computer's Explorer (Windows) or Finder (Mac OS X) The sample will be assigned to the corresponding pad. Tip: By following the same process described earlier, you can also load an entire folder of samples into a Program by dragging the folder onto a pad.
To load samples into a Keygroup Program: 1. In the File Browser, double-click the desired sample. The sample is now loaded in the current Project. 2. Click the Program Edit tab. 3. Click Layer 1's Sample drop-down menu to select and assign a sample to the Keygroup Program. The loaded sample can now be played chromatically with the pads or a connected MIDI keyboard. In the software, click the Program Edit tab.
MIDI Program To create a MIDI Program: 1. 2. 3. 4. Click the Main Mode tab to enter Main Mode. In the Sequence Section, click the Type drop-down menu and select Midi. If the Project does not contain a MIDI Program yet, a new MIDI Program will automatically be added to the Project. If the Project already contains a MIDI Program, click the + button next to the Program drop-down menu. Click the name in the Program drop-down menu, and enter an appropriate Program name.
Plugin Program A Plugin Program lets you send your Sequences' MIDI data through a loaded plugin. To turn a Program into a Plugin Program: 1. In the software, click the Main Mode tab. 2. In the Sequence section, click the Type drop-down menu, and select Plugin. The Plugin Program will automatically be added to the Project. 3. If your Project already contains the desired plugin, click the Program drop-down menu to select it.
File Browser The File Browser lets you navigate through your computer's internal and external hard disks to load samples, Sequences, Songs, etc. Using filter buttons and user-definable folders, you can easily adapt the File Browser to your preferred workflow. You can also preview (audition) your samples before loading them. In the software, the File Browser is in the left area of the window.
To load a Project, double-click its corresponding .xpj file in the File Browser. If your Project was created on the full version of the MPC software and uses multiple Tracks, you will be prompted to select which Track you want to load. To load a single sample or multiple samples into a Project, click and drag the files onto the Pad Bank Section, the grid, or the Project Information section.
Mode Tab Section The Mode Tab Section contains tabs that let you switch between the software modes as well as further control for selecting Programs, Sequences, Songs, etc. depending on the selected mode tab on the left. This section is always visible. The different modes are described in detail in the following sections of this chapter. To select a mode within the software, click the corresponding tab.
Depending on the selected mode, some Mode Tab Section menus and functions can change, described here: Click the Program drop-down menu to select one of your Programs in the currently loaded Project. A Project can hold up to 128 Programs. The Program drop-down menu is available only when Program Edit or Program Mixer tab is selected. Cilck the Seq (Sequence) drop-down menu to select one of your Sequences in the currently loaded Project. A Project can hold up to 128 Sequences.
Transport Section The Transport Section contains various transport controls (for playback and recording) as well as bar and tempo displays, the master level, and a CPU meter. This section is always visible. The CPU meter shows the computer CPU usage of the actual project. Keep in mind that an excessive use of synthesis functions such as filter and effects will increase the CPU usage. Tip: If the CPU meter is very high, software response may slow down.
Note: The transport controls can be found on the MPC hardware as well as in the software, so the descriptions below apply to both. Click the Rec button to put the software in Record Mode. The button's LED will light up red indicate the Record process is armed. To start recording, press Play or Play Start. When the Sequence starts to loop in Record Mode, it will switch to Overdub Mode. Overdub allows you to add data to the existing data in your Sequence. It is additive and nondestructive.
The Grid The grid is where you record, program, and edit your Sequences and arrange your Songs. The grid is visible in Main Mode, Program Edit Mode, Program Mixer Mode, Pad Mute Mode, and Step Sequencer Mode. Furthermore, the grid has two different appearances, depending on the selected Program type; Drum Programs appear one way while Keygroup Programs, MIDI Programs, and Plugin Programs appear another way.
In the top-left corner of the grid are two buttons to switch between Draw Mode and Select Mode: • By default, Draw Mode is active, indicated by the Pencil Tool icon. You can draw notes by clicking the corresponding position in the grid. You can also use it to draw automation curves in the velocity/automation lane underneath the grid. • The Select Mode is indicated by the Select Box icon and lets you select one or more notes by drawing a frame around them. Selected notes will have a white border.
Across the top of the grid is a blue strip that indicates where you are in the Sequence: • The number in the upper half is the bar number. • The number in the lower half (of the first beat of the first bar) is the time signature. To change the time signature, double-click in the measure bar and enter the desired signature in the drop-down window. • The red arrows (X) indicate the start and the end of a Sequence.
Grid for Keygroup Programs, MIDI Programs, and Plugin Programs When a Keygroup Progam, MIDI Program, or Plugin Program is selected, the grid looks like this: The only difference from the Drum Program view is the vertical miniature keyboard ("piano roll") in the left grid window section. Click a key to select all note events for that note. You will also hear the note assigned to that key. Everything else works exactly as in a Drum Program.
Entering and Editing Note Events You can easily insert note events and data with your computer mouse. Hardware: Press the Rec button to record-arm the software, and press the Play or Play Start button when you're ready to record. The metronome will pre-count one measure before the recording starts. Hit the pads to record note events in the Sequence. Press the Stop button when you're finished recording.
