AKAI MPC Key 61 - Keyboard

MPC Key 61 - Keyboard AKAI - Free user manual and instructions

Find the device manual for free MPC Key 61 AKAI in PDF.

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Product TypeMusic Production Workstation Keyboard
Number of Keys61 velocity-sensitive keys with aftertouch
Dimensions (W x D x H)1040 x 340 x 110 mm
Weight11.5 kg
Power SupplyAC adapter (included), 12V DC, 3A
Display10.1-inch multi-touch color display
ProcessorQuad-core ARM Cortex-A72
Memory4 GB RAM, 32 GB internal storage
Main FunctionsStandalone MPC production, sampling, sequencing, synth engines, effects, mixing
ConnectivityUSB-A/B, MIDI I/O, 4x TRS line outputs, 2x TRS line inputs, headphone out, CV/Gate, Ethernet
Pad Section16 velocity-sensitive RGB pads
StorageSD card slot, USB device port for external drives
Operating SystemMPC OS (Linux-based)
Care & MaintenanceClean with dry soft cloth; avoid liquids and extreme temperatures
SafetyUse only specified power adapter; do not open device; keep away from moisture
Spare Parts & RepairabilityContact AKAI Professional support; some parts available through authorized service centers
General InformationIncludes software suite with MPC Beats and essential instruments

Frequently Asked Questions - MPC Key 61 AKAI

How do I connect the MPC Key 61 to my computer?
Use the USB-B port to connect to your computer. It acts as a class-compliant MIDI controller and audio interface. No drivers needed for Windows or macOS.
Can I use the MPC Key 61 without a computer?
Yes, it is a standalone workstation with built-in speakers? (no speakers), but it operates fully independently with its own OS, storage, and audio I/O.
How do I save my projects?
Projects can be saved to internal storage, SD card, or USB drive. Use the Save function in the main menu.
What is the polyphony of the MPC Key 61?
The internal synth engine offers up to 128 voices of polyphony, depending on the complexity of the patches.
Can I connect an external MIDI controller?
Yes, via the standard 5-pin MIDI input and output ports, or through USB-MIDI.
How do I update the firmware?
Download the latest firmware from akai.com/mpc, place it on a USB drive, then go to Settings > System Update on the device.
Does it come with a power supply?
Yes, an AC adapter (12V DC, 3A) is included in the box.
How do I factory reset the MPC Key 61?
Hold down the Shift + Pad 8 while powering on, then select 'Factory Reset' from the menu.
What audio interfaces can I use with it?
It can interface with external audio interfaces via USB or ADAT? (SPDIF not present). Typically, it works as a standalone device without extra interface.
Can I use it as a sound module?
Yes, it can be used as a sound module via MIDI, playing sounds from its internal library or loaded samples.

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Download the instructions for your Keyboard in PDF format for free! Find your manual MPC Key 61 - AKAI and take your electronic device back in hand. On this page are published all the documents necessary for the use of your device. MPC Key 61 by AKAI.

USER MANUAL MPC Key 61 AKAI

System Requirements & Product Support ...... 8

About This User Guide 8

Important Notes 9

Setup 9

  1. Connection ......9
  2. Installation....10
  3. Getting Started ....10

Features 11

Touchscreens....11

MPC X 12

Top Panel....12
Navigation & Data Entry Controls.... 12
Pad & Q-Link Controls.... 13
Mode & View Controls.... 14
Transport & Recording Controls 15
I/O & Level Controls 16

Front Panel 17

Rear Panel 18

MPC Live 19

Top Panel....19

Rear Panel 21

MPC Live II 22

Top Panel....22

Rear Panel 25

MPC One 26

Top Panel 26
Navigation & Data Entry Controls.... 26
Pad & Q-Link Controls.... 27
Mode & View Controls....27
Transport & Recording Controls 28

Front Panel 29

Rear Panel 29

MPC Key 61 30

Top Panel 30

Rear Panel 34

MPC Studio mk2 36

Top Panel 36
Navigation & Data Entry Controls.... 36
Pad & Touch Strip Controls 36
Mode & View Controls....37
Transport & Recording Controls 38

Rear Panel 39

MPC Touch 40

Top Panel 40

Rear Panel 42

Basic Concepts 43

Tutorial 44

Starting Up 44

Creating a Drum Kit 44

Creating a Drum Sequence 46

Saving & Renaming 47

Editing Note Events 49

Making Basic Sound Edits 51

Creating a Bass Track....53

Recording an Audio Track 56

Creating a Song 57

Exporting the Song....58

Other Features Explained 59

Step Sequencer....59

Drum Loops & Chop Mode....60

Pad Muting & Track Muting....62

Sampling (Recording) 64

Sample Editing....66

Recording Automation with the XY Pad ...... 68

Using MPC as a Controller 69

Operation....70

General Features 71

Control Types 71

Knobs....71

Parameter Values....71

Drop-Down Menus / Lists.... 72

Selectors....72

Buttons 73

Checkboxes....73

Tabs 73

Sliders....73

Envelopes 74

Grid View Tools....75

Audio Edit Tools 76

Programs....77

About Programs....77

Drum Programs....78

Plugin Programs....80

Keygroup Programs 81

Clip Programs 82

MIDI Programs 84

CV Programs 85

Menu....86

Save 87

Preferences....89

Info 89

Activate Plugins 89

Wi-Fi 89

Ethernet 90

Bluetooth 90

Audio Device....90

MIDI / Sync 90

Hardware....91

Sequencer 92

Project Defaults....93

Project Load/Save 93

Record/Export 93

General 94

Splice 95

Sync 95

Undo History....95

Tuner 95

MIDI Monitor 96

Mode 96

System Resources 97

Time Counter/Locate 98

Timing Correct (TC) 100

Metronome (Click/Metro)....102

Automation 103

Global 103

Programs & Audio Tracks.... 103

16 Level 104

Erase....105

Effects....106

Overview 106

Insert Effects 108

Pads....108

Keygroups 110

Audio Tracks....112

Programs.... 113

Submixes....115

Main Outputs.... 116

Send/Return Effects 117

Pads....118

Keygroups 119

Audio Tracks.... 120

Programs....120

Submixes....121

Audio Mixdown....122

Battery Usage....123

Standalone vs. Controller Mode....124

Modes.... 126

Main Mode....127

Sequence Section 132

Track Section....140

Program Section 149

Grid View ....155

Audio Edit Mode....160

Track View 169

MIDI Tracks.... 171

Audio Tracks.... 172

Step Sequencer 173

XYFX Mode 177

Sample Edit Mode 180

Settings.... 182

Trim Mode 183

Assigning Samples.... 187

Processing Slices & Samples 189

Chop Mode....194

Converting or Assigning Slices 197

Processing Slices.... 200

Program Mode 203

Assigning Samples....206

Processing Slices.... 207

Program Edit Mode 210

Drum Programs....210

Global 213

Samples 215

Envelopes 223

LFO 226

Modulations 227

Effects 228

Keygroup Programs 230

Global 231

Samples 234

Envelopes 241

LFO 244

Porta / Mod 245

Effects 246

Clip Programs 248

Program 250

Pad....251

Plugin Programs.... 254

MIDI Programs 255

CV Programs 256

Anatomy of an Envelope....257

List Edit Mode 258

Browser 262

Browse 262

Sample Assign 265

Sampler 266

Sample 269

Slice....271

Pad Tap 272

Pad Hold 273

Auto Sampler 273

Looper....274

Pad Mixer 279

Levels 281

Panning....281

Mute 282

Send Effects....282

Insert Effects 283

Routing 283

Channel Mixer....284

MIDI Tracks....287

Audio Tracks 288

Programs 290

Returns 292

Submixes 293

Main Outputs 294

Pad Mute Mode....295

Pad Mute 296

Pad Group 297

Track Mute Mode 298

Track Mute....299

Track Group....300

Next Sequence Mode....301

Song Mode ....303

Q-Link Edit Mode....306

Project 308

Program/Audio Track 310

Pad Scene 313

Pad Parameter 314

Screen 315

Pad Color Mode 316

MIDI Control Mode 318

Pads 319

Buttons 320

Q-Link Knobs....321

XY Pad 322

MIDI Learn 322

Keyboard Control ....323

Ableton Control Mode 323

Pad Perform Mode 323

Appendix 326

Effects & Parameters ...... 326

Reverbs 326

Delays....328

Flangers....331

Chorus 332

Autopans 332

Tremolos....333

Phasers....333

HP (High-Pass) Filters 334

LP (Low-Pass) Filters 335

Parametric EQs 336

Distortions 337

Compressors....338

Bit Reducers 339

Other....340

Glossary 341

SATA Drive Installation 346

MIDI Machine Control (MMC)....347

Technical Specifications....348

MPC X 348

MPC Live 351

MPC Live II 353

MPC One 355

MPC Key 61 357

MPC Studio mk2 360

MPC Touch 361

Trademarks & Licenses 362

Addenda 363

Updates in MPC 2.1 ....363

New Features....363

Exporting Expansions.... 363

Snap: Absolute & Relative 364

List Edit Settings: Auto-Advance 364

Pitch Quantization 365

Step Sequencer: Velocity Adjustment via Q-Links 366

Pad Perform Mode: User Progressions...... 366

Faster Attack for Amp Envelopes.... 366

Updates in MPC 2.2....367

New Features....367

MIDI Control Mode: MIDI Learn 367

Humanize....368

Generate Random Events 370

Project Template 372

Updates in MPC 2.3....373

New Features....373

Arpeggiator 373

Auto Sampler 375

Crossfade Looping.... 377

Mode Selection Shortcut....378

Pad Perform Mode: Chromatic Type 378

Q-Link Navigation Enhancements 378

Split Events 379

AIR Instrument Plugins 380

AIR Bassline.... 380

AIR Electric 383

AIR TubeSynth.... 387

Plugin Preset Support 394

Updates in MPC 2.4....395

New Features....395

AIR FX Bundle....395

AIR Instrument Layouts 406

Clip Program Improvements.... 407

FLAC and OGG Support 407

Mother Ducker 407

Next Sequence Mode...... 408

Additional Transport Controls 408

Updates in MPC 2.5 409

New Features 409

Splice Integration.... 409

Browser Audition Warp and Sync 410

Updates in MPC 2.6 411

New Features 411

Ableton Live Set Export 411

Erase Parameters.... 411

Grid Automation Lanes.... 412

Step Automation 413

Submixes....414

Workflow Enhancements.... 414

Updates in MPC 2.7 415

New Features 415

Ableton Live Control 415

Akai Network Driver 415

Configuring Ableton Live 415

Live Control Mode.... 416

Control Bar 416

Matrix View 417

Mixer View 418

Device Control View 418

Q-Links....418

MPC X Control Map 419

MPC Live Control Map 421

Ethernet Adapter Support.... 423

Improved Preferences Organization 423

Updates in MPC 2.7.2 424

New Features 424

MPC One Support 424

Updates in MPC 2.7.3 ....425

New Features 425

MPC Live II Support 425

MPC Live II Ableton Live Control.... 425

MPC Live II Control Map 425

Updates in MPC 2.8....427

New Features....427

MIDI Improvements 427

Copy Pads 428

Custom Progressions 429

Edit Pad MIDI Note Map.... 429

Global Automation Button 430

Global Timing Correct On/Off 430

Main Button Track Select 430

Expanded Pad Perform 430

Retrospective Record.... 431

Single or Multi Record Arm.... 431

Q-Link Overlay 431

Updates in MPC 2.9....432

New Features....432

AIR DrumSynth 432

Updates in MPC 2.10 .... 436

New Features....436

Four New Instrument Plugins.... 436

AIR Hype 436

AIR Mellotron 441

AIR Solina 444

WayOutWare Odyssey 449

AIR FX Bundle 454

Standalone Audio Interface Support 458

FX Racks.... 458

Drum and Keygroup Program Improvements .... 458

File Browser Enhancements 460

Key Detection...... 460

Expanded CV Program Operation 460

MIDI Program Renaming 461

MIDI Monitor 461

Undo History 461

Updates in MPC 2.10.1 462

New Features....462

MPC Studio mk2 Support 462

Touch Strip and Touch FX 462

Updates in MPC 2.11 471

New Features 471

MPC Key 61 Support 471

Sounds and Favorites...... 474

New Plugin Instruments.... 476

Insert Effect Updates 478

Menu Editing and Shortcuts Panel.... 480

Built-In Tuner.... 481

Note Probability and Note Ratchet 481

Pad Perform and 16 Levels Enhancements ..... 482

Track MIDI Perform Settings...... 483

MIDI Control Mode Updates 483

Workflow Improvements and Enhancements .... 483

Introduction

Thank you for purchasing your MPC. At Akai Professional, we know how serious music is to you. That's why we design our equipment with only one thing in mind—to make your performance the best it can be.

This user guide explains how to create music using MPC X, MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Studio mk2 and MPC Touch. There is similar documentation available for MPC products that use an LCD and for the MPC software application. To view these user guides, click the Help menu in the MPC software, select MPC Help, and select an option.

Note: The MPC Studio mk2 hardware acts primarily as a controller for the MPC software. Descriptions in this guide will assist MPC Studio mk2 users in using their hardware to access different features of the MPC software. To learn more about how to use these software features, consult the MPC software User Guide.

Welcome to the MPC family.

Akai Professional

System Requirements & Product Support

For the latest information about this product (system requirements, compatibility information, etc.) and product registration, visit akaipro.com.

For additional support, visit akaipro.com/support.

About This User Guide

This manual should help you get familiar with using your MPC X, MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Studio mk2 or MPC Touch (from here on, "MPC hardware" unless otherwise noted). For consistency, the terminology throughout is based on the MPC nomenclature. We also used specific formatting to indicate particular topics of significance:

Important/Note/Tip: Important or helpful information on a given topic.

Names of buttons, controls, parameters, settings, and other options are written in bold characters throughout the manual.

Examples: Press the Play Start button.

Turn Q-Link Knob 4.

Tap the Mute button.

The Velocity ranges from 0 to 127.

Set the Sample Play selector to One Shot.

Tap BPM, and then use the numeric keypad to enter 120 as the tempo.

Some parts of this manual refer to other relevant chapters or sections, which are cited in bold, italic blue characters. Click the text to skip immediately to that section.

Examples: Read the Important Notes section before proceeding.

For more information about installing the necessary drivers and software, see Setup > 2. Installation.

To learn more about using send effects, see General Features > Effects > Send/Return Effects.

Important Notes

Read the included safety & warranty manual before using your MPC hardware.

Before getting started and connecting devices to your MPC hardware or turning the hardware on/off, make sure all devices are switched off.

To use your MPC hardware 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. This applies whether you'll use MPC software as your host software or as a plugin in another digital audio workstation (DAW).

Before connecting your MPC hardware to your computer, install the drivers and software. Visit akaipro.com to download the latest versions. Refer to the 2. Installation section for more information.

Setup

1. Connection

Here is just an example of how to use MPC X in your setup. Items not listed under Introduction > Box Contents of your included Quickstart Guide are sold separately.

AKAI MPC Key 61 - Connection - 1

flowchart 
graph TD
    A["Headphones (to front-panel headphone output)"] --> B["Footswitch (to front-panel FS1 input)"]
    B --> C["SD Card (to front-panel SD card slot)"]
    C --> D["Powered Monitors"]
    D --> E["Computer"]
    E --> F["Microphone"]
    F --> G["Turntable"]
    G --> H["USB drive"]
    H --> I["Power"]
    I --> J["Switch"]
    J --> K["ACAI"]

Remember to remove the protective film from your MPC hardware touchscreen!

To use your MPC hardware in Standalone Mode, just connect it to a power outlet using the included power adapter, and power it on!

Note: We highly recommend checking akaipro.com for any available updates to the MPC software/firmware and/or drivers.

To use your MPC hardware in Controller Mode, continue to Step 2. Installation.

2. Installation

To use your MPC hardware 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.

Note: By default, the MPC software will be installed in [your hard drive]\Program Files\Akai Pro\MPC (Windows®) or Applications (macOS®). You can also create a shortcut on your Desktop.

3. Getting Started

  1. Power on your MPC hardware.
  2. On your computer, open the MPC software.
  3. Follow the on-screen instructions to authorize your version of MPC.
  4. You will need an iLok account to complete this. You can create an account at ilok.com.
    Make a note of the PACE code in your account, and enter it when asked for it during the authorization/unlock process.

  5. On your MPC hardware, check the upper-right corner of the touchscreen:

  6. If there is a monitor/cable icon, then your MPC hardware is already in Controller Mode. Continue to Step 6.

  7. If there is a chip icon, then your MPC hardware is in Standalone Mode. Follow these steps:

i. Press Menu to enter the Menu.
ii. Tap the MPC chip icon in the upper-right corner.
iii. In the Enter Controller Mode window that appears, tap Controller Mode. Looking for computer may appear briefly on the screen before your MPC hardware recognizes the USB connection as a controller.

AKAI MPC Key 61 - Getting Started - 1

AKAI MPC Key 61 - Getting Started - 2

  1. In the MPC software, click the Edit menu, and select Preferences. Click the Audio tab and select the sound card you want to use. Click OK when you are done.

Important:

We highly recommend using your MPC hardware's sound card (Akai Pro MPC X/Live/Live II/One/Key 61/Touch ASIO). If you need to use the internal sound card on a Windows computer, we recommend downloading the latest ASIO4ALL driver at asio4all.com.

To view the MPC software User Guide, click the Help menu in the MPC software, select MPC Help, and select MPC User Manual.

Features

This chapter explains the features and functions of each MPC model with a touchscreen: MPC X, MPC Live, MPC Live II, MPC One, MPC Key 61, and MPC Touch.

Note: If you are using the MPC Studio mk2, the display does not function as a touchscreen but can be used in conjunction with the software to select tracks, programs, and files, as well as edit samples or change project parameters. To learn more about how to use the MPC software, consult the MPC software User Guide. This can be accessed by clicking the Help menu in the MPC software, selecting MPC Help, and selecting MPC User Manual.

Touchscreens

Here is some general information about how to use the touchscreen on your MPC:

Project1001 1 5 60 1/16 Sequence 01 100% Drums 100% Drums 1 4000

Page 001 Sequence 01 Drums Drums 1 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 screen to return to the previous view.

Diagram illustrating hand perception of audio signals with magnifying glass and directional arrows, accompanied by icons for positive and negative feedback.

Project 001 1 Sequence 01 MASTER 1 Drums CY+ 100% Drums 1 MIX AUDIO TRACK MUTE SOLD

Spread two fingers to zoom in (into a section of a waveform, for example). Pinch two fingers to zoom out.

The top of the screen shows the toolbar, which contains information about the current view (often the name of the current track, sequence, audio pointer position, etc.). Tap an item to select it.

The bottom of the screen shows various buttons that you can use in the current view. Tap a button to press it.

To return to a previous view, either tap outside of the window currently on the screen or tap the left arrow ( ) in the upper-left part of the screen.

MPC X

Top Panel

AKAI PROFESSIONAL 1 MPC 3/4 REC GAIN MASTER FULL 13 ISLE TRACK NEXT 32 33 HALF 14 PAD MAIN SON 34 B 35 PROC 28 SMR 29 NC 0 31 QUINK PROJECT PROGRAM PAD SCENE PAD PARAM SCREEN CONTROL 16 17 18 19 20 121 BROW STEE SAMP XY F PAD PERCENT SABS LIST EARN LOOPON PAD 13 PAD 14 PAD 15 PAD 16 PAD 9 PAD 10 11 PAD 12 PAD 5 PAD 6 PAD 7 PAD 8 PAD 1 PAD 2 PAD 3 PAD 4 END 16 COPY REL DELL KEY 1 2 3 TAP 4 5 6 - + ASTER MAN 7 8 + + 3 ENTER TRACK 22 15 LATCH 7 START END EVENT >1 LOUPE 39 41 SRO 37 OVER OUT STOP PLAY 38 36 34 35 START END

Navigation & Data Entry Controls

  1. Touchscreen: This full-color multi-touch display shows information relevant to MPC X's current operation. Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions.

Tip: If you adjust the angle of the touchscreen, use the stand on its back panel to secure it in place.

  1. Cursors: Press these buttons to navigate through the fields of menus and options shown on the screen. Press and hold Shift and press these buttons to zoom in or out of the Grid View or Audio Edit Mode. Press and hold Shift and press the up and down cursors simultaneously or the left and right cursors simultaneously to return to the default zoom setting.

  2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field on the screen.

  3. -/+ : Press these buttons to increase or decrease the value of the selected field on the screen.
  4. Numeric Keypad: If the selected field on the screen is a number, press these numbered buttons as you would on a standard numeric keypad to enter a value. Press the keypad's Enter to enter it. (A numeric keypad with additional operations will appear on the screen, as well.)
  5. Undo/Redo: Press this button to undo your last action.

Press and hold Shift and press this button to redo the last action you undid.

  1. Shift: Press and hold this button to access some buttons' secondary functions (indicated by red writing).

Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds.

  1. F-Key: Press this button to activate or deactivate the F-Key feature. When active, the six buttons under the touchscreen correspond to the options shown at the bottom edge of the screen. The F-Key button and those six buttons will be lit red when active. When inactive, the six buttons under the touchscreen will access their normal modes instead (Menu, Browser, Step Seq, Sampler, XYFX, and Looper).
  1. Q-Link Knobs: Turn these touch-sensitive knobs to adjust various parameters and settings. The display strip above each knob indicates the parameter it is controlling. If the display strip shows a meter to indicate its value, you can touch or turn its Q-Link knob to temporarily show its precise numerical value.
  2. Pads: Press these pads to trigger drum hits or other samples in your software. The pads are velocity-sensitive and pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You can also customize their colors.
  3. Pad Bank: Press these buttons to access Pad Banks A-D.

Press and hold Shift while pressing these buttons to access Pad Banks E-H. Alternatively, double-press one of these buttons.

  1. Copy/Delete: Press this button to copy one pad to another. When the From Pad field is selected, press the "source" pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the "destination" pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap Do It to continue or Close to return to the previous screen.

Tip: To quickly copy a pad, press and hold Copy, press the source pad, press the destination pad, and then release Copy.

Press and hold Shift and press this button to delete a pad's sample assignment. When the Delete Pad window is shown, press any pad/pads whose sample assignments you want to clear. Tap Delete to continue or Cancel to return to the previous screen.

  1. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (127), regardless of how much force you use.

Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (64).

  1. 16 Level / Pad Perform: 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 press them. In the screen that appears, use the Type selector to choose the parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation > General Features > 16 Level to learn more.

Press and hold Shift and press this button to enter Pad Perform mode for the pads. When activated, you can play musical scales/modes, chords or progressions using the pads while in any mode. See Operation > Modes > Pad Perform Mode to learn more.

  1. Note Repeat/Latch: Press and hold this button, and then press a pad to trigger that pad's sample repeatedly. The rate is based on the current tempo and Time Correct settings.

Press and hold Shift and then press this button to "latch" the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.

  1. Project: Press this button to use the Q-Link knobs to adjust parameters related to the current project. Press and hold Shift and then press this button to enter the Project Q-Link Edit Mode directly. See Operation > Modes > Q-Link Edit Mode > Project to learn about this.

  2. Program: Press this button to use the Q-Link knobs to adjust parameters of the currently selected program or audio track. Press and hold Shift and then press this button to enter the Program Q-Link Edit Mode directly. See Operation > Modes > Q-Link Edit Mode > Program to learn about this.

  3. Pad Scene: Press this button to use the Q-Link knobs to adjust parameters that you have assigned for the currently selected pad. Press and hold Shift and then press this button to enter the Pad Scene Q-Link Edit Mode directly. See Operation > Modes > Q-Link Edit Mode > Pad Scene to learn about this.

  4. Pad Param: Press this button to use the Q-Link knobs to adjust one parameter across all 16 pads. Each Q-Link knob corresponds to the pad with the same number and position in the 4-by-4 layout. Press and hold Shift and then press this button to enter the Pad Param Q-Link Edit Mode directly. See Operation > Modes > Q-Link Edit Mode > Pad Parameter to learn about this.

  5. Screen Control/Edit: Press this button to use the Q-Link knobs to adjust parameters in the currently selected mode as shown on the screen. See Operation > Modes > Q-Link Edit Mode > Screen to learn about this.

Press and hold Shift and then press this button to enter Q-Link Edit Mode where you can assign other parameters to the Q-Link knobs.

Mode & View Controls

Note: See Operation > Modes to learn about the different modes you can access with these controls.

  1. Menu: Press this button to open the Menu. You can tap an option in the Menu to enter that mode, view, etc.

  2. Main/Track: Press this button to enter Main Mode.

Press and hold Shift and then press this button to enter the Track View.

  1. Browse/Save: Press this button to view the Browser. The Browser lets you navigate 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 it to your workflow. You can also preview samples before loading them.

Press and hold Shift and press this button to save the current project (including its samples, programs, sequences, and songs).

  1. Step Seq/List Edit: Press this button to view the Step Sequencer where you can create or edit sequences by using the pads as "step buttons," simulating the experience of a traditional step-sequencer-style drum machine.

Press and hold Shift and press this button to view your sequences using the List Edit View instead of the Grid View.

  1. Sampler/Looper: Press this button to view the Sampler where you can record audio samples to use in your projects.

Press and hold Shift and press this button to view the Looper where you can 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.

  1. XYFX: Press this button to view XYFX Mode, which turns the touchscreen into an XY pad where each axis represents the range of an effect parameter. As you move touch or move your finger on the screen, 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.

  2. Pad Perform: Press this button to view Pad Perform Mode where you can assign musical scales/modes, chords, or progressions to the pads for creative performance options.

  3. Prog Edit: Press this button to view Program Edit Mode, which contains all parameters for editing your programs.

  4. Sample Edit: Press this button to view Sample Edit Mode where you can edit your samples using various functions and processes.

  5. Pad Mixer: Press this button to view the Pad Mixer where you can set a program's levels, stereo panning, routing, and effects.

  6. Ch. Mixer: Press this button to view the Channel Mixer where you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes and main outputs.
  7. Track Mute/Pad Mute: Press this button to view Track Mute Mode where you can easily mute tracks within a sequence or set mute groups for each track.

Press and hold Shift and press this button to view Pad Mute Mode where you can easily mute pads within a program or set mute groups for each pad within a program.

  1. Next Seq/Song: Press this button to view Next Sequence Mode where you can trigger different sequences simply by playing the pads. This is useful for live performances, letting you change a song's structure in real time.

Press and hold Shift and press this button to view Song Mode where you can 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.

Transport & Recording Controls

  1. Play: Press this button to play the sequence from the audio pointer's current position.
  2. Play Start: Press this button to play the sequence from its start point.
  3. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding once a note stops playing. Quickly pressing this button three times will act as a "MIDI panic" and shut off all voices and stop all audio processing.
  4. Rec: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in this way (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays through once while recording, Overdub will be enabled.
  5. Overdub: Press this button to enable Overdub. When enabled, you can record events in a sequence without overwriting any previously recorded events. You can enable Overdub before or during recording.
  6. </> (Event |</>): Use these buttons to move the audio pointer left or right, one step at a time.

Press and hold Locate and press one of these buttons to move the audio pointer to the previous/next event in the sequence grid.

  1. <</>> (Start/End): Use these buttons to move the audio pointer left or right, one bar at a time.

Press and hold Locate and press one of these buttons to move the audio pointer to the start or end of the sequence grid.

  1. Locate: Press and hold this button to activate the secondary functions of the </> and <</>> buttons (i.e., Event |</>| and Start/End, respectively).
  2. Erase: As a sequence is playing, press and hold this button and then press a pad to delete the note event for that pad at the current playback position. This is a quick way to delete note events from your sequence without having to stop playback. See Operation > General Features > Erase to learn more.
  3. Tap/Master: Press this button in time with the desired tempo to enter a new tempo (in BPM). You can set how many taps are required in the Preferences (see Operation > General Features > Menu > Preferences to learn how to do this).

Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo (the button will be lit red) or a global tempo (the button will be lit amber).

I/O & Level Controls

  1. Gain 1/2: Use these knobs to adjust the gain of the incoming signal from Input 1/2 on the rear panel or Inst 1/2 on the front panel. Use the Rear/Front switches below the knobs to determine the input. Use the level meter to check the recording level. Be careful when setting this knob at higher levels, which can cause the signal to distort.
  2. Rear/Front: Use each switch to set whether the Gain 1/2 knob above it will control the gain of the input signal on the rear panel (Input 1/2) or on the front panel (Inst 1/2).
  3. Phantom Power (+48V): This switch activates and deactivates phantom power for Input 1/2. When activated, +48V of phantom power will be supplied to both inputs. Note that most dynamic microphones do not require phantom power, while most condenser microphones do. Refer to your microphone's documentation to check if it needs phantom power.
  4. 3/4 Rec Gain: Use this knob to adjust the gain of the incoming signal from Input 3/4 on the rear panel. Use the level meter to check the recording level. Be careful when setting this knob at higher levels, which can cause the signal to distort.
  5. Master: Turn this knob to adjust the volume level of the Main L/R outputs.
  6. Direct/Main: Turn this knob to adjust the balance between the input and output signals in the headphones.

Direct corresponds to the input signal—all devices connected to the inputs on the front and rear panels. While recording, you can turn this knob all the way to Direct for zero-latency direct monitoring.

Main corresponds to the output signal—the signal sent from the Main L/R outputs on the rear panel. When you are not recording, we recommend turning this knob all the way to the Main position to hear the full-volume playback signal.

  1. Stereo/Mono: Use this switch to set whether the signal in the headphones is binaural (Stereo) or monaural (Mono). When set to Stereo, the headphone signal will be split so that the input signal (Direct) is heard in the left ear while the output signal (Main) is heard in the right ear. When set to Mono, the input and output signals are blended into a single, summed mix, which is heard in both ears.
  2. Rec Arm: Press this button to arm or disarm recording for the currently selected audio track, shown in the display strip below the level meters (see Operation > General Features > Menu > Preferences to learn how to set what is shown in the level meters).
  3. Read/Write: Press this button to toggle the automation state for the program on the current track or for the current audio track between Read (green R) and Write (red W). The display strip below the level meters must show a program or audio track (see Operation > General Features > Menu > Preferences to learn how to set what is shown in the level meters).

Press and hold Shift and press this button to turn off global automation.

  1. Mute: Press this button to mute the program, audio track, or main output shown in the display strip below the level meters (see Operation > General Features > Menu > Preferences to learn how to set what is shown in the level meters).
  2. Solo: Press this button to solo the currently selected program or audio track shown in the display strip below the level meters (see Operation > General Features > Menu > Preferences to learn how to set what is shown in the level meters).
  3. Level Meters: These meters indicate the level of the audio signal shown in the display strip below them. See Operation > General Features > Menu > Preferences to learn how to set what is shown in the level meters.

Front Panel

MPCX SD CARD PS 1 RST 1 INT 2 MAX 3/4 ① ② ③ ④ ⑤ ⑥

  1. SD Card Slot: Insert a standard SD/SDHC card into this slot to access its files directly using MPC X.
  2. Footswitch Inputs (FS 1/2) (1/4" / 6.35 mm): Connect optional 1/4" (6.35 mm) TS footswitches to these inputs.
  3. Instrument Inputs (Inst 1/2) (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TS cables to connect these inputs to audio sources (guitars, bass, etc.). To use each of these inputs, set the corresponding Rear/Front switch (below the Gain 1/2 knob on the top panel) to Front.
  4. Mix Knob: Turn this knob to adjust the balance between the Main and 3/4 signals in your headphones. Main is the signal sent from the Main L/R outputs. 3/4 is the signal sent from the Outputs 3/4.
  5. Headphone Outputs (1/8" or 1/4" / 3.5 mm or 6.35 mm): Connect your headphones (not included) to either or both of these standard stereo outputs. Use the Mix Knob to determine what signal is heard in the headphones. Turn the Headphone Volume knob to set the volume level.
  6. Headphone Volume: Turn this knob to adjust the volume of the headphone outputs.

Rear Panel

AKAI MPCX PROFESSIONAL MUSIC PRODUCTION CENTER INPUT 1/2 INPUT 2/4 OUTPUT D/SATE 6 7 8 11 10 13 14 5 4 1 3 2 12 OUTDOUT MINTA

  1. Power Input: Use the included power adapter to connect MPC X to a power outlet. This must be connected to a power outlet in order for MPC X to power on.
  2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging.
  3. Power Switch: Press this button to turn MPC X's power on or off. While powered on, press and hold this button for 5 seconds to force MPC X to power off (similar to a computer).
  4. USB-B Port: Use the included USB cable to connect this USB 3.0 port to an available USB 3.0 port on your computer. This connection allows MPC X to send/receive MIDI and audio data to/from the MPC software on your computer. It also allows any connected USB drives, SD cards, and drives connected to the internal SATA port to mount on your computer if MPC X is in Controller Mode (i.e., your computer can access these storage devices that are connected to your MPC X).
  5. USB-A Ports: Connect USB flash drives to these USB ports to access their files directly using MPC X. MPC X supports read and write capability for exFAT, FAT32, NTFS, and EXT4 file systems as well as read-only capability for HFS+ file systems. (We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.) These USB ports supply power to connected USB devices and can also be used to receive MIDI messages from external USB MIDI devices.
  6. Inputs 1/2 (XLR or 1/4" / 6.35 mm): Use standard XLR or 1/4" (6.35 mm) TRS cables to connect these inputs to audio sources (microphone, mixer, synthesizer, etc.). To use each of these inputs, set the corresponding Rear/Front switch (below the Gain 1/2 knob on the top panel) to Rear. Turn the Gain 1/2 knobs to set the input level of each one.

Note: When using the XLR connection, the mic pre-amp is automatically engaged. When using a 1/4" (6.35 mm) TRS cable, the mic pre-amp is bypassed.

  1. Inputs 3/4 (1/4" / 6.35 mm or RCA): Use standard 1/4" (6.35 mm) TRS cables or stereo RCA cables to connect these inputs to audio sources (mixer, turntable, synthesizer, etc.). To use the 1/4" (6.35 mm) inputs, set the Phono/Line switch to Line. To use the RCA inputs, set the Phono/Line switch to Phono. Turn the 3/4 Rec Gain knob to set their input levels.
  2. Phono/Line Switch: Set this switch to the appropriate position, depending on which Input 3/4 connectors you want to use. If you are using the 1/4" (6.35 mm) inputs, set this switch to Line. If you are using the RCA inputs, set this switch to Phono to provide the additional amplification needed for phono-level signals.
  3. Grounding Terminal: If you are sending a phono-level turntable signal to the Input 3/4 RCA connectors and are hearing a low hum or buzz, it could mean that the turntable is not grounded. If the turntable has a grounding wire, connect it to this terminal.

Note: Some turntables have a grounding wire built into the RCA connection and, therefore, nothing needs to be connected to the grounding terminal.

  1. Main L/R Outputs (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TRS cables to connect these outputs to your speaker system. The signal sent out of these outputs is the main mix. Turn the Master knob to set their volume.

Tip: To route a program to these outputs, set its routing to Out 1,2 in the Channel Mixer when the Mixer field is set to Programs. See Operation > Modes > Channel Mixer to learn more about this.

  1. Outputs 3/4, 5/6, 7/8 (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TRS cables to connect these outputs to an external mixer. The signal sent from these outputs is full-volume (0 dB).

Tip: To route a program to these outputs, set its routing to Out 1,2, Out 5,6, or Out 7,8 (respectively) in the Channel Mixer when the Mixer field is set to Programs. See Operation > Modes > Channel Mixer to learn more about this.

  1. MIDI In: Use standard 5-pin MIDI cables to connect these inputs to the MIDI outputs of optional external MIDI devices.
  2. MIDI Out: Use standard 5-pin MIDI cables to connect these outputs to the MIDI inputs of optional external MIDI devices.
  3. CV/Gate Out: Use standard 1/8" (3.5 mm) TS cables to connect these outputs to optional external sequencers. MPC X will send control voltage (CV) and/or Gate data over this connection.

MPC Live

Top Panel

AKAI PROFESSIONAL MPCLIVE ① ② ③ ④ ⑤ ⑥ ⑦ A E B F C G D H NOTE REPEAT LATCH 8 FULL LEVEL 9 10 ULF LEVEL 11 ULF LEVEL 12 ULF LEVEL 13 ULF LEVEL 14 ULF LEVEL 15 ULF LEVEL 16 ULF LEVEL 17 ULF LEVEL 18 ULF LEVEL 19 ULF LEVEL 20 ULF LEVEL 21 ULF LEVEL 22 ULF LEVEL 23 ULF LEVEL 24 ULF LEVEL 25 ULF LEVEL 26 ULF LEVEL 27 ULF LEVEL 28 ULF LEVEL 29 ULF LEVEL 30 ULF LEVEL 31 ULF LEVEL 32 ULF LEVEL 33 ULF LEVEL 34 ULF LEVEL 35 ULF LEVEL 36 ULF LEVEL 37 ULF LEVEL 38 ULF LEVEL 39 ULF LEVEL 40 ULF LEVEL 41 ULF LEVEL 42 ULF LEVEL 43 ULF LEVEL 44 ULF LEVEL 45 ULF LEVEL 46 ULF LEVEL 47 ULF LEVEL 48 ULF LEVEL 49 ULF LEVEL 50 ULF LEVEL 51 ULF LEVEL 52 ULF LEVEL 53 ULF LEVEL 54 ULF LEVEL 55 ULF LEVEL 56 ULF LEVEL 57 ULF LEVEL 58 ULF LEVEL 59 ULF LEVEL 60 ULF LEVEL 61 ULF LEVEL 62 ULF LEVEL 63 ULF LEVEL 64 ULF LEVEL 65 ULF LEVEL 66 ULF LEVEL 67 ULF LEVEL 68 ULF LEVEL 69 ULF LEVEL 70 ULF LEVEL 71 ULF LEVEL 72 ULF LEVEL 73 ULF LEVEL 74 ULF LEVEL 75 ULF LEVEL 76 ULF LEVEL 77 ULF LEVEL 78 ULF LEVEL 79 ULF LEVEL 80 ULF LEVEL 81 ULF LEVEL 82 ULF LEVEL 83 ULF LEVEL 84 ULF LEVEL 85 ULF LEVEL 86 ULF LEVEL 87 ULF LEVEL 88 ULF LEVEL 89 ULF LEVEL 90 ULF LEVEL 91 ULF LEVEL 92 ULF LEVEL 93 ULF LEVEL 94 ULF LEVEL 95 ULF LEVEL 96 ULF LEVEL 97 ULF LEVEL 98 ULF LEVEL 99 ULF LEVEL 100 ULF LEVEL

  1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Live's current operation. Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions.
  2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field on the screen. Pressing the dial also functions as an Enter button.
  3. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs can control one group of parameters at a time. The lights below the Q-Link button indicate the currently selected column of Q-Link knobs. Press the Q-Link button to change which parameter or group of parameters they currently control.
  4. Q-Link Button: Press this button to change which parameter or group of parameters the Q-Link knobs currently control (indicated by the lights above the Q-Link knobs). Each press will select the next column of Q-Link knobs.

Press and hold Shift and then press this button to select the previous column of Q-Link knobs instead.

Press and hold this button to show the QLink window over the touchscreen's current contents. These are the same parameters and settings as what is shown in Q-Link Edit Mode. You can tap Q-Link Edit at the bottom of the window to enter Q-Link Edit Mode immediately (see Operation > Modes > Q-Link Edit Mode to learn about this).

  1. Pads: Press these pads to trigger drum hits or other samples in your software. The pads are velocity-sensitive and pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You can also customize their colors.
  2. Pad Bank: Press any of these buttons to access Pad Banks A–D.

Press and hold Shift while pressing any of these buttons to access Pad Banks E-H. Alternatively, double-press one of these buttons.

  1. Note Repeat/Latch: Press and hold this button, and then press a pad to trigger that pad's sample repeatedly. The rate is based on the current tempo and Time Correct settings.

Press and hold Shift and then press this button to "latch" the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.

  1. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (127), regardless of how much force you use.

Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (64).

  1. 16 Level / Pad Perform: 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 press them. In the screen that appears, use the Type selector to choose the parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation > General Features > 16 Level to learn more.

Press and hold Shift and press this button to enter Pad Perform mode for the pads. When activated, you can play musical scales/modes, chords or progressions using the pads while in any mode. See Operation > Modes > Pad Perform Mode to learn more.

  1. Erase: As a sequence is playing, press and hold this button and then press a pad to delete the note event for that pad at the current playback position. This is a quick way to delete note events from your sequence without having to stop playback. See Operation > General Features > Erase to learn more.

  2. Shift: Press and hold this button to access some buttons' secondary functions (indicated by gray writing).

Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds.

  1. Menu/Browse: Press this button to open the Menu. You can tap an option in the Menu to enter that mode, view, etc.

Press and hold Shift and then press this button to view the Browser. You can use the Browser to locate and select programs, samples, sequences, etc.

  1. Main/Track: Press this button to enter Main Mode.

Press and hold Shift and then press this button to enter the Track View.

  1. Undo/Redo: Press this button to undo your last action.

Press and hold Shift and press this button to redo the last action you undid.

  1. Copy/Delete: Press this button to copy one pad to another. When the From Pad field is selected, press the "source" pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the "destination" pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap Do It to continue or Close to return to the previous screen.

Tip: To quickly copy a pad, press and hold Copy, press the source pad, press the destination pad, and then release Copy.

Press and hold Shift and press this button to delete a pad's sample assignment. When the Delete Pad window is shown, press any pad/pads whose sample assignments you want to clear. Tap Delete to continue or Cancel to return to the previous screen.

  1. -/+ : Press these buttons to increase or decrease the value of the selected field on the screen.

  2. Play: Press this button to play the sequence from the audio pointer's current position.

  3. Play Start: Press this button to play the sequence from its start point.

  4. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding once a note stops playing. Quickly pressing this button three times will act as a "MIDI panic" and shut off all voices and stop all audio processing.

  5. Rec: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in this way (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays through once while recording, Overdub will be enabled.

  6. Overdub: Press this button to enable Overdub. When enabled, you can record events in a sequence without overwriting any previously recorded events. You can enable Overdub before or during recording.

  7. Tap/Master: Press this button in time with the desired tempo to enter a new tempo (in BPM). You can set how many taps are required in the Preferences (see Operation > General Features > Menu > Preferences to learn how to do this).

Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo (the button will be lit red) or a global tempo (the button will be lit amber).

Rear Panel

AKAI PROFESSIONAL MASTER VOL PHONES OUTS 13 13 13 17 12 10 9 6 N GND PHONO LINE PHONIC 16 SD CARD MIDI OUT A MIDI IN 2 1 15 16 5 4 1 2 POWER

  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. USB-B Port: Use the included USB cable to connect this USB 3.0 port to an available USB 3.0 port on your computer. This connection allows MPC Live to send/receive MIDI and audio data to/from the MPC software on your computer. It also allows any connected USB drives, SD cards, and drives connected to the internal SATA port to mount on your computer if MPC Live is in Controller Mode (i.e., your computer can access these storage devices that are connected to your MPC Live).
  5. USB-A Ports: Connect USB flash drives to these USB ports to access their files directly using MPC Live. MPC Live supports read and write capability for exFAT, FAT32, NTFS, and EXT4 file systems as well as read-only capability for HFS+ file systems. (We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.) These USB ports supply power to connected USB devices and can also be used to receive MIDI messages from external USB MIDI devices.
  6. SD Card Slot: Insert a standard SD/SDHC card into this slot to access its files directly using MPC Live.
  7. Rec Vol: Turn this knob to adjust the gain of the incoming signal from the 1/4" (6.35 mm) and RCA inputs. Be careful when setting this knob at higher levels, which can cause the signal to distort.
  8. Master Vol: Turn this knob to adjust the volume of Output 1/2 and the phones output.
  9. Inputs (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TRS cables to connect these inputs to audio sources (microphone, mixer, synthesizer, etc.). To use these inputs, set the Line/Phono switch to Line. Turn the Rec Vol knob to set their input levels.
  10. Inputs (RCA): Use a standard RCA stereo cable to connect these inputs to a phono-level audio source like a turntable. To use these inputs, set the Line/Phono switch to Phono. Turn the Rec Vol knob to set their input levels.
  11. Line/Phono Switch: Set this switch to the appropriate position, depending on which inputs you want to use. If you are using the RCA inputs, set this switch to Phono to provide the additional amplification needed for phonolevel signals. If you are using the 1/4" (6.35 mm) inputs, such as a keyboard or a sampler, set this switch to Line.
  12. Grounding Terminal: If using phono-level turntables with a grounding wire, connect the grounding wire to these terminals. If you experience a low "hum" or "buzz", this could mean that your turntables are not grounded.

Note: Some turntables have a grounding wire built into the RCA connection and, therefore, nothing needs to be connected to the grounding terminal.

  1. Outputs (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TRS cables to connect these outputs to your speaker system, external mixer, etc. The signal sent out of the Master L/R outputs is the main mix. Turn the Master Vol knob to set their volume. The signals sent from Outputs 3–6 are full-volume (0 dB).

Tip: To route a program to these outputs, set its routing to Out 1,2, Out 3,4, or Out 5,6 (respectively) in the Channel Mixer when the Mixer field is set to Programs. See Operation > Modes > Channel Mixer to learn more about this.

  1. Phones (1/8" / 3.5 mm): Connect standard 1/8" (3.5 mm) stereo headphones to this output. Turn the Master Vol knob to set the volume level.
  2. MIDI In: Use standard 5-pin MIDI cables to connect these inputs to the MIDI outputs of optional external MIDI devices.
  3. MIDI Out: Use standard 5-pin MIDI cables to connect these outputs to the MIDI inputs of optional external MIDI devices.
  4. Kensington ^® Lock Slot: You can use this slot to secure your MPC Live to a table or other surface.

MPC Live II

Top Panel

AKAI PROFESSIONAL ① ② ③ ④ 28 6 6 6 6 11 12 A E B F C G D H UNDO COPY NOTE READ FULL 14 LEVEL ERASE STEP TC MASTER 7 8 9 10 13 14 PAD 13 PAD 14 PAD 15 PAD 16 PAD 9 PAD 10 11 PAD 12 PAD 5 PAD 6 PAD 7 PAD 8 PAD 1 PAD 2 PAD 3 PAD 4 ⑤ 15 16 18 ● 19 20 21 SHIFT MENU MAIN MIX MUTE NEA SEQ + BROWSE GRID SAMPLER SAMPLE ENT XYFX TAP REC OVER STOP PLAY PLAY START - 22 23 24 25 26 27 21 29

  1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Live II's current operation. Touch the display (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions.
  2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field in the display. Pressing the dial also functions as an Enter button.
  3. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs can control one column of parameters at a time. The lights above the Q-Link Knobs indicate the currently selected column. Press the Q-Link button above them to change which column of parameters they currently control.
  4. Q-Link Button: Press this button to change which column of parameters the Q-Link Knobs currently control (indicated by the lights above the Q-Link Knobs). Each press will select the next column.

Press and hold Shift and then press this button to select the previous column instead.

Press and hold this button to show the QLink window over the touchscreen's current contents. These are the same parameters and settings as what is shown in Q-Link Edit Mode. You can tap Q-Link Edit at the bottom of the window to enter Q-Link Edit Mode immediately (see Operation > Modes > Q-Link Edit Mode to learn about this).