• • • Click and drag a note event to move it to another position (when multiple note events are selected, you can move them all simultaneously). You can position note events only on quantization values defined by the set Time Correct value (indicated by vertical lines in the grid), but if you hold down your keyboard's Shift key while moving a note event, you can drag it to any position you like, regardless of the selected Time Correct value.
Entering and Editing Automation In the software, follow these steps to enter and edit automation data: 1. To the left of the velocity lane, next to Automation, click the arrow (T) and select the recorded Real Time parameter (e.g., RT Filter resonance). 2. Use the Pencil Tool (Draw Mode) to draw an automation curve. You can enter and move anchor points within the grid set by the Time Correct value.
Load Recent provides shortcuts to the last five files you have been recently working with. The list is chronological with the most recent file at the top. Save Project saves the current Project. In the window that appears, name your Project and select a save location. The samples in the Project Information section will be automatically saved with the Project. The Project file (.xpj), and its information (samples, MIDI files, Program files, etc.
• As Audio Mixdown exports the Sequence as an audio file. In the window that appears, you can set the audio file's format: o Audio Length lets you define the length of your audio file with the Start bar and End bar, allowing you to export a certain number of measures only. You can also set the length of a "bounce tail" (Tail) in seconds, which is useful when working with audio effects like reverb or delay, whose sound may exceed the defined export range.
Edit Menu Undo undoes the last action you performed. When there are no actions left to undo, the Undo command will be unavailable and appear grayed out. Redo undoes the Undo command. You can continue redoing actions until there are no items left to redo, in which case, the Redo command will be unavailable and appear grayed out. Important: If you perform a new action when the Redo command is available, you will no longer be able to redo.
Preferences opens the Preferences window, which contains many customizable elements of the software. Click the corresponding tab on the left to select it (e.g., MIDI or Sequencer). Click the OK button to close the Preferences window. Preferences will be automatically saved. Mac OS X users: Preferences is located in the MPC menu. • Preferences: Audio Tab o Output and Input: Click these drop-down menus to select an audio hardware driver that is installed in your computer system.
• Preferences: MIDI Tab o Active Midi Inputs: These checkboxes represent the active installed MIDI inputs on your computer system. Hardware: When the MPC hardware is connected and powered on, the available ports as well as the MPC public port are displayed. o Midi Mapping: Click each drop-down menuy to define the Midi Out Port A to D. Here, you can select the MIDI output your Sequencer data is routed to.
• Preferences: Auto Load/Save Tab o Template File: Click the … button to select a Sequence template to load automatically anytime you create a new Sequence. o Auto Save: Click the Enabled box to turn Auto-Save on or off. Auto-Save sets the software to save your Project at regular intervals. Click the Timeout drop-down menu to select the interval. • Preferences: Sequencer Tab Here, you can activate or deactivate options related to the software's sequencer.
• Preferences: Hardware Tab Here, you can set additional parameters affecting the behavior of your MPC hardware. o Pad Threshold: Click this drop-down menu to select a threshold that must be exceeded to trigger the pad. o Pad Sensitivity: Click this drop-down menu to set how sensitively your MPC hardware's pads respond to your touch.
• Preferences: Sync Tab Here, you can set various parameters related to the software's synchronization: o Receive: Click this drop-down menu to select whether or not the software receives MIDI Clock or MIDI Time Code (MTC) from the host software (when MPC is used as a plugin) or from an external device (connected to the MIDI In port of the MPC hardware).
• Preferences: Other Tab Here, you can set various other MIDI and audio parameters. o Tap Tempo: Click this drop-down menu to set how many times you have to press your MPC hardware's Tap Tempo button until the new tempo is recognized. o Filter 'All Notes Off' CC: Check this box to filter out All Notes Off data. If you have connected another device to your MPC hardware's MIDI In, checking this box will cause the software to ignore "All Notes Off" ("MIDI panic") messages.
Rate lets you to select the metronome click's time division: 1/4, 1/4T, 1/8, 1/8T, 1/16, 1/16T, 1/32 or 1/32T ("T" stands for "triplet"). Sound lets you to select the sound that you want to hear for the metronome: Sidestick1, Sidestick2, Clap, Metroclick, Shake, Tambourine, or MpcClick. Time Correct Menu Here, you can select the Quantization settings. Apply quantizes the currently selected note events. If no note events are selected, nothing will be quantized.
• Strength: Click and drag this field up or down to set how strictly notes will be quantized (i.e., shifted toward the quantize value). Lower values move notes a little bit towards the closest quantize value, resulting in a less mechanical feel than a strict quantization (a higher value). • Events: Click this drop-down menu select the target range for the time correction. You can apply the time correction to All note events or to just the Selected ones.
Main Mode Main Mode gives you an overview of the most-used functions. To enter Main Mode, click the Main Mode tab in the Mode Tab Section of the software window. Hardware: Press the Main button. Q-Link Section Here, you can set the functionality of the Q-Link Knobs. The Q-Link section can work in two modes: Program Mode (Pgm) and FX Mode. • Program Mode: The 16 Q-Link Knobs control specific Program parameters of the selected Program.
Program Mode Click the Prg button to activate the Q-Link Knobs' Program Mode. To assign a parameter to a Q-Link Knob in the software: 1. Click a Q-Link Knob and move the mouse to select it for assigning. The Qlink field will show the number of the selected knob. 2. Click the Trig drop-down menu and select Min or Max.
If Midi is selected in the Instrument Section, The Q-Link Knobs' Program Mode will look slightly different. To control a desired parameter of an external sound generator by MIDI, you can define a MIDI CC (MIDI Control Change). This can be any MIDI Control Change from 1 to 128 for every Q-Link Knob. Make sure that your external MIDI device is able and set to recognize MIDI control change data. FX Mode Click the FX button to activate the Q-Link Knobs' FX Mode.
Sequence Section This section gives you an overview of parameters relevant to the current Sequence. In the software, click the Sequence drop-down menu and select a Sequence or click the X icon in the lower-right corner of the drop-down menu and select an unused Sequence from the list that appears. Click the Loop button to switch the Sequence's loop function On or Off. The loop points are defined by the First and Last Bar values.
Click the Program drop-down menu to select a Program of the Type you selected above. Click the + button to add a new Program of that Type to the Project. For Drum Programs and Keygroup Programs Click the Program drop-down menu to select which Program you want to use. To create a new Program, click the + icon next to the drop-down menu.
For Plugin Programs When the Program Type is set to Plugin, the Sequence Section will look slightly different from other Programs: If your Project already contains the desired plugin, click the Program drop-down menu to select it. In the window that appears, you can click checkboxes to re-order your list of plugins: Sort by type or Sort by manufacturer. Click Select to load the selected plugin or Close to cancel the operation.
Project Information Section The Project Information section shows the Project name as well as all Programs and samples loaded into the software's current project. You can simply drag and drop a sample from the Project Information section onto any pad to assign it. How a sample can be played and edited depends on the Program. Refer to the Program Types section for more information. The Project column displays all available Programs in the Project.
The Sample column displays the available samples. Select All Samples to view all samples in the Project, or select a Program or Sequence below to view the samples in that Program or Sequence only. Double-click a sample in the Sample column to load it in Sample Edit Mode. Right-click a Sample to open a menu with the following options: • Delete deletes the selected sample. To avoid accidental deletion, a window opens for you to confirm or cancel the operation.
Program Edit Mode Program Edit Mode contains all parameters for editing your Programs: • For Drum Programs and Keygroup Programs, this mode includes the parameters of each Layer as well as all synthesis parameters and insert effect settings. These two Program types will have different parameters due to how they are set up (Drum Programs have fewer parameters than Keygroup Programs).
Master Section In the Master Section, you can set the playback mode and tuning for the overall Program. Mode 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(s), 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).
Mute Target Section (Drum Programs Only) For the currently selected pad, you can select up to four pads as Mute Targets. When the pad is played, it will immediately silence its Mute Targets. Click each Pad drop-down menu to select the desired Mute Target. Tips: • This feature is useful for programming realistic hi-hats, especially if only the open or closed hat should be heard. • This feature is similar to the Mute Group feature, available for both Drum Programs and Keygroup Programs.
Sample Play determines how much of the sample is played: • One-Shot: The entire sample will play from start to end. Use this when you want to play short sounds. • Note-On: The sample will play only as long as the pad is held. This is better for longer samples so you can control a sound's duration by pressing and holding its corresponding pad. Key Group Section (Keygroup Program Only) Here, you can set additional Keygroup Program parameters.
Note Range lets you restrict the key range used for a sample's playback. Only notes with a key number higher or equal (Lo) or lower and equal (Hi) to the selected value will trigger a sound. The settings for Lo and Hi are also shown in the virtual keyboard in the Edit Layers section. Tip: Set the Lo parameter to A0 and the Hi parameter to C8 to emulate the range of a standard 88-key piano.
Semi lets you transpose the selected layer 12 up to semitones up or down. Fine provides fine-tuning of each layer by fractions of a semitone. Level lets you adjust the each layer's volume, letting you control the "balance" of the samples assigned to the pad. Pan adjusts the stereo placement of the respective layer. Velocity defines the velocity range of each layer.
No. KG (Number of Keygroups) lets you create up to 128 Keygroups within a Keygroup Program. This is very useful when working with multi-samples. For example, if you want to create a realistic piano, you can use different Keygroups (e.g., 88 for a grand piano) with every Keygroup containing its own sampled note (with up to 4 possible velocity layers). A single Keygroup can be edited by using the KG Select parameter in the Key Group section.
Filter Section The Filter Type drop-down menu lets you select a filter for the selected pad. See the Filter definition in the Glossary for an explanation of the available filter types. Cutoff controls the cutoff frequency for low-pass and high-pass filter types or the center frequency for band-pass and band-stop filter types. Reso controls the resonance/emphasis of the frequencies around the cutoff point. Tip: Use values lower than 80 to give more brilliance to the sound.