  1. Pads: Use these pads to trigger drum hits or other samples. The pads are velocity-sensitive and pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You can also customize their colors.
  2. Pad Bank Buttons: Press any of these buttons to access Pad Banks A–D. Press and hold Shift while pressing any of these buttons to access Pad Banks E–H. Alternatively, double-press one of these buttons.
  3. Note Repeat / Latch: Press and hold this button, and then press a pad to trigger that pad's sample repeatedly. The rate is based on the current tempo and Time Correct settings.

Press and hold Shift and then press this button to "latch" the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.

  1. 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).

  1. 16 Level / Pad Perform: 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 press them. In the screen that appears, use the Type selector to choose the parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation > General Features > 16 Level to learn more.

Press and hold Shift and press this button to activate/deactive Pad Perform mode for the pads. When activated, you can play musical scales/modes, chords or progressions using the pads while in any mode. Use the Pad Perform window to configure the settings for the pads.

  1. Erase: As a Sequence is playing, press and hold this button and then press a pad to delete the note event for that pad at the current playback position. This is a quick way to delete note events from your sequence without having to stop playback. When playback is stopped, press this button to open the Erase window where notes, automation and other sequence data can be erased from the sequence. See Operation > General Features > Erase to learn more.

  2. Undo / Redo: Press this button to undo your last action. Hold down Shift and press this button to redo the last action you undid.

  3. Copy / Delete: Press this button to copy one pad to another. When the From Pad field is selected, press the "source" pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the "destination" pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap Do It to continue or Cancel to return to the previous screen.

Press and hold Shift and press this button to delete.

  1. Step Seq/Automation: Press this button to view Step Sequencer Mode where you can create or edit sequences by using the pads as "step buttons," simulating the experience of a traditional step-sequencer-style drum machine.

Press and hold Shift and press this button to toggle the Global Automation state between Read and Write.

  1. TC / On/Off: Press this button to open the Timing Correct window, which contains various settings to help quantize the events in your sequence.

Press and hold Shift and press this button to turn Timing Correct on and off.

  1. Shift: Press and hold this button to access some buttons' secondary functions (indicated by gray writing).

Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds.

  1. Menu / Browse: Press this button to open the Mode Menu. You can tap an option on the Menu screen to enter that mode, view, etc.

Press and hold Shift and then press this button to view the Browser. You can use the Browser to locate and select programs, samples, sequences, etc.

  1. Main / Grid: Press this button to enter Main Mode.

Press and hold Shift and then press this button to enter Grid View Mode.

  1. Mix / Sampler: Press this button to view the last used Mixer Mode, either Track Mixer (default) or Pad Mixer. In Track Mixer Mode, you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes, and main outputs. In Pad Mixer Mode, you can set a program's levels, stereo panning, routing, and effects. Pressing the button multiple times will toggle between the two Mixer Modes.

Press and hold Shift and then press this button to view the Sampler, where you can record audio samples to use in your projects.

  1. Mute / Sample Edit: Press this button to view the last used Mute Mode, either Track Mute (default) or Pad Mute. In Track Mute Mode, you can mute tracks within a sequence or set mute groups for each track. In Pad Mute Mode, you can mute pads within a program or set mute groups for each pad within a program. Pressing the button multiple times will toggle between the two Mute Modes.

Press and hold Shift and then press this button to enter Sample Edit Mode where you can edit your samples using various functions and processes.

  1. Next Seq / XYFX: Press this button to view Next Sequence Mode where you can trigger different sequences simply by playing the pads. This is useful for live performances, letting you change a song's structure in real time.

Press and hold Shift and press this button to view XYFX Mode, which turns the touchscreen into an XY pad where each axis represents the range of an effect parameter. As you move touch or move your finger on the touchscreen, 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.

  1. -/+ : Press these buttons to decrease/increase the value of the selected field in the display.

  2. Tap Tempo / Master: Press this button in time with the desired tempo to enter a new tempo (in BPM). You can set how many taps are required in the Preferences (see Operation > General Features > Menu > Preferences to learn how to do this).

Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo (the button will be lit amber) or a global tempo (the button will be lit red).

  1. Rec: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in this way (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays through once while recording, Overdub will be enabled.

  2. Overdub: Press this button to enable Overdub. When enabled, you can record events in a Sequence without overwriting any previously recorded events. You can enable Overdub before or during recording.

  3. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding once a note stops playing. Press and hold Shift and press this button to stop playback and return the playhead to 1:1:0.

  4. Play: Press this button to play the sequence from the playhead's current position.

  5. Play Start: Press this button to play the sequence from its start point.

  6. Master Vot Turn this knob to adjust the volume of the Master L/R outputs, phones output and speakers.

  7. Speakers: When the Speaker switch on the rear panel is set to On, these speakers will play the current audio. Use the Master Volume knob to control the volume of the speakers.

Rear Panel

AKAI PROFESSIONAL MASTER PHONES SPWR ON OUTS 15 16 20 13 HONO IN GNK LINE SHONO 11 10 SD GND 17 A 18 3 4 2 5 1 2 7 6 LINK POWER

  1. Power Input: Use the included power adapter to connect MPC Live II to a power outlet.
  2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging.
  3. Power Switch: Turns MPC Live II's power on/off.
  4. Charging Indicator: This light (behind the vent) will turn on when MPC Live II'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.
  5. Link: Connect a standard Ethernet cable to this port to use Ableton Link and other compatible devices with MPC Live II. See Operation > General Features > Menu > Sync for more information.
    Note: You can also use Ableton Link wirelessly over a Wi-Fi connection.
  6. USB-B Port: Use the included USB cable to connect this high-retention-force USB port to an available USB port on your computer. This connection allows MPC Live II to send/receive MIDI and audio data to/from the MPC software on your computer.
  7. USB-A Ports: Connect USB flash drives to these USB ports to access their files directly using MPC Live II. When connected to a computer in Controller Mode, you can access drives connected to this port from your computer. You can also connect standard MIDI controllers to these ports.
  8. SD Card Slot: Insert a standard SD, SDHC or SDXC card into this slot to access its files directly using MPC Live II.
  9. Rec Vol: Turn this knob to adjust the volume of the inputs.
  10. Inputs (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TRS cables to connect these inputs to an audio source (mixer, synthesizer, drum machine, etc.). In Sample Record Mode, you can select whether you want to record either channel or both channels in stereo or in mono. To use these inputs, set the Line/Phono switch to Line.
  11. Inputs (RCA): Use a standard RCA stereo cable to connect these inputs to a phono-level audio source like a turntable. In Sample Record Mode, you can select whether you want to record either channel or both channels in stereo or in mono. To use these inputs, set the Line/Phono switch to Phono.
  12. Line/Phono Switch: Set this switch to the appropriate position, depending on which inputs you want to use. If you are using the RCA inputs, set this switch to Phono to provide the additional amplification needed for phonolevel signals. If you are using the 1/4" (6.35 mm) inputs, such as a CD player or sampler, set this switch to Line.
  13. Grounding Terminal: If using phono-level turntables with a grounding wire, connect the grounding wire to these terminals. If you experience a low "hum" or "buzz", this could mean that your turntables are not grounded.
    Note: Some turntables have a grounding wire built into the RCA connection and, therefore, nothing needs to be connected to the grounding terminal.
  14. Outputs (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TRS cables to connect these outputs to your monitors, mixer, etc.). The Master L/R outputs are the same as Outputs 1,2.
  15. Phones (1/4" / 6.35 mm): Connect standard 1/4" (6.35 mm) stereo headphones to this output.
  16. Speaker On/Off: Use this switch to turn the MPC Live II internal speakers on or off.
  17. MIDI In: Use a standard 5-pin MIDI cable to connect these inputs to the MIDI output of an external MIDI device (synthesizer, drum machine, etc.).
  18. MIDI Out: Use a standard 5-pin MIDI cable to connect these outputs to the MIDI input of an external MIDI device (synthesizer, drum machine, etc.).
  19. CV/Gate Out: MPC Live II will send control voltage (CV) and/or Gate signals over these outputs to optional external sequencers. Use standard 1/8" (3.5 mm) TS cables to send a single CV/Gate signal per output, or use a stereo TRS-to-dual mono TSF breakout cable (such as a Hosa YMM-261) to send two CV/Gate signals per output.
  20. Kensington® Lock Slot: You can use this slot to secure your MPC Live II to a table or other surface.

MPC One

Top Panel

MPC ONE 12 AKAI PROFESSIONAL Q-LINK 13 6 7 BANK A B E F C D G H MAIN BROWSE/TRACK MIX MUTE MEXT SEQ 15 16 17 18 19 MENU PREFS SHIFT 2 TEMP 5 UNDC 3 4 REDC FULL LEVEL ALF LEVEL 16 LEVELS NOTES COPY DELETE ERASE NOTE REPEAT 11 LATCH PAD 13 PAD 14 PAD 15 PAD 16 PAD 9 PAD 10 PAD 11 PAD 12 PAD 5 PAD 6 PAD 7 PAD 8 PAD 1 PAD 2 PAD 3 PAD 4 STEP SEQ TC SAMPLER SAMPLE EDIT(PROGRAM 20 21 22 23 24 REC OVER DUB STOP PLAY PLAY START 25 26 27 28 29

Navigation & Data Entry Controls

  1. Touchscreen: This full-color multi-touch display shows information relevant to MPC One's current operation. Touch the display (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions.
  2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field in the display. Pressing the dial also functions as an Enter button.
  3. -/+ : Press these buttons to increase or decrease the value of the selected field in the display.
  4. Undo / Redo: Press this button to undo your last action.
    Press and hold Shift and press this button to redo the last action you undid.
  5. Shift: Press and hold this button to access some buttons' secondary functions (indicated by red writing).
  1. Pads: Use these pads to trigger drum hits or other samples. The pads are velocity-sensitive and pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You can also customize their colors.
  2. Pad Bank Buttons: Press any of these buttons to access Pad Banks A–D. Press and hold Shift while pressing any of these buttons to access Pad Banks E–H. Alternatively, double-press one of these buttons.
  3. 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).
  4. 16 Level / Pad Perform: 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 press them. In the screen that appears, use the Type selector to choose the parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation > General Features > 16 Level to learn more.
    Press and hold Shift and press this button to enter Pad Perform mode for the pads. When activated, you can play musical scales/modes, chords or progressions using the pads while in any mode. See Operation > Modes > Pad Perform Mode to learn more.
  5. Copy / Delete: Press this button to copy one pad to another. When the From Pad field is selected, press the "source" pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the "destination" pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap Do It to continue or Cancel to return to the previous screen.
    Press and hold Shift and press this button to delete.
  6. Note Repeat / Latch: Press and hold this button, and then press a pad to trigger that pad's sample repeatedly. The rate is based on the current tempo and Time Correct settings.
    Press and hold Shift and then press this button to "latch" the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.
  7. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs can control one column of parameters at a time. The lights above the Q-Link Knobs indicate the currently selected column. Press the Q-Link button to change which column of parameters they currently control.
  8. Q-Link Button: Press this button to change which column of parameters the Q-Link Knobs currently control (indicated by the lights above the Q-Link Knobs). Each press will select the next column.
    Press and hold Shift and then press this button to select the previous column instead.

Mode & View Controls

  1. Menu / Prefs: Press this button to open the Mode Menu. You can tap an option on the Menu screen to enter that mode, view, etc.

Press and hold Shift and then press this button to open the Preferences page in the Menu.

  1. Main / Grid: Press this button to enter Main Mode.

Press and hold Shift and then press this button to enter Grid View Mode.

  1. Browse / Save: Press this button to view the Browser. You can use the Browser to locate and select programs, samples, sequences, etc.

Press and hold Shift and then press this button to to save the current project (including its samples, programs, sequences, and songs).

  1. Track Mix / Pad Mix: Press this button to view the Track Mixer where you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes, and main outputs.

Press and hold Shift and then press this button to view the Pad Mixer where you can set a program's levels, stereo panning, routing, and effects.

  1. Track Mute / Pad Mute: Press this button to view Track Mute Mode where you can easily mute tracks within a sequence or set mute groups for each track.

Press and hold Shift and press this button to view Pad Mute Mode where you can easily mute pads within a program or set mute groups for each pad within a program.

  1. Next Seq / XYFX: Press this button to view Next Sequence Mode where you can trigger different sequences simply by playing the pads. This is useful for live performances, letting you change a song's structure in real time.

Press and hold Shift and press this button to view XYFX Mode, which turns the touchscreen into an XY pad where each axis represents the range of an effect parameter. As you move touch or move your finger on the touchscreen, 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.

  1. Step Seq / Automation: Press this button to view Step Sequencer Mode where you can create or edit sequences by using the pads as "step buttons," simulating the experience of a traditional step-sequencer-style drum machine.

Press and hold Shift and press this button to toggle Global Automation between Read and Write.

  1. TC / On/Off: Press this button to open the Timing Correct window, which contains various settings to help quantize the events in your sequence.

Press and hold Shift and press this button to turn Timing Correct on and off.

  1. Sampler / Looper: Press this button to view the Sampler where you can record audio samples to use in your projects.

Press and hold Shift and press this button to view the Looper where you can 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.

  1. Sample Edit / Q-Link Edit: Press this button to view Sample Edit Mode where you can edit your samples using various functions and processes.

Press and hold Shift and press this button to view Q-Link Edit Mode where you can assign other parameters to the Q-Link knobs.

  1. Program Edit / MIDI Control: Press this button to view Program Edit Mode, which contains all parameters for editing your programs.

Press and hold Shift and press this button to view MIDI Control Mode where you can customize what MIDI messages are sent from certain controls on your hardware.

Transport & Recording Controls

  1. Rec: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in this way (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays through once while recording, Overdub will be enabled.

  2. Overdub: Press this button to enable Overdub. When enabled, you can record events in a Sequence without overwriting any previously recorded events. You can enable Overdub before or during recording.

  3. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding once a note stops playing. Press and hold Shift and press this button to return the playhead to 1:1:0.

  4. Play: Press this button to play the sequence from the playhead's current position.

  5. Play Start: Press this button to play the sequence from its start point.

  6. Tap Tempo / Master: Press this button in time with the desired tempo to enter a new tempo (in BPM).

Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo (the button will be lit amber) or a global tempo (the button will be lit red).

  1. Erase: As a Sequence is playing, press and hold this button and then press a pad to delete the note event for that pad at the current playback position. This is a quick way to delete note events from your sequence without having to stop playback. When playback is stopped, press this button to open the Erase window where notes, automation and other sequence data can be erased from the sequence.

Front Panel

AKAI PROFESSIONAL SD CARD PHONES 1 2

  1. SD Card Slot: Insert a standard SD, SDHC or SDXC card into this slot to access its files directly using MPC One.
  2. Phones (1/8" / 3.5 mm): Connect standard 1/8" (3.5 mm) stereo headphones to this output.

Rear Panel

MAIN INPUT 4/8 3/7 2/6 1/5 CV/GATE 13 2 9 MAX 10 8 REC VOL 14 AKAI PROFESSIONAL MPC ONE 5 4 USB 6 1 POWER 3

  1. Power Input: Use the included power adapter to connect MPC One to a power outlet.
  2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging.
  3. Power Switch: Turns MPC One's power on/off.
  4. Link: Connect a standard Ethernet cable to this port to use Ableton Link and other compatible devices with MPC One. See Operation > General Features > Menu > Sync for more information.

Note: You can also use Ableton Link wirelessly over a Wi-Fi connection.

  1. USB-B Port: Use the included USB cable to connect this high-retention-MPC One USB port to an available USB port on your computer. This connection allows MPC One to send/receive MIDI and audio data to/from the MPC software on your computer.
  2. USB-A Port: Connect a USB flash drive to this USB port to access files directly using MPC One. You can also connect a standard MIDI controller to this port.
  3. Rec Vol: Turn this knob to adjust the volume of the inputs.
  4. Inputs (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TRS cables to connect these inputs to an audio source (mixer, synthesizer, drum machine, etc.). In Sample Record Mode, you can select whether you want to record either channel or both channels in stereo or in mono.
  5. Master Vol: Turn this knob to adjust the volume of the outputs and phones output.
  6. Outputs (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TRS cables to connect these outputs to your monitors, mixer, etc.
  7. MIDI In: Use a standard 5-pin MIDI cable to connect this input to the MIDI output of an external MIDI device (synthesizer, drum machine, etc.).
  8. MIDI Out: Use a standard 5-pin MIDI cable to connect this output to the MIDI input of an external MIDI device (synthesizer, drum machine, etc.).
  9. CV/Gate Outs: MPC One will send control voltage (CV) and/or Gate signals over these outputs to optional external sequencers. Use standard 1/8" (3.5 mm) TS cables to send a single CV/Gate signal per output, or use a stereo TRS-to-dual mono TSF breakout cable (such as a Hosa YMM-261) to send two CV/Gate signals per output.
  10. Kensington ^® Lock Slot: You can use this slot to secure your MPC One to a table or other surface.

MPC Key 61

Top Panel

AKAI PROFESSIONAL MPC KEY 61 ① ④ ⑤ ② ③ 14 15 16 17 18 OFF STOP SEQ PASS OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFF ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OFO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OOO ON/OO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPO OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP OPP SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SPT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT SFT

  1. Display: This full-color multi-touch display shows information relevant to MPC Key 61's current operation. Touch the display (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions.
  2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field on the display. Pressing the dial also functions as an Enter button.
  3. -/+ : Press these buttons to increase or decrease the value of the selected field on the display.
  4. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs can control one column of parameters at a time. The lights above the Q-Link button indicate the currently selected column. Press the Q-Link button to change which column of parameters they currently control.
  5. Q-Link Button: Press this button to change which column of parameters the Q-Link Knobs currently control (indicated by the lights above the button). Each press will select the next column.

Press and hold Shift and then press this button to view the Q-Link Configuration window. Press and hold Shift and then press this button again to return to the Main page.

  1. </> (Event |</>): Use these buttons to move the audio pointer left/right, one step at a time.

Press and hold Locate and press one of these buttons to move the audio pointer to the previous/next event in the sequence grid.

  1. Locate: Press this button to open the Locate window, which allows you to quickly jump to specific points in your project.

Press and hold this button to activate the secondary functions of the </> and <</> buttons (i.e., Event |</>| and Start/End, respectively).

  1. <</>> (Start/End): Use these buttons to move the audio pointer left/right, one bar at a time.

Press and hold Locate and press one of these buttons to move the audio pointer to the start or end of the sequence grid.

  1. Rec / Recall: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in this way (rather than using Overdub) erases the events of the current sequence. After the sequence plays through once while recording, Overdub will be enabled.

Press and hold Shift and press this button to recall recently played MIDI note events when recording was disabled and insert them into the current sequence.

  1. Overdub: Press this button to enable Overdub, which allows you to record note events in a sequence without overwriting any previously recorded note events. You can enable Overdub either before or during recording.

  2. Stop / Return: Press this button to stop playback. Double-press this button to immediately stop all sound.

Press and hold Shift and press this button to stop playback and return the playhead to the Loop Start value.

  1. Play: Press this button to play the sequence from the audio pointer's current position.
  2. Play Start: Press this button to play the sequence from its start point.
  3. Edit / XYFX: Press this button to view Program Edit Mode, which contains all parameters for editing your programs.

Press and hold Shift and press this button to view XYFX Mode, which turns the touchscreen into an XY pad where each axis represents the range of an effect parameter. As you touch or move your finger on the touchscreen, 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.

  1. Grid / Step Seq: Press this button to enter Grid View Mode, where you can view and edit the note events of each track of a sequence in a project and their velocities.

Press and hold Shift and press this button to view Step Sequencer Mode where you can create or edit sequences by using the pads as "step buttons," simulating the experience of a traditional step-sequencer-style drum machine.

  1. Mix / Pad: Press this button to view the Track Mixer where you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes, and main outputs.

Press and hold Shift and then press this button to view the Pad Mixer where you can set a program's levels, stereo panning, routing, and effects.

  1. Mute / Pad: Press this button to view Track Mute Mode where you can easily mute tracks within a sequence or set mute groups for each track.

Press and hold Shift and press this button to view Pad Mute Mode where you can easily mute pads within a program or set mute groups for each pad within a program.

  1. Automation Read/Write / Off: Press this button to toggle the Global Automation state between Read and Write.

Press and hold Shift and press this button to disable or enable Global Automation.

  1. Keyboard Control / MIDI CTRL: Press this button to view the Keyboard Control menu, where you can customize the functions of the keyboard and wheels, including velocity response, routing, MIDI assignments, ranges and more.

Press and hold Shift and press this button to view MIDI Control Mode, where you can use the device as a MIDI controller and customize what MIDI messages are sent from the hardware controls.

  1. Sample Edit / Sampler: Press this button to view Sample Edit Mode where you can edit your samples using various functions and processes.

Press and hold Shift and press this button to view the Sampler where you can record audio samples to use in your projects.

  1. Timing Correct / On/Off: Press this button to open the Timing Correct window, which contains various settings to help quantize the events in your sequence.

Press and hold Shift and press this button to turn Timing Correct on and off.

  1. Undo / Redo: Press this button to undo your last action.

Press and hold Shift and press this button to redo the last action you undid.

  1. Shift: Press and hold this button to access some buttons' secondary functions (indicated by white writing).

MAIN VOLUME 45 37 38 39 40 41 PAN BANK 28 34 35 36 PAN BANK 33 27 PAN BANK 29 30 PAN BANK 32 31 PAN BANK 23 24 PAN BANK 26 25 PAN BANK 43 44 42

  1. Menu / Browse: Press this button to open the Mode Menu. You can tap an option on the Menu screen to enter that mode, view, etc.

Press and hold Shift and then press this button to view the Browser. You can use the Browser to locate and select programs, samples, sequences, etc.

  1. Main / Track: Press this button to view Main Mode.

Press and hold Shift and press this button to view Track View Mode, an overview of the tracks of each sequence. You can also set key ranges in this mode.

  1. Sounds / Favorites: Press this button to view Sounds Mode, where you can browse MPC Key 61's built-in instruments and presets.

Press and hold Shift and press this button to view Favorites, where you can quickly select instruments and presets that you have defined as your favorites.

  1. Pads: Use these pads to trigger drum hits or other samples. The pads are velocity-sensitive and pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on the current function. You can also customize their colors.

  2. Pad Bank Buttons: Press any of these buttons to access Pad Banks A-D. Press and hold Shift while pressing any of these buttons to access Pad Banks E-H. Alternatively, double-press one of these buttons.

  3. 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 press this button to activate/deactivate Half Level. When activated, the pads will always trigger their samples at half-velocity (64).

  1. 16 Level / Notes: 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 play the same sample as the original pad, but a selectable parameter will increase in value with each pad number, regardless of the amount of force you use. In the screen that appears, use the Type selector to choose another parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation > General Features > 16 Level to learn more.

Press and hold Shift and press this button to activate/deactivate Notes mode for the pads. When activated, you can play musical scales/modes, chords or progressions using the pads while in any mode. Use the Pad Perform window to configure the settings for the pads. See Operation > Modes > Pad Perform Mode to learn more.

  1. Erase: As a Sequence is playing, press and hold this button and then press a pad or key to delete the note event for that pad or key at the current playback position. This is a quick way to delete note events from your sequence without having to stop playback. When playback is stopped, press this button to open the Erase window where notes, automation and other sequence data can be erased from the sequence.

  2. Copy / Delete: Press this button to copy one pad to another in Clip and Drum programs. When the From Pad field is selected, press the "source" pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the "destination" pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap Do It to continue or Cancel to return to the previous screen.

Press and hold Shift and press this button to delete.

  1. Touch Strip: The touch strip can be used as an expressive control for playing and can be configured to control Note Repeat, Pitch Bend, Modulation and more.

  2. Touch Strip / Config: Press this button to cycle between control modes for the Touch Strip. Press and hold the button to quickly select one of the control modes.

Press and hold Shift and press this button to view the Touch Strip Configuration window.

  1. Touch FX / Config: Press this button to enable Touch FX control for the Touch Strip. This allows you to control parameters from the Touch FX plugin using the Touch Strip. Press and hold this button to quickly select a Touch FX preset.

Press and hold Shift and press this button to view the Touch FX Configuration window.

  1. Note Repeat / Latch: Press and hold this button, and then press a pad to trigger that pad's sample repeatedly. The rate is based on the current tempo and Timing Correct settings.

Press and hold Shift and press this button to "latch" the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.

  1. Tap Tempo / Global: Press this button in time with the desired tempo to enter a new tempo (in BPM). Press and hold this button to adjust the tempo manually using the data dial.

Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo (the button will be lit white) or a global tempo (the button will be lit red).

  1. Metronome / Config: Press this button to enable or disable the metronome.

Press and hold Shift and press this button, or press and hold this button, to open the Metronome Configuration window.

  1. Arp / Config: Press this button to enable or disable the internal Arpeggiator, whose rate is based on the current Tempo and Time Division settings.

Press and hold Shift and press this button, or press and hold this button, to configure the Arpeggiator's settings.

  1. Latch: Press this button to enable or disable latch for the Arpeggiator. When latched, you do not have to hold the keys for the arpeggiation to continue.

  2. Oct - / Oct +: Press these buttons to transpose the keyboard down or up one octave at a time. The lights below this button will indicate the current octave setting.

Press and hold Shift and press these buttons to transpose the keyboard down or up one semitone at a time.

Press and hold both buttons and press a key on the keyed to set the transposition to that value.

Press and hold both buttons and release to reset the transposition.

  1. Keybed: Use this 61-key semi-weighted, velocity-sensitive keybed to input notes and aftertouch.

  2. Pitch Wheel: The pitch bend wheel is primarily used to bend the notes played on the keyboard up or down. This allows you to play phrases not normally associated with keyboard playing, such as guitar-style riffs.

  3. Modulation Wheel: The modulation wheel is typically used to add variation for the sound you are playing. This type of real-time controller was originally introduced on electronic keyboard instruments to give the performer options such as adding vibrato, just like the players of acoustic instruments do.

  4. Main Volume: Turn this knob to adjust the volume of the outputs and phones output.

Rear Panel

8 9 8 7 6 5 4 3 2 1 GAIN 2 GAIN 1 GAIN 1 GAIN 1 OUTPUTS MAIN OUTPUT PHONES USB NETWORK AC IN BOXY-2NDY-1000V 6TW

  1. Power Input: Use the included power adapter to connect MPC Key 61 to a power outlet.
  2. Power Switch: Turns MPC Key 61's power on/off.
  3. Network: Connect a standard Ethernet cable to this port to use Ableton Link and other compatible devices with MPC Key 61. See Operation > General Features > Menu > Sync for more information.

Note: You can also use Ableton Link wirelessly over a Wi-Fi connection.

  1. USB-B Port: Use the included USB cable to connect this high-retention-force USB port to an available USB port on your computer. This connection allows MPC Key 61 to send/receive MIDI and audio data to/from the MPC software on your computer.
  2. USB-A Ports: Connect a USB flash drive to these USB ports to access its files directly using MPC Key 61. You can also connect any class-compliant MIDI device to these ports.
  3. Phones (1/4" / 6.35 mm): Connect standard stereo headphones to this output.
  4. Outputs (1/4" / 6.35 mm): Use standard TRS cables to connect these outputs to your monitors, mixer, etc.). The Main L/R outputs are the same as Outputs 1,2.
  5. Gain: Use these knobs to adjust the gain of the incoming signal from Input 1/2 on the rear panel. Be careful when setting this knob at higher levels, as this can cause the signal to distort.
  6. Inputs 1/2 (XLR or 1/4" / 6.35 mm): Use standard XLR or TRS cables to connect these inputs to audio sources (microphone, mixer, synthesizer, etc.). When using a 1/4" cable, the Mic preamp is removed from the circuit, and the Line/Inst switch can be used to set the impedance.

Turn the Gain knobs to set the input level of each one.

  1. Line/Inst: Use these switches to set Inputs 1/2 to accept either a Line-level or Instrument-level sound source when using a 1/4" connection.
  2. Phantom Power (+48V): This switch activates and deactivates phantom power for Inputs 1/2 when using an XLR connection. When activated, +48V of phantom power will be supplied to both inputs. Note that most dynamic microphones do not require phantom power, while most condenser microphones do. Refer to your microphone's documentation to check if it needs phantom power.

AKAI PROFESSIONAL MPC KEY 61 18 17 16 15 14 13 EXPRESSION FS2 SUSTAIN THRU OUT IN 8 7 6 5 4 3 2 1 CV/GATE 12

  1. CV/Gate Out (1/8" / 3.5 mm, TS): MPC Key 61 will send control voltage (CV) and/or Gate signals over these outputs to optional external synths or sequencers. Use standard 1/8" (3.5 mm) TS cables to send a single CV/Gate signal per output.
  2. MIDI In: Use a standard 5-pin MIDI cable to connect these inputs to the MIDI output of an external MIDI device (additional MIDI keyboard, pad controller, etc.).
  3. MIDI Out: Use a standard 5-pin MIDI cable to connect these outputs to the MIDI input of an external MIDI device (synthesizer, drum machine, etc.).
  4. MIDI Thru: Use a standard 5-pin MIDI cable to connect this thru-port to the MIDI input of an external MIDI device (synthesizer, drum machine, etc.). MIDI from the MIDI In will be sent through this output.
  5. Sustain (1/4" / 6.35 mm, TRS): This input accepts an optional momentary-contact foot pedal. When pressed, the pedal will sustain the sound you are playing without having to keep your fingers pressed down on the keys.
  6. FS2 (1/4" / 6.35 mm, TRS): Connect an optional 1/4" (6.35 mm) TRS footswitch or other foot pedal to this input.
  7. Expression (1/4" / 6.35 mm, TRS): Connect an optional expression pedal to this input for adding expressive changes during performances.

MPC Studio mk2

Note: This hardware differs from other MPC hardware in this manual in that it acts primarily as a controller for the MPC software. To learn more about how to use the MPC software, consult the MPC software User Guide. This can be accessed by opening the MPC software, and then navigating in the menu to Help > MPC Help > MPC Software Manual.

Top Panel
NOTE REPEAT LATCH TOUCH STRIP CONFIG PAD BANK - A E B F C G D H FULL LEVEL HALF LEVEL COPY DELETE PAD MUTE TRACK MUTE TE LEVEL TE LEVEL ERASE 12 1 32T 1 32 1 16T 1 16 1 0T 1/8 1/47 1/4 PAD 13 SAMPLER PAD 14 LOOPER PAD 15 STEP SEQ PAD 16 SAVE PAD 9 NEXT SEQ PAD 10 SONG PAD 11 MIDI CTRL PAD 12 MEDIA PAD 5 SAMPLE EDIT PAD 6 PROG EDIT PAD 7 PAD MIXER PAD 8 CH MIXER PAD 1 LIST EDIT 6 MPC STUDIO 16 2 AKAI PROFESSIONAL 19 SAMPLE SELECT 20 SAMPLE START 21 SAMPLE END 22 TURE FINE MODE 14 QUANTIZE 23 ZOOM 25 UNDO 4 MAIN 15 ON/OFF 24 AUTOMATY HEAD/WRI 35 TAP TEMPO 36 TRACK VIEW CONFIG OFF MASTER << START END 32 [34] << 33 RECORD OVER DUB STOP PLAY PLAY START 31 27 28 29 30 31

Navigation & Data Entry Controls

  1. Display: This RGB LCD display shows information relevant to MPC Studio's current operation. Much of this information is also shown in the software. Use the Mode and Select buttons to change what is shown on the display, and use the data dial or -/+ buttons to adjust the currently selected setting/parameter.
  2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field in the display. Pressing the dial also functions as an Enter button.
  3. -/+ : Press these buttons to increase or decrease the value of the selected field in the display.
  4. Undo / Redo: Press this button to undo your last action.

Press and hold Shift and press this button to redo the last action you undid.

  1. Shift: Press and hold this button to access some buttons' secondary functions (indicated by white writing).

Pad & Touch Strip Controls

  1. Pads: Use these pads to trigger drum hits or other samples. The pads are velocity-sensitive and pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You can also customize their colors.

Press and hold the Mode button and press each pad to quickly jump to the mode printed below the pad in orange.

  1. Pad Bank Buttons: Press any of these buttons to access Pad Banks A-D. Press and hold Shift while pressing any of these buttons to access Pad Banks E-H. Alternatively, double-press one of these buttons.
  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).

  1. Copy / Delete: Press this button to copy one pad to another. Use the Copy from pad field to select the "source" pad (the pad you want to copy) and use the Copy to pad field to select the "destination" pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap Do It to continue or Cancel to return to the previous screen.

Press and hold Shift and press this button to view the Delete Pad window, where you can delete the contents of a selected pad.

  1. 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 play the same sample as the original pad, but a selectable parameter will increase in value with each pad number, regardless of the amount of force you use. Use the data dial or -/+ buttons to select the 16 Level parameter.

Press and hold Shift and press this button to cycle through editing the Pad Perform Notes Type, Root Note, and starting Octave. Use the data dial or -/+ buttons to adjust the parameter shown on the display.

  1. Note Repeat / Latch: Press and hold this button, and then press a pad to trigger that pad's sample repeatedly. The rate is based on the current tempo and Time Correct settings.

Press and hold Shift and then press this button to "latch" the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.

You can also change the note repeat rate using the Touch Strip.

  1. Touch Strip: The touch strip can be used as an expressive control for playing and can be configured to control Note Repeat, Pitch Bend, Modulation, Touch FX and more. See Appendix > Updates in MPC 2.10.1 > New Features > Touch Strip and Touch FX for more information.

  2. Touch Strip / Config: Press this button to enable Touch Strip mode selection. Press the button repeatedly or use the data dial or -/+ buttons to cycle between the available modes. Press and hold this button to enter Q-Link mode for the Touch Strip.

Press and hold Shift and press this button to view the Touch Strip Configuration window.

Mode & View Controls

  1. Mode: Press and hold this button and then press a pad to quickly jump to the mode printed below the pad in orange:
Pad 13:SamplerPad 14:LooperPad 15:Step SequencerPad 16:Save
Pad 9:Next SequencePad 10:Song ModePad 11:MIDI Control ModePad 12:Media/Browser Mode
Pad 5:Sample Edit ModePad 6:Program Edit ModePad 7:Pad MixerPad 8:Channel Mixer
Pad 1:Track ViewPad 2:Grid EditorPad 3:Wave EditorPad 4:List Editor
  1. Main / Track View: Press this button to enter Main Mode.

Press and hold Shift and then press this button to enter Track View Mode.

  1. Track Select / Seq Select: Press this button to toggle between viewing MIDI Tracks and Audio Tracks, and then use the data dial or -/+ buttons to change the selected track.

Press and hold Shift, press this button and use the data dial or -/+ buttons to change the selected Sequence.

  1. Program Select / Track Type: Press this button and use the data dial or -/+ buttons to change the Program for the selected track.

Press and hold Shift, press this button and use the data dial or -/+ buttons to change the track type for the selected track: Drum, Keygroup, Plugin, MIDI, Clip or CV.

  1. Browse / Up: Press this button once to open the File Browser, and press it again to open the Media Browser.

You can use the Browsers to locate and select programs, samples, sequences, etc.

Press and hold Shift and then press this button to move up to the previous folder while using the Browser.

  1. Sample Select: Press this button and use the data dial or -/+ buttons to change the selected sample for the current pad. Press the button again to cycle between Layers 1–4 of the pad.

  2. Sample Start / Loop Start: Press this button and use the data dial or -/+ buttons to change the sample start point for the sample on the selected pad. Press the button again to cycle through Layers 1–4 of the pad.

Press and hold Shift, press this button, and use the data dial or -/+ buttons to change the Loop Start point for the sample on the selected pad. Press and hold Shift and press the button again to cycle through Layers 1–4 of the pad.

  1. Sample End: Press this button and use the data dial or -/+ buttons to change the sample end point for the sample on the selected pad. Press the button again to cycle through Layers 1–4 of the pad.

  2. Tune / Fine: Press this button and use the data dial or -/+ buttons to change the Tuning for the sample on the selected pad. Press the button again to cycle through Layers 1–4 of the pad.

Press and hold Shift, press this button, and use the data dial or -/+ buttons to change the Fine Tuning for the sample on the selected pad. Press and hold Shift and press the button again to cycle through Layers 1–4 of the pad.

  1. Quantize: Press this button to quantize all note events so they fall on exact, even time intervals as determined by the Timing Correct settings.

Press and hold Shift and press this button to quantize only the currently selected note events.

  1. TC On/Off / Config: Press this button to turn Timing Correct on and off.

Press and hold Shift and press this button to toggle between viewing the Time Division and Swing settings for Timing Correct in the display. Use the data dial or -/+ buttons to change the selected value.

  1. Zoom / Vert Zoom: Press this button and use the data dial or -/+ buttons to change the horizontal zoom level.

Press and hold Shift, press this button and use the data dial or -/+ buttons to change the vertical zoom level.

  1. Pad Mute / Track Mute: Press this button to view Pad Mute Mode where you can easily mute pads within a program or set mute groups for each pad within a program.

Press and hold Shift and press this button to view Track Mute Mode where you can easily mute tracks within a sequence or set mute groups for each track.

Transport & Recording Controls

  1. Record: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in this way (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays through once while recording, Overdub will be enabled.

  2. Overdub: Press this button to enable Overdub. When enabled, you can record events in a Sequence without overwriting any previously recorded events. You can enable Overdub before or during recording.

  3. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding once a note stops playing. Press and hold Shift and press this button to return the playhead to 1:1:0.

  4. Play: Press this button to play the sequence from the playhead's current position.

  5. Play Start: Press this button to play the sequence from its start point.

  6. Step </> (Event |</>): Use these buttons to move the playhead left or right, one step at a time.

Press and hold Locate and press one of these buttons to move the playhead to the previous/next event in the sequence grid.

  1. Bar <</>> (Start/End): Use these buttons to move the playhead left or right, one bar at a time.

Press and hold Locate and press one of these buttons to move the playhead to the start or end of the sequence grid.

  1. Locate: Press this button and then use the pads to add and select locator markers in the timeline. When on, tap Pads 9-14 to set up to six locators on the timeline, and tap Pads 1-6 to jump to each locator.

Additionally, the current playhead position will be shown on the display in Bars: Beats: Ticks when this button is activated. Use the data dial or -/+ buttons to move the playhead left or right one beat at a time or press and hold Shift and use the data dial or -/+ buttons to move the playhead left or right one tick at a time.

To deactivate Locate, enter another display mode (such as Track Select, Program Select, etc.).

  1. Automation Read/Write: Press this button to toggle the Global Automation state between Read and Write.

Press and hold Shift and press this button to disable or enable Global Automation.

  1. Tap Tempo / Master: Press this button in time with the desired tempo to enter a new tempo (in BPM). Alternatively, press and hold this button and then use the data dial or -/+ buttons to coarsely adjust the tempo. Press and hold both Shift and this button and then use the data dial or -/+ buttons to finely adjust the tempo.

Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo (the button will be lit white) or a global tempo (the button will be lit red).

  1. Erase: As a Sequence is playing, press and hold this button and then press a pad to delete the note event for that pad at the current playback position. This is a quick way to delete note events from your sequence without having to stop playback. When playback is stopped, press this button to open the Erase window where notes, automation and other sequence data can be erased from the sequence.

Rear Panel

1 USB 2 MDI OUT 3 MDI N AKAI PROFESSIONAL

  1. USB-B Port: Use the included USB cable to connect this high-retention-force USB port to an available USB port on your computer. This connection allows MPC Studio to send/receive MIDI data to/from the MPC software on your computer.

  2. MIDI Out: Use the included 1/8"-to-MIDI adapter and a standard 5-pin MIDI cable (not included) to connect this output to the MIDI input of an external MIDI device (synthesizer, drum machine, etc.).

  3. MIDI In: Use the included 1/8"-to-MIDI adapter and a standard 5-pin MIDI cable (not included) to connect this input to the MIDI output of an external MIDI device (synthesizer, drum machine, etc.).

MPC Touch

Top Panel

7 A E 8 NOTE REPEAT LATCH 9 FULL LEVEL HALF LEVEL 10 15 LEVEL 11 SPASE PAD BANK I OUT VOL PHONES L OUT R L IN R REC VOL USB DC IN POWER AKAI PROFESSIONAL 5 Q-LINK 4 4 4 4 4 12 -31 -16 7 + SHIFT MENU MAIN UNDO COPY + BROWSE TRACK REDO DELETE + TAP REC OVER DUB STOP PLAY PLAY START - 21 22 23 17 3

  1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Touch's current operation. Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the previous Touchscreens section to learn how to use some basic functions.
  2. Display Brightness +/-: Use these buttons to increase/decrease the brightness of the touchscreen.
  3. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field in the screen.
  4. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs can control one group of parameters at a time. The lights below the Q-Link button indicate the currently selected column of Q-Link knobs. Press the Q-Link button to change which parameter or group of parameters they currently control.
  5. Q-Link Button: Press this button to change which parameter or group of parameters the Q-Link knobs currently control (indicated by the lights above the Q-Link knobs). Each press will select the next column of Q-Link knobs.

Press and hold Shift and then press this button to select the previous column of Q-Link knobs instead.

Press and hold this button to show the QLink window over the touchscreen's current contents. These are the same parameters and settings as what is shown in Q-Link Edit Mode. You can tap Q-Link Edit at the bottom of the window to enter Q-Link Edit Mode immediately (see Operation > Modes > Q-Link Edit Mode to learn about this).

  1. Pads: Press these pads to trigger drum hits or other samples in your software. The pads are velocity-sensitive and pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You can also customize their colors.
  2. Pad Bank: Press any of these buttons to access Pad Banks A-D.

Press and hold Shift while pressing any of these buttons to access Pad Banks E–H. Alternatively, double-press one of these buttons.

  1. Note Repeat/Latch: Press and hold this button, and then press a pad to trigger that pad's sample repeatedly. The rate is based on the current tempo and Time Correct settings.

Press and hold Shift and then press this button to "latch" the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.

  1. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (127), regardless of how much force you use.

Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (64).

  1. 16 Level / Pad Perform: 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 press them. In the screen that appears, use the Type selector to choose the parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation > General Features > 16 Level to learn more.

Press and hold Shift and press this button to enter Pad Perform mode for the pads. When activated, you can play musical scales/modes, chords or progressions using the pads while in any mode. See Operation > Modes > Pad Perform Mode to learn more.

  1. Erase: As a sequence is playing, press and hold this button and then press a pad to delete the note event for that pad at the current playback position. This is a quick way to delete note events from your sequence without having to stop playback. See Operation > General Features > Erase to learn more.

  2. Shift: Press and hold this button to access some buttons' secondary functions (indicated by gray writing).

Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds.

  1. Menu/Browse: Press this button to open the Menu. You can tap an option in the Menu to enter that mode, view, etc.

Press and hold Shift and then press this button to view the Browser. You can use the Browser to locate and select programs, samples, sequences, etc.

  1. Main/Track: Press this button to enter Main Mode.

Press and hold Shift and then press this button to enter the Track View.

  1. Undo/Redo: Press this button to undo your last action.

Press and hold Shift and press this button to redo the last action you undid.

  1. Copy/Delete: Press this button to copy one pad to another. When the From Pad field is selected, press the "source" pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the "destination" pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap Do It to continue or Close to return to the previous screen.

Tip: To quickly copy a pad, press and hold Copy, press the source pad, press the destination pad, and then release Copy.

Press and hold Shift and press this button to delete a pad's sample assignment. When the Delete Pad window is shown, press any pad/pads whose sample assignments you want to clear. Tap Delete to continue or Cancel to return to the previous screen.

  1. -/+ : Press these buttons to increase or decrease the value of the selected field in the screen.

  2. Play: Press this button to play the sequence from the audio pointer's current position.

  3. Play Start: Press this button to play the sequence from its start point.

  4. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding once a note stops playing. Quickly pressing this button three times will act as a "MIDI panic" and shut off all voices and stop all audio processing.

  5. Rec: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in this way (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays through once while recording, Overdub will be enabled.

  6. Overdub: Press this button to enable Overdub. When enabled, you can record events in a sequence without overwriting any previously recorded events. You can enable Overdub before or during recording.

  7. Tap/Master: Press this button in time with the desired tempo to enter a new tempo (in BPM). You can set how many taps are required in the Preferences (see Operation > General Features > Menu > Preferences to learn how to do this).

Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo (the button will be lit red) or a global tempo (the button will be lit amber).

Rear Panel

2 1 3 4 5 7 8 9 10 POWER INTU M USB REC VOL R IN L R OUT L MASTER VOL MDI OUT MDI IN AKAI MPC PROFESSIONAL MPC

  1. Power Input: Use the included power adapter to connect MPC Touch to a power outlet.
  2. Power Switch: Turns MPC Touch's power on/off.
  3. USB Port: Use the included USB cable to connect this high-retention-force USB port to an available USB port on your computer. This connection allows MPC Touch to send/receive MIDI and audio data to/from the MPC software.
    You can power MPC Touch via the USB port only, but the touchscreen will be disabled.
  4. Rec Vol: Turn this knob to adjust the gain of the incoming signal from the inputs. Be careful when setting this knob at higher levels, which can cause the signal to distort.
  5. Master Vol: Turn this knob to adjust the volume of the outputs and phones output.
  6. Inputs (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TRS cables to connect these inputs to audio sources (microphone, mixer, synthesizer, etc.). Turn the Rec Vol knob to set their input levels.
  7. Outputs (1/4" / 6.35 mm): Use standard 1/4" (6.35 mm) TRS cables to connect these outputs to your speaker system, external mixer, etc. The signal sent out of these outputs is the main mix. Turn the Master Vol knob to set the volume level.
    Tip: To route a program to these outputs, set its routing to Out 1,2 in the Channel Mixer when the Mixer field is set to Programs. See Operation > Modes > Channel Mixer to learn more about this.
  8. Phones (1/8" / 3.5 mm): Connect standard 1/8" (3.5 mm) stereo headphones to this output. Turn the Master Vol knob to set the volume level.
  9. MIDI Out (1/8" / 3.5 mm): Use the included 1/8"-to-5-pin adapter and a five-pin MIDI cable to connect this output to the MIDI input of an optional external MIDI device.
    Important: Do not connect audio devices (e.g., headphones, monitors, etc.) to the MIDI Out. Use the included 1/8"-to-5-pin adapters to connect MIDI devices only.
  10. MIDI In (1/8" / 3.5 mm): Use the included 1/8"-to-5-pin adapter and a five-pin MIDI cable to connect this input to the MIDI output of an optional external MIDI device.
    Important: Do not connect audio devices (e.g., headphones, monitors, etc.) to the MIDI In. Use the included 1/8"-to-5-pin adapters to connect MIDI devices only.
  11. Kensington® Lock Slot: You can use this slot to secure your MPC Touch to a table or other surface.

Basic Concepts

This chapter should help explain some fundamental aspects of the MPC universe.

The MPC workflow is quite different from traditional digital audio workstations (DAWs). In most typical DAWs, each track uses an instance of each instrument, and all tracks are always playing even if they don't contain any audio or MIDI information. Furthermore, your entire project needs to be arranged just as the resulting song would be. This isn't the case with MPC, which offers much more flexibility within your project. It's important to understand some basic terms, though:

A sequence is a “building block” of a song. It contains multiple tracks that play at the same time like a normal DAW. In a project, you might create one sequence for your verse and another sequence for your chorus, alternating and/or repeating each one in a specific order to create the song. (A project can contain 128 sequences.)