The Filter Envelope controls affect the filter frequency. The knobs control the envelope shape or timevariant modulation output. Adjust envelope's influence on the filter frequency with the Env knob. See the following Anatomy of an Envelope section below to learn about the envelope parameters. The Amp Envelope controls affect level changes over time. The knobs control the envelope shape or time-variant modulation of a sound's level.
Pad Play Modes Section (Drum Programs Only) Here, you can set the behavior for each pad's samples in a Drum Program. Mute Groups let you 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. Tip: This feature is useful for programming realistic hi-hats, especially if only the open or closed hat should be heard.
Velocity Sensitivity Section Here, you can set how much velocity affects various sound parameters: Pitch, Filter Envelope Attack (Atk), Amplifier (Amp) and Panning (Pan). When you hit a pad softly, only minimal modulation is applied. When you hit it harder, the modulation amount also gets stronger depending on the setting of the corresponding dial. LFO Section A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be used for modulation purposes.
Controller Mod Section (Keygroup Program Only) This section determines the influence of additional play controllers on various sound parameters. Important: To use these parameters, make sure that a connected MIDI device can send pitch bend messages as well as aftertouch and modulation wheel data. Pitch Bend sets the range (in semitones) of a connected MIDI keyboard's pitch-bend wheel. Whl>LFO (Wheel to LFO) determines how much a connected MIDI keyboard's modulation wheel affects the LFO intensity.
Program Edit Mode for MIDI Programs and Plugin Programs For MIDI Programs and Plugin Programs, Program Edit Mode looks a bit different. You will see an overview of all available parameters of your loaded virtual instrument, including a corresponding rotary knob for editing. We recommend editing a virtual instrument by using its own graphical user interface, though. To assign a parameter to one of the controls, click the dropdown menu above the corresponding controller and select it from the drop-down menu.
Program Mixer Mode In Program Mixer Mode, you can set the levels, stereo panning, and effects for a Program: • For Drum Programs, this mode shows a channel strip for each individual pad (of 128). • For Keygroup Programs, MIDI Programs, or Plugin Programs, this mode shows a channel strip for one channel only. For more general information on how these Programs differ, please see the Program Types section. In the software, click the Program Mixer tab in the Mode Tab Section.
Levels In the software, click the channel fader and drag it up or down to set the level. To view more mixer channels, use the scroll bar under the channel faders at the bottom of the window. Panning In the software, click the channel's Pan knob and drag it up or down to set the position. To view more mixer channels, use the scroll bar under the channel faders at the bottom of the window. Mute In the software, click the channel's Mute button (M) to mute it.
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. In the software, click the Next Seq tab in the Mode Tab Section. Triggering Sequences During playback, select a Sequence to play next simply by hitting the corresponding pad. The number and name of the selected Sequence will be displayed in the timeline in the upper half of the window.
Sequence Playlist The Sequence Playlist window in Next Sequence Mode shows a list-style overview of all used Sequences in your Project: • The Sequence column shows the name of the Song's Sequences. • The Length column shows the bar length of a Sequence. • The Tempo column shows the tempo of a Sequence in beats per minute. Pad Bank Section In this section, every pad is assigned to a Sequence, starting from Pad A01 with Sequence 1 and ascending from there.
Next Sequence Section During the playback of a Sequence, this section gives you the following options: • Click Next Bar to change the Sequence at the beginning of the next bar. This lets you select the next Sequence without having to hit a pad or button in perfect time. • Click Sudden to switch to the next Sequence immediately—before the software has finished playing the current Sequence. This is useful in live performances if you need to switch to the next Sequence instantly at a certain cue.
Sample Record Mode Sample Record Mode lets you record audio samples to use in your Sequences. This mode is divided in two main parts: • the Waveform Display (which shows the waveform of a sample after the recording process) • the Record Control section (which includes the controls). Important: To record audio, you need to connect an audio source to your computer's audio interface. In the software, click the Sample Record tab in the Mode Tab Section.
Waveform Display The Waveform Display shows the entire waveform of your recorded sample with a timeline at the top. While this is just for reference during in Sample Record Mode, it's the focus of Sample Edit Mode. Please see the Sample Edit Mode section to learn about editing your recorded samples.
Record Control Section The Record Control section offers all the relevant controls for recording. Threshold In Record Mode, the software automatically starts recording when the level of the incoming source exceeds the Threshold (Thresh). If you set the threshold too high, the recording may not start when you play the input source, or the start of the material you wanted to record may be missing. If you set the threshold too low, the recording may start too early, before you play the external source.
Input Source The Input Source parameter defines whether you are going to record an external audio signal (External) an internal signal from the software (Resample). A Resample recording does not require an audio connection because the source is within the software and is therefore recorded without any loss in audio quality. You can, for example, use Resample to record two or more samples by hitting the corresponding pads simultaneously.
Sample Rec and Stop Click Sample Rec to record-arm the software, or click Sample Stop to stop the recording process. After clicking Sample Rec, the recording will start once the incoming audio level exceeds the Threshold parameter. If you do not click Stop, recording will continue to the end of the previously set sample length. When the recording is finished, a small window appears: • If you want to keep the recorded sample, enter a name in the New Name field.
Sample Edit Mode Sample Edit Mode lets you edit samples using various functions. In the software, click the Sample Edit tab in the Mode Tab Section. To select a sample to edit, click the Edit Sample drop-down menu in the left section below the waveform display and select a sample from the Project. Alternatively, you can click and drag a sample from the Project Information section onto the Waveform Display. You can also right-click a sample in the Project Information section and select Edit.
Waveform Display The Waveform Display is divided into two sections: • The top of the display shows an overview of the entire sample waveform. A shaded rectangle outlines the currently shown part of the sample. • The main part of the display shows the "active" section of the sample waveform. Use the scroll bar under the waveform to move through it. To move the view, click and drag the shaded rectangle in the overview. To zoom in, double-click the shaded rectangle in the overview.
Edit Section This section contains controls to edit samples and to select between Chop Mode or Trim Mode. Most of this chapter describes Trim Mode functions. Please refer to the Chop Mode part of this chapter to see how it differs. In the software, click the Edit Sample drop-down menu and select the desired sample. The Q-Link Knobs can be used for various editing and viewing functions: • To zoom in or out of the sample, use Q-Link Knob Q4. • To move the audio pointer through the sample, use Q-Link Knob Q8.
Pad Section You can use the pads to play certain parts of the selected sample, regardless of the selected Pad Bank. Trigger the following playback options by hitting the corresponding pad: • Play Loop (Pad 13) plays the sample repeatedly from the loop point to the end point. • Play Sample (Pad 15) will play the whole sample as it has been edited. You can also click the Waveform Display to activate this function. • Play All (Pad 16) plays the whole sample regardless of any edits.
Settings Section This section lets you edit various parameters affecting playback and loop functions. In the software, edit the start point (Start), end point (End), or loop point (Loop Start) by double-clicking the number in the field, and use your computer keyboard to enter a value. In the software, you can activate the loop and samples options by clicking the corresponding button: • Loop activates the loop function, which will repeat the part of the sample between the loop point and the end point.
Process Section The Process section gives you various editing options for the selected sample. In the software, click the desired sample editing option (described below). A new window will open (which may have some additional parameters). To execute a selected option, click Do It, or cancel your changes by clicking Cancel. Tips: • When the new window is open, you can click the Function field to select another edit option, if desired.
• • • • • • • o Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end. o Exp fades the audio in with an exponential curve—slowly rising in the beginning and growing steeper towards the end. Fade Out sets a fade-out between the start point and end point of the sample. The following types are available: o Linear fades the audio out with a linear curve—a straight line between the start and end.
Project Information Section This section is identical to the Project Information Section in Main Mode. For more information, please see the Project Information Section part of the Main Mode chapter. Newly recorded samples will be shown in the Sample area of Project Information. To use them in your production, you must load them into Programs first. Chop Mode This section describes several functions unique to Chop Mode, in contrast to Trim Mode.
Edit Section in Chop Mode In the software: • Use Q-Link Knobs Q13, Q9, Q5, or Q1 to adjust the start point of the sample. The smaller the Q-Link Knob number, the more precise the adjusting of the start point. • Use Q-Link Knobs Q14, Q10, Q6, or Q2 to adjust the end point of the sample. The smaller the Q-Link Knob number, the more precise the adjustment of the end point. • Use Q-Link Knob Q15 to select a slice for editing.
Settings in Chop Mode In the software, this section lets you edit various parameters affecting the start point and end point of your sample's slices: • Slice is the number of the currently selected slice. Click a slice in the Waveform Display to select it. (Remember that you have to create slices before one can be selected.) • Start defines the start point of the current slice. Click and drag the slice marker in the Waveform Display left or right to change it.
Chop To Section in Chop Mode This section determines the slicing process. You can select between three slicing modes: • Threshold uses an adjustable detection algorithm that derives the number of regions created from the volume levels present in the sample. Click and drag the Threshold field up or down to set the threshold level. The higher the selected value, the more slices will be created. Click and drag the Min Time (Min Slice Time) field up or down to set the minimum length of a slice in milliseconds.
This section contains most of the same functions as it does in Trim Mode: Silence, Extract, Normalize, Reverse, Fade In, Fade Out, Pitch Shift, and Gain Change. See the Process Section earlier in this chapter for more information about these functions. The difference is an additional option which affects the whole sample regardless of the selected slice. Convert offers three ways of exporting the sliced sample: • Patched Phrase creates a new sample based on your edits and places it in the current Project.
• Assign Slice assigns a single slice to a selected pad. Click Pad and select the desired pad. If Extract Region To New Sample is activated, the slice is also extracted as a new sample. Click Program to specify a Program to which you want to add the assigned slice. The sample will be named with pp attached to its original name. Sequence with events after using the Sliced Sample/Create Events function Project Information in Chop Mode This section is identical to the Project Information in Trim Mode.
Song Mode Song Mode lets you arrange Sequences in a specific order and/or repetition to create songs. You can edit the structure of a Song during playback for easy, on-the-fly composing. A Project can contain up to 32 Songs, each consisting of up to 999 "steps," each of which can have an assigned Sequence as well as the number of times that Sequence will repeat. In the software, click the Song tab in the Mode Tab Section.