A track is a layer in a sequence. There are two types of tracks:

MIDI tracks consist of MIDI data only, no audio data. These tracks produce sound by using programs, described below. Unlike a normal DAW, each MIDI track exists only in its sequence. The advantage of this is not having to manage empty or unwanted tracks across all of your sequences—each sequence contains only the tracks you want to use in it. If you want to use the same track across multiple sequences, you can copy the track from one sequence into another. (A sequence can contain 128 MIDI tracks.)

Audio tracks consist of a recorded audio signal, like a traditional DAW. These tracks do not use programs because the audio is already contained in the track. Also, unlike MIDI tracks, audio tracks are present in every sequence in the project, even if the tracks themselves are empty. (A sequence on your MPC hardware can contain 8 audio tracks. A sequence in the MPC software can contain 128 audio tracks.)

A program is a preset through which MIDI tracks are routed. Programs may contain audio samples that are triggered when tracks play through them, producing the sound you want on that track. Programs are independent of tracks and sequences, so you can set multiple tracks to use the same program (unlike normal DAWs where each track requires its own set of samples). Furthermore, you can use the same program/programs across multiple sequences. (A project can contain 128 programs.)

Each program can be played using the 16 pads (across eight pad banks, which gives you access to 128 pads in each program). Each pad plays a MIDI note when you press it, but that MIDI note will trigger something different for each program. For instance, in drum programs, the pads are assigned to samples—one pad could trigger a kick drum sound and another could trigger a snare drum sound—whereas in keygroup programs, each pad triggers a MIDI note that plays the corresponding pitch of the sample assigned to its keygroup.

Here's a diagram to illustrate an example of how these pieces could work together:

AKAI MPC Key 61 - Basic Concepts - 1

flowchart 
graph TD
    A["Sequence"] --> B["Drum Program (Drums)"]
    A --> C["Keygroup Program (Bass)"]
    A --> D["Keygroup Program (Keys)"]
    A --> E["Keygroup Program (Synth Lead)"]
    B --> F["Mixing"]
    C --> F
    D --> F
    E --> F
    G["Track (MIDI: Drums)"] --> H["Drums"]
    I["Track (MIDI: Bass)"] --> J["Bass"]
    K["Track (MIDI: Keys 1)"] --> L["Keys"]
    M["Track (MIDI: Keys 2)"] --> N["Synth"]
    O["Track (MIDI: Synth)"] --> P["Audio: Vocals"]
    Q["Track (Audio: Vocals)"] --> R["Audio: Guitar"]
    S["Track (Audio: Guitar)"] --> T["Audio: Guitar"]

Please take a look at the following Tutorial chapter, as well. It will walk you through the creation of a short song to show you some of your MPC hardware's most important features.

Tutorial

This chapter should familiarize you with some basic MPC features. We'll create a short song to illustrate some of the most important features. To get the most out of this chapter, we recommend reproducing each of the described steps.

Starting Up

Make sure you have completed all of the steps described in Introduction > Setup. This includes:

• Installing the most current drivers and software.
- Connecting your MPC hardware to a power source using the included power adapter (if required) and powering it on.
- Opening and authorizing your MPC software (if you are using your MPC hardware as a controller).

Creating a Drum Kit

Let's start by making a simple drum kit.

[Internal] /MPC Documents Search directory NAME (15 items) [Exports] Exports FX Racks LegacyExports Live Recordings Midi Learn Plugin Presets BROWSE SAMPLE ASSIGN AUDITION LOAD

[internal] /Expansions/The Vault 2 Places Cases Expansions Drums Instruments Clips Samples My Files Splice BROWSE SAMPLE ASSIGN Search directory NAME (AID) (SMM) Acoustic-Kit-Ac Fat Kit.xpm Acoustic-Kit-Ac Rock Kit.xpm Acoustic-Kit-Ac Snap Kit.xpm Acoustic-Kit-Ac Tight Kit.xpm Acoustic-Kit-Ac Vintage Kit.xpm Acoustic-Kit-Drum Pimp Chop.xpm Acoustic-Kit-TL Ir Live Kit.xpm AUDITION LOAD

Press Browse (MPC X, MPC One, MPC Live II) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Touch) to show the Browser. Then, use the touchscreen to navigate to where your drum sounds are located:

To browse your files by location, tap Places on the left side of the screen.

Internal is the internal drive of MPC X/Live/Live II/One/Key 61.

MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X/Live/Live II/One/Key 61.

If you have storage devices connected to USB ports or SD card slot of your MPC hardware, or your computer (with MPC Live II and MPC Touch), they will appear in this column, as well.

Important: MPC hardware supports read and write capability for exFAT, FAT32, NTFS, and EXT4 file systems as well as read-only capability for HFS+ file systems. (We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.)

To browse your files by type, tap Content and then tap the type of file: Drums, Instruments, Clips, Samples, Demos, or My Files.

To browse your MPC Expansions (MPC X/Live/Live II/One/Key 61 only), tap Expansions (see Addenda > Updates in MPC 2.1 > New Features > Exporting Expansions to learn how to export MPC Expansions from your computer to your supported MPC hardware.

To move up one folder level, tap the folder/L icon in the upper-left corner.

To move through a list, swipe up or down, turn the data dial or use the -/+ buttons.

To select a file or folder, tap it once.

To enter a folder, double-tap it or tap Open in the lower-right corner. Alternatively, press the data dial, or press the center cursor or Enter (MPC X), to enter a selected folder.

To load a selected file, double-tap it, tap Load, press the data dial, or press the center cursor or Enter (MPC X). If the file is a sample, it will be loaded to the project's sample pool. If the file is a project, it will be loaded in its entirety (you will be asked if you want to close your current project).

To load all files in a folder, select the folder (so it is highlighted in the list), press and hold Shift, and then tap Load All in the lower-right corner.

Important: Although you can load multiple files at once, any samples you load into a project will be automatically converted to full-quality uncompressed audio files, so they may use more storage space than they do on your external storage device. If you are unable to load multiple files at once due to this, select fewer files and try again.

To delete a selected file or folder, press and hold Shift and then tap Delete File at the bottom of the screen.

To preview a selected sound, tap and hold Play (▶) at the bottom of the screen.

To enable or disable the audition function and set its volume level, tap Audition at the bottom of the screen. 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.

To show the information for the current drive (MPC X, MPC Live, MPC Live II, MPC One, MPC Key 61), press and hold Shift and then tap Drive Info at the bottom of the screen. The drive's information will appear in a new window. Tap OK to return to the previous screen.

After loading samples for a drum kit into the sample pool, use the Sample Assign tab to assign a kick drum sound to a pad:

  1. Tap Sample Assign at the bottom of the screen. This lets you view the pads and project's sample pool.
  2. Press Pad 1 or tap Pad 1 on the screen to select it. The pad will be lit green.
  3. Swipe the Sample Pool list up or down or use the data dial or - / + buttons to move through it.
  4. To load a sample to the selected pad (Pad 1, in this case) tap it in the Sample Pool list, press the data dial, or press the center cursor or Enter (MPC X). Now, you can press Pad 1 to play the kick drum sample.

Program 001 SAMPLE POOL CYCdn_Elek02-Kick01 CYCdn_Elek03-Kick01 CYCdn_K5-Kick01 CYCdn_Dex02-6 BROWSE SAMPLE ASSIGN AUCTION CLEAR RAD

To create a simple drum kit, repeat the above steps for other pads. We recommend loading a snare drum, a closed hi-hat, and an open hi-hat.

Creating a Drum Sequence

Now that your drum kit is set up, let's record a drum sequence.

2 Track 02 2 1: 1: 0 16 A1# A11# A12# A13# A14# A15# A16# A17# A18# A19# A20# A21# A22# A23# A24# A25# A26# A27# A28# A29# A30# A31# A32# A33# A34# A35# A36# A37# A38# A39# A40# A41# A42# A43# A44# A45# A46# A47# A48# A49# A50# A51# A52# A53# A54# A55# A56# A57# A58# A59# A60# A61# V Velocity DON'T SNAP NUDGE EDIT START EDIT END TRANSPOSE AUTOMATION

  1. Press Menu to enter the Menu, and then tap Grid View.
  2. Press Tap repeatedly at the speed you want to record your sequence. Your MPC hardware will detect the rate and adjust itself automatically.
  3. Press the Rec button to record-arm the sequence.
  4. Press the Play button to start the actual recording. You will hear the count-in for one measure before the recording starts. We recommend recording only one sound (pad) at a time, especially if you're not familiar with playing drums on the pads.
  5. Play a simple kick 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. After the two bars, the recording will automatically activate Overdub; the sequence will play again from the beginning and keeps looping, allowing you to record further notes. Don't stop the recording!
  6. Play the snare drum part, then a hi-hat part.
  7. When you're done recording, press the Stop button.

If you start recording again on this sequence, keep in mind that the pads you play in your new recording will replace existing notes played with the same pads. To prevent this, press the Overdub button before recording instead of the Rec button. Overdub lets you record additional note events over the existing sequence.

The Undo button functions differently while recording. Normally, pressing Undo will undo just the last event. When there is an event to undo, the Undo button will be lit solid. While recording, the Undo button will flash. In this case, pressing Undo will erase all events from that recording (i.e., since Play or Play Start was pressed).

Saving & Renaming

We recommend doing some renaming of your programs and samples before going further.

The collection of drum samples you loaded earlier (and their respective pad assignments) are arranged into a program. When you load this program in the future, you will be able to use all of the samples that belong to it.

Let's rename the existing program as we'll want to create more programs later on.

Set program name Program 001 Q W E R T Y U I O P A S D F G H J K L Z X C V B N M 123 - ✓ DO IT

To rename a program:

  1. Press Main to enter Main Mode.
  2. In the Program section in the lower part of the screen, tap the cursor icon on the right edge.
  3. Use the virtual keyboard that appears to enter a new name (e.g., Drums), and then tap Do It.

To rename your samples:

  1. Press Menu to enter the Menu, and then tap Sample Edit to enter Sample Edit Mode.

  2. The Sample field at the top of the screen will show the name of a sample. Select a sample in one of the following ways:

  3. When the Sample field is selected, use the data dial or - / + buttons to change it.
    • Double-tap the Sample field and tap one in the list that appears.

  4. Tap the keyboard icon next to it to rename the current sample.

  5. Use the virtual keyboard that appears to enter a new name (e.g., Kick, Snare, etc.), and then tap Do It. Repeat Steps 2–4 to rename other samples.

Now would be a good time to save your project.

[Internal]\MPC Documents\Projects STORAGE Internal MPC Documents Project 01.xpj Project 02.xpj Project 03.xpj Project 04.xpj Project 05.xpj Project 06.xpj Project 07.xpj FILE NAME Project 08 SAVE AS TEMPLATE NEW FOLDER CANCEL SAVE

To save your project, press Menu to show the Menu, and tap the Save at the bottom of the screen to open the Save window. Alternatively, press Shift+Browse/Save (MPC X, MPC One). In the Save window, do any of the following:

To select the storage device you want to view, tap it in the Storage column on the left.

Internal is the internal drive of MPC X/Live/Live II/One/Key 61.

MPC Documents is a shortcut to the MPC Documents folder on the internal drive of your MPC hardware.

If you have storage devices connected to USB ports or SD card slot of your MPC hardware, or your computer (with MPC Studio or MPC Touch), they will appear in this column, as well.

To enter a folder, double-tap it. Alternatively, turn the data dial or use the - / + buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Operation > Modes > Browser to learn how to do this).

To create a new folder, tap New Folder, use the virtual keyboard that appears to enter a name, and then tap Do It. You will immediately enter the new folder.

To move up one folder level, tap the folder/↑ icon in the upper-left corner.

To name the file, tap the File Name field at the bottom of the screen, and use the virtual keyboard that appears.

To save the file, tap Save.

To cancel and return to the Menu, tap Cancel. Alternatively, tap the ← icon in the upper-left corner.

Editing Note Events

In the grid, you can see your recorded notes (or note events) as a sequence.

To enter the Grid View, press Menu, and then tap Grid View.

AKAI MPC Key 61 - Editing Note Events - 1

bar | Technique | Segment 1 | Segment 2 | Segment 3 | |---|---|---|---| | DON'T SNAP | 16 | 0 | 0 | | NUDGE | 12 | 0 | 0 | | EDIT START | 13 | 0 | 0 | | EDIT END | 14 | 0 | 0 | | TRANSPOSE | 2 | 0 | 0 | | AUTOMATION | 2.3 | 0 | 0 |

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.

To automatically set the grid to view one pad bank and two bars, tap the grid-and-magnifying-glass icon in the lower-left corner.

To undo your last action, press Undo.

To redo the last action you undid, press Shift+Undo/Redo.

To enter a note, tap the pencil icon in the upper-right corner. Then, in the grid, tap a square.

To delete a note, tap the eraser icon in the upper-right corner. Then, in the grid, tap a note.

To select a single note, tap the select box in the upper-right corner. Then, in the grid, tap the note.

To select all notes for a pad, press the desired pad.

To move the selected notes, tap Nudge at the bottom of the screen, and then use the data dial or - / + buttons to shift the notes left or right. By default, you can position notes only by quantization values defined by the Time Correct value (learn about this feature in Operation > General Features > Timing Correct (TC)).

To move the selected notes without restricting ("snapping") them to the quantization grid, tap and hold Don't Snap in the lower-left corner of the screen, and then use the data dial or - / + buttons to shift the notes. In this case, each nudge is equivalent to four ticks.

To adjust the start point or end point of the selected notes (without changing their position), tap Edit Start or Edit End at the bottom of the screen, and then use the data dial or - / + buttons.

To transpose the selected notes up or down, tap Transpose at the bottom of the screen, and then use the data dial or - / + buttons.

To switch to the previous or next track, tap the Track field in the upper-left corner, and then use the data dial or - / + buttons.

To mute or solo the track, press and hold Shift, and then tap Mute or Solo (respectively) at the bottom of the screen.

To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See Operation > General Features > Timing Correct (TC) to learn about this.

To adjust the velocity of the selected notes, tap Velocity at the bottom of the screen, and then use the data dial or - / + buttons. The numeric value will appear on the screen.

To show or hide the velocity lane, tap the up arrow (∧) button in the lower-right corner of the screen to show the velocity lane below the grid. Each note's velocity is represented by a vertical bar. The higher and redder the bar is, the higher the velocity is.

Tap the up arrow (∧) button once more to show a taller version of the velocity lane after which it will turn into a down arrow (∨) button, which you can then tap to hide the velocity lane.

Making Basic Sound Edits

Let's make sure the samples are properly tuned and have good levels.

Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X, MPC One), or Edit (MPC Key 61).

Drums 1 A04 GLOBAL SEMI 0 FINE 0 POLY 16 PAD A04 LEVEL -2.25dB LAYER PLAY CYCLE VELOCITY RANDOM SAMPLE PLAY ONE SHOT NOTE OFF NOTE ON MUTE GROUP Off POLY Mono SIMULTANEOUS PLAY PAD Off PAD Off PAD Off PAD Off PAD Off MUTE TARGET PAD Off PAD Off PAD Off PAD Off GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

Press a pad to show its parameters on the screen.

To adjust its volume, tap and drag the Level 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.

To adjust its stereo panning, tap and drag the Pan 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.

Adjust the level of each pad to suit your taste. We recommend spreading the panning of the bright sounds (e.g., cymbals, snare drum) a little. Additionally, you can tune the kick drum sound—tap the Samples tab so the second square under it is lit, and then adjust the Semi and Fine knobs next to the sample name.

The snare drum may need some reverb to give it a more spatial sound.

Tap Effects at bottom of the screen so the first square under it is lit to view the Insert Effects tab. Press the pad with your snare drum sound to select it.

Program 001 A02 INSERTS 1 Reverb Medium [2 in 2 out] 2 NO EFFECT 3 NO EFFECT 4 NO EFFECT GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS ALL ON SEND 1 0 SEND 2 0 SEND 3 0 SEND 4 0

To add an effect:

  1. Double-tap the desired slot. A list of effects will appear.
  2. Swipe up or down to move through the list.
  3. To load an effect, double-tap it. Alternatively, tap it once and then tap Select or push the data dial. Let's try Reverb Medium.
  4. To close the list, tap Close.

To adjust the effect's parameters, tap the pencil icon.

To empty the effect slot, tap the trash can icon. Switch the effect on or off by tapping the On/Off button for the slot.

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.). When you play the sequence, all of them will play simultaneously.

First, let's make an empty track.

untitled 1: 1: 0 1/16 STQUENCE BPM 120.00 2 START / END TRANSPOSE Lift A[ ] 1 Sequence 01 SEQUENCE TRACK Length Sequence Seq Off A[ ] 2 (unused) CVS VELOCITY AUTO + CREAM PROGRAM Program 001 MIDI AUDIO TRACK + MUTE SOLO

To select a new track:

  1. Press Main to go back to Main Mode.
  2. Double-tap the Track field in the center-left part of the screen, and then tap Track 2 (unused) in the list of tracks that appears.

Alternatively, tap the Track + button at the bottom of the screen until (unused) appears in the Track field.

Let's create a new program for this track to use.

untitled 1: 1: 0 1/16 SEQUENCE 6PM 120.00 2 START / END 1 2 TRANSPOSE OFF 1 Sequence 01 SEQUENCE TRACK 2 Track 02 LENGTH Seq CVS VELOCITY 100% TRANSPOSE OFF AUTO 2 KEYGROUP PROGRAM Bass MIDI AUDIO TRACK MUTE SOLO

To create a new program:

  1. In the Track section in the middle of the screen, tap the piano-keys icon. This icon indicates a keygroup program, which is necessary to play the bass sound chromatically with the pads.

A name for the new keygroup program will appear in the Program field in the lower part of the screen.

  1. In the Program section in the lower part of the screen, tap the cursor icon on the right edge.
  2. Use the virtual keyboard that appears to enter a new name, and then tap Do It.

Bass 1 1 LAYER 1 Base Dance Cauti-Improves LAST 0 Start END LOOP YAL LENGTH FIRE STAMP Bass-Dance Classic... 0 90815 58474 OFF 25.3 ms SLEE PAD SLMR FINE 0 0 RAD LOOP PAD LOOP GLOBAL SAMPLES ENVELOPES LFD PORTA / MOD EFFECTS

To load and edit a bass sound:

  1. Press Browse (MPC X, MPC One, MPC Studio) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61, MPC Touch) 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.

Instead, press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X, MPC One), or Edit (MPC Key 61).

  1. In Program Edit Mode, tap the Samples tab at the bottom of the screen to show the four layers of samples in the program.
  2. Double-tap the first Layer field and then tap your bass sample in the list on the left. Because you're working with a keygroup program instead of a drum program, this sample is now playable across all pads.

Tip: On your MPC hardware, disable Pad Perform and then press the Pad Bank D button to switch to Pad Bank D and press Pad 13. You should hear the bass sample played back with its original pitch. You can use the other pads to play your sample chromatically. Alternatively, you can play middle-C on an external MIDI device to hear the sample at the original pitch.

Bass 1 1 LAYER OFFSET VEL START VEL END BOOT NOTE Bass-Dance Bass 0 0 80 SMP Bass-Dance Class 0 M1 127 SMP None 0 0 127 SMP None 0 0 127 SMP GLOBAL SAMPLES ENVELOPES LFD PORTA / MOD EFFECTS

Let's add a second layer and set the layers' velocity ranges so the bass will sound different when played at a higher velocity (as a real bass would):

  1. Press Browse (MPC X, MPC One, MPC Studio) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61, MPC Touch) to show the Browser, select a different bass sample that sounds similar but a little bit brighter, and load it to the project's sample pool.
  2. Return to Program Edit Mode, and in the Layer tab, double-tap the second Layer field, and select the new bass sample. Press a pad to hear both samples will sound at once. Maybe this new sound is interesting as it is, but let's make some quick edits to get as close as we can to a real-life bass sound.
  3. Tap the Pan Velocity tab to show its parameters.
  4. Tap Layer 1's Vel End knob and turn the data dial to set it to 80. Do the same to set Layer 2's Vel Start slider to 81. Now when you press a pad, the lower velocities (0–80) will trigger the Layer 1 sample only, while higher velocities (81–127) will trigger the Layer 2 sample only.

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.

2 Track 02 2 1:1:0 16 1.2 1.3 1.4 2 2.2 2.3 2.4 ↑ # C2 = C1 Y 默 Velocity DON'T SNAP NUDGE EDIT START EDIT END TRANSPOSE AUTOMATION

Bass FILTER Low 2 CUTOFF 127 RES 0 FILTER ENVELOPE DEPTH VELOCITY MODULATION CUTOFF 0 ATTACK 0 DEPTH 0 GLOBAL SAMPLES ENV FILTER LFO PORTA / MOD EFFECTS

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 2 Pole.
  3. Tap the Cutoff or Reso (resonance) knob, and turn the data dial to adjust their settings until your bass sample sounds good to you.
  4. In the Amp Envelope section, tap the Attack or Release knob, and turn the data dial to adjust their settings. These control the overall level characteristics of the sound.

Do you want to add an effect? Do this in the Effects tab:

  1. Tap the Effects tab to show the insert effects.
  2. Double-tap one of the Inserts slots to show a list of available effects.
  3. Double-tap the effect you want to add to your bass line, or click Close to cancel.

To adjust the settings of the effect, click the pencil icon next to its slot to open a window that shows its parameters.

To activate or deactivate all insert effects for that program, click the All On/All Off button in the upper-right corner.

So far, we've created a simple drum sequence and a bass line to go with it. Repeat this process to create a second sequence.

Recording an Audio Track

We've already created some MIDI tracks, so let's record some actual audio for our next track:

untitled HIDE Input 1,2 Out 1,2 INSERTS SOLO MUTE OFF 0,00dB SEQUENCE BPM 120.00 BAPS 2 1 Sequence 01 SEQUENCE TRACK 1 Audio 001 INPUT CONFIG [+] EDIT AUDIO MIDI AUDIO TRACK MUTE SOLO

  1. Press Main to go back to Main Mode.
  2. Tap the Audio tab at the bottom of the screen. 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 screen) or the small eye icon (in the upper-left part of the screen) to show it.
  4. Connect a synthesizer or other line-level audio source to the 1/4" (6.35 mm) input/inputs on your MPC hardware's rear panel, and set the Line/Phono selector to Line (MPC X, MPC Live, MPC Live II), or set the Inst/Line selector to Line (MPC Key 61).
  5. Double-tap the first field (Input __) and select Input 1 or Input 1,2 (depending on your audio source) as the input source.
  6. If the second field is not set to Out 1,2, double-tap it and select that option as the output.
  7. Tap the Monitor button to cycle through its three states until it reads Auto (you will hear incoming audio while the track is record-enabled only).
  8. Turn the 3/4 Rec Gain (MPC X), Rec Vol (MPC Live, MPC Live II, MPC One, MPC Touch), or Gain (MPC Key 61) knob to set the input level while playing your audio source. You should now see the level in the meter. Make sure it does not exceed the maximum level (the meter should not be "peaking" constantly).
  9. If Solo and Mute are on, tap or press them so they are off. Also, tap the automation button so it is off/gray (not green/Read [R] or red/Write [W]). Alternatively, press Read/Write (MPC X), or Shift+Automation Read/Write (MPC Key 61).
  10. Tap the Record Arm button to record-enable the track. Alternatively, press Rec Arm (MPC X).
  11. Press Rec to record-arm the sequence.
  12. To start recording, press Play or Play Start—then play your audio source! You should hear your existing sequence playing in the background.
    To stop recording, press Stop.

Record another audio track for your other sequence: Select the other sequence in Main Mode, and create another audio track (Audio 002) to go with that sequence.

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, and then press Menu, and then tap Song to enter Song Mode. Alternatively, press Song (MPC X).

1 (unnamed) SEQUENCE BPM BARS 1 1: Sequence 0 1 (86.72) 2 2 2: Sequence 0 4 (86.71) 2 3 3: Sequence 0 1 (86.71) 4 4 1: Sequence 0 2 (86.72) 2 END OF SONG A 12 - 2 bars 120.00 BPM A 14 - 2 bars 120.00 BPM A 15 - 2 bars 120.00 BPM A 16 - 2 bars 120.00 BPM A 09 - 2 bars 120.00 BPM A 10 - 2 bars 120.00 BPM A 11 - 2 bars 120.00 BPM A 12 - 2 bars 120.00 BPM A 05 - 2 bars 120.00 BPM A 06 - 2 bars 120.00 BPM A 07 - 2 bars 120.00 BPM A 08 - 2 bars 120.00 BPM A 01 Sequence 01 2 bars 86.72 BPM A 02 Sequence 02 2 bars 86.71 BPM A 03 Sequence 03 4 bars 86.71 BPM A 04 - 2 bars 120.00 BPM CLEAR EXPORT CONVERT > SEQ DELETE INSERT

In Song Mode, each of the sequences you've created in this project assigned to a pad. The sequence playlist is to the left of the pads, showing the song's structure.

As a song plays, it moves through each step of the sequence playlist. Each step contains a sequence you assigned. Each step can be repeated, determined by the value in the Repeat column (the repeat icon; a value of 1 means the sequence will play through only once). The Bars column on the right indicates the length of that sequence.

Each step can be set to play its sequence at an independent tempo, determined by the value in the BPM column.

Important: Each sequence has its own tempo, while the project itself may use a different global tempo. The BPM value for each sequence may be different from the global tempo. As long as playback is set to follow the global tempo, each sequence's individual tempo will be ignored. By default, each project is set to use the sequence tempo, which you set back in the Creating a Drum Sequence chapter. We recommend tapping the SEQ/GBL button at the top of the screen (so the button displays GBL) and entering a global tempo to ensure all sequences use the same tempo.

To insert a step at the current position, tap Insert.

To delete the currently selected step, tap Delete.

To set which sequence plays for a step, tap the step's Sequence field, and then turn the data dial to select a sequence.

To set how many times a sequence repeats, tap the step's Repeat field (next to the sequence name), and then turn the data dial to select a number.

Exporting the Song

Want to share your new song? Just export it first.

Audio Mixdown AUDIO LENGTH START BAR 1 END BAR 18 AUDIO TAIL 1 SECONDS RENDER SOURCE STEREO OUTPUT Out 1,2 ✓ RENDER OPTIONS SEPARATE PROGRAMS EXPLOCE TRACKS MAIN INSERTS ✓ EXPORT SETTINGS SAVE AS PROJECT PREVIEW FILE FORMAT WAV BIT DEPTH 24 - SAMPLE RATE 44.1 kHz - CANCEL EXPORT

To export a song:

  1. While in Song Mode, tap Export at the bottom of the screen.
  2. In the Audio Mixdown screen that appears, do the following:

• Make sure the Start field is set to 1, and set the End field to the last bar of your song.
- Tap the Audio Tail field and turn the data dial to set it to 2 seconds.
- As you'll likely share the song online, tap the mp3 file format option in the lower-left corner.

  1. Tap Export. Choose where you want to save the song.

To name the song, tap the File Name field, and use the virtual keyboard that appears to enter a new name, and then tap Save to start exporting.

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. Alternatively, in some modes, you can tap the steps icon on the left edge of the screen. You can also press Step Seq (MPC X, MPC Live II, MPC One), or Shift+Grid/Step Seq (MPC Key 61).

AKAI MPC Key 61 - Step Sequencer - 1

bar | Category | Value | |---|---| | TC | 1 | | - | 2 | | BAR | 3 | | + | 4 | | PAD SEL | 5 | | - | 6 | | PAD SEL | 7 | | - | 8 | | PAD SEL | 9 | | - | 10 | | PAD SEL | 11 | | - | 12 | | PAD SEL | 13 | | - | 14 | | PAD SEL | 15 | | - | 16 | | PAD | 17 | | PAD | 18 | | PAD | 19 | | PAD | 20 | | PAD SEL | 21 | | PAD SEL | 22 | | PAD SEL | 23 | | PAD SEL | 24 | | PAD SEL | 25 | | PAD SEL | 26 | | PAD SEL | 27 | | PAD SEL | 28 | | PAD SEL | 29 | | PAD SEL | 30 | | PAD SEL | 31 | | PAD SEL | 32 | | PAD SEL | 33 | | PAD SEL | 34 | | PAD SEL | 35 | | PAD SEL | 36 | | PAD SEL | 37 | | PAD SEL | 38 | | PAD SEL | 39 | | PAD SEL | 40 | | PAD SEL | 41 | | PAD SEL | 42 | | PAD SEL | 43 | | PAD SEL | 44 | | PAD SEL | 45 | | PAD SEL | 46 | | PAD SEL | 47 | | PAD SEL | 48 | | PAD SEL | 49 | | PAD SEL | 50 | | PAD SEL | 51 | | PAD SEL | 52 | | PAD SEL | 53 | | PAD SEL | 54 | | PAD SEL | 55 | | PAD SEL | 56 | | PAD SEL | 57 | | PAD SEL | 58 | | PAD SEL | 59 | | PAD SEL | 60 | | PAD SEL | 61 | | PAD SEL | 62 | | PAD SEL | 63 | | PAD SEL | 64 | | PAD SEL | 65 | | PAD SEL | 66 | | PAD SEL | 67 | | PAD SEL | 68 | | PAD SEL | 69 | | PAD SEL | 70 | | PAD SEL | 71 | | PAD SEL | 72 | | PAD SEL | 73 | | PAD SEL | 74 | | PAD SEL | 75 | | PAD SEL | 76 | | PAD SEL | 77 | | PAD SEL | 78 | | PAD SEL | 79 | | PAD SEL | 80 | | PAD SEL | 81 | | PAD SEL | 82 | | PAD SEL | 83 | | PAD SEL | 84 | | PAD SEL | 85 | | PAD SEL | 86 | | PAD SEL | 87 | | PAD SEL | 88 | | PAD SEL | 89 | | PAD SEL | 90 | | PAD SEL | 91 | | PAD SEL | 92 | | PAD SEL | 93 | | PAD SEL | 94 | | PAD SEL | 95 | | PAD SEL | 96 | | PAD SEL | 97 | | PAD SEL | 98 | | PAD SEL | 99 | | PAD SEL | 100 | Note: The chart displays a single bar for each bar's value, with red, orange, and blue bars representing different time intervals (1-16) and a scale of '1:1-0' (rows) to indicate the duration in seconds.
  1. Let's create a sequence on a new track. Tap the Track field in the upper-left corner, and then use the data dial or - / + buttons to select an (unused) track. Alternatively, double-tap the Track field, and then tap a track to select it.
  2. Tap the Track Length field at the top of the screen to set a length for the track, and then use the data dial or the - / + buttons to select a length. If you select the minimum value, Sequence, the track will be however long your sequence is.

Tip: This lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence repeatedly under a 4-bar bass line.

  1. Tap the Bar -/+ buttons at the bottom of the screen to select the bar whose steps you want to create or edit. The bar number will appear in the Bar field in the upper-left corner.
  2. Tap the Pad -/+ buttons at the bottom of the screen to select the pad whose steps want to create or edit. The pad number will appear in the Pad field in the upper-left corner.
  3. Press Play to start your sequence.
  4. Each pad represents a step in the bar. If the pad already has note events on the selected track, the corresponding pads (steps) will be lit with colors corresponding to their velocities.

To enter a note at a step, press an unlit pad. The pad will light up with a color corresponding to its velocity.

To delete the note from a step, press a lit pad. The pad will become unlit.

To delete all notes from the entire bar, press and hold Shift, and then tap Clear Bar in the lower-right corner.

See Operation > Modes > Step Sequencer to learn more about this feature.

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 to enter Sample Edit Mode. Alternatively, press Sample Edit (MPC X, MPC One, MPC Key 61), or Shift+Mute/Sample Edit (MPC Live II).

Breaks-GROOVE FA Samples 12800 16200 25400 29600 38400 44600 51200 53600 64200 76400 78800 80300 89600 94000 95200 START 35059 END 50439 CUE 0 SUICE 3 LINK S LICES CHOP TO THRESHOLD MIN TIME 50 100 MANUAL THRESHOLD REGIONS BPM CHOP PROGRAM ZOOM PLAY CUE SLICE +

  1. Tap the Sample field at the top of the screen, and then use the data dial or - / + buttons to select the loaded drum loop. You can scroll through all loaded samples in the project. Alternatively, double-tap the Sample field, and then tap a sample to select it.
  2. Tap the Trim/Chop tab in the lower-left corner to switch between Trim Mode and Chop Mode. Select Chop Mode, which will let us cut the drum loop into slices.
  3. Tap Threshold, and then tap the Threshold field to the right of it. Use the data dial, - / + buttons, or numeric keypad (MPC X) to select a value. Alternatively, double-tap the Threshold field and use the numeric keypad on the screen. The lower the threshold, the more slices will be created. Be sure to select a value so that every transient peak of the drum loop has a corresponding a slice marker.

Tip: Each slice will be automatically assigned to a pad: Pad A01 plays Slice 1, Pad A02 plays Slice 2, etc. Press each pad to play the slice with the same number.

Let's use this chopped sample to create a new program in which each of these slices is an individual sample. We can also automatically create corresponding note events to play back these slices sequentially.

Track 03 1: 3: 93 16 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 A01 Velocity DON'T SNAP NUDGE EDIT START EDIT END TRANSPOSE VELOCITY

  1. Press and hold Shift and then tap Convert at the bottom of the screen to enter the Convert or Assign Slices window.
  2. Tap the Convert To field, and then use the data dial or - / + buttons to select New Program with New Samples.
  3. Make sure Crop Samples is checked. If it is not, tap it.
  4. Make sure Create New Program is checked. If it is not, tap it.
  5. Make sure Create Events is checked. If it is not, tap it.
  6. Tap the Bars field, and then use the data dial or -/+ buttons to select how many bars the entire sample should use in your program.
  7. Tap Do It to proceed. Each slice will be assigned to a pad, and each pad will have a recorded note event in the track. When you play that track, it will play each pad (each slice) in the original order. Press Menu and then tap Grid View to see how the sample appears in your sequence.
  8. Press Play and listen to how the drum loop matches your song tempo now.

You can also edit the note events of the drum loop slices—enter Main Mode to do this. A new track with the note events playing their corresponding slices has been automatically created. Tap the TC/clock icon at the top of the screen to use the Timing Correct window to quantize the note events so they fall on exact, even time intervals.

You can also rearrange the note events, thus creating a new playback order for the slices. You can also edit each slice or sample in Program Edit Mode. You can add effects for slices or use the filter function to change the frequency range of a selected slice. There are almost no limits to what you can do.

See Operation > Modes > Sample Edit Mode > Chop Mode to learn more about this feature.

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 to enter Pad Mute Mode. Alternatively, press Shift+Track Mute/Pad Mute (MPC X, MPC One), or Shift+Mute/Pad (MPC Key 61).

Breaks-GROOVE FAch 1: 1: 15 A B C D E F G H PAD MUTE PAD GROUP TIME DIVISION TC

  1. Press Play to play the sequence.
  2. Tap the Program field at the top of the screen, 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. Mute a pad by pressing it once or tapping it on the screen. The muted pad will be lit red. You can mute multiple pads at the same time.

See Operation > Modes > Pad Mute Mode to learn more about track mutes.

You can also mute entire tracks by using the similar Track Mute function.

To enter Track Mute Mode, press Menu, and then tap Track Mute to enter Track Mute Mode. Alternatively, press Track Mute (MPC X, MPC One), or Mute (MPC Key 61).

1 Deep House Template A B C D E F G H T 19 T 20 T 29 T 30 T 31 T 32 T 33 T 34 T 35 T 36 DH Riser DH Vocals SFX DH Drums DH Baseline DH Cymbals DH Synth TRACK MUTE TRACK GROUP TIME DIVISION TC SOLO BAT BEAT TCP 2: 2: 43

  1. Press Play to play the sequence.
  2. Tap the Sequence field at the top of the screen, and then use the data dial or - / + buttons to select the desired sequence. Alternatively, double-tap the Sequence field, and then tap a sequence to select it.
  3. Each pad is assigned to a track. Mute a track by pressing the corresponding pad or tapping it on the screen. The pad will be lit red. You can mute multiple tracks at the same time.

Tip: To mute a track only at precise note intervals ("quantizing" your mutes, essentially), tap Time Division to set a musical timing value. Tap the desired musical value (e.g., 1 Bar). Alternatively, use the data dial or -/+ buttons. Tap Close to close the page. Now, when you press a pad in Track Mute Mode, the mute will occur precisely at the beginning of the following time division (in this example, one bar). This lets you test musical combinations of patterns—the preliminary stage to building a song structure.

See Operation > Modes > Track Mute Mode to learn more about track mutes.

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 hardware or to your computer's audio interface.

To open the Sampler, press Menu, and then tap Sampler to enter Sampler Mode. Alternatively, press Sampler (MPC X, MPC One), press Shift+Mix/Sampler (MPC Live II), or press Shift+Sample Edit/Sampler (MPC Key 61).

Input 1,2 INSERTS OFF -10.5dB SAMPLE LENGTH 00:03:75 MM SS MS SLICE +

  1. Connect an audio source to the input/inputs of your MPC hardware.
  2. The Input __ menu in the upper-left corner should be set to Input 1,2 (the inputs of your MPC hardware). If it is not, then select Input 1,2.
  3. Turn the 3/4 Rec Gain (MPC X), Rec Vol (MPC Live, MPC Live II, MPC One, MPC Touch), or Gain (MPC Key 61) knob to set the input level while playing your audio source. You should now see the level in the meter. Make sure it does not exceed the maximum level (the meter should not be “peaking” constantly).
  4. Tap and drag threshold slider to set the threshold. Alternatively, use the data dial or - / + buttons. Set it to a fairly low level (e.g., -50 dB).
  5. Tap Arm to record-arm the Sampler.
  6. Play your audio source. The Sampler will start recording immediately when the input level reaches the threshold value. Alternatively, tap the round Record button to manually start recording.
  7. To stop recording, tap the round Stop button. The Keep or Discard Sample window will appear.

KEEP OR DISCARD SAMPLE New Sample Drums A07 C3 SAVE PLAY DISCARD KEEP EDIT

In the Keep or Discard Sample window:

To name the new sample, tap the Edit Name field and use the virtual keyboard to enter a name.

To assign the new sample to a program, tap the Program field, and then use the data dial or - / + buttons to select the desired program. Alternatively, double-tap the Program field, and then tap a program to select it.

To assign the sample to a pad in the program, tap the Assign to Pad field, and then press the desired pad. Alternatively, use the data dial or - / + buttons to select the desired pad number, or double-tap the Pad field, and then tap a pad number.

To set the Root Note for the sample, tap the Root Note field, and then then use the data dial or - / + buttons to select the desired note.

To save the sample, tap the Save button at the bottom of the screen.

To play the recording, tap the Play button at the bottom of the screen.

To discard the recording and return to the previous screen, tap the Discard button at the bottom of the screen.

To confirm your selections, tap Keep at the bottom of the screen.

To edit the sample in Sample Edit Mode, tap the Edit button at the bottom of the screen.

See Operation > Modes > Sampler to learn more about this feature.

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 to enter Sample Edit Mode. Alternatively, press Sample Edit (MPC X, MPC One, MPC Key 61), or press Shift+Mute/Sample Edit (MPC Live II).

SAMPLE SynthBassC2 Samples 12800 25600 38600 51200 64000 76800 88600 102400 115200 128000 START END LOOP SLICE 24329 89316 24329 All LOOP LOCK LINK TUNE ROOT NOTE BPM 0.00 C3 150.90 TRIM PROGRAM ZOOM ASSIGN PROCESS

In Sample Edit Mode:

To switch between Trim Mode and Chop Mode, tap the Trim/Chop tab at the bottom of the screen. In this example, use Trim Mode.

To set the sample's start point, use the first column of Q-Link knobs (when in the Screen Q-Link Edit Mode) to adjust the start point with varying degrees of resolution. Alternatively, tap and drag the S marker in the waveform. You can also double-tap the Start field and use the numeric keypad on the screen to enter a value (or tap the Start field and use the numeric keypad).

To set the sample's end point, use the second column of Q-Link knobs (when in the Screen Q-Link Edit Mode) to adjust the end point with varying degrees of resolution. Alternatively, tap and drag the E marker in the waveform. You can also double-tap the Start field and use the numeric keypad on the screen to enter a value (or tap the Start field and use the numeric keypad).

To hear your edits, press Pad 10 to play the sample from the start point to the end point.

Let's apply some processing to the sample.

To open the Process Sample window, tap Process at the bottom of the screen.

PROCESS SLICE FUNCTION Pitch Shift 1.90 FUNCTION CANCEL DO IT

  1. Use the data dial or - / + buttons to select the desired process in the Function field. Alternatively, tap Function or double-tap the Function field, and then tap the desired process. Let's select Pitch Shift to change the overall pitch of your sample. This will transpose the sample without affecting its length.
  2. To set the pitch shift amount, tap and drag the knob in the center of the window 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.

  1. To confirm your selections, tap Do It.

To cancel the process, tap Cancel.

See Operation > Modes > Sample Edit Mode to learn more.

Recording Automation with the XY Pad

Automating various parameters is a good way to add some motion and dynamism to your sequences.

Outputs 1/2 1: 1: 0 ON PRESET HPF Manual ATTACK RELEASE WEET/CRY 15 ms 20 ms 90.62% X AXIS Cutoff Y AXIS Resonance 0.74 0.74 0.75 LATCH SETUP

  1. Press Menu, and then tap XYFX to enter XYFX Mode. Alternatively, press XYFX (MPC X), press Shift+Next Seq/XYFX (MPC Live II, MPC One), or press Shift+Edit/XYFX (MPC Key 61).
  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. Double-tap the Preset field, and tap an effect to select it. (These are just the effects available in XYFX Mode, not all MPC effects.) Swipe up or down to view the entire list.
  6. Tap and drag any of the knobs (Attack, Release, or Wet/Dry) up or down to set their values as desired. Below them, you can see what parameter the X axis and Y axis control.

Note: XYFX uses an envelope to control how quickly the effect crossfades between the dry signal and wet signal. The Attack knob determines how long it takes the completely dry signal to reach the wet signal (determined by the Wet/Dry knob) after you touch the XY pad. The Release knob determines how long it takes the wet signal (determined by the Wet/Dry knob) to return to the completely dry signal after you touch the XY pad.

  1. Tap the automation button or press Read/Write (MPC X, MPC Key 61) to cycle through the available automation modes. Make sure the button is red (the Write (W) option).

  2. Press Play Start to start recording.

  3. As you record, move your finger over the XY pad on the screen. The changes in the sound are being recorded as automation of both the X axis and Y axis parameters.

Tip: While touching the XY pad, tap Latch in the lower-left corner to keep the marker on the XY pad even after you release it. The marker will remain there until you touch another part of the XY pad or until you tap Latch again.

  1. When you are done recording, press Stop.

  2. Tap the automation button or press Read/Write (MPC X, MPC Key 61) to select the green Read (R) option. This ensures your track uses the automation you just recorded when you play it back.

See Operation > Modes > XYFX Mode to learn more about using this feature.

Using MPC as a Controller

If you are using the MPC software on your computer, you can switch MPC X/Live/Live II/One/Key 61 into Controller Mode, allowing you to use it to control the software. MPC Studio and MPC Touch already operate as a controller only.

The MPC software offers the same features and functionality as the MPC hardware in Standalone Mode but with some notable differences, which are discussed in Operation > General Features > Standalone vs. Controller Mode.

Operation

This chapter explains the complete features and functions of your MPC hardware.

Important:

  • When accessing the secondary functions of buttons on your MPC hardware, 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.
  • When the left-most button at the bottom of the screen shows an upward arrow ( ), it means there are additional buttons you can use when you press and hold Shift. Press and hold Shift to show the secondary buttons, and any of them, if desired. Release Shift to return to the previous buttons.
  • Almost every mode shown on the screen has 1–6 buttons at the bottom. Each of these buttons select a different tab in that mode or perform a specific function in that mode.

MPC X: You can press the F-Key button to activate or deactivate the F-Key feature. When active, the six buttons under the touchscreen correspond to the options shown at its bottom edge. The F-Key button and those six buttons will be lit red when active. When inactive, the six buttons under the touchscreen will access their normal modes instead (Menu, Browser, Step Seq, Sampler, XYFX, and Looper).

- MPC X: As an alternative to tapping a control on the screen to select it, you can use the cursors to navigate through the controls on the screen. The center cursor acts as an Enter key.

MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch: As an alternative to double-tapping an item on the screen to "enter" it, you can press the data dial.

- When a parameter is highlighted and has a red outline, this means that it is selected. You can then change it by turning the hardware's data dial or using the - / + buttons. If the parameter is a number, double-tap it to show a numeric keypad on the screen to enter a specific value, or use the numeric keypad (MPC X).

- MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch: When the touchscreen shows a parameter or group of parameters with a gold outline (and sometimes a Q in the corner), this means that the current bank of Q-Link knobs will control those parameters or settings. Turn a Q-Link knob to adjust its corresponding parameter value or setting in that group. When the value has decimal places, you can sometimes press and hold Shift and then turn the Q-Link knob to adjust the value by smaller increments. You can also press the Q-Link button to select another group of four parameters.

- Press and hold the any of the Q-Link buttons (Project, Program, Pad Scene, Pad Param, or Screen Control/Edit: MPC X) or the Q-Link button (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch) to see an overview of all 16 Q-Link knobs and their parameters in the QLinks window that appears. You can then tap a column or row of knobs to select those four Q-Link knobs, and then release the Q-Link button. See Modes > Q-Link Edit Mode to learn more about using the Q-Link knobs throughout your project.

- MPC Studio mk2: This hardware functions as a controller for the MPC software. The controls are designed to give you quick access to important software functions such as: track/program/sequence select, track type, file browsing, sample editing, project parameters (Quantize, Timing Correct, Automation Read/Write) and more. As such, descriptions in this manual for touchscreen operation do not apply to MPC Studio. For more information on using the MPC software, consult the MPC software User Guide by going to Help > MPC Help > MPC Software Manual.

AKAI MPC Key 61 - Important: - 1

AKAI MPC Key 61 - Important: - 2

AKAI MPC Key 61 - Important: - 3

General Features

Control Types

The MPC touchscreen uses the following types of control elements:

Knobs

To set the value for a knob, do any of the following:

  • Tap and drag the knob up or down.
  • Tap the knob to select it, and then use the data dial or - / + buttons to adjust the value.
  • Double-tap the knob to show it in a larger screen. Alternatively, press the data dial, or the center cursor or Enter (MPC X), when the knob is selected.

Tap and drag the larger version that appears, or use the data dial or - / + buttons to adjust the value.

If the knob is bipolar (has positive and negative values with the center as the default position), double-tap the larger version to reset it to the center/0 position.

Tap anywhere else to return to the previous screen.

- Press and hold Shift while turning the data dial to adjust a value by smaller increments.

SEMI FINE LEVEL 2 0 127 0 -6 38 -1 -11 B2 0 -11 114

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. Alternatively, tap and drag the value up or down.

You can also tap /2 to halve the value or x2 to double it.

To confirm the value and remain on this screen, tap Apply.