Sequence Playlist Section The Sequence Playlist Section (to the left of the pads in the software) is the list of the steps of a Sequence. Each step in a Song has: • an assigned Sequence • the tempo of the Sequence • the number of bars in the Sequence • how many times the Sequence plays You can add a Sequence to the Sequence Playlist by clicking and dragging from a pad and dropping it onto the list.
Pad Bank Section In this section, all Sequences are assigned to a pad. Unused empty Sequences are marked (unused). You can use the Pad Bank buttons to show the Sequences assigned to pads in other banks. You can easily click and drag Sequences from this section and drop them onto the Sequence playlist. You can also click and drag Sequences from the pads and drop them onto the workspace in the upper half of the window, if you prefer working in a horizontal arrangement.
Edit Step Section This section contains controls to add or delete steps from the Song. Click Insert Step to insert the selected Sequence (indicated by the lit pad in the Pad Bank section) in the Sequence Playlist. Click Delete Step to delete the selected step from the Sequence Playlist. Step Section This section contains information about the current step in the Sequence Playlist. • First Bar indicates where in the Song the step begins.
Pad Mute Mode Pad Mute Mode lets you easily mute pads within a Program or set Mute Groups for each pad. In the software, click the Pad Mute tab in the Mode Tab Section. Pad Mute You can mute or unmute individual sounds in real time by hitting the pads. This is useful if you want to hear a Sequence without a particular sound or if you want to isolate specific sounds or combinations of sounds. Tip: This function is similar to, but probably more convenient than, muting pads one at a time in the grid.
Pad Group The Pad Group feature extends the concept of Pad Mutes: you can mute or unmute multiple pads simultaneously by hitting one pad that you have assigned to a Mute Group. This is useful if you want to hear a Sequence without a particular group of sounds or if you want to isolate specific sounds in various combinations. You can create up to 16 different Pad Groups. In the software, do the following to use Pad Groups: 1. Click the Pad Group button in the Mute Section to activate it. 2.
Step Sequence Mode Step Sequence Mode lets you create or edit Sequences by using the pads as "step buttons," simulating the experience of a traditional step-sequencer-style drum machine. In your software, click the Step Seq tab in the Mode Tab Section. The upper half of the window contains the grid, showing the note events of the current Sequence. The lower half of the window has various controls that are also available in other modes, like Main Mode.
Pad Section This section lets you quickly create and delete note events as "steps" by using the pads of your MPC hardware or MPC software. Tip: Using Step Sequence Mode is most useful for programming drums, emulating the step recording of drums as it was done with various drum machines from the 1980s. In the software, create or delete steps by doing the following: 1.
MIDI Control Mode In MIDI Control Mode, you can 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. This is useful when using MPC Essentials as a plugin: you can use MIDI Control Mode to use your MPC hardware to control your host software, and then switch back to any other mode to control the MPC Essentials plugin.
To edit a control: 1. Select it by doing one of the following: • clicking it in the software • pressing or moving it on your hardware 2. In the Edit panel on the left side of the software window, set that controls' parameters to your preference. The available parameters depend on whether it is a pad or button (and the type of button).
• Aftertouch (pads only): This determines how the pad's aftertouch (pressure applied to the pad after the initial hit) behaves. 3. o When set to Off, the pad will not send any aftertouch messages. o When set to Channel, if you press multiple pads that have this setting, the aftertouch messages they send will be identical. o When set to Poly, if you press multiple pads, the aftertouch message each pads sends will be independent from the others'.
Effects The MPC software offers various effects for processing samples and sound Programs. These same instructions for loading and editing effects are also described in the Program Mixer Mode chapter, but this section can also help you get a good overall understanding of how you can apply these effects. Note: See the Effects and Parameters section of the Appendix for a list of all available effects (with a brief description of each) and their editable parameters.
Operation (Plugin) When using the MPC Essentials software as a VST or AU plugin, its features and functions are very similar to its operation as your host software but with some notable differences discussed in this chapter. Important: For information about using the MPC Essentials software as a standalone software program, please see the Operation (Software) chapter.
Playback Start and Stop: The start and stop commands are always synchronized to the host application. When the playback of the host application is started, the MPC plugin playback starts simultaneously. Multiple Instances: When using multiple instances of MPC Essentials as a plugin in your host application: • You can press Track Up or Track Down on your MPC Element to select the next or previous instance of the MPC Essentials plugin. Unselected MPC Essentials plugin windows will be grayed out.
Appendix Keyboard Shortcuts You can use the following computer keyboard shortcuts for the MPC software. Cubase users: When running MPC as a plugin in Cubase, all keyboard shortcuts need to be combined with Alt. Function Control (Windows) Alt Command (Mac OS X) Main Grid, Select Box Tool Click and drag to copy selected events. Click and drag to Click background to add events to switch to Eraser Tool. current selection. Main Grid, Pencil Tool Click and drag to copy selected events.