To confirm the value and return to the previous screen, tap Do It.

To return to the previous screen without changing anything, tap the gray area in the upper-left corner of the screen.

FILTER ENVELOPE 0 6 127 0 AMP ENVELOPE ATTACK 11 DECAY 46 SUSTAIN 127 RELEASE 64

START 5474 END 63582 LOOP 5474 TUNE 0.00 FROM RPM BPM 76.03 DETECT ROOT NOTE C3

To select an option for a drop-down menu, do any of the following:

  • Tap the field to select it, and then use the data dial or - / + buttons to select an option.
  • Double-tap the field. In the list that appears (examples below), tap the desired option. Alternatively, use the data dial or the - / + buttons to select an option.
    In some windows, tap the relevant button at the bottom of the screen to confirm your selection or to cancel without changing anything.

SCALE & OCTAVE C 2 Major Major Natural Minor Harmonic Minor Pentatonic Major Pentatonic Minor Blues Flamenco Gypsy Hungarian Gypsy

INSERTS 1 Distortion Amp [2 in 2 out] 2 Compressor Vintage [2 in 2 out] 3 NO EFFECT 4 NO EFFECT Program 001 PAD A02 HP Filter Sync MPC 2 in 2 out HP Filter MPC 2 in 2 out HP Shelving Filter MPC 2 in 2 out LP Filter Sweep MPC 2 in 2 out LP Filter Sync MPC 2 in 2 out LP Filter MPC 2 in 2 out LP Shelving Filter MPC 2 in 2 out MPC3000 MPC 2 in 2 out MPC60 MPC 2 in 2 out TYPE MANUFACTURER CLOSE SELECT

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.

LAYER CYC VEL RAN SAMPLE PLAY ONE SHOT NOTE ON < img src="box123c01c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00 < img src="box123c01c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c00c

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.

MUTE SOLO MUTE SOLO MUTE SOLO MUTE SOLO PRESETS M O SNAP LOOP

Checkboxes

Checkboxes have two states: checked and unchecked (enabled or disabled, respectively).

To check or uncheck a checkbox, tap it.

Crop samples Create new program Create events

Tabs

Some modes have buttons at the bottom of the screen that let you cycle through several similar tabs. For instance, you could view the send level that is routed to each of four returns—each level is shown on a separate tab. With each tap, you will move to the next tab, indicated by the squares below it.

To select a tab, tap it. Each time you tap it, it will select the next tab.

TRIM CHOP INSERT

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. If the slider controls a volume level, double-tap the larger version to reset it to 0 dB. Tap anywhere else to return to the previous screen.

AKAI MPC Key 61 - Sliders - 1

bar | Category | Value | |---|---| | Dryness | 79 | | Attack | 23 | | Noise | 52 | | Thunsh | -8 | VELOCITY +1.38dB

Envelopes

To set the stages of an envelope, do either of the following:

Tip: Tap the expand-rectangle icon above the envelope to show a close-up view.

  • Tap and drag a "handle" of an envelope stage in the desired direction.
  • Set the numeric value of an envelope stage by adjusting or entering it as a parameter value (described earlier).

AKAI MPC Key 61 - Envelopes - 1

Program 002 1 1 KEYGROUP AMP ENVELOPE AVG 0.0008 PEN 0 VELOCITY MODULATION AMP 127 AMP-ATTACH 0 PAN 0 ATTACH DECAP SUCTAB RELONG 22 6 120 52 GLOBAL SAMPLES ENV: AMP LFO PORTA/MOD EFFECTS

The Envelope tab in Program Edit Mode.

ENVELOPE ADD A D ATTACK 10 A SHAPLE -80 DECAY 50 O SHAPLE -25 DECAY FROM START END

AKAI MPC Key 61 - Envelopes - 4

line | Point | Value | |-------|-------| | A | 57 | | H | -25 | | D | 28% | | S | 82 |

Close-up of an AD-type filter envelope. Close-up of an AHDS-type amp envelope.

Grid View Tools

In the Grid View, these four icons enable you to use different functions in the grid.

AKAI MPC Key 61 - Grid View Tools - 1

natural_image Four icons on a maroon background: pencil, eraser, square, and magnifying glass (no text or symbols)

Tap one to select its mode:

AKAI MPC Key 61 - Grid View Tools - 2

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.

AKAI MPC Key 61 - Grid View Tools - 3

Eraser: Erase Mode:

To erase a note, tap it.

AKAI MPC Key 61 - Grid View Tools - 4

Select Box: Select Mode:

Note: Notes will remain selected if you switch to another mode. The selection will change, however, if you press a pad while Hitting Pad Selects All Events is set to On.

To select a note, tap it.

To select multiple notes, tap and drag across the grid to create a box around them.

To move a note, tap and drag it to another grid square.

To move multiple notes, select them as described above, and tap and drag them.

To erase multiple notes, select them as described above, and then select the eraser tool and tap any of the selected notes.

AKAI MPC Key 61 - Grid View Tools - 5

Magnifying Glass: Navigation Mode:

To move to another part of the grid, tap and drag it.

To zoom in or out, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time.

Audio Edit Tools

In Audio Edit Mode, these six tool icons enable you to use different functions in the waveform.

AKAI MPC Key 61 - Audio Edit Tools - 1

natural_image Red rectangular button with white icons representing editing, drawing, cutting, view, and search functions (no text or symbols)

Tap one to select its mode:

AKAI MPC Key 61 - Audio Edit Tools - 2

Marquee: Marquee Mode:

To select a track region, tap the upper third of it.

To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.

To split the track at two specific points (creating a track region on either side and between them), tap and drag across the middle third of it to create a translucent white box, and then tap the upper third of that box.

To shorten or lengthen a track region (or multiple selected track regions), tap and drag the lower third of it left or right.

AKAI MPC Key 61 - Audio Edit Tools - 3

Arrow: Selection Mode:

To select a track region, tap it.

To select multiple track regions, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.

To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.

To shorten or lengthen a track region (or multiple selected track regions), tap its edge and drag it.

AKAI MPC Key 61 - Audio Edit Tools - 4

Eraser: Erase Mode:

To select multiple track regions, tap and drag across the grid to create a box that highlights them.

To erase a track region (or multiple selected track regions), tap it.

AKAI MPC Key 61 - Audio Edit Tools - 5

Scissors: Split Mode:

To split the track at a specific point (creating a track region on either side), tap that point in the track.

To select a track region, tap its left-most edge.

To select multiple track regions, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.

AKAI MPC Key 61 - Audio Edit Tools - 6

Mute: Mute Mode:

To select multiple track regions, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.

To mute or unmute a track region (or multiple selected track regions), tap it.

AKAI MPC Key 61 - Audio Edit Tools - 7

Magnifying Glass: Navigation Mode:

To move to another part of the track, tap and drag it.

To zoom in or out, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time.

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.

AKAI MPC Key 61 - About Programs - 1

natural_image User interface icons including a grid, battery, play button, and CV4 symbol (no text or labels)

AKAI MPC Key 61 - About Programs - 2

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. See Drum Programs for more information.

AKAI MPC Key 61 - About Programs - 3

A plugin program contains an instance of a plugin through which you can send your track's MIDI data. See Plugin Programs for more information.

AKAI MPC Key 61 - About Programs - 4

A keygroup 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., pitch tuning, effects, etc.). Keygroup programs are used to play samples chromatically with a MIDI keyboard or the MPC pads. See Keygroup Programs for more information.

AKAI MPC Key 61 - About Programs - 5

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. See Clip Programs for more information.

AKAI MPC Key 61 - About Programs - 6

A MIDI program lets you send your track's MIDI data to an external MIDI device like a synth or drum machine. See MIDI Programs for more information.

AKAI MPC Key 61 - About Programs - 7

A CV program lets you send your track's MIDI data to an external MIDI device that uses control voltage (CV), like a synth. See CV Programs for more information.

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. If the project does not contain a drum program yet, a new drum program (named Program, appended with a number) will be added automatically to the project and appear in the Program field below.

If the project already contains a drum program, the first one will be selected automatically and appear in the Program field below.

To create another drum program, tap the + icon above the Program field. A new drum program will be created and appended with a number (e.g., Program 002).

To rename the program, tap the cursor icon on the right edge of the Program section. Use the virtual keyboard that appears to enter a new name, and then tap Do It to confirm or the gray bar at the top of the screen to cancel.

1 Drums + DRUM PROCESSED Drums

To load a sample into a drum program:

  1. Press Browse (MPC X, MPC One, MPC Studio) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61, MPC Touch) to show the Browser. Find and select a sample, and then tap Load to load it to the program. Repeat this for any other samples you want to load into the project. (See Modes > Browser to learn more about using the Browser specifically.)
  2. Tap Sample Assign to view the pads and project's sample pool.
  3. Press or tap a pad to select it. The pad will be lit green.
  4. In the Sample Pool list, tap a sample to assign it to the pad. Alternatively, use the data dial or -/+ buttons to assign a sample and/or change the assigned sample.

To clear the assigned sample from a selected pad, tap Clear Pad.

To assign samples to additional pads, repeat Steps 3–4.

Tip: Remember that a drum program has 128 pads total—16 pads across eight banks.

Breaks-GROOVE FAch SAMPLE POOL Breaks-GROOVE FA Breaks-GROOVE FA SI-1 Breaks-GROOVE FA SI-2 Breaks-GROOVE FA SI-3 Breaks-GROOVE FA SI-4 Breaks-GROOVE FA SI-5 Breaks-GROOVE FA SI-6 Breaks-GROOVE FA SI-7 BROWSE SAMPLE ASSIGN [Internal] /Expansions/The Vault 2 Search directory NAME (DNA name) Acoustic-Cymbal-Ac1 Crsh 1.WAV Acoustic-Cymbal-Ac1 Crsh 2.WAV Acoustic-Cymbal-AC1 Rd Bell.WAV Acoustic-Cymbal-AC1 Rd Bow.WAV Acoustic-Cymbal-Ac2 Crsh 1.WAV Acoustic-Cymbal-Ac2 Crsh 2.WAV Acoustic-Cymbal-Ac2 Rd Bell.WAV BROWSE SAMPLE ASSIGN AUDITION CLEAR PAD Samples My Files Splice BROWSE SAMPLE ASSIGN AUDITION LOAD

Alternatively, assign samples in a drum program in Program Edit Mode in one of these two ways:

Breaks-GROOVE FACH D06 LAYER SEMI FINE LEVEL PAN Breaks-GROOVE ... 0 0 127 0 Breaks-JAZZ 2 -5 0 127 0 None 0 0 127 0 None 0 0 127 0 GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

  1. Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X, MPC One), or press Edit (MPC Key 61).
  2. Tap the Samples to view any of the last three pages. These lets you view the samples assigned to all four layers of the current pad as well as other parameters such as tuning, level, panning, or offset 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 one of the Layer fields under the sample waveform to select a layer. Tap the Sample field, and then use the data dial or - / + buttons to select a sample. Alternatively, double-tap the field for a layer, and then tap a sample 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).

5 Bass FLOOD PROBLEM PULBUN TubeSynth GRTTY Bass 1 SIRIANS TAWARIES PULBUN Plugin 001

To create a plugin program:

  1. Press Main to enter Main Mode.
  2. Next to the Track field, tap the plug icon, which indicates a plugin program.
  3. If the project does not contain a plugin program yet, a new plugin program (named Plugin, appended with a number) will be added automatically to the project and appear in the Program field below.

If the project already contains a plugin program, the first one will be selected automatically and appear in the Program field below.

To create another plugin program, tap the + icon above the Program field. A new plugin program will be created and appended with a number (e.g., Plugin 002).

  1. Double-tap the Plugin field. In the list that appears, tap the desired plugin. Alternatively, use the data dial or the - / + buttons to select a plugin.

To sort your plugins by type or maker, tap Type or Manufacturer.

  1. Tap Select to select the plugin, or tap Close to cancel.

To select a preset in your plugin (if any), double-tap the Preset field. In the list that appears, tap the desired preset. Alternatively, use the data dial or the - / + buttons to select a preset.

To rename the program, tap the cursor icon on the right edge of the Program section. Use the virtual keyboard that appears to enter a new name, and then tap Do It to confirm or the gray bar at the top of the screen to cancel.

You can also use the Sounds menu to browse plugins and presets or the Favorites menu to add and select your most-used sounds. See Addenda > Updates in MPC 2.11 > New Features > Sounds and Favorites for more information.

To adjust the volume and panning of a track using the plugin program:

  1. Press Menu, and then tap Channel Mixer to enter the Channel Mixer. Alternatively, press Ch. Mixer (MPC X), Track Mix (MPC One), or Mix (MPC Key 61).
  2. Double-tap the Mixer field in the upper-left corner, and then tap Midi Tracks.
  3. Tap the square that represents the track with the plugin program to select it.
  4. Tap and drag the volume slider or pan knob up or down to adjust it. After you do this once, you can adjust the volume and panning of the plugin program normally.

Important:

If you copy a sequence, the volume and pan values will be copied with that sequence. This is also true if you move to a new sequence and put the same plugin program on a new track.

By default, some plugins do not support MIDI volume and pan. In this case, adjust volume levels and panning on the plugin program.

Keygroup Programs

A keygroup 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., 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. If the project does not contain a keygroup program yet, a new keygroup program (named Program, appended with a number) will be added automatically to the project and appear in the Program field below.

5 Synth Pad KEYGROUP PROGRAM Program 001

If the project already contains a keygroup program, the first one will be selected automatically and appear in the Program field below.

To create another keygroup program, tap the + icon above the Program field. A new keygroup program will be created and appended with a number (e.g., Program 002).

To rename the program, tap the cursor icon on the right edge of the Program section. Use the virtual keyboard that appears to enter a new name, and then tap Do It to confirm or the gray bar at the top of the screen to cancel.

To assign samples in a keygroup program:

  1. Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X, MPC One), or press Edit (MPC Key 61).
  2. Tap Samples to view any of the last three pages. These lets you view the samples assigned to all four layers of the current keygroup as well as other parameters such as tuning, level, panning, or offset for each layer.
  3. Tap the Number of KG field, and then use the data dial or - / + buttons to set the number of keygroups in the program (1-128). Alternatively, tap the Number of KG field, and then use the numeric keypad to enter a value (or double-tap the Number of KG field, and then use the numeric keypad on the screen).

  4. Tap the Keygroup field, and then use the data dial or - / + buttons to select a keygroup. Alternatively, double-tap the Keygroup field, and then tap a keygroup to select it.

  5. Tap a pad to play the sample in the keygroup. The pad will be lit green.

Program 002 LAYER SynthBassC2 MEOc-Synth-8... None None 1 1 FIRE 127 56 127 127 GLOBAL SAMPLES ENVELOPES LFO PORTA / MDD EFFECTS

Tip: On your MPC hardware, disable Pad Perform and then press the Pad Bank D button to switch to Pad Bank D and press Pad 13. You should hear the bass sample played back with its original pitch. You can use the other pads to play your sample chromatically. Alternatively, you can play middle-C on an external MIDI device to hear the sample at the original pitch.

  1. Tap the field for a layer, and then use the data dial or - / + buttons to select a sample. Alternatively, double-tap the field for a layer, and then tap a sample to select it.

To create complex keygroup programs, you can add more keygroups (up to 128). This is useful when working with multi-samples (e.g., when programming a real piano).

Tip: Remember that a keygroup program offers up to 128 keygroups, and each keygroup can hold up to four samples (Layers 1–4). This is a total of 512 samples.

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. This enables you to launch a clip without having to manually stop other clips that are similar. For instance, pressing Pad 2 may launch a bass clip. You could then press Pad 6, which launches another bass clip and stops the clip on Pad 2. This way, you'll never be playing two bass clips simultaneously.

The four-columns pad configuration described above is just a default to make things easy (e.g., you could use the first column for drum clips, the second for bass clips, the third for keyboard clips, and the fourth for vocal clips). You can use Program Edit Mode to assign pads to any combination of mute groups you want.

TRACK 7 Clips CV4 CLIP PROGRAM Clip 001 EDIT CLIPS A

To create a clip program:

  1. Press Main to enter Main Mode.
  2. Next to the Track field, tap the play-button icon, which indicates a clip program.
  3. If the project does not contain a clip program yet, a new clip program (named Clip, appended with a number) will be added automatically to the project and appear in the Program field below.

If the project already contains a clip program, it will be selected automatically and appear in the Program field below.

To create another clip program, tap the + icon above the Program field. A new clip program will be created and appended with a number (e.g., Clip 002).

To rename the program, tap the cursor icon on the right edge of the Program section. Use the virtual keyboard that appears to enter a new name, and then tap Do It to confirm or the gray bar at the top of the screen to cancel.

Clips-Loopmasters Classic Hous... AOS ClassicHouse-Clips-Drum-LM... CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse CLASSICHouse

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 on the screen 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.

To clear the assigned clip from a selected pad, repeat Step 4, but select None.

To assign clips to additional pads, repeat Steps 3–4.

DeepHouse-Kit-DH Kit 02-124 SAMPLE POOL DeepHouse-Kick-DH Kik 14 DeepHouse-Kick-DH Kik 24 DeepHouse-Loop-Rex-Drum-04Lp DeepHouse-Loop-Rex-Drum-05Lp DeepHouse-Loop-Rex-Piano-06Lp DeepHouse-Loop-Rex-Synth-10SLj DeepHouse-Loop-Rex-Vocal-01Vip DeepHouse-Loop-Rex-Vocal-02Vip BROWSE SAMPLE ASSIGN DeepHouse-Cymb- DeepHouse-Loop- DeepHouse-Loop- DeepHouse-Shake- DeepHouse-Perc- DeepHouse-Kick- DeepHouse-Clap- DeepHouse-Snam- DeepHouse-HHaJ DeepHouse-Kick- DeepHouse-Clap- DeepHouse-HHaJ Audiition CLEAR PAD

Alternatively, assign clips in a clip program this way:

  1. Press Browse (MPC X, MPC One, MPC Studio) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61, MPC Touch) to show the Browser. Find and select a clip, and then tap Load to load it to the program. Repeat this for any other clips you want to load into the project. (See Modes > Browser to learn more about using the Browser specifically.)
  2. Tap Sample Assign to view the pads and project's sample pool.
  3. Tap Assign Mode so it is selected (tapping an item in the sample pool will now assign it automatically to the current pad).
  4. In the Sample Pool list, tap a clip to assign it to the pad. Alternatively, use the data dial or - / + buttons to assign a clip and/or change the assigned clip.

To clear the assigned clip from a selected pad, tap Clear Pad.

To assign clips to additional pads, repeat Steps 4–5.

MIDI Programs

A MIDI program lets you send your track's MIDI data to an external MIDI device like a synth or drum machine.

TRACK 8 Timbre Wolf MIDI PROGRAM Midi 001 REGULAR ID: Off BANK SIZE: Off BANK LSE: 0 MIDI PORT: MPC Live Port 1 PERFORM

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 (named Midi, appended with a number) will be added automatically to the project and appear in the Program field below.

If the project already contains a MIDI program, it will be selected automatically and appear in the Program field below.

To create another MIDI program, tap the + icon above the Program field. A new MIDI program will be created and appended with a number (e.g., Midi 002).

  1. There are five additional settings to configure for a MIDI program: the MIDI Port, program change message (Program Ch), MIDI channel (MIDI Ch), Most Significant Byte (Bank MSB), and Least Significant Byte (Bank LSB). See this section to learn more.

To configure each setting, double-tap its field. In the list that appears, tap the desired option. Alternatively, use the data dial or the - / + buttons to select an option.

Note: You also have to configure the MIDI ports in the software's Preferences (in the Edit Menu). See the user guide in the MPC software to learn more: click the Help menu, select MPC Help, and select MPC User Manual.

To rename the program, tap the cursor icon on the right edge of the Program section. Use the virtual keyboard that appears to enter a new name, and then tap Do It to confirm or the gray bar at the top of the screen to cancel.

To adjust the volume and panning of a track using the MIDI program:

  1. Press Menu, and then tap Channel Mixer to enter the Channel Mixer. Alternatively, press Ch. Mixer (MPC X), Track Mix (MPC One), or Mix (MPC Key 61).
  2. Double-tap the Mixer field in the upper-left corner, and then tap Midi Tracks.
  3. Tap the square that represents the track with the MIDI program to select it.
  4. Tap and drag the volume slider or pan knob up or down to adjust it. After you do this once, you can adjust the volume and panning of the MIDI program normally.

Important: If you copy a sequence, the volume and pan values will be copied with that sequence. This is also true if you move to a new sequence and put the same MIDI program on a new track.

CV Programs

A CV program lets you send your control voltage (CV) signals to an external MIDI device like a synth or drum machine that uses CV.

To create a CV program:

  1. Press Main to enter Main Mode.
  2. Next to the Track field, tap the CV icon, which indicates a CV program.
  3. If the project does not contain a CV program yet, a new CV program (named CV, appended with a number) will be added automatically to the project and appear in the Program field below.

If the project already contains a CV program, it will be selected automatically and appear in the Program field below.

To create another CV program, tap the + icon above the Program field. A new CV program will be created and appended with a number (e.g., CV 002).

  1. Tap the keys icon to select a Melodic operation. This is the same as the traditional CV program operation. There are five additional settings to configure for a Melodic CV program: the note tracking (Note), the CV Port, the Gate Port, the modulation wheel (Mod Wheel), and Velocity Port.

Tap the pads icon to select a Drum operation. In this mode, tap the four squares with note icon to assign each pad to a specific CV port and set its data type.

To rename the program, tap the cursor icon on the right edge of the Program section. Use the virtual keyboard that appears to enter a new name, and then tap Do It to confirm or the gray bar at the top of the screen to cancel.

TRACK 1 Track 01 CV4 CV PROGRAM NOTE Last CVPORY CV 1 OFF SV001 OUT OFF SV2 PERFORM SATE POINT MELICITY Off RV 001

TRACK 1 Track 01 CV CV PROCES CV 001

ASSIGN PAD TO CV PORT A1 TO PORT CV 1 Gate PPS Gate CLOSE

The Menu lets you select any of the 21 modes, save or start a new project, set your preferences, switch between Standalone Mode and Controller Mode (except MPC Studio and MPC Touch), or view your system resources.

To open the Menu, press Menu, or tap the icon in the upper-left corner of the screen while on the normal page of your current mode.

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. Stop playback before entering Song Mode.

To return to the previous mode, tap the gray area in the upper-left corner, or press Menu again.

To start a new project, tap New Project at the bottom of the screen.

You can also press and hold the Menu button and press a pad to select a menu mode. The pads follow the 4x4 layout of the main body of the Mode Menu.

MAIN MODE EDIT SYNC Off BATTERY 0% CPU 12% MAIN MODE SAMPLE EDIT PROGRAM EDIT STEP SEQUENCER BROWSER GRID VIEW SAMPLER LOOPER PAD MIXER CHANNEL MIXER TRACK VIEW PAD MUTE TRACK MUTE NEXT SEQUENCE SONG SOUNDS LIST EDIT Q-LINK EDIT MIDI CONTROL CONTROL XYFX NEW PROJECT SAVE PROJECT PREFERENCES

AKAI MPC Key 61 - Menu - 2

Note: The Menu above is available when the currently selected track is a MIDI track. When an audio track is selected, it will show an icon for Audio Edit Mode instead of Grid View.

Click a part of the screen above to skip directly to that part of this user guide.

You can also edit the Menu layout by tapping the Edit button. Once enabled, tap and drag the menu icons to your preferred location, and then tap Edit again to save your changes. This is useful for putting your most-used modes in the left-most column so that they are easily accessed in any mode by swiping to the right from the left edge of the touchscreen. See Addenda > Updates in MPC 2.11 > New Features > Menu Editing and Shortcuts Panel for more information.

Save

To open the save selector window, tap the Save button at the bottom of the screen.

SAVE Project Project As FX Drum Program - Programi FX Rack Sample Sequence Audio Mixdown - Ableton Live Set CLOSE

To save a project, tap Project or Project As. If a project has not been saved before, both options will open the save path window, described below. If a project has been saved before, tapping Project will automatically overwrite the most recently saved version.

To save the current drum program, tap Drum Program when a Drum program is selected.

To save the current plugin program, tap Plugin Program when a Plugin program is selected.

To save the current keygroup, tap Keygroup when a Keygroup program is selected.

To save the current MIDI program, tap MIDI Program when a MIDI program is selected.

To save the current clip program, tap Clip Program when a clip program is selected.

To save the current CV program, tap CV Program when a CV program is selected.

To save the current program inserts, tap Program FX Rack.

To save the currently selected sample, tap Sample when the sample's pad is selected. If a pad has multiple layers, the sample currently selected for the pad in Sample Edit mode will be saved.

To save the current sequence, tap Sequence.

To save the project as an audio mixdown, tap Audio Mixdown.

Use the Start Bar and End Bar fields under Audio Length to set the time range that you want to mix down. You can add a number of seconds to the end of the mixdown to capture any ringing notes or effects (such as a reverb tail) by adjusting the Audio Tail field.

Use the fields under Render Source and Render Options to set the parameters for the audio mixdown. Check the Separate Tracks box to render each track of the arrangement as stems.

Use the fields at the bottom of the screen to configure the audio mixdown settings. You can set the File Format, Bit Depth, and Sample Rate.

To save the project as an Ableton Live set, tap Ableton Live Set.

Use the Export MIDI As settings to choose how MIDI tracks and clips are exported, either as Audio files or MIDI files. When using Plugin, Drum or Keygroup programs, you can render clips as Audio to preserve the sound of the instruments, or render clips as MIDI data.

Check the Include Program Volume/Pan Settings box to include these settings in the export. When disabled, the volume and pan settings will be set to 0 dB and center (C), respectively.

Check the Bypass Program Effects Plugins box to deactivate any third-party effect plugins used with the program for the export. When disabled, those effects will be activated.

Use the Audio Tail field to set the amount, in seconds, of extra time added to the end of the resulting audio files.

Use the Bit Depth field to set the bit depth to 8, 16 or 24.

Use the Sample Rate field to set the sample rate to 44.1, 48, 88.2 or 96 kHz.

To close the window and return to the menu, tap Close or anywhere outside the window.

After selecting the save type, use the following to select a save location:

Save [Internal] /MPC Documents STORAGE Internal C895-A4EF MPC Documents [Exports] Exports FX Racks LegacyExports Live Recordings Midi Learn Plugin Presets Plugin Skins FILE NAME untitled SAVE AS TEMPLATE NEW FOLDER CANCEL SAVE

To select the storage device you want to view, tap it in the Storage column on the left.

Internal is the internal drive of MPC X/Live/Live II/One/Key 61.

MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X/Live/Live II/One/Key 61.

If you have storage devices connected to a USB port or SD card slot of MPC X/Live/Live II/One/Key 61, or your computer (with MPC Studio or MPC Touch), they will also appear in this column.

To enter a folder, double-tap it. Alternatively, turn the data dial or use the - / + buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Modes > Browser to learn how to do this).

To create a new folder, tap New Folder, use the virtual keyboard that appears to enter a name, and then tap Do It. You will immediately enter the new folder.

To move up one folder level, tap the folder/↑ icon in the upper-left corner.

To name the file, tap the File Name field at the bottom of the screen, and use the virtual keyboard that appears.

To save the file, tap Save.

To save the file as a project template file, tap the Save as Template checkbox to check it before tapping Save. (This file will be shown in the Template File field in the Preferences' Project Load/Save tab.)

To cancel and return to the Menu, tap Cancel. Alternatively, tap the ← icon in the upper-left corner.

Preferences

To open the Preferences, tap the Preferences button at the bottom of the screen.

To return to the Menu, tap the ← icon in the upper-left corner. Changes to the Preferences are saved automatically except for Vintage Mode (in the General tab) and Start Time (in the Sync tab).

To restore your MPC hardware's default settings, tap Reset Preferences. In the screen that appears, tap OK to continue or Cancel to return to the Preferences. In the next window, tap Save to save your current project before restoring the default settings; tap Cancel to return to the Preferences; or tap Don't Save to restore the default settings without saving your current project.

Important: For MPC X, MPC Live, MPC Live II, MPC One, and MPC Key 61, the Preferences will appear differently in Controller Mode than in Standalone Mode. Some of the options described in this section may be available in only one of these modes or in a different order. For MPC Studio, consult the MPC Software User Guide by going to Help > MPC Help > MPC Software Manual for more information on the software preferences.

Info

This screen shows current information about your MPC hardware: its current firmware version, which includes its standalone operating system (MPC Firmware); its hardware Serial Number; and its current firmware for the Control Surface.

To enter Update Mode, tap Update. In the screen that appears, tap Save to save your current project before entering Update Mode; tap Cancel to return to the Preferences; or tap Don't Save to enter Update Mode without saving your current project.

To view legal information relevant to MPC, press and hold Shift and tap Legal Info. For complete legal information, visit akaipro.com/product-legal.

To view detailed version information, press and hold Shift and tap Version Info.

Activate Plugins

The settings on this screen allow you to sign in to your inMusic Profile to activate purchased plugin licenses. See Addenda > Updates in MPC 2.11 > New Features > New Plugin Instruments for more information.

Wi-Fi

The settings on this screen will determine how your MPC hardware's wireless connection works, so you can use Ableton Link, a new technology that synchronizes beat, phase and tempo of Ableton Live and Ableton Link-enabled applications over a wireless or wired network. These settings are available only for MPC X, MPC Live, MPC Live II, and MPC Key 61 when used in Standalone Mode.

To activate or deactivate wireless connectivity on your MPC hardware, tap the On/Off selector. The available wireless networks will appear in the panel below it.

To select a wireless network, tap it.

To connect to a selected wireless network, tap Connect. If the Wi-Fi network is password-protected, use the virtual keyboard that appears to enter the correct password to connect to it.

To view the information of a selected wireless network, press and hold Shift and tap Info. The Network Information window that appears will show the network name, IPv4/IPv6 address (including the subnet mask and gateway), type of security, and signal strength (as a percentage).

To disconnect from a connected wireless network, tap Disconnect.

To clear the connection information (e.g., the password) from a selected wireless network, tap Forget.

Ethernet

The settings on this screen will determine how your MPC hardware connects to a wired network using a USB-to-Ethernet adapter or Ethernet cable (MPC One, MPC Live II, MPC Key 61 only). This allows you to maintain a tighter network connection when using Ableton Link or the Akai Network Driver. These settings are available only for MPC X, MPC Live, MPC Live II, MPC One, and MPC Key 61 when used in Standalone Mode.

To activate or deactivate Ethernet connectivity on your MPC hardware, tap the Enabled box.

To determine how your MPC hardware connects to the network, use the Address Method dropdown. Select Automatic to have your MPC hardware set the Ethernet connection, or Manual to set it yourself.

When setting the Ethernet connection manually, tap the IP Address, Subnet Mask, Gateway, and DNS fields to input the values.

Bluetooth

The settings on this screen will determine how your MPC hardware's Bluetooth connection works, so you can use Bluetooth MIDI controllers (e.g., LPD8 Wireless or LPK25 Wireless) or a Bluetooth computer keyboard with it. These settings are available only for MPC X, MPC Live, MPC Live II, and MPC Key 61 when used in Standalone Mode.

To activate or deactivate Bluetooth connectivity on your MPC hardware, tap the On/Off selector. The available Bluetooth devices will appear in the panel below it under Available Devices. The Bluetooth devices that have already paired to your MPC hardware will appear under Paired Devices.

To select a Bluetooth device, tap it.

To pair a selected Bluetooth device (in the Available Devices section), tap Pair.

To connect to a selected Bluetooth device (in the Paired Devices section), tap Connect.

To disconnect from a connected Bluetooth device (in the Paired Devices section), tap Disconnect.

To return an available Bluetooth device to its original state, tap Remove.

Audio Device

The settings on this screen allow you to set up an external USB and Linux class-compliant audio interface for use with your MPC hardware. See Addenda > Updates in MPC 2.10 > New Features > Standalone Audio Interface Support to learn more.

Note: If you are unsure of your audio interface's compatibility, check with the original equipment manufacturer for more information.

MIDI / Sync

The settings on this screen determine how your MPC hardware uses and synchronizes with connected USB and MIDI devices.

Input Ports: This displays all available MIDI input ports in a list. Double-tap the keyboard icon to rename a port to a custom name. When Global is enabled, MIDI data from this port will always go to the current track. When Control is enabled, MIDI data from this port will be sent to MIDI Learn. When Track is enabled, this MIDI port will appear in the list of available MIDI Inputs. Click the reset arrow to reset the MDI Port settings.

Output Ports: This displays all available MIDI output ports in a list. Double-tap the keyboard icon to rename a port to a custom name. When Sync is enabled, the MIDI output port will send MIDI sync messages according to the type set under Sync Send, below. When Track is enabled, this MIDI port will appear in the list of available track MIDI outputs. Click the reset arrow to reset the MDI Port settings.

Enable MIDI Ports When Discovered: When enabled, any time a MIDI device is plugged in the Track option is automatically enabled so the ports can be selected as an available MIDI input or output.

MIDI Control Mode Output: This determines which MIDI port the MPC hardware is using to send MIDI messages to external MIDI devices.

Receive: This determines whether your MPC hardware receives MIDI Clock information (MIDI Clock), MIDI Time Code information (MIDI Time Code (MTC)), communication from Ableton Link (Ableton Link), or none of these (Off).

Important: Audio recording is disabled when receiving MIDI Clock sync. Use MIDI Time Code to record audio while receiving MIDI sync.

Receive MMC: When enabled, your MPC hardware will be able to receive MIDI Machine Control (MMC) information. When disabled, your MPC hardware will not receive this information. See Appendix > MIDI Machine Control (MMC) to learn about this.

Send: This determines whether your MPC hardware sends MIDI Clock information (MIDI Clock), MIDI Time Code information (MIDI Time Code (MTC)), or neither (Off).

Send MMC: When enabled, your MPC hardware will be able to send MIDI Machine Control (MMC) information. When disabled, your MPC hardware will not send this information. See Appendix > MIDI Machine Control (MMC) to learn about this.

MTC Frame Rate: This determines the frame rate used by MIDI Time Code (MTC), which is important for correct timing, especially when working on film scoring projects. In most cases, you should select 25.

Start Time: This is the starting time that will be sent when Send MIDI is set to anything other than Off. The time is formatted in hours:minutes:seconds:frames.

Filter 'All Notes Off' CC: When enabled, "All Notes Off" ("MIDI panic") messages will be ignored. This is useful if you are using an external MIDI device that can send these types of messages but you want to filter them out. When disabled, "All Notes Off" messages will be received normally.

Program Change: This determines what an incoming MID I program change message will change: a Program, Sequence, or Track.

Hardware

The settings on this screen determine the behavior of your MPC hardware's pads and touchscreen.

Pad Threshold: This determines how much force is required to strike the pads for them to trigger.

Pad Sensitivity: This determines how the pads respond to touch. At lower values, you need to use more force to generate a high-velocity note. At higher values, it is easier to generate high-velocity notes, even if you do not use much force while pressing a pad.

Pad Curve: This determines how striking the pads translates into velocity values. The A curve is essentially linear, while the B, C, and D curves are exponential (see graphic here).

Velocity & Aftertouch: View these meters when striking and pressing the pads to help gauge the force and pressure you are applying to them. These meters are useful when adjusting the Pad Threshold and Pad Sensitivity parameters (above).

Footswitch 1 & Footswitch 2 (MPC X only): These determine how connected footswitches will work.

Screen Dimming: This determines how much time must pass before your MPC hardware automatically dims its touchscreen (if it uses a battery, this can help preserve battery life).

MIDI Velocity A B C D Applied Force

Screen Brightness: This determines the brightness of the screen during normal operation: normal brightness (Day) or dimmed (Night).

Power On Screen (MPC Live, MPC Live II only): This determines if/when a special screen will appear when you power on your MPC Live. On this screen, you must tap and hold a button for a moment to begin using MPC Live or it will automatically power off. This feature prevents it from powering on accidentally and wasting battery life. You can set it to the following options:

Never: The screen will never appear.

When On Battery: The screen will appear only if you power on MPC Live while using battery power.

Always: The screen will always appear.

Tap Tempo: This determines how many times you have to press the Tap button before the new tempo is recognized.

Flash Tap Tempo Light: When enabled, the Tap button's light will flash in time with the tempo. When disabled, the Tap button's light will be off.

Bank Button Press: This determines how the Pad Bank buttons work.

Select A-D: Pressing a Pad Bank button once will select the corresponding bank from Pad Banks A–D. Pressing and holding Shift while pressing a Pad Bank button will select the corresponding bank from Pad Banks E–H.

Select/toggle bank: Pressing a Pad Bank button will alternate between the corresponding bank from Pad Bank A–D and Pad Bank E–H. In other words, you do not need to hold Shift to select one of Pad Banks E–H.

Shift + Q-Link Press: This setting determines whether pressing Shift and the Q-Link button opens Q-Link Edit or Cycles Backwards between the Q-Link columns.

Global Pitch Bend: Enable this option to override the pitch bend settings of all programs, so that those with pitch bend disabled or set to different ranges will only use the Global Range instead. When disabled, all programs may use their individual pitch bend settings.

Range Down / Range Up: Use these fields to determine the range of pitch bend in semitones.

VU Meter Source (MPC X only): This determines what audio signal level is shown in the level meters (on the right side of the screen). When set to Main, the level meters show the audio signal sent out of Outputs 1/2 (the Main L/R outputs on the rear panel). When set to Current Program, the level meters show the audio signal of the currently selected program (i.e., the program used by the currently selected track and any other tracks that also use it).

Date (not available for MPC Studio and MPC Touch): This is the current date, formatted as Month / Day / Year. When saving files on MPC in Standalone Mode, the file will include the current date in its metadata. If you use MPC in Controller Mode, this setting will be overwritten with the current date of the host computer.

Time (not available for MPC Studio and MPC Touch): This is the current time, formatted as Hour : Minute. When saving files on MPC in Standalone Mode, the file will include the current time in its metadata. If you use MPC in Controller Mode, this setting will be overwritten with the current time of the host computer.

Time Zone (not available for MPC Studio and MPC Touch): This is the current time zone, formatted as Continent / City, which you can change here.

Sequencer

The settings on this screen determine how sequencing works in the Grid View and in the Step Sequencer.

Instant Track Mute: When disabled, if you mute a track, its Note On messages will be ignored, and samples and notes that are playing will finish playing their entire length (this is how legacy MPCs' track-muting worked). This is useful if you are using loops and want a loop to play to the end of a bar but not play the next time the sequence loops. When enabled, if you mute a track, the MIDI track volume (0) will be sent. The loop will continue to play but at zero volume, allowing the loop to continue playing when the track is unmuted. This is useful when you want to have the track muted immediately.

Play Track Mute and Solo Events: When enabled, track mute and solo events are played back when you are in Track Mute Mode. When disabled, track mute and solo events will not be played back while in Track Mute Mode.

Rec Arm: This determines the behavior of the Record Arm buttons. When set to Single, selecting a different track will automatically arm that track and disarm all other tracks. This is the default mode and is is the same as previous MPC releases. When set to Multi, you can tap any track's record button to add it to the group of armed tracks. See Addenda > Updates in MPC 2.8 > New Features > Single or Multi Record Arm to learn more.

Record Track Mute and Solo Events: When enabled, track mute and solo events are recorded when you are in Track Mute Mode (timing correct settings will affect the recorded position events). When disabled, track mute and solo events will not be recorded while in Track Mute Mode. This feature is useful if you want to use Track Mute Mode to record track mutes or solos into your sequences as opposed to using Tra performance or listening purposes only.

Record Pad Aftertouch Events: When enabled, pad aftertouch data (from the MPC hardware's pressure-sensitive pads) will be recorded. When disabled, pad aftertouch data will be ignored.

Place Events Recorded During Count-In at Start Point: When enabled, pressing a pad during the recording's pre-count will record that note event at the start of the recording (this is how the MPC3000 worked). When disabled, no notes will be recorded until the pre-count is finished and recording has begun.

Note: This setting is ignored when recording with the Arpeggiator active.

Truncate Duration: This determines if/how events are cropped if they exceed the length of the current Sequence:

To Sequence Length: If the length of an event exceeds the length of the sequence, it will be truncated. This ensures that the event will not overlap itself when the sequence loops.

To Sequence End: If an event exceeds the length of the sequence, it will be truncated to the end of the current sequence. In other words, the event will stop playing when the sequence ends or loops.

As Played: Events will play back exactly as they were recorded, even if they overlap themselves when the sequence loops.

For example, if you record a note starting on the second bar of a 4-bar loop and hold it for 5 bars, the note would end: at bar 7 (As Played), at bar 6 (To Sequence Length), or bar 4 (To Sequence End). See image for details.

Bar 1 2 3 4 5 6 7 8 As played To Sequence Length To Sequence End

Q-Link Swing Control Applies TC Settings on Release: When enabled, turning the Q-Link knob assigned to Swing and then releasing it will immediately apply that Swing setting. When disabled, you must use the Timing Correct window to apply the Swing setting.

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.

Project Defaults

The settings on this screen determine various default values for any new project that you create.

New Project Dialog: This determines what options you see when you start a new project. When set to Off, a new project will be empty with no preconfigured settings except for the project defaults shown here. When set to Demo, you can choose to load a demo project (from several different genres) as a starting point or an empty project. When set to Demo/Template/Recent, you can choose to load a demo project, a project template file, or an empty project. You must have a project in the Template File field of the Project Load/Save tab to select a template in this window.

Default Tempo: This is the default tempo in BPM.

Default Global Tempo: When enabled, the default tempo value will be used for the global tempo. When disabled, the default tempo will be used for sequences.

Default Sequence Bars: This determines the default number of bars of a new sequence.

Default Time Signature Numerator: This determines the number of beats per bar of a new sequence (the top number of a time signature).

Default Time Signature Denominator: This determines the value of each beat of a new sequence (the bottom number of a time signature).

Default Pad Slice: This determines how new samples will play when you load them or record them into a project. When set to Pad, the Slice menu in Program Edit Mode will be set to Pad, which lets you set the start point, end point, etc. for the layer. When set to All, the Slice menu in Program Edit Mode will be set to All, in which the entire sample plays.

Default Drum/Keygroup Filter: This determines the default type of filter that drum and keygroup programs will use. See Appendix > Glossary > Filter to learn about this.

Default Plugin Synth: This determines the default instrument plugin that a new plugin program will use. Use the window that appears to select it.

Project Load/Save

The settings on this screen determine if (and how) projects are automatically saved. If you are using MPC hardware as a controller, you can also define files to load automatically.

Auto Load File: Use this field to select a project (.xpj) or program (.xpm) to load automatically anytime you open the MPC software. (For MPC X, MPC Live, MPC Live II, MPC One, and MPC Key 61, this option is available only when using your MPC hardware in Controller Mode.)

Enabled: When enabled, your project will automatically save after each Timeout interval. When disabled, your project will not be automatically saved; you may save only manually.

Timeout: Use this field to select how often your project will automatically save.

Template File: Use this field to select a project template that will load automatically when you select User Template in the New Project Dialog window. (If you select the Save as Template box when saving a file, it will be shown in this field.) In order for the User Template option to be available, New Project Dialog (in the Project Defaults tab) must be set to Demo or Demo/Template/Recent.

Record/Export

The settings on this screen determine the settings for recording and exporting.

Recording Bit Depth: This determines the bit depth of recorded audio.

Include Program Volume/Pan Settings: When enabled, the exported audio or MIDI file will include its volume and pan settings. When disabled, the volume and pan settings will be set to 0 dB and center (C), respectively.

Bypass Program Effects Plugins: When enabled, the exported audio or MIDI file will include any third-party effect plugins that are used with it, but those effects will be bypassed (deactivated). When disabled, those effects will be activated.

Audio Tail Length: This determines the length of an audio tail (silence) that will be applied to the exported audio file. When set to 0, the audio file will not have any additional audio tail.

Audio Export: This determines what part of the sequence is exported when you click the Export Audio icon.

Track: When this is selected, Export Audio will export the currently shown track in the current sequence.

Program: When this is selected, Export Audio will export all tracks in that sequence that use the currently shown program.

Main: When this is selected, Export Audio will export all tracks in that sequence that use programs routed to main outputs.

MIDI Export: This determines what part of the sequence is exported when you click the Export MIDI icon.

Track: When this is selected, Export MIDI will export the currently shown track in the current sequence.

Sequence: When this is selected, Export MIDI will export all tracks in the current sequence.

Bounce Bit Depth: This determines bit depth of the audio file that is exported when you click the Export Audio icon: 16-bit or 24-bit.

General

The settings on this screen determine how other features work in the hardware and operating system.

Vintage Mode: This determines the type of emulation applied to the audio output. You can apply the particular sonic qualities of, for example, the MPC3000 or MPC60, or of course no emulation (None).

Audition Auto Play: This determines how long a sample will sound when auto-previewing it.

Audition Outputs: This determines which pair of outputs will play any auditioned sounds (Out 1,2–7,8 in Standalone Mode, Out 1,2–31,32 in Controller Mode; MPC Live/Live II do not use Out 7,8 and MPC One/Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them). These sounds include: samples, programs, and projects in the Browser; sample playback, Cue Preview, and Slice Preview in Sample Edit Mode; and sample playback in the Keep or Discard Sample window in the Sampler.

Cue Preview: This determines if/how audio is played as you move the cue playhead. As you move the cue playhead through a sample waveform, you can set it to play the small part of the sample before the cue playhead (Before), play the small part of the sample after the cue playhead (After), or not play at all (Off). You can also set this in Sample Edit Mode (see Modes > Sample Edit Mode > Settings).

Slice Preview: This determines if/how audio is played as you move a slice marker. As you move the slice marker through a sample waveform, you can set it to play the small part of the sample before the slice marker (Before), play the small part of the sample after the slice marker (After), or not play at all (Off). You can also set this in Sample Edit Mode (see Modes > Sample Edit Mode > Settings).

Threads: This determines how many cores of your computer's processor will be used to render audio. The available range depends on your processor. (For MPC X/Live/Live II/One/Key 61, this option is available only when using your MPC hardware in Controller Mode.)

Audio Warp Algorithm: This determines how a sample is “warped” when you adjust the length of a sample without changing its pitch (e.g., the Warp function in Audio Edit Mode for audio tracks or in Program Edit Mode for clip programs). (For MPC X/Live/Live II/One/Key 61, this option is available only when using your MPC hardware in Controller Mode.)

Note: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by using a Warp algorithm other than Elastique Pro, which is very CPU-intensive.

Audio Track Auto Warp: This determines how recorded audio track regions are warped. When set to On, any audio track region that you record will be warped automatically to match the current sequence tempo. You can then adjust the sequence tempo while the audio track region remains in time.

Note: When you record an audio file, the current sequence tempo will be embedded with it. This information is stored within the sample file when you save the project. When you warp an audio track region, the warping algorithm uses this sequence tempo and the current value in the BPM field to generate the “stretch factor.”

BPM Detection Range: This defines the range of detectable BPM values when you use any automatic BPM detection function in the software or when you press the Tap button to enter a new tempo.

Show Q-Link Status When Touched (MPC Live/Live II/One/Key 61/Touch only): When enabled, touching the Q-Link knobs opens a pop-up showing the current Q-Link assignments and values.