File Menu Function Control (Windows) Command (Mac OS X) New Project Control + N Command + N New From Template Control + Shift + N Command + Shift + N Save Project Control + S Command + S Open Preferences Control + , Command + , Function Control (Windows) Command (Mac OS X) Undo Control + Z Command + Z Redo Control + Y Shift + Z Cut Control + X Command + X Copy Control + C Command + C Paste Control + V Command + V Duplicate Control + D Command + D Function Control (Window
Effects and Parameters This chapter lists the available effects in the software. To learn more about how effects work in the software, please see the Effects chapter. 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. In the graphic user interface for these effects, a . next to the time division indicates a triplet-based rate. Reverbs Reverb Small This is a spatial effect, designed to emulate a small room.
Reverb Medium This is a spatial effect, designed to emulate a medium room. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 50 Q13 Pre-Delay 1 – 100 50 Q9 Early Reflection 0 – 100 50 Q5 Density 0 – 100 50 Q1 Diffuse 0 – 100 50 Q14 Decay 0 – 100 50 Q10 Lo-Cut 0 – 100 15 Q6 Hi-Cut 0 – 100 10 Q2 Reverb Large This is a spatial effect, designed to emulate the sound of a large hall.
Reverb Large 2 This is a less CPU-intensive spatial effect, emulating the sound of a large hall.
Reverb In Gate This is a hall reverb with an additional control. The reverb effect is cut off when the input drops below the level set in the Gate In parameter.
Reverb Out Gate This is a hall reverb that has an additional control. The reverb effect is cut off when the output drops below the level set in the Gate Out parameter.
Delays Delays the original signal for a specified period of time and plays it back over an adjustable period of time.
Delay Stereo Stereo Delay operates similarly to Mono Delay but in true stereo. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 50 Q13 Time 2 – 2000 ms 100 Q9 Feedback 0 – 100 25 Q5 Damping 0 – 100 100 Q1 Delay Sync (Stereo) Stereo Delay operates similarly to Mono Delay but in true stereo.
Delay LP LP Delay is identical to the Mono Delay, but it uses a resonant low-pass filter in the delay line. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 50 Q13 Time 2 – 2000 ms 500 Q9 Feedback 0 – 100 50 Q5 Cutoff 0 – 100 50 Q1 Resonance 0 – 100 20 Q14 Delay HP HP Delay is identical to the Mono Delay, but it uses a resonant high-pass filter in the delay line.
Delay Analog Analog Delay is similar to Mono Delay, except that it's designed to sound like an analog "Bucket Brigade"style delay. This delay has a unique character to it that gives a warmer sound by adding subtle inaccuracies in phase and timing.
Delay Tape Sync Tape Delay emulates a delay system using an analog tape loop and a series of tape heads to produce an echo effect. This delay type yields a very distinct echo sound often heard in reggae and dub-style music.
Delay Multi-Tap This delay is a mono delay which has three delay generators with independently adjustable delay times and stereo position.
Flanger 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.
Chorus A chorus effect uses an LFO to modulate the pitch and a delay of the input signal, which are then added to the dry signal. In small amounts, this creates the illusion of multiple voices playing at once. Turn up the Feedback and Depth for more pronounced "shimmering" and "watery" sounds.
Autopan This effect uses an LFO to move the incoming signal back and forth across the stereo field, creating a rotary effect.
Tremolo This effect uses an LFO to increase and decrease the volume of the signal. Depending on the LFO shape, this can produce a smooth wave effect (sine wave) or a stuttering "on-off" effect (square wave).
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 Filters HP Filter This effect is a static filter without modulation. Parameter Value Range Default Value Q-Link Knob Number Frequency 10 – 19999 Hz 1500 Q13 Resonance 0 – 100 0 Q9 HP Filter Sweep This effect is a high-pass filter with its cutoff frequency modulated by an LFO.
HP Filter Sync This effect is a high-pass filter with its cutoff frequency modulated by an LFO. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 100 Q13 Low Frequency 0 – 100 0 Q9 High Frequency 0 – 100 100 Q5 Resonance 0 – 100 50 Q1 Rate 8 bars – 1/32 1/4 Q14 HP Shelving Filter This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally.
LP Filters LP Filter This effect is a static filter without modulation. Parameter Value Range Default Value Q-Link Knob Number Frequency 10 – 19999 Hz 1500 Q13 Resonance 0 – 100 0 Q9 LP Filter Sweep This effect is a low-pass filter with its cutoff frequency modulated by an LFO.
LP Filter Sync This effect is a low-pass filter with its cutoff frequency modulated by an LFO. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 100 Q13 Low Frequency 0 – 100 0 Q9 High Frequency 0 – 100 100 Q5 Resonance 0 – 100 50 Q1 Rate 8 bars – 1/32 1/4 Q14 LP Shelving Filter This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally.
Parametric EQs 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 Q-Link Knob Number Low Frequency 22 – 1000 Hz 220 Q13 Frequency 1 82 – 3900 Hz 820 Q9 Frequency 2 220 – 10000 Hz 2200 Q5 High Frequency 560 – 19999 Hz 5600 Q1 Q1 0 – 100 0 Q14 Q2 0 – 100 0 Q10 Low Gain -18.0 – 18.0 dB 0.0 Q15 Gain 1 -18.0 – 18.0 dB 0.0 Q11 Gain 2 -18.0 – 18.0 dB 0.0 Q7 High Gain -18.0 – 18.