Desktop Screensaver Disable: This determines if/when your computer's screensaver is disabled while using the MPC software (i.e., using your MPC hardware in Controller Mode):

Never: Your computer's screensaver will function normally.

When hardware used: As long as your MPC hardware is connected to your computer and being used, your computer's screensaver will be disabled.

When hardware attached: As long as your MPC hardware is connected to your computer and powered on, your computer's screensaver will be disabled. It will function normally again if you power off or disconnect your MPC hardware from your computer.

Always: Your computer's screensaver will be disabled as long as the MPC software is open (whether or not your MPC hardware is connected or powered on).

(For MPC X/Live/Live II/One/Key 61, this option is available only when using your MPC hardware in Controller Mode.)

Collect Usage Statistics: This determines whether or not your usage statistics will be sent occasionally to us, enabling us to improve the MPC experience. (For MPC X/Live/Live II/One/Key 61, this option is available only when using your MPC hardware in Controller Mode.)

Splice

The settings on this screen control integration with the Splice platform. See Addenda > Updates in MPC 2.5 > New Features > Splice Integration for more information.

Sync

Tap the Sync field (in the center of the top of the screen) and then turn the data dial or use the -/+ buttons to set whether your MPC hardware receives MIDI Clock information (MIDI Clock), MIDI Time Code information (MTC), communication from Ableton Link, or none of these (Off). Alternatively, double-tap Sync and tap the desired option to select it.

This is the same setting as the Receive menu in Sync tab of your Preferences. See Preferences > MIDI / Sync for more information.

Important: Audio recording is disabled when receiving MIDI Clock sync. Use MIDI Time Code to record audio while receiving MIDI sync.

Note: Ableton Link is a new technology that synchronizes beat, phase and tempo of Ableton Live and Ableton Link-enabled applications over a wireless or wired network. Your MPC hardware must be connected to a wireless network to receive this information. See Preferences > Wi-Fi to learn how to connect to a wireless network.

AKAI MPC Key 61 - Sync - 1

AKAI MPC Key 61 - Sync - 2

AKAI MPC Key 61 - Sync - 3

AKAI MPC Key 61 - Sync - 4

Undo History

Tap the clock icon to open the Undo History window. See Addenda > Updates in MPC 2.10 > New Features > Undo History for more information.

AKAI MPC Key 61 - Undo History - 1

Tuner

Tap the tuning fork icon to open the Tuner window. See Addenda > Updates in MPC 2.11 > New Features > Built-In Tuner for more information.

AKAI MPC Key 61 - Tuner - 1

MIDI Monitor

Tap the I/O icons to open the MIDI Monitor window. See Addenda > Updates in MPC 2.10 > New Features > MIDI Monitor for more information.

AKAI MPC Key 61 - MIDI Monitor - 1

Mode

Tap this icon to switch MPC X/Live/Live II/One/Key 61 between Standalone Mode and Controller Mode (MPC Studio and MPC Touch already operate as a controller only). In the screen that appears, select whether you want to save your current project before switching (Save), switch without saving your project (Don't Save), or stay in the current mode and project (Cancel). You cannot freely switch between Standalone and Controller Modes without also closing your current project.

AKAI MPC Key 61 - Mode - 1

natural_image Two abstract icons: one showing a MPC chip with pins, the other showing a computer monitor with an open switch (no text or symbols)

See Standalone vs. Controller Mode to learn more.

System Resources

Tap one of these icons to show the System Resources window for MPC X/Live/Live II/One/Key 61.

The indicators in this window show current usage statistics:

Battery: If you are using MPC Live powered by its internal battery, the first indicator shows the current battery life as a percentage. (See Battery Usage to learn more about MPC Live and MPC Live II's internal battery.)

CPU: The CPU indicator shows the current CPU as a percentage.

RAM Usage: The Mem indicator shows your MPC hardware's current RAM usage.

AKAI MPC Key 61 - System Resources - 1

bar SYSTEM RESOURCES | Category | Value (%) | |---|---| | 100 | 100 | | 5 | 5 | | 40 | 40 |

PURGE OK

Important: If you encounter a warning that there is not enough memory to complete an action while using your MPC hardware, do the following to make more memory available:

Make sure all audio tracks in your project are not record-armed.

Delete samples from your project's sample pool that were there before the warning appeared.

If you are still seeing the warning, do the following:

  1. Manually undo the last action you performed before seeing the warning (you may not be able to use the Undo button for this due to how the undo history is stored in RAM).
  2. Save your project.

  3. Do one of the following, and then load your saved project again.

  4. In Main Mode, tap the folder icon at the top of the screen, and then tap New at the bottom of the screen.
    • Power your MPC hardware off and then on again.

  5. Press Menu and then tap the gear icon to open the Preferences. In the Preferences, tap Reset at the bottom of the screen, tap OK, and then tap Restart to reset the Preferences.
  6. Enter Controller Mode and then reenter Standalone Mode.

Important: Although you can load multiple files at once, any samples you load into a project will be automatically converted to full-quality uncompressed audio files, so they may use more storage space than they do on your external storage device. If you are unable to load multiple files at once due to this, select fewer files and try again.

Drives: The Drives indicator shows the available storage space on any detected external storage devices or the internal drive of MPC X/Live/Live II/One/Key 61.

To delete samples from the project (to create more free RAM space for sampling time, audio recording, etc.), tap Purge. In the screen that appears, tap Unused Samples to delete all unused samples from the project, tap All Samples to delete all samples from the project (from all programs, sequences, and audio or MIDI tracks), or tap Cancel to return to the previous screen.

To close the System Resources window, tap OK, the X in the upper-right corner, or anywhere outside the window.

Time Counter/Locate

In most of the available modes, there is a time counter at the top of the screen. This indicates the current playhead position.

AKAI MPC Key 61 - Time Counter/Locate - 1

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.

LOCATE STEP 1: 1: 58 BARS AUTO RECORD OFF IN PUNCH IN 1: 1: 0 PUNCH OUT 1: 1: 0 SET 1: 1: 0 SET 1: 1: 0 SET 1: 1: 0 SET 1: 1: 0 SET

To move forward or backward a step, tap the Step < or Step > button, respectively.

To move forward or backward a bar, tap the Bar << or Bar >> button, respectively.

To configure your auto record settings, use the Auto Record selector and adjacent fields:

Auto Record selector: Tap the desired option to select it:

Off: Auto recording is disabled.

Punch In: You can auto record using punch-in and punch-out markers, enabling you to record over a specified length of time in the track. While recording, the entire sequence will play, but you will record over only the area between the Punch In and Punch Out markers. Any part of the sequence before the Punch In marker or after the Punch Out marker will remain untouched, even if you perform over it during recording.

Record Start: After you record-arm the track and start playback, you will start recording once the sequence loops back to its start. This is essentially a punch-in feature for the entire track, enabling you to start playing a record-armed track while allowing more time than the usual count-in to prepare for the actual recording to start.

Punch In: Use these fields to set the location of the Punch In marker, which is where recording will start (when the Auto Record selector is set to Punch In).

Punch Out: Use these fields to set the location of the Punch Out marker, which is where recording will stop (when the Auto Record selector is set to Punch In).

LOCATE STEP 1: 1: 58 BARS AUTO RECORD OFF IN ○I PUNCH IN PUNCH OUT 1: 1: 0 SET 4 1: 1: 0 SET 2: 1: 1: 0 SET 3 1: 1: 0 SET 3: 1: 1: 0 SET 6 1: 1: 0 SET

You can use this screen to set time markers, allowing you to jump automatically to precise locations in a sequence. You can set up to six time markers.

To set a time marker, tap the time counter at the top of the screen, find the desired time, and then tap Set next to the desired time marker. The time will appear next to that marker.

To jump to a time marker, tap the number next to it (1–6).

Timing Correct (TC)

The Timing Correct window contains various settings to help quantize the events in your sequence. You can quantize note events on MIDI tracks or track regions on audio tracks (though you cannot apply all types of quantization to audio tracks).

To open the Timing Correct settings:

In Main Mode or List Edit Mode: Tap the TC field at the top of the screen.

In the Grid View: Press and hold Shift and tap TC at the bottom of the screen.

In the Track View or the Step Sequencer: Tap TC at the bottom of the screen.

Note: The TC button in Pad Mute Mode and Track Mute Mode contain Timing Correct settings, but they do not open this window. See Modes > Pad Mute Mode and Track Mute Mode to learn about those settings.

Press the TC / On/Off button (MPC Live II/One/Key 61/Studio only).

To enable or disable Global Timing Correct, tap the Global Timing Correct button. Alternatively, press and hold Shift and tap the TC field at the top of the screen in Main Mode or List Edit Mode.

To apply the settings you selected to the current track, tap Do It.

To apply the settings you selected to all tracks, tap All Tracks.

To cancel and return to the previous screen, tap Close.

TIMING CORRECT GLOBAL TIMING CORRECT ON TIME DIVISION BGP 1/4 1/8 1/16 1/32 1/64 RIPLET Start All 50 0 100 100 ALL TRACKS CLOSE DO IT

TIMING CORRECT GLOBAL TIMING CURRENT ON TIME DIVISION BAR 1/4 1/8 1/16 1/32 1/64 TRIPLET Start Range 50 0 100 100 ALL TRACKS CLOSE DO IT

Use the Type selector to set how timing corrections are applied.

Start: The entire note event or audio track region will be nudged forward or backward so the start point aligns with the closest time division marker in the grid. You can apply this to MIDI tracks or audio tracks.

End: The end points of note events will be extended or shortened to align with the closest time division marker in the grid. The start points will remain untouched. You can apply this to MIDI tracks only.

Length: The end points of note events will be extended or shortened so that each event's length is a multiple of the time division, regardless of where it is in the grid. The start points will remain untouched. You can apply this to MIDI tracks only.

Legato: The end points of note events will be extended or shortened to create a long, unbroken phrase from the first note event's start point to the last note event's end point. Each note event will sustain until another note event starts. If multiple note events start at the same time (and are not the last note events), their lengths will become identical. Selecting Legato disables all other options in this window. You can apply this to MIDI tracks only.

AKAI MPC Key 61 - To open the Timing Correct settings: - 3

natural_image Grid background with scattered red and orange rectangular blocks (no text or symbols)

AKAI MPC Key 61 - To open the Timing Correct settings: - 4

natural_image Abstract pattern of red and orange rectangular blocks on a dark grid background (no text or symbols)

Without legato applied. With legato applied.

Use the Time Division selector to set the quantization value. Events will “snap” to these time divisions on the grid. The T indicates a triplet-based value.

Alternatively, press and hold Note Repeat while in Main Mode, and then use the six buttons at the bottom of the screen.

Use the Swing field to set the amount of swing from 50% to 75%. Swing lets you “shuffle” your beats—from subtle to extreme.

Use the Shift Timing field to shift all events by clock ticks.

Use the Window field to set how many events around a quantize value will be quantized. Any events outside this range will not be quantized; events inside will.

Use the Strength field to set how strictly events will be quantized (i.e., shifted toward the quantize value). Lower values move events a little bit towards the closest quantize value, resulting in a less mechanical feel than a strict quantization (a higher value).

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.

To select note events to which to apply time correction, either use the various tools in Grid View or press the pad with the desired events (while Hitting Pad Selects All Events is set to On). You must do this before opening the Timing Correct window.

When Range is selected, you can define the locations (From and To) as well as the pads or keys that will be quantized.

TIMING CORRECT GLOBAL TIMING CORRECT ON TIME DIVISION BAR 1/4 1/8 1/16 1/32 1/64 TRIPLET Start Range SINING SHIFT TIMING WINDOW STRENGTH TO 50 0 100 100 2: 4: 95 ALL TRACKS CLOSE DO IT

Metronome (Click/Metro)

The Click/Metro window contains all settings regarding the metronome (click track).

To open the metronome settings:

In Main Mode or List Edit Mode: Tap the Metro/metronome icon at the top of the screen.

In the Grid View: Press and hold Shift and tap Click at the bottom of the screen.

In the Track View: Tap Click at the bottom of the screen.

Tap the Metro/metronome icon at the top of the screen.

CLICK/METRO Record ENABLE Record RATE 1/4 SOUND MPC Click 0.00KB OFF ON OUTPUT Out 1,2 CLOSE

Use the Count-In field to set if/when the metronome counts before recording.

Off disables the metronome pre-count.

Record enables the pre-count during recording only.

Record + Play enables pre-count in both Record and Playback Modes.

Use the Enable field to set if/when the metronome is enabled.

Off disables the metronome.

Play enables the metronome sound during playback only.

Record enables the metronome sound during recording only.

Record + Play enables the metronome to happen in both Record and Playback Modes.

Use the Rate field 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 indicates a triplet-based time division.

Use the Sound field to select the sound that you want to hear for the metronome: Sidestick 1, Sidestick 2, Clap, Metroclick, Shake, Tambourine, or MPC Click.

Use the Volume knob to set the volume of your metronome click.

Tap the On/Off button to enable or disable the metronome.

Use the Output field to set which pair of outputs will play the metronome click: Out 1,2–7,8 in Standalone Mode, Out 1,2–31,32 in Controller Mode (MPC Live/Live II do not use Out 7,8, and MPC One/Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them).

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.

This is available in Main Mode, XYFX Mode, Pad Mute Mode, the Pad Mixer, the Channel Mixer, and Q-Link Edit Mode.

Tap the global automation button or press Automation Read/Write (MPC Studio) to cycle through its two states:

When set to Read (R), automation data will be read but not recorded. (Think of this as a protective feature to prevent accidental changes to your automation while recording.)

When set to Write (W), automation can be recorded and will overwrite any existing automation. (Make sure not to touch the XY pad accidentally while you are recording.)

Press and hold Shift and tap the global automation button or press and hold Shift and press Automation Read/Write (MPC Studio) to disable global automation. When off, automation data will be ignored. Tap the global automation button again to enable global automation.

Important: If you have already recorded automation and turn it off, the track will still use the effect and its parameter values at the point where you turned it off.

AKAI MPC Key 61 - Global - 1

AKAI MPC Key 61 - Global - 2

AKAI MPC Key 61 - Global - 3

Programs & Audio Tracks

You can also set the automation for each program or audio track by using the program automation button in the channel strip on the left side of the screen in Main Mode and the Channel Mixer. Program automation is available for all program types except MIDI programs.

Note: Remember that tapping the global automation button will change the automation state for all programs in the project; if they were originally different, all of them will then match the global automation state.

In Main Mode, if the channel strip is not already shown, tap the small eye icon below the Project field to show it.

In the Channel Mixer, if you do not see a program automation button in the channel strip, make sure the Mixer field is set to Audio Tracks or Programs.

Tap the program automation button or press Read/Write (MPC X, MPC Key 61) to cycle through its two states:

When set to Read (R), the program will read automation data but will not record any additional automation over it. (Think of this as a protective feature to prevent accidental changes to your automation while recording.)

AKAI MPC Key 61 - Programs &amp; Audio Tracks - 1

When set to Write (W), the program can record automation. (If you have any Q-Link knobs assigned to automatable parameters, make sure not to touch any accidentally while you are recording.)

AKAI MPC Key 61 - Programs &amp; Audio Tracks - 2

Press and hold Shift and tap the program automation button or press Read/Write (MPC X, MPC Key 61) to disable program automation. When off, the program will ignore automation data. tap the program automation button or press Read/Write (MPC X, MPC Key 61) to enable program automation again.

AKAI MPC Key 61 - Programs &amp; Audio Tracks - 3

Important: If you have already recorded automation and turn it off, the track will still use the effect and its parameter values at the point where you turned it off.

16 Level

Press the 16 Level button on your MPC hardware to activate or deactivate 16 Level.

When first activated, the selected pad (Pad A01 by default) will be temporarily copied to all 16 pads. The pads will now output the same note number as the initial pad, but a selectable parameter will be fixed at values that increase as the pad numbers increase (e.g., Pad 1 is the minimum, Pad 16 is the maximum), regardless of how hard you press them.

16 LEVELS Active Velocity C2 CLOSE

16 LEVELS Active A16 Tune A4 CLOSE

In the 16 Levels screen that appears, use the Type selector to choose the parameter: Velocity, Tune, Filter, Layer, Attack, Decay, Probability, or Ratchet.

To select a pad, do any of the following (while the 16 Levels window is open):

  • Press and hold 16 Level, and then press the desired pad.
  • Tap the 16 Levels checkbox to uncheck it (temporarily disabling the feature), press the desired pad, and then tap the 16 Levels checkbox again to check it.
  • Tap the Pad field, and use the data dial or -/+ buttons.
  • Double-tap the Pad field, and tap the desired pad in the list that appears.

If Type is set to Tune, use the Original Pad field to select which you pad you want to use the original pitch of the sample/samples. Alternatively, hold Shift and press the desired pad.

If Type is set to Layer, pads with multiple samples will play back each layer according to the Velocity Start and Velocity End settings for each layer.

See Addenda > Updates in MPC 2.11 > New Features > Note Probability and Note Ratchet to learn more about these types of 16 Level control.

Erase

The Erase function erases all or part of a track in a specific sequence.

To open the Erase window, press the Erase button. Alternatively, while in Main Mode, tap the pencil icon on the right edge of the section, and then tap Erase in the screen that appears.

ERASE 1: Sequence 01 1: Drum Break ALL AUTOMATION NOTE EXCEPT NOTE CANCEL DO IT

ERASE 1: Sequence 01 1: Drum Break ALL AUTOMATION NOTE EXCEPT NOTE CANCEL DO IT

To select the sequence you want to erase, use the Sequence field.

To select the track you want to erase within the sequence, use the Track field.

To set the time range of the sequence you want to erase, use the Bar, Beat, and Tick fields. The left fields set the start of the time range, and the right fields set the end of the time range.

To select what types of events you erase, select one of the Erase options:

All erases all pad events from the designated time range and reset all of its settings.

Automation erases only automation from the designated time range. Use the Parameter field to select what type of automation is erased.

Note erases only specific pad events from the designated time range. In the diagram of the eight pad banks that appears, press each pad in each bank to select or deselect its notes.

Except Note erases everything except pad events from the designated time range.

To confirm your choice, tap Do It.

To cancel and return to the previous screen, tap the X, Cancel, or anywhere outside the window.

Effects

You can apply various effects to the pads, keygroups, audio tracks, programs, submixes, and main outputs, using insert and send/return effects. This chapter can help you get a good overall understanding of how the effects work.

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. See Insert Effects > Pads or Keygroups to learn more about this.

An entire program or audio track can also have up to four insert effects applied to it, as well. See Insert Effects > Programs or Audio Tracks to learn more about this.

For even further flexibility, each submix can have up to four insert effects applied to it. You can route pads, keygroups, audio tracks, or programs to a submix, which is then routed to a main output. See Insert Effects > Submixes to learn more about this.

Additionally, each pad, keygroup, audio track, program, and submix can each be sent to (up to) four return channels, each of which can have up to four insert effects of their own. Their audio will be routed through the insert effects on those returns, and the processed audio will be sent to a main output. See Send/Return Effects to learn more about this.

Finally, you can apply up to four insert effects to each main output (a stereo pair of channels: Outputs 1/2, Outputs 3/4, etc.). See Insert Effects > Main Outputs to learn more about this.

When you create an audio mixdown of a sequence or song, you can choose whether or not main insert effects are included or send/return effects are included, depending on what you are mixing down:

If you are creating an audio mixdown of a pair of main outputs, you can choose whether or not main insert effects will be included in the mixdown.

If you are creating an audio mixdown of separate programs or exploded tracks, you can choose whether or not send/return effects will be included in the mixdown.

See Audio Mixdown to learn about these options.

There are three other modes that handle effects differently:

  • The Sampler can use up to four insert effects, which are applied to the audio as you record it. This means that the effects cannot be “removed” from the sound later. Learn more about the Sampler in the Modes >Sampler chapter.
  • Similarly, the Looper can use up to four insert effects, which are applied to the audio as you record it. This means that the effects cannot be “removed” from the sound later. Learn more about the Looper in the Modes > Looper chapter.
  • In XYFX Mode, the effects act like a single 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. Learn more about XYFX Mode in the Modes > XYFX Mode chapter.

To view, load, edit, or clear effects, tap the area under the Inserts field. This usually appears in a channel strip (next to a level slider and pan knob).

INSERTS Distortion Amp Compressor Vintage LP Filter MPC3000

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 disable all four effect slots, tap the All On/All Off button in the upper-right corner. Tap it again to reactivate the previously active effects.

DRUM Program 1 INSERTS 1 Detortion Amp [2 in 2 out] 2 3 Air Filter [2 in 2 out] 4 MPC3000 [2 in 2 out] CLOSE

When selecting an effect, you will see this window:

To move through the list, swipe up or down. Alternatively, use the data dial or -/+ buttons.

To sort or unsort the effects by type or manufacturer, tap Type or Manufacturer in the lower-left corner.

To load an effect, double-tap it. Alternatively, tap Select, press the data dial, or press the center cursor or Enter (MPC X).

To cancel, tap Close or anywhere outside the list.

Drums PAD A03 HP Filter Sync MPC 2 in 2 out HP Filter MPC 2 in 2 out HP Shelving Filter MPC 2 in 2 out LP Filter Sweep MPC 2 in 2 out LP Filter Sync MPC 2 in 2 out LP Filter MPC 2 in 2 out LP Shelving Filter MPC 2 in 2 out MPC3001 MPC 2 in 2 out MPC60 MPC 2 in 2 out RSD 2-Band 2-Shelf MPC 2 in 2 out TYPE MANUFACTURER CLOSE SELECT

When you edit an effect, you will see this window:

To adjust a parameter, tap and drag its slider. Alternatively, use the data dial or -/+ buttons. To make finer adjustments, double-tap the pad and adjust the larger version of the slider that appears.

Tip: Turn the Q-Link knobs to quickly adjust the corresponding four parameters.

To select an effect preset, use the dropdown menu at the top of the screen.

To load a saved preset, tap the folder icon at the top of the screen.

To save a preset, tap the disk icon at the top of the screen.

To select another page of parameters, tap the Parameters -/+ buttons at the top of the screen.

To enable or disable the effect, tap the On/Off button in the upper-right corner.

To edit parameters for another insert effect on the same pad, program, etc., tap a different Insert tab at the bottom of the screen to select it.

To close the window, tap Close or the upper part of the screen.

Compressor Opto Init DRY 2 WET THRESHOLD INPUT RATIO ATTACH MINLE RELEASE OUTPUT COMPRESSOR OPTO

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).

MPC Project 001 1: 4: 84 1/16 A04 Program INSERTS Compressor Vintage Reverb Medium SOLO MUTE 0.00dB SEQUENCE DPM BARS 89.82 4 Sequence 01 SEQUENCE TRACK Track 02 CV DRUM PROGRAM Drums MIDI AUDIO TRACK MUTE SOLO

To load a pad insert effect in Main Mode:

  1. When the MIDI tab is selected (in the lower-left corner), 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. If the channel strip is not already shown, tap the small eye icon below the Project field to show it.
  3. Tap the single-pad icon at the top of the channel strip. The channel strip will now show settings for the current pad.
  4. Press the desired pad to select it. Alternatively, use the Pad field at the top of the channel strip.
  5. Tap the area under Inserts, and then use the screen that appears to load or edit effects.

DeepHouse-Kit-DH Kit 02:124 1 DH Drums 6: 1: 92 9 A09 Program INSERTS AIR Multi-Chorus SOLO MUTE -8.00dB A13 DeepHou: S M A14 DeepHou: S M Reverb Medium A15 DeepHou: S M A16 DeepHou: S M A09 DeepHou: S M AIR Multi-Chorus A10 DeepHou: S M A11 DeepHou: S M A12 DeepHou: S M A05 DeepHou: S M A06 DeepHou: S M A07 DeepHou: S M A08 DeepHou: S M A01 DeepHou: S M A02 DeepHou: S M LP Filter A03 DeepHou: S M Distortion Custom A04 DeepHou: S M Distortion Custom LEVEL PAN MUTE SEND INSERT ROUTE

To load a pad insert effect in the Pad Mixer:

  1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at the top of the screen to select the desired track—the program it uses will be selected automatically.
  2. Press the desired pad to select it, or tap it on the screen. Alternatively, double-tap the Pad field below the Program field.
  3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired pad on the screen. You could also use the data dial or - / + buttons to select an effect immediately.

DeepHouse-Kit-DH Kit 02 124 A09 INSERTS 1 Autopan Sync [2 in 2 out] 2 3 Reverb Medium [2 in 2 out] 4 NO EFFECT GLOBAL SAMPLES ENVELOPES LFD MODULATION EFFECTS ALL ON ON OFF ON SEND 1 0 SEND 2 0 SEND 3 0 SEND 4 0

To load a pad insert effect in Program Edit Mode:

  1. While using the desired program, press the desired pad to select it.
  2. Tap the Effects tab in the lower-right corner, and use it to load or edit effects.

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.

MPC Project 001 2: 1: 13 1/16 1 KG 1 Program INSERTS Distortion Amp Reverb Large SOLO MUTE 0.00dB SEQUENCE BPM 89.82 4 Sequence 01 SEQUENCE 1 TRACK 3 Track 03 CV+ KEYGROUP PROGRAM Bass A1 A1 A1 MIDI AUDIO TRACK MUTE SOLO

To load a keygroup insert effect in Main Mode:

  1. When the MIDI tab is selected (in the lower-left corner), 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. If the channel strip is not already shown, tap the small eye icon below the Project field to show it.
  3. Tap the single-pad icon at the top of the channel strip. The channel strip will now show settings for the current keygroup.
  4. Press a pad to select its corresponding keygroup, or tap it on the screen. Alternatively, use the Keygroup field at the top of the channel strip.

Important: Remember that the effect will be applied to that keygroup only.

  1. Tap the area under Inserts, and then use the screen that appears to load or edit effects.

PROGRAM FutureHouse-Inst-FH Bass 2 1 KG 1 Program INSERTS AIR Filter Gate Compressor Vintage SOLD MUTE 0.00dB LEVEL PAN MUTE SEND INSERT ROUTE 2 DH Baseline 13: 1: 6 KG 13 S M KG 14 S M KG 15 S M KG 16 S M KG 9 S M KG 10 S M KG 11 S M KG 12 S M KG 5 S M KG 6 S M KG 7 S M KG 8 S M KG 1 FutureHz S M KG 2 FutureHz S M KG 3 FutureHz S M KG 4 S M Compressor Vin...

To load a keygroup insert effect in the Pad Mixer:

  1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at the top of the screen to select the desired track—the program it uses will be selected automatically.
  2. Press a pad to select its corresponding keygroup, or tap it on the screen. Alternatively, use the Keygroup field below the Program field.

Important: Remember that the effect will be applied to that keygroup only.

  1. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, double-tap the desired pad on the screen. You could also select one of the four Insert tabs at the bottom of the screen, and then use the data dial or -/+ buttons to select an effect immediately.

FutureHouse-Inst-FH Bass 2 1 1 INSERTS 1 PEQ 4-Band [2 in 2 out] 2 Reverb Large [2 in 2 out] 3 NO EFFECT 4 NO EFFECT GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS ALL ON SEND 1 0 SEND 2 0 SEND 3 0 SEND 4 0

To load a keygroup insert effect in Program Edit Mode:

  1. While using the desired program, press the desired pad to select its keygroup. Alternatively, use the Keygroup field at the top of the screen.
  2. Tap the Effects tab in the lower-right corner, and use it to load or edit effects.

Audio Tracks

You can load up to four insert effects to each audio track. You can do this in Main Mode and the Channel Mixer.

MPC Project 001 Input 1,2 Out 1,2 INSERTS Compressor Vintage Delay Stereo SOLO MUTE OFF 0.00dB SEQUENCE 8982 BARS 4 Sequence 01 SEQUENCE TRACK Audio 001 INPUT CONFIG [HP+] EHT ALIBOS MIDI AUDIO TRACK MUTE SOLO

To load an audio track insert effect in Main Mode:

  1. When the Audio tab is selected (in the lower-left corner), use the Track field to select the audio track.
  2. If the channel strip is not already shown, tap the small eye icon below the Project field to show it.
  3. Tap the waveform icon at the top of the channel strip. The channel strip will now show settings for the current audio track.
  4. Tap the area under Inserts, and then use the screen that appears to load or edit effects.

Audio Tracks Input 1,2 Out 1,2 INSERTS AIR Channel Strip Reverb Large SOLD MUTE OFF 13 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 S M 6 S M 7 S M 8 S M 1 Audio 001 S M 2 Audio 002 S M 3 Audio 003 S M 4 Audio 004 S M AIR Channel Strip AIR Channel Strip (Compressor Op... (Autopan) LEVEL PAN MUTE SEND INSERT ROUTE

To load an audio track insert effect in the Channel Mixer:

  1. Use the Mixer field in the upper-left corner to select Audio Tracks.
  2. In the touchscreen, tap the pad that corresponds to the desired audio track.
  3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired pad on the screen. You could also use the data dial or -/+ buttons to select an effect immediately.

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.

MPC Project 001 1: 3: 55 1/16 HIDE Dass Out 1,2 INSERTS MPC60 Compressor Opta SOLO MUTE 0.00dB SEQUENCE BPM 89.82 4 BARS SEQUENCE 1 Sequence 01 TRACK 3 Bass CVs KEYGROUP PROGRAM Bass MIDI AUDIO TRACK MUTE SOLO

To load a program insert effect in Main Mode:

  1. When the MIDI tab is selected (in the lower-left corner), 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. If the channel strip is not already shown, tap the small eye icon below the Project field to show it.
  3. Tap the four-pads icon at the top of the channel strip. The channel strip will now show settings for the current program.
  4. Tap the area under Inserts, and then use the screen that appears to load or edit effects.

Outputs 1/2 1: 1: 0 ON INPUT 1 0.75 OUTPUT 0.74 OUTPUT 0.75 LATCH OFFSET HPF Manual ATTACK RELEASE MUTOUT 15 ms 20 ms 90.62% VAMS Cutoff VAMS Resynance SETUP

To load XYFX for a program in XYFX Mode:

  1. Select the desired program in another mode, and then enter XYFX Mode.
  2. If you have not yet used XYFX Mode for this program, tap Insert XYFX on the screen to load it and show the XY pad.
    Note: If you already have four insert effects loaded, you will need to clear one of the insert effect slots before doing this.
    If you have already used XYFX Mode for this program, the XY pad will appear.
  3. Tap XYFX Location in the upper-left corner, and select Program.
  4. If the Setup panel is not shown, tap Setup in the lower-right corner to show it.
  5. Use the Preset field to load an effect. Use the controls below the Preset field to edit the effect.

Programs FutureHouse-Inst-FH Bass 2 Out 1,2 INSERTS PEQ 4-Band Compressor Opto C SOLD MUTE -3.72dB LEVEL PAN MUTE SEND INSERT ROUTE 13 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 DeepHouse S M 6 S M 7 S M 8 S M 1 DeepHouse S M 2 FutureHouse S M 3 FutureHouse S M 4 DeepHouse S M AIR Channel Strip PEQ 4-Band (Reverb Large)

To load a program insert effect in the Channel Mixer:

  1. Use the Mixer field in the upper-left corner to select Programs.
  2. In the touchscreen, tap the pad that corresponds to the desired program. Alternatively, double-tap the Program field below the Mixer field and tap the desired program.
  3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired pad on the screen. You could also use the data dial or -/+ buttons to select an effect immediately.

Submixes

You can load up to four insert effects to each submix. You can do this in the Channel Mixer only.

Submixes 1: 4: 72 Submix 1 Out 1,2 INSERTS Reverb Medium Compressor Vintage C MUTE 0.00dB LEVEL PAN MUTE SEND INSERT ROUTE 13 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 Submix 5 S M 6 Submix 6 S M 7 Submix 7 S M 8 Submix 8 S M 1 Submix 1 S M 2 Submix 2 S M 3 Submix 3 S M 4 Submix 4 S M Reverb Medium (Bus Compressor) (MPC60)

To load a submix insert effect:

  1. Use the Mixer field in the upper-left corner to select Submixes.
  2. In the touchscreen, tap the pad that corresponds to the desired program. Alternatively, double-tap the Submix field below the Mixer field and tap the desired program.
  3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired pad on the screen. You could also use the data dial or - / + buttons to select an effect immediately.

Main Outputs

You can load up to four insert effects to each main output (a stereo pair of channels: Outputs 1/2, Outputs 3/4, etc.). You can do this in Main Mode or the Channel Mixer.

Project 001 3: 1: 3 1/16 Outputs 1/2 Bus Compressor TYPE MUTE Sequence 01 128.00 GLOBAL Track 1 Drums TRAVEL PROCESSED Drums 1 MIDI AUDIO TRACK MUTE SOLO

To load a main output insert effect in Main Mode:

  1. If the channel strip is not already shown, tap the small eye icon below the Project field to show it.
  2. Tap the crown icon at the top of the channel strip. The channel strip will now show settings for the current main output.
  3. Use the Outputs field at the top of the channel strip to select the desired main output (Outputs 1/2, Outputs 3/4, etc.).
  4. Tap the area under Inserts, and then use the screen that appears to load or edit effects.

Main Outputs 25: 1: 32 Outputs 1/2 13 S M 14 S M 15 S M 16 S M INSERTS PEQ 4-Band Bus Compressor C 9 S M 10 S M 11 S M 12 S M MUTE 5 S M 6 S M 7 S M B S M 1 Outputs 1/2 S M 0.00dB 2 Outputs 3/4 S M 0.00dB 3 Outputs 5/8 S M 0.00dB 4 Outputs 7/8 S M 0.00dB LEVEL PAN MUTE INSERT

To load a main output insert effect in the Channel Mixer:

  1. Use the Mixer field in the upper-left corner to select Main Outputs.
  2. In the touchscreen, tap the pad that corresponds to the desired main output (Outputs 1/2, Outputs 3/4, etc.). Alternatively, double-tap the Outputs field below the Mixer field.
  3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired pad on the screen. You could also use the data dial or -/+ buttons to select an effect immediately.

Send/Return Effects

Send/return effects work in the following way:

  1. A pad, keygroup, audio track, program, or submix sends its audio to a return at a designated send level.
  2. That audio is processed by the effects on the return. Each return can have up to four insert effects loaded and activated.
  3. The processed audio is sent to a pair of main outputs (stereo) or a single main output (mono).

You can load send/return effects and set return levels only in the Channel Mixer, described below. The rest of this section describes the different ways to set the desired send levels for pads, keygroups, programs, or submixes.

17: 4: 84 Returns Return 1 Out 1,2 PMENTS Delay Sync C MUTE 0.00dB 18 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 S M 6 S M 7 S M B S M 1 Return 1 S M 2 Return 2 S M 3 Return 3 S M 4 Return 4 S M Delay Sync Reverb Large LEVEL PAN MUTE INSERT ROUTE

To load a send/return effect to a return:

  1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Returns.
  2. In the touchscreen, tap the pad that corresponds to the desired return. Alternatively, double-tap the Return field below the Mixer field.
  3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired pad on the screen. You could also use the data dial or -/+ buttons to select an effect immediately.

Returns 29: 3: 70 Return 1 Out 1.2 INSERTS Delay Sync C MUTE 0.00dB LEVEL PAN MUTE INSERT ROUTE 18 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 S M 6 S M 7 S M 8 S M 1 Return 1 S M 2 Return 2 S M 3 Return 3 S M 4 Return 4 S M 0.00dB 0.00dB 0.00dB 0.00dB

To set the return level:

  1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Returns.
  2. Tap the Level tab in the lower-left corner.
  3. In the touchscreen, tap the pad that corresponds to the desired return. Alternatively, double-tap the Return field below the Mixer field.
  4. To adjust the level of the currently selected return, use the data dial or - / + buttons. Alternatively, use the level slider in the channel strip, or turn the corresponding Q-Link knob. To make finer adjustments, double-tap the pad on the screen and adjust the larger version of the slider that appears.

Pads

You can set the send levels for pads in Program Edit Mode or the Pad Mixer.

DeepHouse-Kit-DH Kit 02 124 A14 INSERTS 1 Reverb Medium [2 in 2 out] 2 Remove Email Effect 3 NO EFFECT 4 NO EFFECT GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS ALL ON SEND 1 1 SEND 2 32 SEND 3 0 SEND 4 0

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.

DeepHouse-Kit-DH Kit 02 124 1 DH Drums 8: 1: 11 14 A14 Program INSERTS Reverb Medium 22P A13 DeepHour S M -INF dB A14 DeepHour S M -4.45dB A15 DeepHour S M -3.67dB A16 DeepHour S M -INF dB A09 DeepHour S M -INF dB A10 DeepHour S M -9.26dB A11 DeepHour S M -INF dB A12 DeepHour S M -INF dB A05 DeepHour S M -INF dB A06 DeepHour S M -INF dB A07 DeepHour S M -INF dB A08 DeepHour S M -INF dB A01 DeepHour S M -8.08dB A02 DeepHour S M -10.3dB A03 DeepHour S M -INF dB A04 DeepHour S M -INF dB LEVEL PAN MUTE SEND INSERT ROUTE

To set the send levels for a pad in the Pad Mixer:

  1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at the top of the screen to select the desired track—the program it uses will be selected automatically.
  2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level).
  3. Press the desired pad to select it, or tap it on the screen. Alternatively, double-tap the Pad field below the Program field.
  4. To set the send level, use the data dial or - / + buttons. To make finer adjustments, double-tap the pad on the screen and adjust the larger version of the slider that appears.

Keygroups

You can set the send levels for keygroups in Program Edit Mode or the Pad Mixer.

FutureHouse-Inst-FH Bass 2 1 1 INSERTS 1 2 Reverb Medium [2 in 2 out] 3 NO EFFECT 4 NO EFFECT GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS ALL ON SEND 1 0 SEND 2 40 SEND 3 0 SEND 4 0

To set the send levels for a keygroup in Program Edit Mode:

  1. While using the desired program, press the desired pad to select its keygroup. Alternatively, use the Keygroup field at the top of the screen.
  2. Tap the Effects tab in the lower-right corner.
  3. Use the Send knobs to set the send level for each return.

FutureHouse-Inst-FH Bass 2 2 DH Bassline 12: 1: 29 3 KG 3 Program INSERTS C SOLD MUTE 0.00dB LEVEL PAN MUTE SEND INSERT ROUTE KG 13 S M KG 14 S M KG 15 S M KG 16 S M KG 9 S M KG 10 S M KG 11 S M KG 12 S M KG 5 S M KG 6 S M KG 7 S M KG 8 S M KG 1 FutureF-H S M KG 2 FutureH S M KG 3 FutureK S M KG 4 S M -5.73dB -5.83dB -10.1dB

To set the send levels for a keygroup in the Pad Mixer:

  1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at the top of the screen to select the desired track—the program it uses will be selected automatically.
  2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level).
  3. Press the desired pad to select its corresponding keygroup, or tap it on the screen. Alternatively, double-tap the Keygroup field below the Program field.
  4. To set the send level, use the data dial or - / + buttons. To make finer adjustments, double-tap the pad on the screen and adjust the larger version of the slider that appears.

Audio Tracks

You can set the send levels for audio tracks in the Channel Mixer only.

Audio Tracks Input 1,2 Out 1,2 INSERTS C SOLD MUTE AUTO -2.78dB LEVEL PAN MUTE SEND INSERT ROUTE 13 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 S M 6 S M 7 S M 8 S M 1 Vocals 1 - 2.78dB 2 Vocals 2 - 5.23dB 3 Guitar - 8.72dB

To set the send levels for an audio track:

  1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Audio Tracks.
  2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level).
  3. In the touchscreen, tap the pad that corresponds to the desired audio track. Alternatively, double-tap the Audio Track field below the Mixer field.
  4. To set the send level, use the data dial or - / + buttons. To make finer adjustments, double-tap the pad on the screen and adjust the larger version of the slider that appears.

Programs

You can set the send levels for programs in the Channel Mixer only.

Programs DeepHouse-Multi-DH Vocal Lps Sub 1 Inserts SOLD MUTE -17.9dB LEVEL PAN MUTE SEND INSERT ROUTE 13 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 DeepHouse S M -4.40dB 6 S M 7 S M 8 S M 1 DeepHouse S M -INF dB 2 FutureHouses S M -INF dB 3 FutureHouses S M -15.9dB 4 DeepHouse S M -INF dB

To set the send levels for a program:

  1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Programs.
  2. Tap the Send tab at the bottom of the screen (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. To make finer adjustments, double-tap the pad on the screen and adjust the larger version of the slider that appears.

Submixes

You can set the send levels for submixes in the Channel Mixer only.

Submixes 13: 2: 80 Submix 2 Out 1,2 INSERTS C 9 S M 10 S M 11 S M 12 S M 5 Submix 5 S M 6 Submix 6 S M 7 Submix 7 S M 8 Submix 8 S M -INF dB -INF dB -INF dB -INF dB 1 Submix 1 S M 2 Submix 2 S M 3 Submix 3 S M 4 Submix 4 S M -INF dB -13.0dB -4.52dB -INF dB LEVEL PAN MUTE SEND INSERT ROUTE

To set the send levels for a submix:

  1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Submixes.
  2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level).
  3. In the touchscreen, tap the pad that corresponds to the desired submix. Alternatively, double-tap the Submix field below the Mixer field.
  4. To set the send level, use the data dial or - / + buttons. To make finer adjustments, double-tap the pad on the screen and adjust the larger version of the slider that appears.

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 screen.

To open the Audio Mixdown screen in Main Mode, tap the Project field in the upper-left corner of the screen, and then tap Export.

Audio Mixdown AUDIO LENGTH START BAR 1 END BAR 224 AUDIO TAIL 1 SECONDS RENDER SOURCE STEREO OUTPUT Out 1,2 ✓ SEPARATE PROGRAMS SERVICE TRACKS RENDER OPTIONS MAIN INSERTS ✓ PROJECT RETURN SAVE AS PROJECT PREVIEW FILE FORMAT WAV BIT DEPTH 24 SAMPLE RATE 44.1 kHz CANCEL EXPORT

Audio Length

Use the Start Bar and End Bar fields to define where the resulting audio file will start and end, respectively.

Use the Audio Tail field to add extra seconds to the end of the resulting audio file. This is useful if you are using effects or samples whose sounds exceed the defined audio length (e.g., long reverb or delay, one-shot samples with long decays, etc.). We recommend using an audio tail of at least a couple of seconds.

Render Source

Check Stereo Output and use the adjacent field to select a pair of outputs (Out 1,2–7,8 and Submix 1–8 in Standalone Mode, or Out 1,2–31,32 in Controller Mode; MPC Live/MPC Live II do not use Out 7,8 and MPC One/MPC Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them). The mixdown will be taken from these outputs.

Check Separate Programs to create a mixdown of each program used in the sequence or song.

Check Explode Tracks to create a mixdown of each track used in the sequence (you cannot use this option for an entire song).

Important: Each pad or keygroup must have their output routed to Program to be included in the mixdown. This is the typical (and default) setting. See Modes > Pad Mixer > Routing to learn about this.

Render Options

If your Render Source is set to Stereo Output, check Main Inserts to include main insert effects in the mixdown.

If your Render Source is set to Separate Programs or Explode Tracks, check Export Returns to export the return channel signals as separate files.

If your Render Source is set to Stereo Output, tap Save as Project Preview to save the sequence or song as a project preview file (which you can play for reference in the Browser). If you check this box, Stereo Output will automatically be checked, as well.

File Formats

Tap WAV, AIFF, MP3, FLAC or OGG to select the file format of the mixdown.

For WAV and AIFF files, use the Bit Depth field to select a bit depth of 8, 16, or 24 bits, or 32 bits, floating point (32 F). For FLAC files, you can select a bit depth of 16 or 24 bits. For MP3 and OGG files, you can select a Bitrate of 128, 160, 192, or 320 kbps.

Use the Sample Rate field to select a sample rate of 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz. In most cases, we recommend selecting 44.1 kHz.

Audio Mixdown AUDIO LENGTH START BAR 1 END BAR 224 AUDIO TAIL 1 SECONDS RENDER SOURCE STEREO OUTPUT Out 1,2 ✓ SEPARATE PROGRAMS DRUM STARS RENDER OPTIONS MAIN INSERTS ✓ EXPORT REFURIES SAVE AS PROJECT PREVIEW FILE FORMAT WAV BIT DEPTH 24 SAMPLE RATE 44.1 kHz CANCEL EXPORT

Tap Export to enter the Save screen where you can select a name and location to save your audio mixdown.

Tap Cancel or the ← icon in the upper-left corner to return to the previous screen.

Battery Usage

Important: Only MPC Live and MPC Live II may use battery power. MPC X, MPC One, MPC Key 61, and MPC Touch must be connected to a power outlet. MPC Studio operates on USB power only.

Although you can power MPC Live and MPC Live II 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 or MPC Live II.

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 or MPC Live II is in Standalone Mode or Controller Mode.)

AKAI MPC Key 61 - Battery Usage - 1

To view MPC Live's system resources (battery life, CPU, and RAM usage), tap the battery icon in upper-right corner of the touchscreen. The System Resources window will appear, showing percentages to indicate the current battery life, CPU, RAM usage (Mem), and storage device space usage.

See System Resources to learn more about the information shown in this window.

To charge MPC Live or MPC Live II's internal battery, connect its power input to a power outlet using the included power adapter. The charging indicator light (behind the vent on the rear panel) will turn on while charging. When the battery is fully charged or when it is disconnected from a power outlet, then this light will turn off.

AKAI MPC Key 61 - Battery Usage - 2

bar SYSTEM RESOURCES | Category | Value (%) | |---|---| | 100% | 100 | | 5% | 5 | | 20% | 20 | | 20% | 20 |

Standalone vs. Controller Mode

MPC X, MPC Live, MPC Live II, MPC One, and MPC Key 61 can function in two ways: Standalone Mode and Controller Mode. (MPC Studio and MPC Touch already operate as a controller only.)

To enter Standalone Mode, do one of the following:

  • If MPC X/Live/Live II/One/Key 61 is not connected to a computer, simply press the power switch to power it on.
  • If MPC X/Live/Live II/One/Key 61 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. Your project will remain open on your computer, and you can continue to work on it independently from project shown on the screen. (If you tap Cancel, you can continue using your MPC hardware in Controller Mode.)
  • If MPC X/Live/Live II/One/Key 61 is connected to your computer and you want to close the MPC software, simply close the MPC software on your computer. When Looking for computer appears on your MPC hardware's touchscreen, tap Standalone. If the Restart as Standalone window appears, tap Yes to continue. (If you tap Cancel, you can reopen your MPC software and continue using your MPC hardware in Controller Mode.)

In Standalone Mode:

  • An MPC chip icon will appear in the upper-right corner.
  • The MPC hardware is not communicating with a computer over a USB connection.
  • Any files (projects, samples, etc.) that you save or load are in the internal hard drive on your MPC X/Live/Live II/One/Key 61, or a connected USB drive or SD card.
  • Plugin programs are disabled.

SWITCH TO STANDALONE MODE Please ensure you have safely ejected all storage devices from your MPC hardware before you switch back to Standalone Mode. Switching your MPC to Standalone mode does not affect the MPC project on your computer.

AKAI MPC Key 61 - In Standalone Mode: - 2

To enter Controller Mode:

  1. Make sure the USB-B Port on your MPC X/Live/Live II/One/Key 61 is connected to your computer.
  2. On your computer, open the MPC software.
  3. If MPC X/Live/Live II/One/Key 61 is powered off, press the power switch to power it on.
  4. If MPC X/Live/Live II/One/Key 61 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 your MPC hardware in Standalone Mode.) Looking for computer may appear briefly on the screen before the MPC hardware recognizes the USB connection as a controller.

ENTER CONTROLLER MODE Controller mode allows this MPC to work with MPC Software running on your computer. It will disable the standalone MPC functionality. Are you sure you want to enter Controller mode?

In Controller Mode:

  • A monitor/cable icon will appear in the upper-right corner.
  • The MPC hardware is communicating with a computer over a USB connection.
  • You can save or load files (projects, samples, etc.) to or from your computer as well as the internal hard drive on your MPC X/Live/Live II/One/Key 61 or a connected USB drive or SD card.
  • Plugin programs are enabled. Remember to specify the disk directory where your plugins are located. This can be done in the software's Preferences (in the Edit Menu). See the user guide in the MPC software to learn more: click the Help menu, select MPC Help, and select MPC User Manual.
  • The touchscreen on your MPC hardware reflects what it is controlling in the software, but due to space and character limitations, the layout on the screen is different (e.g., parameter names may be abbreviated, the layout may be different or spread across multiple tabs, etc.).

AKAI MPC Key 61 - In Controller Mode: - 1

Modes

The MPC hardware has a Menu page that lets you select any one of several modes. This chapter describes the various features and functions of each one.

Click a button below to skip directly to that chapter.

MAIN MODE EDIT SYNC Off BATTERY 0% MEM 8% CPU 12% MAIN MODE SAMPLE EDIT PROGRAM EDIT STEP SEQUENCER BROWSER GRID VIEW SAMPLER LOOPER PAD MIXER CHANNEL MIXER TRACK VIEW PAD MUTE TRACK MUTE NEXT SEQUENCE SONG SOUNDS LIST EDIT Q-LINK EDIT MIDI CONTROL CONTROL XYFX NEW PROJECT SAVE PROJECT PREFERENCES

AKAI MPC Key 61 - Modes - 2

Note: The Menu above is available when the currently selected track is a MIDI track. When an audio track is selected, it will show an icon for Audio Edit Mode instead of Grid View.

Two vertical black bars with white directional arrows and gray icons, likely representing UI or data flow symbols.

While in Main Mode, the Grid View, Audio Edit Mode, the Track View, the Step Sequencer, or XYFX Mode, 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 the Grid View, tap the grid icon. The MIDI tab in the lower-left corner of the screen in Main Mode must be selected for this icon to be shown.

To enter Audio Edit Mode, tap the waveform-and-box icon. This Audio tab in the lower-left corner of the screen in Main Mode must be selected for this icon to be shown.

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.

You can also edit the Menu layout by tapping the Edit button. Once enabled, tap and drag the menu icons to your preferred location, and then tap Edit again to save your changes. This is useful for putting your most-used modes in the left-most column so that they are easily accessed in any mode by swiping to the right from the left edge of the touchscreen. See Addenda > Updates in MPC 2.11 > New Features > Menu Editing and Shortcuts Panel for more information.

Main Mode

AKAI MPC Key 61 - Main Mode - 1

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.

Project 001 1: 1: 0 1/16 Sequence 1 Sequence 01 ROM 128.00 GARS 4 START / END 1 4 TRANSPOSE Off A1 GLOBAL TRACK 1 Drums LENGTH 8 beats VELOCITY 100% TRANSPOSE Off AUTO A1 CV DRUM PROGRAM Drums 1 WRIP SAMPLES ASSIGN SAMPLES EDIT SAMPLES MIDI AUDIO TRACK MUTE SOLO

The top of the screen shows the project name and timing information.

Project 001 1: 1: 0 1/16

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.

In the Project window, in additional to typical functions you can perform in lists, you can do any of the following:

To move through a list, swipe up or down.

To expand or collapse the list of programs or sequences, tap the arrow (v or >) to its left.

To select a program, sequence, or sample, tap it.

To immediately select a sample and enter Sample Edit Mode, double-tap it.

To save the project, tap Save.

To save the project with another name, tap Save As. Use the Save window that appears to save the project.

To return to the previous screen, tap the X in the upper-right corner or anywhere outside the window.

To delete samples from the project (to create more free RAM space for sampling time, audio recording, etc.), tap Purge. In the screen that appears, tap Unused Samples to delete all unused samples from the project, tap All Samples to delete all samples from the project (from all programs, sequences, and audio or MIDI tracks), or tap Cancel to return to the previous screen.

To export the current sequence, tap Export. Use the Audio Mixdown screen that appears to export a song (see General Features > Audio Mixdown to learn about the settings in this window). To export the song instead, see the Song Mode chapter.

To export the current sequence as an Ableton Live Set, tap ALS Export. See Addenda > Updates in MPC 2.6 > New Features > Ableton Live Set Export for more information.

The In and Out boxes indicate your MPC hardware is receiving or sending (respectively) MIDI messages from or to your computer. Tap here to open the MIDI Monitor and view the latest incoming or outgoing MIDI messages. See Addenda > Updates in MPC 2.10 > New Features > MIDI Monitor for more information.

The time counter at the top of the screen the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.

The TC icon opens the Timing Correct window, which contains various settings to help quantize the note events in your sequence. See General Features >Timing Correct (TC) to learn about this.

Press and hold Shift and tap the TC icon to enable or disable global timing correct.

The Metro/metronome icon opens the Click/Metro menu, which contains all settings regarding the metronome (click track). See General Features > Metronome (Click/Metro) to learn about this.

Press and hold Shift and tap the Metro/metronome icon to enable or disable the metronome.

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

In Main Mode, these are the buttons at the bottom of the screen:

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.

On the left edge of the screen, next to the five mode icons, there are two small icons that control the channel strip.

To show or hide the channel strip, tap the eye icon.

The icon below the eye icon indicates the type of channel strip (see next description).

AKAI MPC Key 61 - Main Mode - 4

natural_image Vertical black panel with small icons and a green baseline (no text or symbols)

The channel strip contains some important settings for the current pad, program, track, or main output, depending on the currently selected icon:

To view the pad channel strip, tap the single-pad icon.

To view the program channel strip, tap the four-squares icon.

To view the track channel strip, tap the bars icon (when the MIDI tab is selected) or the waveform icon (when the Audio tab is selected).

To view the main channel strip, tap the crown icon.

When viewing the pad channel strip while using a drum program, keygroup program, or clip program:

The first field shows the current pad number. Press a pad or tap the field to select a different pad.

Tip: This is useful for mixing your pads without having to enter the Pad Mixer.

The second field shows where the pad is routed, which you can change: Program (the usual setting); Out 1,2–7,8, Out 1–8 or Sub 1–8 in Standalone Mode; and Out 1,2–31,32 or Out 1–32 in Controller Mode.

Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output.

The Inserts field shows any enabled or disabled effects for that pad. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects.

Tap Solo or Mute to solo or mute the pad (respectively).

Adjust the pan knob or level slider to change the panning or level of the pad. The green level meter next to the slider shows the pad's current volume level in dB.

3 A03 Program INSERTS Distortion Amp Compressor Vintage C SOLO MUTE 0.00dB

When viewing the program channel strip while using a drum program, keygroup program, clip program, or plugin program:

The first field shows the current program number and name (which you can change).

The second field shows where the program is routed, which you can change: Out 1,2–7,8, Out 1–8 or Sub 1–8 in Standalone Mode (depending on the hardware used); and Out 1,2–31,32 or Out 1–32 in Controller Mode.

Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output.

The Inserts field shows any enabled or disabled effects for that program. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects.

Tap Solo or Mute to solo or mute the program (respectively). Alternatively, press Solo or Mute under the LED meters (MPC X).

To change the program's automation, tap the program automation button or press Read/Write (MPC X, MPC Key 61) to toggle between two states:

When set to Read (R), the program will read automation data but will not record any additional automation over it. (Think of this as a protective feature to prevent accidental changes to your automation while recording.)

When set to Write (W), the program can record automation. (If you have any Q-Link knobs assigned to automatable parameters, make sure not to touch any accidentally while you are recording.)

Hold Shift and tap the program automation button or press Read/Write (MPC X, MPC Key 61) to disable program automation. 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.

Important: If you have already recorded automation and turn it off, the track will still use the effect and its parameter values at the point where you turned it off.

Tip: You can quickly set all programs and audio tracks to the same automation by tapping the global automation button in the upper-right corner of the screen. See General Features > Automation to learn about this.

Adjust the pan knob or level slider to change the panning or level of the program. The green level meter next to the slider shows the program's current volume level in dB.

2 Drums Out 1,2 INSERTS Distortion Amp Compressor Opta LP Filter MPC3000 SOLO MUTE C +6 +3 0 -3 -9 -20 -30 -8 +1.38dB

AKAI MPC Key 61 - Main Mode - 7

chemical Three molecular structures shown in green, red, and gray on black background

When viewing the track channel strip while using a MIDI track:

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.

Use the MIDI fields to configure the MIDI settings for the track. See Addenda > Updates in MPC 2.8 > New Features > MIDI Improvements to learn about this.

Tap Solo or Mute to solo or mute the track (respectively).

Tap the Monitor button to change the monitor behavior for the track.

Adjust the pan knob or level slider to change the panning or level of the track. The blue level meter next to the slider shows the track's current velocity level.

Note: If the track is using a plugin program, then the slider will send CC #7 (Volume) and the knob will send CC #10 (Pan) to your instrument plugin. The plugin will then handle these messages as it normally would.

4 Synth Midi 001 MIDI INPUT All Ports All MIDI OUTPUT 1 SEND TO Keys SOLO MUTE AUTO C 127 96 64 32 0 127

When viewing the track channel strip while using an audio track:

The first field defines the input source of the external audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–32 in Controller Mode).

The second field shows where the track is routed, which you can change: Out 1,2–7,8, Out 1–8 or Sub 1–8 in Standalone Mode (depending on the hardware used); and Out 1,2–31,32 or Out 1–32 in Controller Mode.

Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output.

The Inserts field shows any enabled or disabled effects for that track. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects.

Tap Solo or Mute to solo or mute the track (respectively). Alternatively, press Solo or Mute under the LED meters (MPC X).

To change the audio track's automation, tap the track automation button or press Read/Write (MPC X, MPC Key 61) to toggle between two states:

When set to Read (R), the audio track will read automation data but will not record any additional automation over it. (Think of this as a protective feature to prevent accidental changes to your automation while recording.)

When set to Write (W), the audio track can record automation. (If you have any Q-Link knobs assigned to automatable parameters, make sure not to touch any accidentally while you are recording.)

Hold Shift and tap the track automation button or press Read/Write (MPC X, MPC Key 61) to disable audio track automation. When off, the audio track 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 pressing or tapping the button.

Important: If you have already recorded automation and turn it off, the track will still use the effect and its parameter values at the point where you turned it off.

Tip: You can quickly set all programs and audio tracks to the same automation by tapping the global automation button in the upper-right corner of the screen. See General Features > Automation to learn about this.

Tap the Monitor button to change the monitor behavior for the track.

Adjust the pan knob or level slider to change the panning or level of the track. The green level meter next to the slider shows the track's current volume level in dB.

To record-enable the track, tap the Record Arm button or press Rec Arm (MPC X). When you begin audio recording, the audio signal will be recorded to this track.

Tip: You can select multiple tracks in the Track View by pressing and holding Shift while tapping the Arm button to each track.

When viewing the main channel strip:

The first field shows the current main output as a stereo pair (which you can change).

The Inserts field shows any enabled or disabled effects for that pair of outputs. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects.

Tap Mute to mute the main output.

Adjust the pan knob or level slider to change the panning or level of the main output. The green level meter next to the slider shows the outputs' current volume level in dB.

Input 1,2 Out 1,2 INSERTS SOLO MUTE AUTO 0.00dB

AKAI MPC Key 61 - When viewing the main channel strip: - 2

natural_image Three horizontal dark panels with small white icons, no text or symbols present

1 Outputs 1/2 INSERTS Compressor Master Reverb Medium XYFX MUTE C +0.75dB

Sequence Section

The Sequence section shows the current sequence and its information.

SEQUENCE 1 Sequence 01 BPM 128.00 GLOBAL BARS 4 START / END 1 4 TRANSPOSE Off A

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 global tempo (Global), tap the Sequence/Global button under the BPM field. Alternatively, press and hold Shift+Tap.

BPM 128.00 GLOBAL BPM 126.06 SEQUENCE

Use the Bars field to adjust the length of the sequence in bars.

The Loop button shows whether the sequence (or a part of it) will loop or not.

To enable or disable looping, tap the button.

To set the start point and end point of loop, tap the Start or End field (respectively) and then use the data dial or the -/+ buttons, or double-tap the field and use the numeric keyboard that appears.

Note: The Last Bar value of the Delete Bars and Copy Bars processes depends on the total length of the sequence.

Use the Transpose field to set the transposition (in semitones) of the entire sequence.

To edit the sequence, tap the pencil icon on the right edge of the section. The Sequence Edit/Copy window will open.

Sequence 01 EDIT ERASE CLEAR TRANSPOSE BOUNCE TO SAMPLE DELETE BARS INSERT BARS +2 HALF LENGTH 2xDOUBLE LENGTH COPY SAVE SEQUENCE BARS EVENTS SAVE CURRENT SEQUENCE CANCEL

You can use any of these functions as described below, though there are fewer options for audio tracks than for MIDI tracks.

To return to Main Mode, tap Cancel or the left arrow ( ) in the upper-left corner of the screen. Alternatively, press Main.

To edit the name of the sequence, tap the top of the screen and use the virtual keyboard that appears.

The Erase function erases all or part of a track in a specific sequence.

To select the sequence you want to erase, use the Sequence field.

To select the track you want to erase within the sequence, use the Track field.

To set the time range of the sequence you want to erase, use the Bar, Beat, and Tick fields. The left fields set the start of the time range, and the right fields set the end of the time range.

To select what types of events you erase, select one of the Erase options:

All erases all pad events from the designated time range and reset all of its settings.

Automation erases only automation from the designated time range.

Note erases only specific pad events from the designated time range. In the diagram of the eight pad banks that appears, press each pad in each bank to select or deselect its notes. This option is available only for MIDI tracks, not audio tracks.

Except Note erases everything except pad events from the designated time range. This option is available only for MIDI tracks, not audio tracks.

ERASE 1: Sequence 01 1: Drums ALL AUTOMATION NOTE EXCEPT NOTE BACK CANCEL DO IT

ERASE 1: Sequence 01 1: Drums 1: 1: 0 3: 1: 0 DRUMS ALL AUTOMATION NOTE EXCEPT NOTE BACK CANCEL DO IT

To confirm your choice, tap Do It.

To return to the previous screen, tap ← Back or anywhere outside the window.

To cancel and return to Main Mode, tap Cancel.

The Clear function erases all events from the sequence and resets all of its settings.

To confirm your choice, tap Clear.

To return to the previous screen, tap Cancel.

CLEAR SEQUENCE Are you sure you want to clear this 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. This option is available for MIDI tracks only.

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.

For drum programs, use the two Pad fields to select the "source" pad (whose events you want to move) and "destination" pad (where the events will be placed). Tap each field and then press the desired pad.

For keygroup programs, plugin programs, and MIDI programs, set the range and amount of transposition:

Range: Use the two Note fields to set the range of notes of the events you want to transpose. Note events within this range will be transposed, while note events outside of this range will remain unchanged.

Transpose: Use this field to set how many semitones up or down you want to transpose the note events.

To confirm your choice, tap Do It.

To return to the previous screen, tap ← Back or anywhere outside the window.

To cancel and return to Main Mode, tap Cancel.

The Bounce to Sample function immediately renders the sequence (all of its tracks) as an audio sample and places it in the project's sample pool. By default, it will be named Bounce - and appended with the sequence name.

If you have already used this function on this sequence, then you will be asked if you want to overwrite the existing sample with this new one or cancel.

To continue and save the sequence over the existing one, tap Replace.

To cancel, tap Cancel.

TRANSPOSE SEQUENCE 1: Sequence 01 1: Drums A01 BACK 3: 1: 0 A04 BACK CANCEL DO IT

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 ← Back or anywhere outside the window.

To cancel and return to Main Mode, tap Cancel.

DELETE BARS Sequence 01 1: Sequence 01 1 2 BACK CANCEL DO IT

The Insert Bars function adds empty bars to a sequence at a specified point.

To select the desired sequence, use the Sequence field.

To set how many bars you will insert, use the # of Bars field.

To set the time signature of the inserted bars, use the two Time Sig fields.

To set where you will insert the bars, use the Before Bar field. The bars will be inserted before this one.

To confirm your choice, tap Do It.

To return to the previous screen, tap ← Back or anywhere outside the window.

To cancel and return to Main Mode, tap Cancel.

INSERT BARS 1: Sequence 01 9 OF 8 bits 4 / 4 SELECT BARS BACK CANCEL DO IT

The Half Length function will immediately halve the length of the sequence (without deleting any note events).

The Double Length function will immediately double the sequence and copy all events from the first half to the second half.

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 ← Back or anywhere outside the window.

To cancel and return to Main Mode, tap Cancel.

COPY SEQUENCE 3: Sequence 03 4: (unused) Outro

The Copy Bars function copies a range of bars from a sequence and adds them to another at a specified point.

To select the "source" sequence, use the From Sequence field. This is the sequence whose bars you want to copy.

To set the range of bars to copy in the source sequence, use the First Bar and Last Bar fields.

To select the "destination" sequence, use the To Sequence field. This is the sequence where the source sequence bars will be copied.

To set where you want to add the copied bars, use the After Bar field. The copied bars will be inserted after this one.

To set how many instances of the copied bars you want to add, use the Copies field.

To overwrite the destination sequence, tap Replace.

To add the events to the destination sequence without erasing anything, tap Merge.

To return to the previous screen, tap ← Back or anywhere outside the window.

To cancel and return to Main Mode, tap Cancel.

COPY BARS 1: Sequence 0.1 2: (unused) BACK CANCEL REPLACE MERGE

The Copy Events function copies a range of events or selected audio track regions from a sequence and adds them to another at a specified point.

To select the "source" sequence, use the From Sequence field. This is the sequence whose content you want to copy.

To select the "source" track, use the From Track field. This is the track whose content you want to copy.

To specify the pads or notes to copy events from, use the Pads or Notes field. By default, this will be set to All to copy all events in the current track.

To set the time range of the events or the audio track you want to copy, use the 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.

To set what content is copied, use the field below the dotted arrow. Copy All Events will copy and paste all events in the track. Copy Only Selected Events will copy and paste only the events that are currently selected.

To select the "destination" sequence, use the To Sequence field. This is the sequence where the content of the source sequence will be copied.

To select the "destination" track, use the To Track field. This is the track where the content of the source track will be copied.

To set where you want to add the copied events or audio track, use the Bar, Beat, and Tick fields. The events or audio track will be added after this point.

To set how many instances of the copied events or audio track you want to add, use the Copies field.

To set whether you want to copy the events in the time range or the selected notes in the Grid View or List Edit Mode, use the Selection field. Set this to All events to copy the notes in the time range determined by the Bar, Beat, and Tick fields above, or set this to Selected events to copy only the events currently selected in the Grid View or List Edit Mode. This field is available for MIDI tracks only.

To overwrite the destination sequence, tap Replace.

To add the events to the destination sequence without erasing anything, tap Merge.

To return to the previous screen, tap ← Back or anywhere outside the window.

To cancel and return to Main Mode, tap Cancel.

COPY EVENTS 1: Sequence 01 1: Drums 1: 1: 0 3: 1: 0 Copy All Events 1: Sequence 01 1: Drums 1: 1: 0 BACK CANCEL REPLACE MERGE

COPY EVENTS 1: Sequence 01 1: Drums 1: 1: 0 3: 1: 0 Copy Only Selected Events 1: Sequence 01 1: Drums TIME 1: 1: 0 1 BACK CANCEL REPLACE MERCE

The Save Current Sequence function saves the current sequence to an external storage device or the internal drive of MPC X or MPC Live.

To select the storage device you want to view, tap it in the Storage column on the left.

Internal is the internal drive of MPC X/Live/Live II/One/Key 61.

MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X/Live/Live II/One/Key 61.

If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Liv Live II, MPC One, MPC Key 61, or your computer (with MPC Studio or MPC Touch), they will appear in this column, as well.

To enter a folder, double-tap it. Alternatively, turn the data dial or use the - / + buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Browser to learn how to do this).

To create a new folder, tap New Folder, use the virtual keyboard that appears to enter a name, and then tap Do It. You will immediately enter the new folder.

To move up one folder level, tap the folder/ icon in the upper-left corner.

To name the file, tap the File Name field at the bottom of the screen, and use the virtual keyboard that appears.

To save the file, tap Save.

To cancel and return to the Menu, tap Cancel. Alternatively, tap the ← icon in the upper-left corner.

Save [Internal]\MPC Documents\Sequences STORAGE Internal MPC Documents Sequence 01.sxq Sequence 02.sxq Sequence 03.sxq Sequence 04.sxq Sequence 05.sxq Sequence 06.sxq Sequence 07.sxq Sequence 08.sxq FILE NAME Sequence 09 NEW FOLDER CANCEL SAVE

Track Section

The Track section shows the current track, program type, and its information.

TRACK 1 Track 01 LENGTH Seq Off AVIO 100% AUTO

The Track section while using a MIDI track.

TRACK 1 Audio 001

The Track section while using an audio track.

The Track field shows the track number and its name.

To edit the name of the track, tap the cursor icon on the right edge of the section and use the virtual keyboard that appears.

While using a MIDI track:

TRACK 1 Track 01 CVA 100% Sequence Seq Off AUTO A]

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. You can use the program selector to change program type (and then select a specific program of that type in the Program section below it).

To select a drum program, tap the four-squares icon.

To select a keygroup program, tap the piano-keys icon.

To select a clip program, tap the play-button icon.

To select a MIDI program, tap the bars icon.

To select a CV program, tap the CV icon.

To select a plugin program, tap the plug icon.

Use the Length field to set how long the track is in beats. If you select the minimum value, Seq or 0 (if you use the numeric keypad), the track will be the exact same length as its sequence.

Tip: This feature lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence repeatedly under a 4-bar bass line.

Use the Velocity field to set how loudly or quietly a track plays relative to its recorded levels. When set to 50%, the track will be played with half the velocity it was originally played. When set to 200%, the track will play twice as loud. The maximum velocity level is still 127, though.

Use the Transpose field to set the transposition (in semitones) of the entire track.

Use the MIDI Ch field to select the MIDI channel the plugin or MIDI program uses. Use this setting when you are working with a virtual instrument plugin that supports multi-mode.

Tap the Record Arm button to record-enable the track. When you begin MIDI recording, the MIDI events will be recorded to this track.

Tip: You can select multiple tracks in the Track View by pressing and holding Shift while tapping the Arm button to each track, or by changing the Rec Arm Behavior setting in the Preferences.

Use the Monitor button to set how your MIDI track will be monitored. Tapping it will cycle through its four states:

When set to Off, the track's MIDI input is not monitored, and playback of recorded events will be heard. This setting is useful when using keyboards with Local Control active.

When set to In, the track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from recorded events will not be heard.

When set to Auto, the track's MIDI input is monitored when the track is record armed, and playback of recorded events will be heard.

When set to Merge, the track's MIDI input is always monitored, and playback of recorded events will be heard.

While using an audio track:

TRACK 1 Audio 001 IN

Tap the Record Arm button to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track.

Tip: You can select multiple tracks in the Track View by pressing and holding Shift while tapping the Arm button to each track.

Use the Monitor button to set how your audio track will be monitored. Tapping it will cycle through its three states:

When set to Auto, you will hear incoming audio while the track is record-enabled only.

When on, you will hear incoming audio whether or not the track is record-enabled.

When off, you will never hear any incoming audio.

To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open.

Synth EDIT CLEAR EXPLODE 2x DOUBLE-SPEED EVENTS +2 HALF-SPEED EVENTS SPLIT EVENTS PITCH QUANTIZE HUMANIZE GENERATE RANDOM EVENTS COPY TRACK BOUNCE TO SAMPLE BOUNCE TO AUDIO TRACK SAVE EXPORT AS PATTERN CONVERT TO PROGRESSION CANCEL

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 screen. Alternatively, press Main.

To edit the name of the track, tap the top of the screen and use the virtual keyboard that appears.

The Clear function erases all events from the track and resets all of its settings.

To confirm your choice, tap Clear.

To return to the previous screen, tap Cancel.

The Explode function immediately splits the current track into multiple tracks—one for each distinct pad or note (pitch, not event). The current track also remains present and intact, while each track created from it is labeled with the track name and pad name or number.

The Double-Speed Events function immediately halves the lengths of all note events on the track as well as the distance between them. In other words, the track's notes are pressed closer together so the track sounds like it is playing at twice the previous speed. This does not actually affect the pitches of notes or the tempo.

The Half-Speed Events function immediately doubles the lengths of all note events on the track as well as the distance between them. In other words, the track's notes are spread further apart so the track sounds like it is playing at half of the previous speed. This does not actually affect the pitches of notes or the tempo.

The Copy Track function copies the contents of one track to another.

To select the "source" track, tap the Copy Contents of Track field. This is the track whose events you want to copy.

To select the "destination" track, tap the Over Contents of Track field. This is the track where the source track will be copied.

To confirm your choice, tap Do It.

To cancel and return to Main Mode, tap Cancel.

COPY TRACK 1: Drums 2: (unused) CANCEL DO IT

The Split Events function divides note events to create new rhythms and patterns.

To select the how many events to create, use the Into slider. Select 2 to 32 events.

To apply the split to selected events, tap the Only selected events field. Leave this unchecked to split all note events in the track.

To confirm your choice, tap Do It.

To cancel and return to Main Mode, tap Cancel.

SPLIT EVENTS Setup Only selected events Program 001 CLOSE DO IT

The Pitch Quantize function forces the pitches of note events into a specific scale.

To select the desired root note of the scale, use the Root Note field.

To select a type of scale, use the Scale field.

To determine which note events will be quantized, tap the Only apply to selected events checkbox.

When on, only the currently selected note events will be quantized.

When off, all pitches in the current track will be quantized.

To set lowest-possible and highest-possible pitches where the quantized note events will be placed, use the Start Note and End Note fields (respectively). If a note event is originally outside of this range, it will be forced to the nearest pitch (within the scale) inside the range.

To continue and quantize the note events, tap Do It.

To cancel, tap Close.

PITCH QUANTIZE OFF notes C NONE Major Note Input Filter ✓ Only apply to selected events Output Note Range Quantized notes will be moved up/down by an octave to fit into this note range. Power bits F2 A3 DO IT CLOSE

The Humanize function applies randomization to the timing, length, and/or velocity of MIDI note events.

To select whether or not humanization will be applied to the timing of MIDI events, tap the Humanize Time checkbox.

To select the maximum number of pulses by which the timing of an event will be adjusted, use the Amount (Pulses) slider.

To set how dramatically the humanization effect is applied to the timing, use the Eagerness slider. Negative values correspond to playing “ahead of the beat” while positive values correspond to playing “behind the beat.”

To set whether or not humanization will be applied to the duration of MIDI note events, tap the Humanize Note Length checkbox.

To set how dramatically the humanization effect is applied to note lengths, use the Length (%) slider.

To set whether or not humanization will be applied to the velocities of MIDI note events, tap the Humanize Velocity checkbox.

To set how dramatically the humanization effect is applied to note velocities, use the Strength (%) slider.

To determine which notes will use these humanization values, tap the Only Apply to Selected Events checkbox.

When on, just the currently selected notes will be humanized.

When off, all notes in the track will be humanized.

To apply humanization and keep this window open, tap Apply.

To apply humanization and close the window, tap Do It.

To close the window without making any changes, tap Close.

HUMANIZE Time ✓ Humanize Time AMOUNT INSIDER 10 Less than a 54th note ORUPUEST 8 Often after the heat CLOSE APPLY DO IT

HUMANIZE Length ✓ Humanize Note Length 10 Velocity ✓ Humanize Velocity STRENGTH/TO 10 CLOSE APPLY DO IT

The Generate Random Events function creates random melodic or drum patterns on the current MIDI track.

To select the type of events you want to create, use the Event Type field to select Drum Events or Melodic Events.

To select how the events will be created relative to the existing events on the track, use the Replace field:

Replace All Events: Select this option to replace all events on the track with the randomly generated ones.

Replace Events in Note Range: Select this option to replace all events in the designated note range on the track with the randomly generated ones. Use the Bank or Start Pad and End Pad menus to set the note range for drum events or the Start Note and End Note menus to set the note range for melodic events.

Add to Existing Events: Select this option to add the randomly generated events to the track without replacing or overwriting the existing ones.

To set how many bars the events will use, use the Pattern Size (Bars) field. The highest possible value is the number of bars in the current sequence.

To select the duration of the events, use the Note Length field. (This feature is nonfunctional if Legato is enabled while generating melodic events.)

To generate the events and keep this window open, tap Apply.

To generate the events and close the window, tap Do It.

To close the window without generating any events, tap Close.

GENERATE RANDOM EVENTS Generation Drum events REPLACE Replace all events 2 1/16 Drum event options A CLOSE APPLY DO IT

If Event Type is set to Drum Events:

To select the pad bank that will be used to generate the events, use the Bank field or select Range to use the Start Pad and End Pad menus to define a specific pad range instead.

To define a specific pad range over which the events will be generated, use the Start Pad or End Pad fields. You can use these fields only if the Bank menu is set to Range.

To set how closely together the events will be placed in the track, use the Density (%) slider.

To set how widely or narrowly the rhythmic patterns of the generated notes vary, use the Rhythm Variation slider.

GENERATE RANDOM EVENTS 2 1/16 Drum event options A CLOSE APPLY DO IT

If Event Type is set to Melodic Events:

To define a specific note range over which the events will be generated, use the Start Note or End Note fields.

To enable or disable legato, tap the Legato checkbox.

When on, the generated notes will be extended or shortened to create a long, unbroken phrase from the first note event's start point to the last note event's end point. Each note event will sustain until another note event starts. If multiple note events start at the same time (and are not the last note events), their lengths will become identical.

When off, the generated notes will use the duration set by the Note Length menu.

To set the maximum number of note events that can be sounding simultaneously in the track, use the Polyphony field to select 1–8.

To determine whether or not the notes will use a scale, tap the Constrain Notes to Scale checkbox.

When on, the notes will be within the scale determined by the Scale menu.

When off, the notes will be chromatic.

To set how closely together the events will be placed in the track, use the Density (%) slider.

To set the root note of the scale that the notes will use, use the Root Note field.

To select the scale or mode that the generated notes will use, use the Scale field.

GENERATE RANDOM EVENTS Generation Melodic events Replace Replace all events 2 1/16 Melodic event options START NOTES END NOTES CLOSE APPLY DO IT

GENERATE RANDOM EVENTS Melodic event options C4 Logato 8 Constrain notes to scale Major CLOSE APPLY DO IT

The Bounce to Sample function immediately renders the track (for the current sequence only) as an audio sample and places it in the project's sample pool. By default, it will be named Bounce - and appended with the track name. 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.

To continue and save the track over the existing one, tap Replace.

To cancel, tap Cancel.

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.

To continue and save the track over the existing one, tap Replace.

To cancel, tap Cancel.

The Export as Pattern function saves the track (for the current sequence only) as a pattern (.mpcpattern) to an external storage device or the internal drive of MPC X/Live/Live II/One/Key 61.

To select the storage device you want to view, tap it in the Storage column on the left.

Internal is the internal drive of MPC X/Live/Live II/One/Key 61.

MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X/Live/Live II/One/Key 61.

If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live II, MPC One, MPC Key 61, or your computer (with MPC Studio or MPC Touch), they will appear in this column, as well.

To enter a folder, double-tap it. Alternatively, turn the data dial or use the - / + buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Browser to learn how to do this).

To create a new folder, tap New Folder, use the virtual keyboard that appears to enter a name, and then tap Do It. You will immediately enter the new folder.

To move up one folder level, tap the folder/ icon in the upper-left corner.

To name the file, tap the File Name field at the bottom of the screen, and use the virtual keyboard that appears.

To save the file, tap Save.

To cancel and return to the Menu, tap Cancel. Alternatively, tap the ← icon in the upper-left corner.

Save Internal\MPC Documents\Exports STORAGE Pattern 01.mpcpattern Pattern 02.mpcpattern Pattern 03.mpcpattern Pattern 04.mpcpattern Pattern 05.mpcpattern Pattern 06.mpcpattern Pattern 07.mpcpattern Pattern 08.mpcpattern FILE NAME Pattern 09 CANCEL SAVE

The Convert to Progression function lets you convert the chords of the current track and sequence into a new progression. See Addenda > Updates in MPC 2.8 > New Features > Custom Progressions for more information.

Audio 001 EDIT DELETE CLEAR REGIONS RESET CHANNEL STRIP COPY TRACK SAVE SAVE CURRENT CHANNEL STRIP CANCEL

While using audio tracks, you can use any of these functions as described below.

To return to Main Mode, tap Cancel or the left arrow ( ) in the upper-left corner of the screen. Alternatively, press Main.

To edit the name of the track, tap the top of the screen and use the virtual keyboard that appears.

The Delete function erases the entire audio track.

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.

DELETE AUDIO TRACK Are you sure you want to delete this Audio Track?

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.

It does not change the track's inputs or outputs.

The Copy Track function copies the contents of one track to another.

To select the "source" track, tap the Copy Contents of Track field. This is the track whose events you want to copy.

To select the "destination" track, tap the Over Contents of Track field. This is the track where the source track will be copied.

To rename the "destination" track, use the Track Name field.

To confirm your choice, tap Do It.

To cancel and return to Main Mode, tap Cancel or anywhere outside the window.

COPY AUDIO TRACK 1: Audio 001 2: Audio 002 Vocals CANCEL DO IT

The Save Current Channel Strip function saves the current settings of the track channel strip (for the current audio track) to an external storage device or the internal drive of your MPC.

To select the storage device you want to view, tap it in the Storage column on the left.

Internal is the internal drive of MPC X/Live/Live II/One/Key 61.

MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X/Live/Live II/One/Key 61.

If you have storage devices connected to USB ports or SD card slot of MPC X/Live/Live II/One/Key 61, or your computer (with MPC Studio/Touch), they will appear in this column, as well.

To enter a folder, double-tap it. Alternatively, turn the data dial or use the - / + buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Browser to learn how to do this).

To create a new folder, tap New Folder, use the virtual keyboard that appears to enter a name, and then tap Do It. You will immediately enter the new folder.

To move up one folder level, tap the folder/L icon in the upper-left corner.

To name the file, tap the File Name field at the bottom of the screen, and use the virtual keyboard that appears.

To save the file, tap Save.

To cancel and return to the Menu, tap Cancel. Alternatively, tap the ← icon in the upper-left corner.

Save Internal\MPC Documents\Exports STORAGE Internal MPC Documents Audio 001.xpm Audio 002.xpm Audio 003.xpm Audio 004.xpm Audio 005.xpm Audio 006.xpm Audio 007.xpm Audio 008.xpm FILE NAME Audio 009 NEW POLDER CANCEL SAVE

Program Section

The Program section shows the current program. This section will appear differently depending on the type of program selected in the Track section above it.

For all program types while using MIDI tracks, you can do the following:

To edit the name of the program, tap the cursor icon on the right edge of the section. 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. A new program of the same type will be created and appended with a number (e.g., Program 002).

For all program types while using audio tracks, you can do the following:

To change the input source, tap Input Config. This will show or hide the track channel strip. If you are viewing the audio track channel strip (not the main output channel strip), the first field will be automatically selected.

To enter Audio Edit Mode, tap Edit Audio. This is the same as tapping the waveform-and-box icon on the left edge of the screen.

DRUM PROGRAM Drums WARP SAMPLES ASSIGN SAMPLES EDIT SAMPLES

While viewing drum programs, the Drum Program field shows the name of the program.

Tap Warp Samples to enter the first Sample tab in Program Edit Mode immediately (see Program Edit Mode > Drum Programs to learn about this).

Tap Assign Samples to enter the Sample Assign tab in the Browser immediately (see Browser to learn about this).

Tap Edit Samples to enter Program Mode in Sample Edit Mode immediately (see Sample Edit Mode > Program Mode to learn about this). The sample shown will be the one in the top layer of the last pad you pressed.

KEYGROUP PROGRAM Bass PAD PERFORM

While viewing keygroup programs, the Keygroup Program field shows the name of the program.

Tap Pad Perform to open the Pad Perform window (see Pad Perform Mode to learn about this).

CLIP PROGRAM Clip 001 EDIT CLIPS AI

While viewing clip programs, the Clip Program field shows the name of the program.

Tap Edit Clips to enter Program Edit Mode, where you can assign samples (clips) to pads, edit each clip, and configure how each clip plays when launched (see Program Edit Mode > Clip Programs to learn about this).

PLUGIN PROGRAM Plugin TubeSynth GRIFFY BASS.1 Plugin 001 SOUNDS FAVORITES PRO PERFORM

While viewing plugin programs, the Plugin Program field shows the name of the program.

Use the Plugin field to select the plugin the program is using. In the screen that appears, you can tap the Type or Manufacturer button at the bottom of the screen to enable or disable sorting of your plugins by type or maker.

Note: You have to specify the disk directory where your plugins are located. This can be done in the software's Preferences. See user guide in the MPC software to learn how to do this: click the Help menu, select MPC Help, and select MPC User Manual.

Use the Preset field to select a preset (if any) within the plugin the program is using.

Tap Sounds to open the Sounds menu, where you can browse plugins and presets. See Addenda > Updates in MPC 2.11 > New Features > Sounds and Favorites for more information.

Tap Favorites to open the Favorites menu, where you can quickly select from saved presets. See Addenda > Updates in MPC 2.11 > New Features > Sounds and Favorites for more information.

Tap Pad Perform to open the Pad Perform window (see Pad Perform Mode to learn about this).

MIDI PROGRAM PROGRAM ON Off DANK MSB Off 0 MIDI PORT MPC Live Port 1 PAD PERFORM A Midi 001

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. See the user guide in the MPC software to learn how to do this: click the Help menu, select MPC Help, and select MPC User Manual.

Use the Program Ch field to select the program change message the program sends out.

Use the MIDI Ch field to select the MIDI channel over which the program sends its MIDI data.

Use the Bank MSB and Bank LSB fields to select the messages for Most Significant Byte and Least Significant Byte (respectively) that the program sends out.

Tap Pad Perform to open the Pad Perform window (see Pad Perform Mode to learn about this).

CV/PROGRAM NOTE Last CV PORT CV 1 OFF CV 001 CATE POST CV 2 VELOCITY Off PAD PERFORMA

CV PROGRAM CV 001

While viewing CV programs, the CV Program field shows the name of the program.

Tap the keys icon to set the program to Melodic operation.

Use the Note field to select the note tracking—the program's note track: Lowest, Highest, or Last.

Use the CV Port field to select the CV port the program is using.

Use the Gate Port field to select the Gate port the program is using.

Use the Mod Wheel field to select the CV port used by a modulation wheel on an external controller.

Use the Velocity Port field to select CV port the program will use to transmit velocity values.

Tap the pads icon to set the program to Drum operation.

Tap the four squares with note icon to assign each pad in the program to a specific CV Port and set its Data Type.

Program 1 EDIT DELETE DUPPLICATE DUPPLICATE TO TRACK BOUNCE TO SAMPLE BOUNCE TO AUDIO TRACK FLATTEN PAD MERGE PROGRAMS COPY PADS EDIT PAD NOTE MAP SAVE SAVE CURRENT PROGRAM SAVE CURRENT SAMPLE CANCEL

To edit the program, tap the pencil icon on the right edge of the section. The Program Edit/Copy window will open.

You can use any of these functions as described below.

To return to Main Mode, tap Cancel or the left arrow ( ) in the upper-left corner of the screen. Alternatively, press Main.

To edit the name of the program, tap the top of the screen and use the virtual keyboard that appears.

The Delete function erases all events from the track and resets all of its settings.

To confirm your choice, tap Clear.

To return to the previous screen, tap Cancel.

The Duplicate function immediately creates an identical program. The duplicate program will use the same name but appended with a number (e.g., Program 002).

DELETE PROGRAM Are you sure you want to delete this Program?

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. By default, it will be named Bounce - and appended with the program name. This function does not work for MIDI programs or CV programs.

If you have already used this function on this program, then you will be asked if you want to overwrite the existing sample with this new one or cancel.

To continue and save the program over the existing one, tap Replace.

To cancel, tap Cancel.

The Bounce to Audio Track function immediately renders that program (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 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.

To continue and save the track over the existing one, tap Replace.

To cancel, tap Cancel.

The Flatten Pad function renders all samples on a pad as an audio sample and places it on the first layer of that pad. The resulting sample is the audio signal produced by that pad at full velocity (127) after the pad channel strip, which means that it includes any assigned pad insert effects and the results of warping the sample. This function is useful if you need to reduce how CPU-intensive a pad or program is by essentially “embedding” the warping and effects in the sample itself. By default, it will use the name of the first sample. This function works for drum programs only. (This is the same as the Flatten Pad button shown at the top of the screen in Program Edit Mode.)

To select the pad, press it or use the Pad menu.

To set the length of the audio tail, use the Audio Tail field. This will add extra seconds to the end of the resulting audio file. This is useful if you are using effects or samples whose sounds exceed the defined audio length (e.g., long reverb or delay, one-shot samples with long decays, etc.). We recommend using an audio tail of at least a couple of seconds.

To name the new sample, tap the Edit Name field, and use the virtual keyboard that appears.

To confirm your choice, tap Do It.

To cancel, tap Cancel.

Program 001 EDIT DELETE BOUNCE TO AVOID TRACK SAVE SAVE CURRENT PROGRAM FLATTEN PAD PAD A01 AUDIO TAIL 1 second EDIT NAME Sample_01

The Copy Pads function lets you copy one or more pads from one program to another.

To select the type of pad copy you would like to perform, use the Copy Type field. You can copy a single Pad, a Pad Bank or a Range of pads.

Pad: Use the From Program and Pad fields to select the program and pad you would like to copy from, and use the To Program and Pad fields to select the program and pad you would like to copy to.

Bank: Use the From Program and From Bank fields to select the program and pad bank you would like to copy from, and use the To Program and To Bank fields to select the program and pad bank you would like to copy to.

Range: Use the From Program, Start Pad and End Pad fields to select the program and range of pads you would like to copy from, and use the To Program and Start Pad fields to select the program and pad you would like to copy to.

To apply the settings, tap Apply.

To confirm the copy, tap Do It.

To cancel, tap Close.

COPY PADS Pad Drum Hits A1 Full Kit A12 CLOSE APPLY DO IT

The Edit Pad Map function lets you assign specific MIDI notes to your pads in each program, except for keygroup programs.

To select a pad to edit, press it or use the Pad field.

To set the corresponding MIDI note for the pad, use the MIDI Note field.

Use the Presets buttons to quickly apply one of three common pad layout presets: Chromatic C-2, Classic MPC and Chromatic C1.

To close the window and return to the previous screen, tap the X, Close or anywhere outside the window.

EDIT PAD MIDI NOTE MAP A1 C#1 Presets CHROMATIC C-2 CLASSIC MPD CHROMATIC C1 CLOSE

The Save Current Program or Save Current Sample function saves the current program or sample (the top layer of the last pad you pressed) (respectively) to an external storage device or the internal drive of MPC X/Live/Live II/One/Key 61.

To select the storage device you want to view, tap it in the Storage column on the left.

Internal is the internal drive of MPC X/Live/Live II/One/Key 61.

MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X/Live/Live II/One/Key 61.

If you have storage devices connected to USB ports or SD card slot of MPC X/Live/Live II/One/Key 61, or your computer (with MPC Studio/Touch), they will appear in this column, as well.

To enter a folder, double-tap it. Alternatively, turn the data dial or use the - / + buttons to move through the list, and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Browser to learn how to do this).

To create a new folder, tap New Folder, use the virtual keyboard that appears to enter a name, and then tap Do It. You will immediately enter the new folder.

To move up one folder level, tap the folder/ icon in the upper-left corner.

To name the file, tap the File Name field at the bottom of the screen, and use the virtual keyboard that appears.

To save the file, tap Save.

To cancel and return to the Menu, tap Cancel. Alternatively, tap the ← icon in the upper-left corner.

Save Internal MPC Documents Program 001.xpm Program 002.xpm Program 003.xpm Program 004.xpm Program 005.xpm Program 006.xpm Program 007.xpm Program 008.xpm FILE NAME Program 009 NEW FOLDER CANCEL SAVE

Grid View

AKAI MPC Key 61 - Grid View - 1

The Grid View lets you view and edit the note events of each track of a sequence in a project and their velocities. This mode has two different appearances: one for drum programs and one for keygroup programs, MIDI programs, and plugin programs.

For drum programs, the left column shows you all available pads in a vertical view with their corresponding data.

For keygroup programs, plugin programs, and MIDI programs, the left column shows a vertical "piano roll" keyboard.

To enter the Grid View, do either of the following:

  • Press Menu, and then tap Grid View.
  • Press Shift+Main/Grid (MPC Live II, MPC One)
    • Press and hold Mode and press Pad 2 (MPC Studio)

Note: The Grid View option is available when the currently selected track is a MIDI track. When an audio track is selected, it will show an icon for Audio Edit Mode instead of Grid View. To select a MIDI track (and enable Grid View), press Main to enter Main Mode, and then tap MIDI in the lower-left corner.

Drums 16 12 18 24 30 35 40 45 50 55 60 65 70 75 80 85 90 95 100 105 110 115 120 125 130 135 140 145 150 155 160 165 170 175 180 185 190 195 200 205 210 215 220 225 230 235 240 245 250 255 260 265 270 275 280 285 290 295 300 305 310 315 320 325 330 335 340 345 350 355 360 365 370 375 380 385 390 395 400 405 410 415 420 425 430 435 440 445 450 455 460 465 470 475 480 485 490 495 500 505 510 515 520 525 530 535 540 545 550 555 560 565 570 575 580 585 590 595 600 605 610 615 620 625 630 635 640 645 650 655 660 665 670 675 680 685 690 695 700 705 710 715 720 725 730 735 740 745 750 755 760 765 770 775 780 785 790 795 800 805 810 815 820 825 830 835 840 845 850

Grid View of a drum program. Grid View of a keygroup program or MIDI program.

4 Bass 16T C2 C3 60. Velocity DON'T SNAP NUDE EDIT START EDIT END TRANSPOSE AUTOMATION

The top of the screen shows the track name, sequence and timing information, and editing tools.

TRACK 1 Drums 4 5: 1: 0

Use the Track field to select which track of the current sequence you want to show in the grid.

Use the Bars field to set the length of the sequence.

The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.

In the Grid View, these four tool icons enable you to use different functions in the grid.

AKAI MPC Key 61 - Grid View - 5

natural_image Four icons on a red background: pencil, eraser, square outline, and magnifying glass (no text or symbols)

Tap one to select its mode:

AKAI MPC Key 61 - Grid View - 6

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.