PEQ 4-Band This effect is a powerful four-band parametric equalizer with four independent EQ ranges. Parameter Value Range Default Value Q-Link Knob Number Low Frequency 22 – 1000 Hz 220 Q13 Frequency 1 82 – 3900 Hz 820 Q9 Frequency 2 220 – 10000 Hz 2200 Q5 High Frequency 560 – 19999 Hz 5600 Q1 Q1 0 – 100 5 Q14 Q2 0 – 100 5 Q10 Q3 0 – 100 5 Q6 Q4 0 – 100 5 Q2 Gain 1 -18.0 – 18.0 dB 0.0 Q15 Gain 1 -18.0 – 18.0 dB 0.0 Q11 Gain 2 -18.0 – 18.0 dB 0.
Distortions Distortion Amp This effect is designed to reproduce the sound of a tube amplifier at high volumes. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 100 Q13 Drive 0 – 100 50 Q9 Tone 0 – 100 50 Q5 Dynamics 0 – 100 50 Q1 Output 0 – 100 50 Q14 Distortion Fuzz This popular effect uses hard clipping of the audio signal, which, at extreme settings, can turn a standard waveform into a square wave, producing a "razor" effect.
Distortion Grimey This is a unique distortion effect that distorts a frequency range in a selectable band. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 100 Q13 Drive 0 – 100 50 Q9 Grime 0 – 100 50 Q5 Center 0 – 100 50 Q1 Width 0 – 100 50 Q14 Resonance 0 – 100 50 Q10 Output 0 – 100 50 Q6 Distortion Overdrive This distortion is designed to sound like a mildly distorting amplifier at medium volumes.
Distortion Custom This effect is a highly customized distortion, capable of a wide range of useable sounds. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 100 Q13 Drive 0 – 100 50 Q9 +Soft 5 – 75 2 Q14 +Clip 5 – 50 25 Q10 -Soft 5 – 75 2 Q6 -Clip 5 – 50 25 Q2 Low -18.0 – 18.0 dB 0.0 Q15 Mid -18.0 – 18.0 dB 0.0 Q11 High -18.0 – 18.0 dB 0.0 Q7 Output -18.0 – 18.
Compressors A compressor is an effect that changes the dynamic range of a signal by automatically reducing its gain. Compressor Master This is the most transparent compressor, able to perform substantial volume adjustments without artifacts.
Compressor Opto The Opto Compressor is modeled after a vintage compressor type using an optical circuit to control the volume reduction of the input signal. These compressors are usually associated with soft and unobtrusive attack and release characteristics.
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.
Compressor Vintage This compressor has a sound similar to classic tube compressors, with their gentle yet pumping response and a dash of tube saturation.
Bit Reducers Decimator Decimator down-samples the incoming signal by removing bits from the digital signal. The difference between decimation and resampling is that Decimator does not use any filtering to mask or correct digital artifacts. The result is an effect ranging from mild to almost completely pure digital distortion, depending on the setting and the source material.
Other Auto Wah This effect is a low-pass filter modulated by an envelope that yields a classic funky "wah-wah"- like sound. The envelope is triggered by the incoming signal's amplitude. The amount of the envelope on the cutoff frequency is user-definable.
Frequency Shifter A frequency shifter changes the frequencies of an input signal by a fixed amount and alters the relationship of the original harmonics. This can produce a chorus-like effect as well as very crazy artificial timbres.
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).
Control Change (Controllers): MIDI messages enable you to manipulate the behavior of a sound generator to a significant degree. This message essentially consists of two components: • The controller number, which defines the parameter to be influenced. It can range from 0 to 127. • The controller value, which determines the extent of the modification. Controllers can be used for effects such as slowly swelling vibrato, changing the stereo panning position and influencing filter frequency.
MIDI: MIDI stands for musical instrument digital interface. Developed in the early 1980s, MIDI enables interaction between various types of electronic music instruments from different manufacturers. At the time a communications standard for heterogeneous devices did not exist, so MIDI was a significant advance. It made it possible to link various devices with one another through simple, standardized connectors. Essentially, this is how MIDI works: One sender is connected to one or several receivers.
Panning: The process or the result of changing a signal's position within the stereo panorama. Pitchbend: Pitchbend is a MIDI message. Although pitchbend messages are similar in function to control change messages, they are a distinct type of message. The resolution of a pitchbend message is substantially higher than that of a conventional Controller message.
Sample: When you tap the pads on your MPC hardware, you can trigger sounds that we call samples. Samples are digitized snippets of audio that can either be recorded using the recording function of your MPC software or loaded from the File Browser. Once a sample is present in the software, it can be manipulated in different ways. For example, a sample can be trimmed, looped, pitch-shifted or processed, using various effects offered by the software.
Trademarks and Licenses Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries. ASIO, Cubase, and VST are trademarks of Steinberg Media Technologies GmbH. Mac and OS X are trademarks of Apple Inc., registered in the U.S. and other countries. Windows is a registered trademark of Microsoft Corporation in the United States and other countries. All other product or company names are trademarks or registered trademarks of their respective owners.
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