AKAI MPC Key 61 - Grid View - 7

Eraser: Erase Mode:

To erase a note, tap it.

AKAI MPC Key 61 - Grid View - 8

Select Box: Select Mode:

Note: Notes will remain selected if you switch to another mode. The selection will change, however, if you press a pad while Hitting Pad Selects All Events is set to On.

To select a note, tap it.

To select multiple notes, tap and drag across the grid to create a box around them.

To move a note, tap and drag it to another grid square.

To move multiple notes, select them as described above, and tap and drag them.

To erase multiple notes, select them as described above, and then select the eraser tool and tap any of the selected notes.

AKAI MPC Key 61 - Grid View - 9

Magnifying Glass: Navigation Mode:

To move to another part of the grid, tap and drag it.

To zoom in or out, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time.

The Settings window lets you configure certain Grid View settings.

To view the Settings, tap the gear icon.

SETTINGS SNAP MODE ABSOLUTE RELATIVE HITTING PAD SELECTS ALL EVENTS OFF ON AUTO-SCROLL OFF → FOLLOW PAGE LINK ZOOM AND SCROLL OFF ON CLOSE

Use the Snap Mode selector to set how events "snap" to the grid.

Absolute: Events will "snap" to the nearest time division on the grid (as determined by the TC field or Time Correct window). This is the typical and traditional method of using the snap/quantization feature.

Relative: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time Correct window) plus the original time position of the event (e.g., an event that is originally three ticks past a time division on the grid will snap only to positions that are three ticks past every time division).

Use the Hitting Pad Selects All Events selector to turn the feature on or off. When on, pressing a pad will automatically select all note events for that pad in the sequence on that track. When off, pressing a pad will simply play its sound without selecting any note events.

Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead.

Follow: Depending on the zoom setting, the grid will scroll along in the background while keeping the audio playhead centered.

Page: The grid will move to the "next page" to follow the audio playhead.

Off: The grid will not move at all.

These functions also apply to Audio Edit Mode, List Edit Mode, and Sample Edit Mode.

Use the Link Zoom and Scroll selector to turn the feature on or off. When on, the zoom and scroll levels in the MPC software and your MPC hardware will always be the same. When off, the grid views can be adjusted separately using the MPC software and your MPC hardware.

Note: This setting is only available when connected to MPC software in controller mode.

1 Drums 16 A14 A15 A16 A17 A18 A19 A20 A21 A22 A23 A24 A25 A26 A27 A28 A29 A30 A31 A32 A33 A34 A35 A36 A37 A38 A39 A40 A41 Vcclocity DON'T SNAP NUDGE EDIT START EDIT END TRANSPOSE AUTOMATION

Regardless of which tool is selected, you can do any of the following to move, lengthen, shorten, or transpose any selected note/notes.

To automatically set the grid to view one pad bank and two bars, tap the grid-and-magnifying-glass icon in the lower-left corner.

To undo your last action, press Undo.

To redo the last action you undid, press and hold Shift, and then press Undo/Redo.

To select all notes for a pad, press the desired pad.

To move the selected notes, tap Nudge at the bottom of the screen, and then use the data dial or - / + buttons to shift the notes left or right. By default, you can position notes only by quantization values defined by the Time Correct value (see General Features > Timing Correct (TC) to learn about this).

To move the selected notes without restricting ("snapping") them to the quantization grid, tap and hold Don't Snap in the lower-left corner of the screen, and then use the data dial or - / + buttons to shift the notes. In this case, each nudge is equivalent to four ticks.

To adjust the start point or end point of the selected notes (without changing their position), tap Edit Start at the bottom of the screen, and then use the data dial or - / + buttons.

To transpose the selected notes up or down, tap Transpose at the bottom of the screen, and then use the data dial or - / + buttons.

To copy the selected notes instantly, press Copy. The selected notes will be duplicated and start immediately after the end of the last selected note. Nudge will be automatically selected so you can immediately use the data dial to move the copied notes,

To switch to the previous or next track, press and hold Shift, and then tap Track – or Track + (respectively) at the bottom of the screen.

To mute or solo the track, press and hold Shift, and then tap Mute or Solo (respectively) at the bottom of the screen.

To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See General Features >Timing Correct (TC) to learn about this.

To select a time division directly, double-tap the down arrow (▼) in the upper-left corner of the grid and select a time division.

To adjust the metronome settings, press and hold Shift, and then tap Click at the bottom of the screen. See General Features > Metronome (Click/Metro) to learn about this.

The Grid View also contains a velocity/automation lane where you can easily adjust note velocities and automation parameters.

AKAI MPC Key 61 - Grid View - 12

bar | Technique | DRUM | Velocity | | :--- | :--- | :--- | | DON'T SNAP | 1 | 0.05 | | NUDGE | 2 | 0.05 | | EDIT START | 3 | 0.05 | | EDIT END | 4 | 0.05 | | TRANSPOSE | 5 | 0.05 | | VELOCITY | 6 | 0.05 |

The velocity lane in the Grid View.

To show or hide the velocity/automation lane:

  1. Tap the up arrow (∧) button in the lower-right corner to show the velocity/automation lane.

  2. Tap the down arrow (v) to hide the velocity/automation lane.

When viewing velocity in the lane, a vertical bar represents each note's velocity. The higher and more red the bar is, the higher the velocity is. Yellow bars indicate a lower velocity. Bars with a gray line at the top indicate a currently selected note.

To adjust the velocity of the selected notes, tap Velocity at the bottom of the screen, and then use the data dial or - / + buttons. The numeric value will appear on the screen.

See Addenda > Updates in MPC 2.6 > New Features > Grid Automation Lanes for more information on editing automation parameters.

Audio Edit Mode

AKAI MPC Key 61 - Audio Edit Mode - 1

Audio Edit Mode lets you view and edit the audio tracks of a sequence in a project.

To enter Audio Edit Mode, press Menu, and then tap Audio Edit Mode.

Note: The Audio Edit option is available when the currently selected track is an audio track. When a MIDI track is selected, it will show an icon for Grid View instead of Audio Edit Mode. To select an audio track (and enable Audio Edit Mode), press Main to enter Main Mode, and then tap Audio in the lower-left corner.

TRACK 1 Audio 001 2: 4: 8.3 1.2 1.9 1.6 2 2.7 2.5 2.4 Trap-Melodic-SG3 Lead 03 Trap-Melodic-SG3 Lead 02 PRG Volume Trap-Melodic-SG3 Lead FADE IN FADE OUT LEVEL 0 0 0.00dB REVERSE MUTE WAPP DON'T SNAP NUDGE EDIT START EDIT END SPLIT DUPPLICATE

Audio Edit Mode with channel strip hidden.

TRACK 1 Audio 001 2: 4: 83 HIDE Input 1,2 Out 1,2 INSERTS C SOLO MUTE OFF 0.00dB PRG Volume Trap-Melodic FADE IN LEVEL 0 0.00dB EXUPS MUTE DUPLICATE DON'T SNAP NUDGE EDIT START EDIT END SPLIT DUPLICATE

Audio Edit Mode with channel strip shown.

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.

TRACK 1 Audio 001 2: 4: 83 HIDE Input 1,2 Out 1,2 INSERTS C SOLD MUTE OFF 0.00dB PRG Volume Trap-Melodic FADE IN 0 LEVEL 0.00dB REVERS MUTE WAP DON'T SNAP NUDGE EDIT START EDIT END SPLIT DUPLICATE

To record in Audio Edit Mode (or Main Mode):

  1. If the channel strip is not already shown on the left side of the screen, tap the small eye icon to show it.
  2. Connect a synthesizer or other line-level audio source to the appropriate input/inputs of your MPC hardware. Set the Line/Phono selector or Inst/Line selector (MPC Key 61) appropriately, too.
  3. Double-tap the first field to select the input source of the external audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–32 in Controller Mode) (MPC One/Key 61 do not use Inputs 3,4 but displays them to maintain compatibility with MPC X/Live/Live II/Touch, which do use them).
  4. Double-tap the second field to select where the track is routed (Out 1,2–7,8 and Submix 1–8 in Standalone Mode, or Out 1,2–31,32 in Controller Mode; MPC Live/Live II do not use Out 7,8, and MPC One/Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them).
  5. Tap the Monitor button to set how your audio track will be monitored. Tapping it will cycle through its three states:

When set to Auto, you will hear incoming audio while the track is record-enabled only.

When on, you will hear incoming audio whether or not the track is record-enabled.

When off, you will never hear any incoming audio.

  1. Turn the 3/4 Rec Gain knob (MPC X), Rec Vol knob (MPC Live/Live II/One/Touch), or Gain knob (MPC Key 61) to set the input level while sending an audio signal into your MPC hardware. You should now see the level in the meter. Make sure it does not exceed the maximum level (the meter should not be "peaking" constantly).

  2. If Mute and Solo are on, tap or press them so they are off. We also recommend tapping the automation button so it is off/gray (not green/Read [R] or red/Write [W]). Alternatively, press and hold Shift and then press Read/Write so it is off (MPC X/Key 61).

  3. Tap the Rec Arm button next to the pan knob or press Rec Arm (MPC X) to record-enable the track.

  4. Press Rec to record-arm the sequence.

  5. 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.

  6. To stop recording, press Stop.

The top of the screen shows the track name, sequence and timing information, and editing tools.

TRACK 1 Vocals 1 2 END 1: 1: 0

Use the Track field to select which track of the current sequence you want to show in the grid.

Use the Bars field to set the length of the sequence.

The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.

In Audio Edit Mode, these seven tool icons enable you to use different functions in the track.

Row of software toolbar icons including arrow, pencil, eraser, scissors, video player, and play button

Tap one to select its mode:

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 3

Marquee: Marquee Mode:

To select a track region, tap the upper third of it.

To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.

To split the track at two specific points (creating a track region on either side and between them), tap and drag across the middle third of it to create a translucent white box, and then tap the upper third of that box.

To shorten or lengthen a track region (or multiple selected track regions), tap and drag the lower third of it left or right.

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 4

Arrow: Selection Mode:

To select a track region, tap it.

To select multiple track regions, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.

To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.

To shorten or lengthen a track region (or multiple selected track regions), tap its edge and drag it.

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 5

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.

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 6

Eraser: Erase Mode:

To select multiple track regions, tap and drag across the grid to create a box that highlights them.

To erase a track region (or multiple selected track regions), tap it.

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 7

Scissors: Split Mode:

To split the track at a specific point (creating a track region on either side), tap that point in the track.

To select a track region, tap its left-most edge.

To select multiple track regions, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 8

Mute: Mute Mode:

To select multiple track regions, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.

To mute or unmute a track region (or multiple selected track regions), tap it.

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 9

Magnifying Glass: Navigation Mode:

To move to another part of the track, tap and drag it.

To zoom in or out, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time.

The Settings window lets you configure certain Audio Edit Mode settings.

To view the Settings, tap the gear icon.

SETTINGS SNAP MODE ABSOLUTE RELATIVE AUTO-SELL OFF → FOLLOW CPAGE LINK ZOOM AND SCROLL OFF ON CLOSE

Use the Snap Mode selector to set how events "snap" to the grid.

Absolute: Events will "snap" to the nearest time division on the grid (as determined by the TC field or Time Correct window). This is the typical and traditional method of using the snap/quantization feature.

Relative: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time Correct window) plus the original time position of the event (e.g., an event that is originally three ticks past a time division on the grid will snap only to positions that are three ticks past every time division).

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.

These functions also apply to the sample waveform in Sample Edit Mode.

Use the Link Zoom and Scroll selector to turn the feature on or off. When on, the zoom and scroll levels in the MPC software and your MPC hardware will always be the same. When off, the grid views can be adjusted separately using the MPC software and your MPC hardware.

Note: This setting is only available when connected to MPC software in controller mode.

On the left edge of the screen, next to the five mode icons, there are two small icons that control the channel strip.

To show or hide the channel strip, tap the eye icon.

The channel strip contains some important settings for the audio track or main output, depending on the currently selected icon:

To view the track channel strip, tap the waveform icon.

To view the main output channel strip, tap the crown icon.

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 11

When viewing the track channel strip while using an audio track:

The first field defines the input source of the external audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–32 in Controller Mode).

The second field shows where the track is routed, which you can change: Out 1,2–7,8, Out 1–8 or Sub 1–8 in Standalone Mode; and Out 1,2–31,32 or Out 1–32 in Controller Mode.

Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output.

The Inserts field shows any enabled or disabled effects for that track. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects.

Tap Solo or Mute to solo or mute the track (respectively).

Tap the Monitor button to set how your audio track will be monitored. Tapping it will cycle through its three states:

When set to Auto, you will hear incoming audio while the track is record-enabled only.

When on, you will hear incoming audio whether or not the track is record-enabled.

When off, you will never hear any incoming audio.

HIDE Input 1,2 Out 1,2 INSERTS C +6 +3 0 -3 -9 -20 -30 OFF 0.00dB

Tap the track automation button or press Read/Write (MPC X, MPC Key 61) to toggle between two states:

When set to Read (R), the audio track will read automation data but will not record any additional automation over it. (Think of this as a protective feature to prevent accidental changes to your automation while recording.)

When set to Write (W), the audio track can record automation. (If you have any Q-Link knobs assigned to automatable parameters, make sure not to touch any accidentally while you are recording.)

Tip: You can quickly set all programs and audio tracks to the same automation by tapping the global automation button in the upper-right corner of the screen. See General Features > Automation to learn about this.

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 13

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 14

Press and hold Shift and tap the track automation button or press Read/Write (MPC X, MPC Key 61) to disable track automation. When off, the audio track will ignore automation data. Tap the track automation button or press Read/Write to enable track automation again.

Important: If you have already recorded automation and turn it off, the track will still use the effect and its parameter values at the point where you turned it off.

To change the panning or level of the track, adjust the pan knob or level slider.

To record-enable the track, tap the Record Arm button or press Rec Arm (on MPC X when the track name is shown in the display strip below the level meters). When you begin audio recording, the audio signal will be recorded to this track.

Tip: You can select multiple tracks in the Track View by pressing and holding Shift while tapping the Arm button to each track.

AKAI MPC Key 61 - To record in Audio Edit Mode (or Main Mode): - 15

When viewing the main output channel strip:

The first field shows the current main output as a stereo pair (which you can change).

The Inserts field shows any enabled or disabled effects for that pair of outputs. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects.

Tap Mute to mute the main output.

Adjust the pan knob or level slider to change the panning or level of the main output.

HIDE Outputs 1/2 INSERTS XYFX C MUTE 0.00dB

TRACK 1 Audio 001 2: 4: 83 1.3 1.9 1.4 2 2.2 2.8 2.4 Trap-Melodic SG3 Lead 63 Trap-Melodic SG3 Lead 63 Audio SG3 Lead 63 PRG Volume Trap-Melodic-SG3 Lead FADE IN FADE OUT LEVEL 0 0 0.00dB REVERSE MUTE WSP DON'T SNAP NUDGE EDIT START EDIT END SPLIT DUPLICATE

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 move the selected track region, tap Nudge at the bottom of the screen, and then use the data dial or -/+ buttons to shift the track region left or right. Alternatively, if the arrow tool or marquee tool are selected, tap and drag the upper third of the selected track region left or right. By default, you can move a track region only by quantization values defined by the Time Correct value (see General Features > Timing Correct (TC) to learn about this).

To move the selected track region without restricting ("snapping") it to the quantization grid, tap and hold Don't Snap in the lower-left corner of the screen, and then use the data dial or - / + buttons to shift the track region. In this case, each nudge is equivalent to four ticks.

To adjust the start point or end point of the selected track region (without changing its position), tap Edit Start at the bottom of the screen, and then use the data dial or - / + buttons.

To split the track at the current playhead position (creating a track region on either side), tap Split at the bottom of the screen.

To copy, cut, or paste the selected track region, press Copy or press and hold Shift, and then tap Copy or Cut. Turn the data dial to move the highlighted track region, and then press the data dial, or the center cursor or Enter (MPC X), to paste it at its current location. Alternatively, press and hold Shift, and then tap Paste (respectively).

To cut, copy, or paste the selected track region, press and hold Shift, and then tap Cut, Copy, or Paste (respectively) at the bottom of the screen.

Loop Key Measure Loop Key Measure Loop Key Measure Move the data dial and press

To duplicate the selected track region, tap Duplicate at the bottom of the screen. The duplicate track region will appear immediately after the original one.

To create a fade-in or fade out for the selected track region, use the Fade In or Fade Out fields, respectively. The fades will be shown as a sloped line at the start or end of the track region.

To set the level of the selected track region, use the Level field. The waveform amplitude will change accordingly.

To reverse the selected track region, tap Reverse.

1.2 1.5 1.4 2 2.2 2.3 2.4 mation/p0/FFM mation/p0/FFM

To mute the selected track region, tap Mute.

1.2 1.5 1.4 2 2.2 2.3 2.4 AudioSignal AudioSignal

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).

Tip: You can configure audio track recording to ensure the resulting track region is warped automatically. You can then adjust the sequence tempo while track region remains in time. See Menu > Preferences > General to learn about this.

Note: When you record an audio file, the current sequence tempo will be embedded with it. This information is stored within the sample file when you save the project. When you warp an audio track region, the warping algorithm uses this sequence tempo and the current value in the BPM field to generate the "stretch factor."

Note: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by doing any/all of the following:

Minimize the amount of pitch adjustment (e.g., the Semi and Fine fields).

Avoid warping very small track regions.

Warp as few tracks or track regions as possible (i.e., reduce the number of total number of voices [of the polyphonic limit] that use the warp algorithm at a given time), especially instances where the warped regions start at the same time.

If you have warped samples used in a drum program, consider using the Flatten Pad function to consolidate the affected pad's layers into one audio sample (see here to learn about this). After you flatten the pad, its sample/samples no longer need to be warped.

To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See General Features >Timing Correct (TC) to learn about this.

To switch to the previous or next track, press and hold Shift, and then tap Track – or Track + (respectively) at the bottom of the screen.

To mute or solo the track, press and hold Shift, and then tap Mute or Solo (respectively) at the bottom of the screen.

To edit automation for the track, open the automation lane. See Addenda > Updates in MPC 2.6 > New Features > Grid Automation Lanes for more information.

Track View

AKAI MPC Key 61 - Track View - 1

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 (MPC X, MPC Live, MPC Key 61, MPC Touch).
  • Press and hold Mode and press Pad 1 (MPC Studio).

SEQUENCE 1 Sequence 01 4: 1: 10 1 Drums All Ports C-2 G8 AUTO MUTE Drums 1 All Learn Learn 127 SOLO FILTER 2 Bass All Ports C-2 G8 AUTO MUTE Bass All Learn Learn 65 SOLO FILTER 3 Lead All Ports C-2 G8 AUTO MUTE Plugin 001 All Learn Learn 55 SOLD FILTER TubeSynth Super Fuzz AUDIO TRACKS INPUT OUTPUT RAM MONITOR LEVEL Audio 001 Input 1.2 Out 1.2 OFF 0.00dB MUTE SOLO TC CLICK TRACK MUTE SOLO

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.

To collapse or expand each group of tracks, tap the up arrow (▲) or down arrow (▼) icon above the first track's Mute button.

The top of the screen shows the sequence name and timing information.

Sequence 1 Sequence 01 2: 2: 79

Use the Sequence field to select which sequence contains the tracks you want to show below.

The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.

The Settings window lets you configure certain Track View settings.

To view the Settings, tap the gear icon.

SETTINGS SHOW UNUSED TRACKS ON OFF CLOSE

Use the Show Unused Tracks selector to turn this feature on or off. When on, tracks with a sequence, program, etc. will still appear in the Track View. When off, only tracks with a sequence, program, etc. will appear.

To open the Timing Correct settings, tap TC at the bottom of the screen. See General Features >Timing Correct (TC) to learn about this.

To open the metronome settings, tap Click at the bottom of the screen. See General Features > Metronome (Click/Metro) to learn about this.

To select the previous or next track of the same type (MIDI or audio), tap Track – or Track + (respectively) at the bottom of the screen. Alternatively, tap the track in the main part of the screen.

MIDI Tracks

All MIDI tracks in the project are grouped together in the upper half of the Track View.

To show or hide them, tap the ▲ or ▼ arrow icon.

1 Drums All Ports C-2 G8 AUTO 127 MUTE Drums 1 All Learn Learn SOLO FILTER

Use the Input fields to select MIDI input port and channel that the track will use.

Use the Output fields to select the MIDI output port and channel that the track will use. This is only available when using a MIDI Program on the track.

Use the Key Range fields to set the incoming range of notes that will be sent to the track. You can tap the low and high key fields and then use the data dial or +/- buttons, or tap the Learn button and use a connect MIDI device to set the key range. The set range will be shown in the keys diagram.

Use the Arm button to record-enable the track. When you begin recording, the MIDI input 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 MIDI track will be monitored. Tapping it will cycle through its four states:

When set to Off, the track's MIDI input is not monitored, and playback of recorded events will be heard.

When set to In, the track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from recorded events will not be heard.

When set to Auto, the track's MIDI input is monitored when the track is record armed, and playback of recorded events will be heard.

When set to Merge, the track's MIDI input is always monitored, and playback of recorded events will be heard.

Use the level slider to change the level of the track. The level meter above the slider shows the track's current level.

Use the Solo and Mute buttons to solo or mute the track (respectively).

Alternatively, tap Mute or Solo (respectively) at the bottom of the screen to mute the currently selected track.

Tap the Filter button to open the Track MIDI Perform Settings window, where you can set parameters for incoming MIDI data. See Appendix > Updates in MPC 2.11 > New Features > Track MIDI Perform Settings for more information.

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.

Audio 001 Input 1,2 Out 1,2 OFF 0.00dB MUTE SOLO

Use the Input field to set the track's input/inputs.

Use the Output field to set the track's output/outputs.

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. Tapping it will cycle through its three states:

When set to Auto, you will hear incoming audio while the track is record-enabled only.

When on, you will hear incoming audio whether or not the track is record-enabled.

When off, you will never hear any incoming audio.

Use the level slider to change the level of the track. The level meter above the slider shows the track's current level.

Use the pan knob to change the panning of the track.

Use the Solo and Mute buttons to solo or mute the track (respectively).

Alternatively, tap Mute or Solo (respectively) at the bottom of the screen to mute the currently selected track.

Use the Add new audio track button to create a new audio track.

Step Sequencer

AKAI MPC Key 61 - Step Sequencer - 1

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.

You can also create and edit automation using the Step Sequencer. See Addenda > Updates in MPC 2.6 > New Features > Step Automation for more information.

To enter the Step Sequencer, do either of the following:

  • Press Menu, and then tap Step Sequencer.
  • Press Step Seq (MPC X, MPC Live II, MPC One) or Shift+Grid/Step Seq (MPC Key 61).
  • Press and hold Mode and press Pad 15 (MPC Studio).

AKAI MPC Key 61 - Step Sequencer - 2

bar | Segment | Value | | :--- | :--- | | 1 | 0 | | 2 | 0 | | 3 | 0 | | 4 | 0 | | 5 | 16 | | 6 | 0 | | 7 | 0 | | 8 | 0 | | 9 | 0 | | 10 | 0 | | 11 | 0 | | 12 | 0 | | 13 | 16 | | 14 | 12 | | 15 | 8 | | 16 | 4 |

The top of the screen shows the track name and information as well as sequence and timing information.

TRACK 3 Track 03 Track Length Sequence 2 120.00 SEQ TIME 1: 1: 0

The Track field shows the name of the current track.

Use the Track Length field to set how long the track is. If you select the minimum value, Sequence or 0 (if you use the numeric keypad), the track will be the exact same length as its sequence.

Tip: This feature lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence repeatedly under a 4-bar bass line.

Use the Bars field to adjust the length of the sequence in bars.

Use the BPM field to adjust the tempo of the sequence.

To set whether the sequence follows its own tempo (Seq) or a global tempo (Gbl), tap the Seq/Gbl button next to the BPM field. Alternatively, press and hold Shift and then press Tap.

126.02 SEQ 128.00 GBL

The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.

Use the Time Division selector to set the value that determines how many steps each bar of the sequence will have. The T indicates a triplet-based value.

Alternatively, tap TC at the bottom of the screen to open the Timing Correct window. See General Features >Timing Correct (TC) to learn about this.

AKAI MPC Key 61 - Step Sequencer - 5

bar | Test | Value | | :--- | :--- | | 1 | 25 | | 2 | 30 | | 3 | 40 | | 4 | 60 | | 5 | 70 | | 6 | 20 | | 7 | 20 | | 8 | 35 | | 9 | 25 | | 10 | 25 | | 11 | 25 | | 12 | 40 | | 13 | 35 | | 14 | 30 | | 15 | 25 | The chart displays 'Sequence' with values: 2, 120.00, SEQ, 1:1:0. The bottom panel shows 'FUT STEPS' with a white bar indicating the current value. The bottom panel includes 'TC', '-', 'BAR', '+', 'PAD SEL', '-', 'PAD' labels at the bottom.

To enter or delete steps in a sequence:

  1. Use the Pad -/+ buttons at the bottom of the screen to select the pad whose steps you want to enter or delete. The current pad number is shown in the upper-left corner.
    Alternatively, use the Pad Select feature: Tap and hold Pad Sel, press the desired pad, and then release Pad Sel. You can also use Pad Select as a "latching" feature: tap Pad Sel so it is activated, press the desired pad, and then tap Pad Sel once more so it is deactivated.
  2. Use the Bar -/+ buttons at the bottom of the screen to select the bar of the sequence whose steps you want to enter or delete. The current bar number is shown in the upper-left corner.
  3. Press the pads of your MPC hardware, or tap a button at the bottom of the sequencer. Each pad corresponds to a step in the bar and will light with a color corresponding to its velocity.

Keep in mind that for time divisions larger than 16, the bar's steps will be represented by multiple pad banks. In this case, use Pad Bank Buttons A and B to view all the steps within a bar.

For time divisions larger than 16, the bar's steps will be represented by multiple pad banks. In this case, use the left and right arrows (< and >) by the step numbers (1–16, 17–32, etc.) to change which steps are shown in the sequencer.

AKAI MPC Key 61 - To enter or delete steps in a sequence: - 1

Alternatively, use Pad Bank Buttons A and B.

To adjust the velocities of the steps, do any of the following:

  • Tap anywhere on the velocity bar of a step. The top of the velocity bar will jump to that point.
  • Use the slider on the right edge of the screen to increase or decrease the velocities of all steps.
  • Turn the Q-Link knob that corresponds to that step (the Q-Link knobs must be in the Screen edit mode). Setting a value of 0 (Off) will delete the step.

Use the Nudge < and Nudge > arrows to shift each step left or right (respectively) one step. This is useful for experimenting with different rhythmic permutations.

Use the slider on the right edge of the screen to increase or decrease the velocities of all steps.

Use the Flip Steps button to switch which steps have notes entered and which do not have notes. Steps that previously had no notes will now have notes at full velocity (127). Steps that previously had notes will now be empty.

AKAI MPC Key 61 - To enter or delete steps in a sequence: - 2

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.
  • The velocities will ascend to four peaks—one after each quarter of the bar.
    • The velocities will descend from a single peak at the start of the bar.
  • The velocities will descend from two peaks—one after each half of the bar.
  • The velocities will descend from four peaks—one at the start each quarter of the bar.

PRESETS ↑ ↓ ▲ | ▼

The second button will set the velocities of the steps to be at the maximum value (127) or minimum values (1), depending on their position in the bar. Each time you tap it, it will cycle through these options:

- The velocities of the first half of the bar will be set to 1. The velocities of the second half will be set to 127.

- The velocities of the first and third quarters of the bar will be set to 1. The velocities of the second and fourth quarters will be set to 127.

- The velocities of the first, third, fifth, and seventh eighths of the bar will be set to 1. The velocities of the second, fourth, sixth, and eighth eighths will be set to 127.

- The velocities of the first half of the bar will be set to 127. The velocities of the second half will be set to 1.

- The velocities of the first and third quarters of the bar will be set to 127. The velocities of the second and fourth quarters will be set to 1.

- The velocities of the first, third, fifth, and seventh eighths of the bar will be set to 127. The velocities of the second, fourth, sixth, and eighth eighths will be set to 1.

The third button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options:

  • Across the entire bar, the velocities will ascend to a peak and then descend from it.
    • In each half of the bar, the velocities will ascend to a peak and then descend from it.
    • In each quarter of the bar, the velocities will ascend to a peak and then descend from it.
  • Across the entire bar, the velocities will descend from a peak into a valley and then ascend back up to the peak.
  • In each half of the bar, the velocities will descend from a peak into a valley and then ascend back up to the peak.
  • In each quarter of the bar, the velocities will descend from a peak into a valley and then ascend back up to the peak.

PRESETS ↑ ↓ ▲ | ↓

The fourth button will swap the first half and second half of the bar. In other words, the first half of the bar will become a mirrored image of the second half, and vice versa.

The fifth button will invert the velocities of all steps with entered notes. The sum of the old and new velocities will equal 127. The exception is a velocity of 127 or 1 as a step with a note cannot have a velocity of 0.

Examples:

Steps with velocities of 40 will now have velocities of 87, and vice versa.

Steps with velocities of 75 will now have velocities of 52, and vice versa.

Steps with velocities of 127 will now have velocities of 1, and vice versa.

XYFX Mode

AKAI MPC Key 61 - XYFX Mode - 1

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. Learn more about this in General Features > Effects.

To enter XYFX Mode, do any of the following:

  • Press Menu, and then tap XYFX.
  • Press XYFX (MPC X), Shift+Next Seq/XYFX (MPC Live II, MPC One), or Shift+Edit/XYFX (MPC Key 61).

Outputs 1/2 RESOUANCE 0.79 CUTOFF 0.88 REFLUANCE 0.79 LATCH 1: 1: 15 ON PRESS HPF Manual ATTACK RELEASE WET/DRY 10 ms 10 ms 100.00% X RANS Cutoff Y RATS Resonance SETUP

When you first enter this mode in a project, you may be prompted to load XYFX to the program. Tap Insert XYFX to do this.

Note: If you already have four insert effects loaded, you will need to clear one of the insert effect slots before doing this.

Use the XYFX Location field to select the signal to which the effects will be applied: the current program (Program) or a main output (a stereo pair of channels: Output 1/2, Output 3/4, etc.).

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/Locate to learn about this.

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

Touch or move your finger on the gridded part of the screen. A marker will follow your finger to indicate the current position. The X axis is the horizontal axis, increasing in value as you move right. The Y axis is the vertical axis, increasing in value as you move up. 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.

Effects are differently colored for easy visual distinction: beat-synchronized effects are blue, while manually controlled effects are green.

Outputs 1/2 OUTR 0.79 BEAT DIVISION 1/32 OUTR 0.79 PRESET Beat Repeat LPF ATTACK RELEASE WET/DRY 10 m/s 10 m/s 100.00% X AXIS Beat Division Y AXIS Cutoff LATCH SETUP

XY Mode with a beat-synchronized effect.

While touching the XY pad, tap Latch in the lower-left corner to keep the marker on the XY pad even after you release it. The marker will remain there until you touch another part of the XY pad or until you tap Latch again.

Use the Setup button to show or hide the Setup panel, which controls how the XY pad behaves.

Use the Preset field to select the effect you want to use in XYFX Mode.

Outputs 1/2 1: 1: 15 ON OUTPUT 0.79 CUTOFF OUTPER 0.88 OUTPER 0.88 LATCH OUTPUT OUTPUT OUTPUT HPF Manual ATTACK RELEASE WETORY 10 ms 10 ms 100.00% X ANS CUTOFF Y ANS Resonance LATCH SETUP

XY Mode with a manually controlled effect.

Use the Attack knob to set the length of the attack phase of the envelope, which is triggered when you touch the XY pad. In other words, this determines how long it takes the effect to fully respond to your touch.

Use the Release knob to set the length of the release phase of the envelope, which is triggered when you release the XY pad. In other words, this determines how long it takes the effect to fully deactivate after you stopping the XY pad.

Use the Wet/Dry knob to set the blend the original signal (dry) and the effect signal (wet).

The X Axis and Y Axis fields show which parameters are controlled by each axis. This varies depending on the effect you are using.

Sample Edit Mode

AKAI MPC Key 61 - Sample Edit Mode - 1

Sample Edit Mode lets you edit samples using various functions.

To enter Sample Edit Mode, do any of the following:

  • Press Menu, and then tap Sample Edit.
  • Press Sample Edit (MPC X, MPC One, MPC Key 61) or Shift+Mute/Sample Edit (MPC Live II).
  • Press and hold Mode and press Pad 5 (MPC Studio).

SAMPLE Trap-Melodic-SG3 Lead 02 Samples 2/6/00 51.200 14800 9075.00 1,00000 15,0000 17,5000 20,5000 23,5000 25,5000 28,5000 S START END LOOP SLCCE 0 155760 0 All LOOP LOCK LINK TUNE ROOT NOTE BPM 0.00 C3 135.76 TRIM ZOOM ASSIGN PROCESS

To select a sample to edit, do any of the following:

• Use the Sample field at the top of the screen.
- In Main Mode, tap the Project field at the top of the screen, and then double-tap a sample in the list on the right side.
- In the Browser, tap the Project button with the P/page icon at the bottom of the screen, and then double-tap a sample in the list on the right side.
- Press Sample Select and use the data dial or -/+ buttons to select a sample (MPC Studio).

To edit the name of the sample, tap the keyboard icon next to the name at the top of the screen, and use the virtual keyboard that appears.

To delete the sample, tap the trash-can icon next to the name at the top of the screen. In the screen that appears, you will see the programs that use this sample within your project. Tap Delete Sample to continue, or tap Cancel to return to the previous screen.

The upper half of the screen shows the waveform. The lower half shows the editing controls.

Trap-Melodic-SG3 Lead 02 START END LOOP SLICE 0 155760 0 All LOOP LOCK LINK TIME HENSIT NUTS BEMA 0.00 C3 135.76 TRIM ZOOM ASSIGN PROCESS

The waveform display shows the “active” section of the sample waveform. Swipe left or right on the waveform to move through it.

Above the waveform is the timeline, shown in Samples, Time (in seconds and milliseconds), or Beats. You can select the measurement units you want to show in the Settings.

To zoom in or out, do any of the following:

  • When the magnifying-glass icon (in the upper-right corner) is selected, spread or pinch your fingers (respectively) on the waveform.
  • Tap the Zoom + or Zoom – buttons (respectively) at the bottom of the screen.
  • Turn Q-Link Knob 4 (Zoom on MPC X) or the fourth Q-Link knob in the fourth column (MPC Live/Live II/One/Key 61/Touch).
  • Press Zoom and use the data dial or -/+ buttons (MPC Studio).

To scroll through the waveform, do either of the following:

  • When the magnifying-glass icon (in the upper-right corner) is selected, swipe the waveform left or right.
  • Turn Q-Link Knob 8 (Scroll on MPC X) or the third Q-Link knob in the fourth column (MPC Live/Live II/One/Key 61/Touch).

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 any of the following:

  • Tap and drag its marker left or right.
    • Use the Start or End fields shown below the waveform.
  • Use the first column of Q-Link knobs (Start X1_) to adjust the start point or the second column of Q-Link knobs (End X1_) to adjust the end point. The top-most Q-Link knobs (13 and 14) provide coarse adjustment. The bottom-most Q-Link knobs (1 and 2) provide fine adjustment.
  • Press Sample Start or Sample End and use the data dial or -/+ buttons (MPC Studio).

Tip: A recorded sample may have some silence at the beginning or end, which makes it difficult to time it correctly in a musical context. Fix this by adjusting the start point. You can also adjust end point to remove any extra silence or unwanted audio at the end. In addition to making your workflow easier, having a “tight,” well-edited sample can enhance your production or performance.

You can use Sample Edit Mode in three different ways: Trim Mode, Chop Mode, or Program Mode. The options for each mode are slightly different. Please refer to the following Trim Mode, Chop Mode, and Program Mode parts of this chapter to learn how each works. Before using these modes, though, you may want to configure your settings—see the following Settings chapter to do this.

Settings

The Settings window lets you configure certain Sample Edit Mode settings.

To view the Settings, tap the gear icon.

SETTINGS CUBE PLAY MODE TOGGLE ONE SHOT CUBE PREVIEW OFF BEFORE AFTER SLEE PREVIEW OFF BEFORE AFTER AUTO SCREEN OFF FOLLOW PAGE FIRLLING UNITS TIME SAMPLES BEATS CLOSE

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. As you move the cue playhead through the sample waveform, you can set it to play the small part of the sample before the cue playhead (Before), play the small part of the sample after the cue playhead (After), or not play at all (Off). You can also set this in your overall Preferences (see General Features > Menu > Preferences > General).

Use the Slice Preview selector to set if any audio plays as you move a slice marker. As you move the slice marker through the sample waveform, you can set it to play the small part of the sample before the slice marker (Before), play the small part of the sample after the slice marker (After), or not play at all (Off). You can also set this in your overall Preferences (see General Features >Menu >Preferences >General).

Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead.

Follow: Depending on the zoom setting, the waveform will scroll along in the background, 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.

These functions also apply to the sample waveform in the Grid View.

Use the Timeline Units selector to set the measurement units shown above the sample waveform. You can select one of the following options:

Time: hours:minutes:seconds:frames

Samples: number of samples

Beats: bars:beats:ticks

Trim Mode

We recommend using Trim Mode to crop the start and/or ends from a sample.

To enter Trim Mode, tap the Trim/Chop button in the lower-left corner so it says Trim. There are two pages of parameters in Trim Mode, which can be accessed by tapping the > or < arrows on the sides of the page.

Trap-Melodic-SG3 Lead 02 START: 28016 END: 155760 LOOP: 28016 SLICE: All LOOPLOCK LOOP SLICE TIME: 0.00 TIME: 0.00 C3 135.76 TRIM ZOOM ASSIGN PROCESS

Trap-Melodic-SG3 Lead 02 0.00 ROOT NOTE C3 RPM 135.76 KEY G Major TRIM ZOOM ASSIGN PROCESS

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 column of Q-Link knobs (Start X1_) to adjust the start point or the second column of Q-Link knobs (End X1_) to adjust the end point.

Trim Mode includes a loop function. When on, the region of the sample between the loop point and end point will repeat. This is useful when trying to find an ideal spot to begin the sample. The loop cannot be earlier than the start point.

To adjust the loop point, do any of the following:

• Use the Loop field.
- Tap and drag the start (S) marker (if Loop Lock is on) or the loop marker (if Loop Lock is off).
- Use the first column of Q-Link knobs (Start X1_; if Loop Lock is on) or the third column of Q-Link knobs (Loop X1_; if Loop Lock is off). The top-most Q-Link knobs (13 and 15) provide coarse adjustment. The bottom-most Q-Link knobs (1 and 3) provide fine adjustment.
- Press and hold Shift and press Sample Start, then use the data dial or -/+ buttons (MPC Studio).

To turn Loop Lock on or off, tap the Loop Lock button. When on, the loop point is the same as the start point. When off, the loop point is independent from the start point and indicated by a separate loop marker.

To turn the loop function on or off, tap the Loop button to cycle between the four modes:

Off: The sample will not loop.

Forward: When the loop reaches its end point, it will start playing again from the loop point.

Reverse: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it will return to the end point and continue playing in reverse.

Alternating: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it will start playing forward again from the loop point.

To switch between Forward and off, press and hold Shift, and then tap Loop at the bottom of the screen.

Use the X-Fade button to apply a crossfade to a looping sample. See Addenda > Updates in MPC 2.3 > New Features > Crossfade Looping for more information about this.

Use your MPC hardware pads to play certain parts of the selected sample:

AKAI MPC Key 61 - Trim Mode - 3

other | Row | Column | Value | |---|---|---| | 01 | Play Loop | 13 | | 01 | Play to Loop Start | 14 | | 02 | Play from Loop Start | 15 | | 02 | Play Loop Continuous | 16 | | 03 | Play from End (One Shot) | 09 | | 03 | Play to End (One Shot) | 10 | | 04 | Play from End (One Shot) | 07 | | 04 | Play to End (Note On) | 08 | | 05 | Play from Start (Note On) | 05 | | 05 | Play to Start (Note On) | 06 | | 06 | Play to End (Note On) | 07 | | 06 | Play to Start (Note On) | 08 | The data is presented in a grid format with rows and columns. The values are explicitly labeled on each cell.

Play Sample (One Shot) (Pad 10) plays the sample once from the start point to the end point. Press the pad once to play it.

Play Sample (Note On) (Pad 11) plays the sample once from the start point to the end point. Press and hold the pad to play it, and release the pad to stop playing it. Alternatively, select the headphones icon in the upper-right corner, and then tap and hold your finger on the waveform.

Play Loop Continuous (Pad 16) plays the sample repeatedly using the mode set by the Loop button (Forward, Reverse, or Alternating; if the Loop button is off, the sample will loop forward repeatedly).

Play Loop (Pad 13) plays the sample repeatedly using the mode set by the Loop button (Forward, Reverse, or Alternating; if the Loop button is off, the sample will loop forward repeatedly). Press and hold the pad to play it, and release the pad to stop playing it.

Play to Loop Start (Pad 14) plays the part of the sample just before the loop point. Press and hold the pad to play it, and release the pad to stop playing it.

Play from Loop Start (Pad 15) plays the sample from the loop point to the end of the sample regardless of the end point. Press and hold the pad to play it, and release the pad to stop playing it.

Play All (Pad 9) plays the entire sample.

Pads 1–4 have the same respective functions as Pads 5–8, but Pads 1–4 play the sample part as “One Shots” (pressing the pad once will play the entire part) while Pads 5–8 play the sample part as “Note Ons” (pressing the pad and holding it will play the part; releasing it will stop playback):

Play from Start (Pad 1, Pad 5) plays the sample from the start point to the end point.

Play to Start (Pad 2, Pad 6) plays the part of the sample just before the start point to the start point.

Play to End (Pad 3, Pad 7) plays the part of the sample just before the end point to the end point.

Play from End (Pad 4, Pad 8) plays the part of the sample from the end point to the end of the sample.

Use either of the Tune fields to transpose the sample up or down from its original pitch. Alternatively, press Tune and use the data dial or -/+ buttons (MPC Studio only) to change the coarse tuning. Press and hold Shift and then press Tune and use the data dial or -/+ buttons (MPC Studio only) to change the fine tuning.

Use either of the Root Note fields to set the root note of the sample. This defines which note will play the sample at its original pitch when in a keygroup program.

Use either of the BPM fields to manually set the BPM of the sample. On the second Trim Mode page, use the X2 and /2 buttons to double of halve the current tempo.

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. This is the same as tapping Match but it also changes the sequence's tempo to the BPM shown in the Tempo field on the right.

To close the window, tap Close.

EDIT TUNING DeepHouse-HiHat-DH Hats 14 1 -22.00 134.74 TO SEQUENCE MATCH CLOSE

To enter a tempo manually, use the BPM field.

To detect the tempo automatically, tap Detect BPM. In the Edit BPM window that appears, you can do any of the following:

• Use the BPM field to enter a tempo manually.
- Tap Detect to detect the tempo automatically.
- Tap Tap Tempo at the bottom of the screen at the desired rate to use it as the tempo. You can play a sequence in the background to help with your timing.
- Tap Close, the X, or anywhere outside the window to close it.

Audio 002 Rec1 EDIT BPM 300.00 12070 40367 12070 All 0.00 300.00 C3 DETECT TAP TEMPO CLOSE

Note: Before detecting tempo, it is recommended that you Normalize samples for best results.

To enter a sample key manually, use the Key fields. One field selects the key root note, and the other field selects whether the key is Major, Minor or off (--).

To detect the key automatically, tap Detect Key.

Trap-Melodic-5G3 Lead 02 Samples 25468 37209 76800 102248 128880 15868E 17628E 254800 27648E 294000 381800 START END LOOP SLICE 157623 255072 157623 3 LOOP LOCK LINK X-FADE TUNE ROOT NOTE BPM 0 0.00 C3 135.76 TRIM ZOOM ASSIGN PROCESS

To select a slice to edit, do either of the following (after you have created slices in Chop Mode):

• Use the Slice field.
- Turn Q-Link Knob 16 (Select Slice on MPC X) or the fourth Q-Link knob in the fourth column (MPC Live/Live II/One/Key 61/Touch).

When Link Slices is enabled (after you have created slices in Chop Mode), changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable Link Slices if you are trying to create slices that use non-contiguous parts of the sample.

To enable or disable this feature, tap the Link Slices button.

Important: Link Slices must be disabled to make slices nonsequential, noncontiguous, or overlapping.

0 Snap forces start points, end points, and loop points to occur only at the waveform's "zero-crossings." This can help to avoid clicks and glitches when playing a sample.

To enable or disable 0 Snap, press and hold Shift, and then tap 0 Snap at the bottom of the screen.

To enable or disable the loop function, press and hold Shift, and then tap Loop at the bottom of the screen. This switches the loop function between Forward and off. The loop function is described earlier.

Tip: You can use Trim Mode for a specific slice of the sample, previously created and selected in Chop Mode. This allows for a more detailed view of a single slice than in Chop Mode and gives you more options for auditioning the slice. You can easily switch between Trim Mode and Chop Mode while doing this.

To use both Trim Mode and Chop Mode to edit a sample slice:

  1. Tap Trim/Chop at the bottom of the screen so it says Chop.
  2. Set all fields as desired to create your sample slices.
  3. Select the desired slice.
  4. Tap Trim/Chop at the bottom of the screen so it says Trim. The region you are now editing is indicated by the normal start point and end point markers rather than slice markers.
  5. Tap Trim/Chop at any time to return to Chop Mode.

Assigning Samples

You can assign your new sample directly to a pad from Trim Mode.

To assign a sample, tap Assign at the bottom of the screen to open the Assign Sample window.

Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.

If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project.

Use the Pad field to select the desired pad. Alternatively, press the desired pad.

Use the Slice Type field to select how the pad's layer settings will be set when the slice is assigned to it (see Program Edit Mode to learn more about the parameters mentioned below):

Non-Destructive Slice: The pad's Slice setting will be set to the slice number.

Pad Parameters: The pad's Slice setting will be set to Pad. The Pad Start and Pad End will be set to the slice's start point and end point values, and the Loop Position will be set to the slice's start point but with Pad Loop deactivated.

Use the Program field to specify the program to which you want to add the slice.

To assign the sample, tap Do It.

To cancel the operation, tap Close, the X, or anywhere outside the window.

ASSIGN SAMPLE Assign slice to pad PAD A01 Non-destructive slice Program 1 CLOSE DO IT

If you set the Assign To field to Make new sample, this will create a new sample in your project. (The original sample will remain as it is.)

Use the Pad field to select the desired pad. Alternatively, press the desired pad.

Check the Crop Sample box to delete the unused parts from the sample when it's created and assigned. This feature is destructive, though the project will still contain your original sample.

Leave this box unchecked to keep the unused parts of the sample when it is created and assigned. This way, you will still be able to edit the entire sample further even though you are using only part of it at the moment.

Use the Program field to specify the program to which you want to add the slice.

To assign the sample, tap Do It.

To cancel the operation, tap Close, the X, or anywhere outside the window.

ASSIGN SAMPLE Make new sample A01 Crop Sample Program 1 CLOSE DO IT

Processing Slices & Samples

Tap the Process button to open the Process window, where you can select an editing option for the sample.

Use the Function field to select an editing process. Double-tap it or tap Function at the bottom of the screen to open the Function window, which displays an overview of all available editing processes.

SELECT FUNCTION SLICE DISCARD DELETE SILENCE EXTRACT NORMALIZE REVERSE FADE IN FADE OUT PITCH SHIFT TIME STRETCH GAIN CHANGE COPY SAMPLE BIT REDUCE STEREO -> MONO CANCEL

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 screen.

Note: All Slice processes will affect only the part of the sample between the start point and the end point. The Sample processes (Bit Reduce and Stereo -> Mono) will affect the entire sample regardless of its start point or end point.

The Discard process deletes the regions before the start point and after the end point.

PROCESS SLICE Discard Pressing 'Do It' will discard the data beyond the START and END points FUNCTION CANCEL DO IT

The Delete process deletes the region between the start point and end point and closes the gap between them.

Find PROCESS SLICE Delete 1 2 → 1 2 Pressing 'Do It' will delete the section between the START/END points. FUNCTION CANCEL DO IT

The Silence process replaces the region between the start point and end point with silence.

Firing PROCESS SLICE Silence Pressing 'Do It' will silence the section between the START/END points. FUNCTION CANCEL DO IT

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.

PROCESS SLICE Extract NEW SAMPLE Test sample name EDM-Loop-Bass-26 BL128 A1 FUNCTION CANCEL DO IT

The Normalize process increases a sample's level to the highest level possible without distortion. This is essentially a kind of digital gain optimization, so you do not have to worry about excessive level settings when working with samples with a wide range of amplitudes.

Find PROCESS SLICE Normalize FUNCTION CANCEL.DO IT

The Reverse process reverses the region between the start point and end point.

PROCESS SLICE Reverse FUNCTION CANCEL.DO IT

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.

PROCESS SLICE Fade in LINEAR Pressing 'Do it' will put a fade in between the START/END points. FUNCTION CANCEL DO IT

The Fade Out process sets a fade-out between the start point and end point. The following types are available:

Linear fades the audio out with a linear curve—a straight line between the start and end.

Log fades the audio out with a logarithmic curve—quickly rising at the start and flattening out towards the end.

Exp fades the audio out with an exponential curve—slowly rising in the beginning and growing steeper towards the end.

PROCESS SLICE Fade Out LINEAR Pressing 'Do it' will put a fade out between the START/END points FUNCTION CANCEL DO IT

The Pitch Shift process changes the pitch of the sample without changing its length. This lets you set the sample's pitch to your sequence without affecting the sample's tempo or duration. You can adjust it up to 12 semitones, up or down. Keep in mind that the audio quality may decrease at more extreme settings.

Pitch PROCESS SLICE Pitch Shift 140 FUNCTION CANCEL DO IT

The Time Stretch process lengthens or shortens the sample without changing its pitch. This is useful for matching the durations of two samples with different pitches. You can enter the original tempo of the sample and the desired tempo after processing.

Use the Beat field to set the desired value number of beats.

Use the New Tempo field to set the new tempo. The Ratio field will then automatically show the time stretch factor.

Alternatively, to adjust the ratio instead, use the Ratio field to set the desired ratio. The New Tempo field will then change automatically based on the new time stretch factor.

Process SLICE Time Stretch 1 0.000 159 48 100.0 0.000 159 48 Pressing 'Do It' will change the length of the sample FUNCTION CANCEL DO IT

The Gain Change process raises or lowers the volume 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!

PROCESS SLICE Gain Change 2 FUNCTION CANCEL DO IT Bank A

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.

Fred PROCESS SLICE Copy NEW SAMPLE Audio 002 Rec 2 FUNCTION CANCEL.DO IT

The Bit Reduce process lowers the bit resolution of a sample, effectively reducing its degree of faithful reproduction. You can reduce it down to 1 bit. (The sound is similar to the Resampler effect, but Bit Reduce will permanently alter the sample.)

Tip: Use this on drum loops to get a dirty, "old-school" sizzle but with a digital "edge."

Note: This process affects the entire sample regardless of its start point or end point.

PROCESS SAMPLE Bit Reduce FUNCTION CANCEL.DO IT

The Stereo -> Mono process converts a stereo sample to a new mono sample and saves it as a new 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.

The following options are available:

• Left will convert the left channel only.
• Right will convert the right channel only.
- Sum will combine the left and right audio channels to a single mono channel.

Note: This process affects the entire sample regardless of its start point or end point.

PROCESS SAMPLE Stereo > Mono LEFT SUMRIGHT Audio 002 Rec 2 FUNCTION CANCEL DO IT

Chop Mode

Whereas Trim Mode crops only the start and/or end 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.

Breaks-GROOVE FA Sample 12800 18200 25600 32000 38400 44800 51200 57600 64200 70400 76800 82300 89600 96300 102400 START END CUE SUICE LINK SUICES 35059 50439 0 3 CHOP TO THRESHOLD MIN TARE 50 100 MANUAL THRESHOLD REGIONS BPM CHOP PROGRAM ZOOM PLAY CUE SLICE +

Use the Start and End fields to set the position of the start point and end point (respectively) of the currently selected slice. Alternatively, tap and drag the start (S) or end (E) marker left or right, or use the first column of Q-Link knobs (Start X1_) to adjust the start point or the second column of Q-Link knobs (End X1_) to adjust the end point.

Use the selector in the lower-left corner of the screen to choose how you want to use Chop Mode:

Manual

This method lets you insert slices at locations you select.

Threshold

This method uses an adjustable detection algorithm that derives the number of slices created from the volume levels present in the sample.

Use the Threshold field to set the threshold level. Alternatively, turn Q-Link Knob 11 (Threshold on MPC X) or the second Q-Link knob in the third column (MPC Live/Live II/One/Key 61/Touch). The higher the selected value, the more slices will be created.

Use the Min Time field to set the minimum length of a slice in milliseconds.

Regions

This method divides a sample into several slices of equal length.

Use the Regions field to set how many regions the sample will be divided into. Alternatively, turn Q-Link Knob 11 (Num Regions on MPC X) or the second Q-Link knob in the third column (MPC Live/Live II/One/Key 61/Touch). The higher the selected value, the more slices will be created.

BPM

This method divides a sample into several slices based on the tempo (beats per minute).

Use the Bars field to set how many bars are in the sample. Alternatively, turn Q-Link Knob 11 (Bars on MPC X) or the second Q-Link knob in the third column (MPC Live/Live II/One/Key 61/Touch).

Use the Beats field to set how many beats are in each bar. Alternatively, turn Q-Link Knob 7 (Beats on MPC X) or the third Q-Link knob in the third column (MPC Live/Live II/One/Key 61/Touch).

Use the Time Div field to set a note division. Alternatively, turn Q-Link Knob 3 (Time Div on MPC X) or the fourth Q-Link knob in the third column (MPC Live/Live II/One/Key 61/Touch). The slice markers will be placed according to this setting. You can select 1/4, 1/8, 1/16, or 1/32. (In most cases, you should set this parameter to 1/16.)

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.

To enable or disable One Shot, press and hold Shift, and then tap One Shot.

To select a slice to edit, do any of the following:

• Use the Slice field.
- Turn Q-Link Knob 16 (Select Slice on MPC X) or the first Q-Link knob in the fourth column (MPC Live/Live II/One/Key 61/Touch).
- When the headphones icon (in the upper-right corner) is selected, tap a slice in the waveform.

To add a slice at the current playhead position, tap Slice+ at the bottom of the screen. You can do this at any point during sample playback.

To insert a slice marker during sample playback, press an unlit pad (usually Pad 1) to start playback of the sample, and then press an unlit pad during playback to place a slice marker at each location of the playhead. (If you press a lit pad, playback will restart from that pad's corresponding slice marker.) The number of the pad that is lit green is the number of the most-recently inserted slice marker. The numbers of the pads that are lit yellow are the numbers of the slice markers that are already inserted.

SPLIT/COMBINE REGION Do you want to SPLIT THE REGION COMBINE WITH PREVIOUS BACK SPLIT COMBINE

To split or combine slices, tap the glue-and-scissors icon. In the Split/Combine Region screen that appears, tap one of the following buttons:

Split: This splits the currently selected region into two equal slices.

Combine: This combines the currently selected region with the one before it.

Back: This closes the window.

Breaks-GROOVE FA Sample 13000 14000 85000 82000 38400 14800 51360 57460 44400 70400 79800 83350 89600 16600 107400 START END CUE LUTS 35059 50439 0 3 CHOP TO THRESHOLD MIN TIME MANUAL THRESHOLD REGIONS BPM 50 100 CHOP PROGRAM ZOOM PLAY CUE SLICE

When Link Slices is enabled, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable Link Slices if you are trying to create slices that use non-contiguous parts of the sample.

To enable or disable this feature, tap the Link Slices button.

Important: Link Slices must be disabled to make slices nonsequential, noncontiguous, or overlapping.

To remove all slices from a sample, press and hold Shift and tap Clear All.

The cue playhead is useful when manually inserting slice markers. You can set its position and behavior to suit your workflow.

Use the Cue field to adjust the position of the cue playhead. Alternatively, tap and drag the translucent marker with the triangle (▶).

To play the sample from the cue playhead, tap Play Cue at the bottom of the screen.

To create a slice marker at the cue playhead position, tap Slice+ at the bottom of the screen.

To set how the cue playhead behaves, use the Settings window (described earlier).

0 Snap forces start points and end points to occur only at the waveform's "zero-crossings." This can help to avoid clicks and glitches when playing a sample.

To enable or disable 0 Snap, press and hold Shift, and then tap 0 Snap at the bottom of the screen.

Converting or Assigning Slices

You can assign your new sample directly to a pad from Chop Mode. You can also convert it into a new program or patched phrase.

To convert or assign a sample, press and hold Shift, and then tap Convert at the bottom of the screen to open the Convert or Assign Slices window.

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. The pads will simply refer to the slices in this sample instead of creating new samples. This is useful for reducing clutter in your project. The new program will be named after the sample and appended with ch.

Use the Slice Type field to select how each pad's layer settings will be set when the slices are assigned to them (see Program Edit Mode to learn more about the parameters mentioned below):

  • Non-Destructive Slice: Each pad's Slice setting will be set to the slice number.
  • Pad Parameters: Each pad's Slice setting will be set to Pad. The Pad Start and Pad End parameters will be set to the slice's start point and end point values, and the Loop Pos parameter will be set to the slice's start point but with Pad Loop deactivated.

CONVERT OR ASSIGN SLICES New drum program using slices Negative Non-destructive slice ✓ Create events NOT 2 CANCEL DO IT

Check the Create Events box to automatically create a new track for the new program in which each pad plays its corresponding slice in ascending sequence by pad number.

If Create Events is checked, use the Bars field to set how many bars the slices' events will occupy.

To convert the sample, tap Do It.

To cancel the operation, tap Close.

Track 04 2 1: 1: 0 8 60 Velocity DON'T SNAP NUDGE EDIT START EDIT END TRANSPOSE VELOCITY

If you set the Convert To field to New clip program, this will create a new clip program and assign the sample's slices to its pads as clips. The pads will simply refer to the slices in this sample instead of creating new samples. This is useful for reducing clutter in your project. The new program will be named after the sample and appended with ch.

Use the Tempo field to enter the tempo of the clips in the new program.

Check the Create Events box to automatically create a new track for the new program in which each pad plays its corresponding slice in ascending sequence by pad number.

If Create Events is checked, use the Bars field to set how many bars the slices' events will occupy.

To convert the sample, tap Do It.

To cancel the operation, tap Close.

CONVERT OR ASSIGN SLICES New clip program 120.0 ✓ Create events OK 2 Cancel DO IT

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.

Leave this box unchecked to keep the unused parts of the samples when they're created and assigned. This way, you will still be able to edit the entire samples further even though you are using only part of them at the moment.

CONVERT OR ASSIGN SLICES New program with new samples ✓ Crop samples ✓ Create new program ✓ Create events OK 2 CANCEL DO IT

By default, this option already will create a new program. You can uncheck the Create New Program box to convert each slice into a sample that is placed in the project's sample pool but not assigned to a program or pad.

If Create New Program is checked, check the Create Events box to automatically create a new track in which each pad plays its corresponding slice in ascending sequence by pad number.

If Create Events is checked, use the Bars field to set how many bars the slices' events will occupy.

5 Track 05 16 #N #A Velocity DON'T SNAP NUDGE EDIT START EDIT END TRANSPPOSE AUTOMATION

To convert the sample, tap Do It.

To cancel the operation, tap Close.

If you set the Convert To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project.

Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.

Use the Pad field to select the desired pad. Alternatively, press the desired pad.

Use the Slice Type field to select how the pad's layer settings will be set when the slice is assigned to it (see Program Edit Mode to learn more about the parameters mentioned below):

  • Non-Destructive Slice: The pad's Slice setting will be set to the slice number.
  • Pad Parameters: The pad's Slice setting will be set to Pad. The Pad Start and Pad End will be set to the slice's start point and end point values, and the Loop Position will be set to the slice's start point but with Pad Loop deactivated.

Use the Program field to specify the program to which you want to add the slice.

To convert the sample, tap Do It.

To cancel the operation, tap Close.

ASSIGN SAMPLE Assign slice to pad A01 Non-destructive slice Drums

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. This feature is destructive, though the project will still contain your original sample.

Leave this box unchecked to keep the unused parts of the sample when it is created and assigned. This way, you will still be able to edit the entire sample further even though you are using only part of it at the moment.

Use the Program field to specify the program to which you want to add the slice.

ASSIGN SAMPLE Make new sample A01 Crop Sample Drums

To convert the sample, tap Do It.

To cancel the operation, tap Close.

If you set the Convert To field to Patched phrase, this will create a new sample that will play based on the tempo of your Sequence, and places it in the current project. The patched phrase will have the same name as the original sample but appended with pp and will use a different icon when viewing your project information.

Use the Bars field to set how many bars long the patched phrase is meant to be.

CONVERT OR ASSIGN SLICES Patched phrase 2

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 screen to open the Function window, which displays an overview of all available editing processes.

Important: Chop Mode is non-destructive: You can choose the slice/edit behavior without destroying your original sample, giving you more control over sample playback; you can save your sliced sample and but also reuse all of the slice data in another project. See the Program Edit Mode chapter to learn more about setting a pad to play the entire sample, a specific slice of a sample, or a specific region of the sample (independent of its slice markers).

SELECT FUNCTION SLICE DISCARD DELETE SILENCE EXTRACT NORMALIZE REVERSE FADE IN FADE OUT PITCH SHIFT TIME STRETCH GAIN CHANGE COPY SAMPLE BIT REDUCE STEREO -> MONO CANCEL

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 screen.

Note: All processes here will affect only the currently selected slice.

The Silence process replaces the region between the start point and end point with silence.

PROCESS SLICE Silence Pressing 'Do It' will silence the section between the START/END points. FUNCTION CANCEL DO IT

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.

File/PROCESS SLICE Extract NEW SAMPLE DeepHouse-Loop-Rex-Drum-0 FUNCTION CANCEL.DO IT

The Normalize process increases a sample's level to the highest level possible without distortion. This is essentially a kind of digital gain optimization, so you do not have to worry about excessive level settings when working with samples with a wide range of amplitudes.

Find PROCESS SLICE Normalize FUNCTION CANCEL DO IT

The Reverse process reverses the region between the start point and end point.

Find PROCESS SLICE Reverse FUNCTION CANCEL.DO IT

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.

Find PROCESS SLICE Fade In Linear Pressing "Do It" will put a fade in between the START/END points. FUNCTION CANCEL DO IT

The Fade Out process sets a fade-out between the start point and end point. The following types are available:

Linear fades the audio out with a linear curve—a straight line between the start and end.

Log fades the audio out with a logarithmic curve—quickly rising at the start and flattening out towards the end.

Exp fades the audio out with an exponential curve—slowly rising in the beginning and growing steeper towards the end.

PROCESS SLICE Fade Out LINEAR Pressing 'Do it' will put a fade out between the START/END points. FUNCTION CANCEL DO IT

The Pitch Shift process changes the pitch of the sample without changing its length. This lets you set the sample's pitch to your sequence without affecting the sample's tempo or duration. You can adjust it up to 12 semitones, up or down. Keep in mind that the audio quality may decrease at more extreme settings.

PROCESS SLICE Pitch Shift 200 FUNCTION CANCEL DO IT

The Gain Change process raises or lowers the volume 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!

FIN PROCESS SLICE Gain Change FUNCTION CANCEL DO IT

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 screen. The pads will show their assigned samples in the current Program.

Acoustic-Kick-TL Jr Kik 1 Start END LOOP SLICE 0 23990 0 TUNE 0.00 FROM ROOT NOTE C3 START END LOOP SLICE All LOOP LOCK LINK SLICES TRIM PROGRAM ZOOM ASSIGN PROCESS

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 column of Q-Link knobs (Start X1_) to adjust the start point or the second column of Q-Link knobs (End X1_) to adjust the end point.

Program Mode includes a loop function. When on, the region of the sample between the loop point and end point will repeat. This is useful when trying to find an ideal spot to begin the sample. The loop cannot be earlier than the start point.

To adjust the loop point, do any of the following:

• Use the Loop field.
- Tap and drag the start (S) marker (if Loop Lock is on) or the loop marker (if Loop Lock is off).

- Use the first column of Q-Link knobs (Start X1_; if Loop Lock is on) or the third column of Q-Link knobs (Loop X1_; if Loop Lock is off). The top-most Q-Link knobs (13 and 15) provide coarse adjustment. The bottom-most Q-Link knobs (1 and 3) provide fine adjustment.

To turn Loop Lock on or off, tap the Loop Lock button. When on, the loop point is the same as the start point. When off, the loop point is independent from the start point.

To turn the loop function on or off, tap the Loop button to cycle between the four modes:

Off: The sample will not loop.

Forward: When the loop reaches its end point, it will start playing again from the loop point.

Reverse: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it will return to the end point and continue playing in reverse.

Alternating: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it will start playing forward again from the loop point.

To switch between Forward and off, press and hold Shift, and then tap Loop at the bottom of the screen.

Tap each pad to hear its sample/samples. The sample on its first layer will automatically appear in the waveform display for editing.

Use the Tune field to transpose the sample up or down from its original pitch.

Tap From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence.

EDIT TUNING DeepHouse-SFX-FX-DH FX 09 16 TUBE -1.00 BPM 85.12 TO SEQUENCE MATCH CLOSE

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. This is the same as tapping Match but it also changes the sequence's tempo to the BPM shown in the Tempo field on the right.

To close the window, tap Close.

Use the Root Note field to set the root note of the sample. This defines which note will play the sample at its original pitch when in a keygroup program.

Use the Slice field to display either the sample as it has been edited (Pad) or the entire sample (All).

If the Slice field is set to All, you can display the sample as it has been edited but keep the start point and end point. To do this, press and hold Shift, and then tap To Pad at the bottom of the screen. The Slice field will change to Pad, but the start point and end point will remain in their current locations.

Breaks-BOOGIE A Samples 12800 16800 25600 32000 64400 64800 51200 57600 64000 70400 78800 START 40252 END 53542 LOOP 40252 TUBE 0.00 FROM BPM ROOT NOTE C3 SLEE: 5 LOOP LOCK LINK SLICES TRIM PROGRAM ZOOM ASSIGN PROCESS

The Link Slices button does not have a function in Program Mode.

0 Snap forces start points, end points, and loop points to occur only at the waveform's "zero-crossings." This can help to avoid clicks and glitches when playing a sample.

To enable or disable 0 Snap, press and hold Shift, and then tap 0 Snap at the bottom of the screen.

To enable or disable the loop function, press and hold Shift, and then tap Loop at the bottom of the screen. This switches the loop function between Forward and off. The loop function is described earlier.

Assigning Samples

You can assign your new sample directly to a pad from Program Mode.

To assign a sample, tap Assign at the bottom of the screen to open the Assign Sample window.

Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.

If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project.

Use the Pad field to select the desired pad. Alternatively, press the desired pad.

Use the Slice Type field to select how the pad's layer settings will be set when the slice is assigned to it (see Program Edit Mode to learn more about the parameters mentioned below):

  • Non-Destructive Slice: The pad's Slice setting will be set to the slice number.
  • Pad Parameters: The pad's Slice setting will be set to Pad. The Pad Start and Pad End will be set to the slice's start point and end point values, and the Loop Position will be set to the slice's start point but with Pad Loop deactivated.

Use the Program field to specify the program to which you want to add the slice.

To assign the sample, tap Do It.

To cancel the operation, tap Close.

ASSIGN SAMPLE Assign slice to pad A01 SUB-TYPE Non-destructive slice Program 1 CLOSE DO IT

If you set the Assign To field to Make new sample, this will create a new sample in your project. (The original sample will remain as it is.)

Use the Pad field to select the desired pad. Alternatively, press the desired pad.

Check the Crop Sample box to delete the unused parts from the sample when it's created and assigned. This feature is destructive, though the project will still contain your original sample.

Leave this box unchecked to keep the unused parts of the sample when it is created and assigned. This way, you will still be able to edit the entire sample further even though you are using only part of it at the moment.

Use the Program field to specify the program to which you want to add the slice.

ASSIGN SAMPLE Make new sample A01 Crop Sample Program 1 CLOSE DO IT

To assign the sample, tap Do It.

To cancel the operation, tap Close.

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 screen to open the Function window, which displays an overview of all available editing processes.

Important: Program Mode is non-destructive: You can choose the slice/edit behavior without destroying your original sample, giving you more control over sample playback; you can save your sliced sample and but also reuse all of the slice data in another project. See the Program Edit Mode chapter to learn more about setting a pad to play the entire sample, a specific slice of a sample, or a specific region of the sample (independent of its slice markers).

SELECT FUNCTION SLICE DISCARD DELETE SILENE EXTRACT NORMALIZE REVERSE FADE IN FADE OUT PITCH SHIFT TIME STRETCH GAIN CHANGE COPY SAMPLE BIT REDUCE STEREO -> MONO CANCEL

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 screen.

Note: All processes here will affect only the currently selected slice.

The Silence process replaces the region between the start point and end point with silence.

Find PROCESS SLICE Silence Pressing 'Do It' will silence the section between the START/END points. FUNCTION CANCEL DO IT

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.

Firing PROCESS SLICE Extract NEW SAMPLE DeepHouse-SFX-FX-DH FX 01 FUNCTION CANCEL DO IT

The Normalize process increases a sample's level to the highest level possible without distortion. This is essentially a kind of digital gain optimization, so you do not have to worry about excessive level settings when working with samples with a wide range of amplitudes.

Find PROCESS SLICE Normalize FUNCTION CANCEL DO IT

The Reverse process reverses the region between the start point and end point.

Find PROCESS SLICE Reverse FUNCTION CANCEL DO IT

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.

Find PROCESS SLICE Fade In Linear Pressing 'Do It' will put a fade in between the START/END points. FUNCTION CANCEL DO IT

The Fade Out process sets a fade-out between the start point and end point. The following types are available:

Linear fades the audio out with a linear curve—a straight line between the start and end.

Log fades the audio out with a logarithmic curve—quickly rising at the start and flattening out towards the end.

Exp fades the audio out with an exponential curve—slowly rising in the beginning and growing steeper towards the end.

Finish PROCESS SLICE Fade Out LINEAR Pressing 'Do it' will put a fade out between the START/END points. FUNCTION CANCEL DO IT

The Pitch Shift process changes the pitch of the sample without changing its length. This lets you set the sample's pitch to your sequence without affecting the sample's tempo or duration. You can adjust it up to 12 semitones, up or down. Keep in mind that the audio quality may decrease at more extreme settings.

Find PROCESS SLICE Pitch Shift 1.00 FUNCTION CANCEL.DO IT

The Gain Change process raises or lowers the volume 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!

Find PROCESS SLICE Gain Change FUNCTION CANCEL DO IT

Program Edit Mode

AKAI MPC Key 61 - Program Edit Mode - 1

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. See the Clip Programs section to learn more.

For plugin programs, skip to Plugin Programs to learn more.

For MIDI programs and CV programs, skip to MIDI Programs and CV Programs to learn more.

For more general information on the differences between the types of programs, please see General Features > Programs.

To enter Program Edit Mode, do either of the following:

  • Press Menu, and then tap Program Edit.
  • Press Prog Edit (MPC X, MPC One) or Edit (MPC Key 61).
  • Press and hold Mode and press Pad 6 (MPC Studio).

Drum Programs

Drums 1 AOS GLOBAL SEM 0 PAD AOS LEVEL 0.00dB LAYER PLAY CYCLE VELOCITY RANDOM SAMPLE PLAY ONE SHOT NOTE OFF NOTE ON MUTE GROUP Off SIMULTANEOUS PLAY PAD Off PAD Off PAD Off PAD Off PAD Off MUTE TARGET PAD Off PAD Off PAD Off POLY 16 MUTE GROUP Off POLY Mono PAD Off GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

When using drum programs, Program Edit Mode lets you edit the parameters for each pad.

To select a pad, press it. Its parameters will appear on the screen immediately.

To view a specific tab of parameters, tap the Global, Samples, Envelopes, LFO, Modulations, or Effects button at the bottom of the screen. You can tap the Samples, Envelopes or Effects buttons multiple times to cycle through the available tabs

FLATTEN PADS A06 AUDIO TAIL 1 seconds NEW SAMPLE NAME DeepHouse-Clap-DH Clips 1 CLOSE DO IT

Tap the down-arrow icon at the top of the screen (next to the Program field) to open the Flatten Pad window, which renders all samples on a pad as an audio sample and places it on the first layer of that pad. The resulting sample is the audio signal produced by that pad at full velocity (127) after the pad channel strip, which means that it includes any assigned pad insert effects and the results of warping the sample.

This function is useful if you need to reduce how CPU-intensive a pad or program is by essentially “embedding” the warping and effects in the sample itself. By default, it will use the name of the first sample. This function works for drum programs only. (This is the same as the Flatten Pad process shown in the program editing functions in Main Mode.)

To select the pad, press it or use the Pad menu.

To set the length of the audio tail, use the Audio Tail field. This will add extra seconds to the end of the resulting audio file. This is useful if you are using effects or samples whose sounds exceed the defined audio length (e.g., long reverb or delay, one-shot samples with long decays, etc.). We recommend using an audio tail of at least a couple of seconds.

To name the new sample, tap the Edit Name field, and use the virtual keyboard that appears.

To confirm your choice, tap Do It.

To cancel, tap Cancel.

EDIT ZONES MODE CURRENT MULTIPLE ALL A B C D E F G H CLOSE

Tap the location icon at the top of the screen to open the Edit Zones window, which is a feature for drum programs and clip programs. This window displays an overview of any selected pads. Use the Mode selector to set how the selected pads will be edited:

Current: Only the currently selected pad can be edited.

Multiple: All selected pads can be edited simultaneously.

All: All pads can be edited simultaneously.

To close the window, tap Close, the X, or anywhere outside the window.

Tip: You can immediately select multiple pads while on any tab in Program Edit Mode (regardless of the current Edit Zones setting) by pressing and holding the Shift button and pressing each desired pad. The Edit Zones setting will automatically change to Multiple.

Tap the keyboard-plus icon at the top of the screen to quickly convert a drum sample to a new keygroup program.

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

Global

In the Global tab, you can set the playback mode and tuning for the overall Program.

Drums 1 A05 GLOBAL SEMI 0 FINE 0 POLY 16 PAD AOS LEVEL 0.00dB PAN 0 MUTE GROUP Off LAYER PLAY CYCLE VELOCITY RANDOM SAMPLE PLAY ONE SHOT NOTE OFF NOTE ON POLY Mono SIMULTANEOUS PLAY PAD Off PAD Off PAD Off PAD Off PAD Off MUTE TARGET PAD Off PAD Off PAD Off GLOBAL SAMPLES ENVELOPES LFD MODULATION EFFECTS

Semi lets you transpose the program up to 36 semitones up or down.

Fine provides fine-tuning of the program up to 99 cents up or down.

Poly (polyphony) sets the playback mode for the program's pads. 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).

Level controls the overall volume level of the loaded sample/samples.

Pan controls the overall panning of the loaded sample/samples in the stereo field.

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.

Tip: This feature is useful for programming realistic hi-hats, especially if only the open or closed hat should be heard.

Use the Layer Play selector to determine how multiple samples assigned to the same pad are played:

Cycle: Each time the pad is played, it will play the next layer's sample. In other words, the samples will cycle through the layers as follows: 1, 2, 3, 4, 1, 2, 3, 4... etc.

Velocity: The pad will switch between layers depending on how hard you press a pad.

Random: Each time the pad is played, it will play one of its layer's samples at random.

Use the Sample Play selector to determine how much of the sample is played.

One Shot: The entire sample will play from start to end. Use this when you want to play short sounds.

Note Off: The entire sample will play from start to end after the pad has been pressed and released.

Note On: The sample will play only as long as the pad is held. This is better for longer samples so you can control a sound's duration by pressing and holding its corresponding pad.

Use the Pad Polyphony field to determine how the pad's sound behaves when multiple hits are registered. 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). You can also select a specific number of pads (2–32) so that you can trigger up to this many pads at the same time (unless they exceed the total number of voices available).

The Simultaneous Play section lets you set up to four pads that can be triggered by pressing one pad only. This function is useful for triggering a stack of sounds (e.g., layered kick drums). Use each Pad field to select the desired pad.

The Mute Target section lets you select up to four pads (in the same program) for the currently selected pad. When the currently selected pad is played, it will immediately silence its mute targets. Use each Pad field 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.

Samples

Each pad can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters.

Tap Samples to cycle through its four available tabs.

Drums 1 A05 LAYER 1 EDM-Hihat: AjarkH... LAYER 2 SAMPET EDM-Hihat: AjarkH... START END LOOP TREM LENGTH TAIL START 3573 0 OFF 253 ms SUCF All SEM KEY FINE STRETCH 100% BOW SYNC GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

On all four sections, you can access the Settings window, which lets you configure certain settings in the Samples tab.

To view the Settings, tap the gear icon.

To close the Settings, tap Close, the X in the upper-right corner, or anywhere outside the window.

DRUMS OPTIONS UNI SIZES ON OFF LOOP LOCK ON OFF ZERO LOOP ON OFF LAYER 1 1980/ade4 All 100% 234.94 CLOSE

Use the Link Slices selector to set how the start point and end point of a slice in a larger sample is set. You can create these slices in Sample Edit Mode (Chop Mode).

When on, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable Link Slices if you are trying to create slices that use non-contiguous parts of the sample. This is the same as the Link Slices button in Sample Edit Mode.

Use the Loop Lock selector to "link" or "unlink" the loop point from the start point. When on, the loop point is the same as the start point. When off, the loop point is independent from the start point and indicated by a separate loop marker. This is the same as the Loop Lock button in Sample Edit Mode.

Use the Zero Snap selector to enable or disable the Zero Snap feature, which forces start points, end points, and loop points to occur only at the waveform's "zero-crossings." This can help to avoid clicks and glitches when playing a sample. This is the same as the 0 Snap button in Sample Edit Mode.

The first Samples tab contains the sample waveform for each layer and controls for its pitch, timing, and playback.

Drums 1 A05 Best 1.1.16 1.1.20 1.1.45 1.1.60 1.1.75 1.1.90 1.1.105 1.1.130 1.1.135 1.1.140 LAYER 1 EDM-HiHat-AjackHat 1 SAMPLE EDM-HiHat-AjackHat... START 0 END 3573 LOOP 0 TAIL LENGTH OFF TAIL START 253 ms SLICE All SEM 0 KEY B PINE 0 BPM SYNC STRETCH 100% GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls.

The waveform display shows the “active” section of the sample waveform. Swipe left or right on the waveform to move through it.

Above the waveform is the timeline, shown in bars, beats, and ticks.

Use the bottom-most Q-Link knob in the fourth bank to zoom in or out of the sample waveform.

Tap each layer number (Layer 1–4) under the waveform to select it. When selected, its sample waveform will be shown in the upper half of the screen and its settings will be shown in the lower half.

Use the Sample field to select the sample file for that layer. Remember that the sample has to be loaded into the project's sample pool beforehand. For information on how to load samples into a project, please see the Browser chapter.

Important: The parameters in the 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. In Program Edit Mode, you’ll see that the pad/layer to which it’s assigned has its Slice drop-down menu set to the corresponding slice number in the original sample. Playing that pad will cause it to refer to that slice marker like a “bookmark” instead of creating an entirely new sample of that slice. This means that you no longer have to clutter your project with a new sample for every slice (though you can still use this earlier method, if you prefer).

A slice converted using Pad Parameters is very similar to a non-destructive slice described above. The difference is that in Program Edit Mode, the pads/layers they're assigned to have their Slice drop-down menus set to Pad (instead of the slice number), and the start and end points will correspond to the slice markers in the original sample.

Drums 1 A01 LAYER 1 Techno-Loop-Drum 07p137f LAYER 2 LAYER 3 LAYER 4 SAMPLE Start END LOOP TAIL LENGTH TAIL START Techno-Loop-Drum... 0 114460 73311 OFF 253 ms SLICE SEM KEY FINE AVENANCE All 0 A 0 WARP STRETCHI 94% BPM 127.00 PAD LOOP BPM SYNC GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

The green/S marker and red/E marker are the start point and end point (respectively). These two points define the region of the sample that will be played.

To move the start point or end point, do any of the following:

  • Tap and drag the S or E marker left or right.
    • Use the Start or End fields shown below the waveform.
  • Use the first bank of Q-Link knobs to adjust the start point or the second bank of Q-Link knobs to adjust the end point. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides fine adjustment.

Note: When Loop Lock is on, the loop position (as determined by the Loop field, if enabled) is the same as the sample's start point. When off, the loop position is independent from the start point.

Use the Loop field to determine the position where the sample's playback will repeat when Pad Loop is activated. Alternatively, use the third bank of Q-Link knobs to adjust the loop point. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides fine adjustment.

Note: When Loop Lock is on, the loop position is the same as the sample's start point. When off, the loop position is independent from the start point.

Use the Tail Length and Tail Loop fields to add adding extra audio tail to any chopped sample. This is useful for things like making an abrupt end to a sample sound more natural or adding experimental looping effects to a sample. The Tail Length parameter enables the sample tail and set its total length, and the Tail Loop parameter sets the starting point within the tail for looping.

Use the Slice field to select what part/parts of the sample will play:

All: The entire sample will play.

Pad: The sample will play from the Pad Start position to the Pad End position, described earlier. This also lets you activate Pad Loop (if the Sample Play field in the LFO Modulation tab is set to Note On).

Slice 1, 2, 3, etc.: If you have sliced the sample in Chop Mode, you can select which slice will play when you trigger the pad.

Semi lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi knob on the second Samples tab. The analyzed Key of the sample is displayed next to the Semi field and will adjust based on this value.

Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off). This is the same as the Fine knob on the second Samples tab.

Drums 1 Best 1.1480 1.20 1.2480 1.30 1.3480 1.40 1.4480 1.510 1.5480 1.620 1.6480 1.700 1.7480 1.800 1.8480 A01 LAYER 1 Techno-Loop-Drum-07Lp127T LAYER 2 STARRI END LOOP TAILLENGTH TAILSTART TECHNO-LOOP-Drum... 0 114460 73311 OFF 253 ms SLICE SEMI KEY FINE All 0 A 0 WARP STRENGTH 94% BPM 127.00 GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

Use the Reverse button to select in which direction the sample will play. When on, the sample will play in reverse. When off, the sample will play in the normal forward direction.

Use the Pad Loop button to cycle through the available Pad Loop modes.

Important: For Pad Loop to work, you must (1) set the Sample Play field (in the LFO Modulation tab) to Note On instead of One Shot and (2) set the Slice field (in the first Samples tab) to Pad instead of All or a slice number.

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.

Reverse: You can hold down the pad to cause that sample to play in reverse, repeating from the end of the sample to the Loop Position. Release the pad to stop the repeating playback.

Alternating: You can hold down the pad to cause that sample to play from the Loop Position to the end of the sample and then play in reverse until it reaches the Loop Position again. This will repeat as long as you are holding the pad down. Release the pad to stop the repeating playback.

PAD LOOP PAD LOOP PAD LOOP PAD LOOP

Drums 1 Best 1.1480 1.20 1.2480 1.30 1.3480 1.40 1.4480 1.50 1.5480 1.60 1.6480 1.70 1.7480 1.80 1.8480 1.90 1.9480 2.00 2.0480 2.10 2.1480 2.20 2.2480 2.30 2.3480 2.40 LAYER 1 Techno-Loop-drum-0TLP127Y LAYER 2 START END LOOP TAILLENGTH TAILSTART Techno-Loop-Drum... 0 114460 73311 OFF 253 ms SLICE SEMI KEY PINE REVERSE PAD LOOP All 0 A 0 WARP STRETCH BPM 94% 127.00 BPM SYNC GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

Tap Warp to enable or disable warping of the sample.

When enabled, lengthening or shortening the sample (based on the BPM) will not change its pitch.

When disabled, lengthening or shortening the sample will also change its pitch and vice versa.

Use the Stretch field to set the "stretch factor," which affects how the sample is warped (if Warp is on).

Use the BPM field to enter a tempo, which affects how the sample is warped (if Warp is on).

Tap BPM Sync to enable or disable BPM Sync.

When BPM Sync and Warp are both enabled, the sample's BPM will be "locked" to the tempo of the sequence.

When BPM Sync is disabled but Warp is enabled, the sample will be independent of the tempo of your sequence—use the Stretch field to lengthen or shorten a sample.

Note: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by doing any/all of the following:

Avoid using extreme Stretch values.

Minimize the amount of pitch adjustment (e.g., the Semi and Fine parameters) of warped audio.

Avoid warping very small track regions.

Warp as few tracks or track regions as possible (i.e., reduce the number of total number of voices of the polyphonic limit that use the Warp algorithm at a given time), especially instances where the warped regions start at the same time.

Avoid rapidly triggering samples that are warped.

If you have warped samples used in a drum program, consider using the Flatten Pad function to consolidate the affected pad's layers into one audio sample (see here to learn about this). After you flatten the pad, its sample/samples no longer need to be warped.

The second Samples tab contains controls for its pitch, volume level and panning.

Drums 1 LAYER SEM FINE LEVEL PAN EDM-HiHat-Ajac... 0 0 127 0 None 0 0 127 0 None 0 0 127 0 None 0 0 127 0 GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

Semi lets you transpose the selected layer up to 36 semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi field on the first Samples tab.

Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off). This is the same as the Fine field on the first Samples tab.

Level lets you adjust 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.

The third Samples tab contains the control for its offset and velocity range.

Drums 1 A05 LAYER OFFSET VEL START VEL END EDM-HiHat-Ajac... None None None GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

Use the Offset slider to determine a time offset for the sample's playback.

Positive values (right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value.

Negative values (left of center): When the pad is played, playback will be delayed by the amount specified by the offset value.

Use the Vel Start and Vel End knobs to define the velocity range of each layer.

A range from 0 to 127 lets the layer respond to the entire velocity range which is input from the respective pad while, for example, a range from 100 to 127 lets the layer respond only to higher velocity levels. By assigning several samples of one instrument, you can create a realistic-sounding “multi-sample” by adjusting the velocity ranges of each layer accordingly.

For example, you may have three samples of a drum hit with low force, medium force, and high force. You can set each sample to a layer and set the Velocity ranges so only low velocities trigger the low-force sample, only mid-range velocities trigger the medium-force sample, and only high velocities trigger the high-force sample.

The fourth Samples tab contains the controls for adding randomization to sample parameters such as pitch, level and panning.

Drums 1 A05 LAYER EDM-HiHat-Ajac... PITCH LEVEL PAN OFFSET ALL LAYERS ATTACK DEPTH None 0 0 0 0 DECAY 0 0 CUTOFF 0 0 RES 0 0 100 GLOBAL SAMPLES ENVELOPES LFD MODULATION EFFECTS

Use the Pitch knobs to adjust the amount of randomization applied to each sample layer's pitch.

Use the Level knobs to adjust the amount of randomization applied to each sample layer's volume.

Use the Pan knobs to adjust the amount of randomization applied to each sample layer's stereo placement.

Use the Offset knobs to adjust the amount of randomization applied to each sample layer's time offset.

The All Layers section will apply randomization to all sample layers for the following envelope parameters: Attack, Decay, Cutoff and Resonance. Use the Depth slider to control the amount of envelope randomization applied overall.

Envelopes

Tap Envelopes to cycle through its three available tabs.

Drums 1 A05 FILTER Filter ENVELOPE DEPTH 0 LOW 2 CUTOFF 127 RES 0 VELOCITY MODULATION CUTOFF 0 ATTACK 0 DEPTH 0 ATTACK 0 DECAY 6 START END AHOS AD GLOBAL SAMPLES ENV: FILTER LFO MODULATION EFFECTS

The first Envelope tab contains the amplitude modulation envelope.

Pad Level controls the overall volume level of the loaded sample/samples.

Pad Pan controls the overall panning of the loaded sample/samples in the stereo field.

The Amp Envelope controls affect level changes over time. Use the fields or tap and drag the "handles" of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope's influence on the filter frequency with the Env knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.

The Velocity Modulation controls determine how much the velocity affects the volume level of the amplitude envelope (Amp), the attack of the amplitude envelope (Amp Attack), and/or 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 slider.

The second Envelope tab contains the filter modulation envelope.

Drums 1 A05 FILTER Low 2 CUTOFF 127 RES 0 FILTER ENVELOPE DEPTH 0 VELOCITY MODULATION CUTOFF 0 ATTACK 0 DEPTH 0 ATTACK 0 DEPTH 0 GLOBAL SAMPLES ENV: FILTER LFO MODULATION EFFECTS

Use the Type field to select a filter for the selected pad. See Appendix > Glossary > Filter for an explanation of the available filter types.

Use the Cutoff knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency for band-pass and band-stop filter types.

Use the Res 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. At values higher than 80, the sound will result in a strong audible boost around the cutoff frequency.

The Filter Envelope controls affect the filter frequency. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the Depth knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.

Use the Depth slider to determine the amount of influence the filter envelope has on the cutoff frequency. Higher settings will increase the modulation of the filter by the envelope; lower settings will result in only subtle changes of the filter Cutoff over time.

Tip: To give a sound a more distinctive attack, increase the Depth setting and set low Attack and Decay values as well as a medium-low Sustain value of the Filter Envelope. This will start a sound with the filter opened and close it shortly afterward, giving it a bright start followed by a darker sustain. String sounds, on the other hand, can sound much more “alive” with low Depth settings and a high Attack value, resulting in a slight fade-in of the higher frequencies.

The Velocity Modulation controls determine how much the velocity affects the cutoff frequency of the filter envelope (Cutoff), the attack phase of the filter envelope (Attack), and/or depth of influence the filter envelope has on the cutoff frequency (Depth).

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 slider.

The third Envelope tab contains the pitch modulation envelope.

Drums 1 A05 GLOBAL SEM 0 FINE 0 PITCH ENVELOPE DEPTH 0 VELOCITY MODULATION PITCH 0 ATTACK DECAY START END AHDS AD GLOBAL SAMPLES ENV: PITCH LFO MODULATION EFFECTS

Global Semi lets you transpose the pad up to 36 semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi field on the Global tab.

Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off). This is the same as the Fine field on the Global tab.

The Pitch Envelope controls affect the pad's pitch. Use the fields or tap and drag the "handles" of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope's influence on the pitch with the Depth slider. See the later Anatomy of an Envelope section to learn about the envelope parameters.

The Velocity Modulation control determines how much the velocity affects the pitch envelope (Pitch).

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 Pitch slider.

LFO

Drums 1 Sine 2.00 Hz SYNE None A05 LFO DESTINATIONS PITCH FILTER AMP PAN GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be used for modulation purposes.

Use the Wave field to select the LFO waveform type:

Sine (best suited for smooth modulations)

Triangle (best suited for smooth modulations)

S&H (samples a random value and holds it until the next value is generated)

Saw (can generate interesting filter or volume changes)

Saw Down (can generate interesting filter or volume changes)

Square (interesting results with hard-panning modulations)

Noise (generates random values and glides)

Use the Rate field to determine the LFO frequency. 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.

Use the Destinations sliders to determine how much the LFO affects the pitch of the sound (Pitch), the cutoff frequency of the filter (Filter), the volume level of the sound (Amp) and panning of the sound (Pan).

Modulations

Drums 1 A05 VELOCITY SENSITIVITY LFO DESTINATIONS SAMPLE START PITCH PITCH 0 0 FILTER CUTOFF AMP FILTER 0 127 0 FILTER ENV ATTACK AMP ATTACK AMP 0 0 FILTER ENV DEPTH PAN PAN 0 0 GLOBAL SAMPLES ENVELOPES LFO MODULATION EFFECTS

Use the Velocity Sensitivity sliders to set how much velocity is required to modulate certain other parameters:

• Sample Start sets how much velocity is needed (for a triggered pad) to modulate the sample start point.
- Filter Cutoff uses the velocity of a pad to modulate the cutoff frequency directly.
- Filter Env Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the Filter envelope.
- Filter Env Depth enables velocity information to control the amount of the filter envelope's effect on the cutoff frequency.
- Pitch uses the velocity of a pad to modulate the sample pitch.
- Amp uses the velocity of a pad to change the sample level. Lower this value to reduce the effect of velocity on the amplitude.
- Amp Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the Amp envelope.
• Pan uses the velocity of a pad to control the stereo panning.

Use the LFO Destinations sliders to determine how much the LFO affects the pitch of the sound (Pitch), the cutoff frequency of the filter (Filter), the volume level of the sound (Amp) and panning of the sound (Pan).

Effects

Tap Effects to cycle through its two available tabs.

Drums 1 A04 INSERTS 1 Distortion Custom [2 in 2 out] 2 Reverb Medium [2 in 2 out] 3 NO EFFECT 4 NO EFFECT GLOBAL SAMPLES ENVELOPES LFD MODULATION EFFECTS ALL ON ON ON SEND 1 0 SEND 2 0 SEND 3 0 SEND 4 0

Inserts

You can select up to four insert effects for each pad. To learn how to use insert effects, please see General Features >Effects >Insert Effects.

To add an effect:

  1. Double-tap the desired Inserts slot. A list of effects will appear.

  2. Swipe up or down to move through the list.
    You can tap the Type and Manufacturer buttons to sort your effects by those categories.

  3. To load an effect, double-tap it, or tap Select.

To close the list, tap Close.

To remove an effect from its slot, tap the trash can icon.

To enable or disable the effect, tap the On/Off button for the slot.

To enable or disable all four insert effects, tap the All On/Off button in the upper-right corner.

To load a factory FX rack, tap the Akai folder icon. You can choose from a number of preset combinations of insert effects by applications like Drums and Percussion, Voice, LoFi, Mastering, and more.

To load a saved FX rack, tap second folder icon.

To save an FX rack, tap the disk icon.

To adjust the effect's parameters, tap the pencil icon. Use the sliders to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global.

Compressor Opto Init 100 DRY / WET THRESHOLD INPUT RATIO 50 ATTACK KNEE 50 RELEASE OUTPUT COMPRESSOR OPTO

Sends

The audio of the pad will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned main output at the designated return levels.

Use the Send knobs to set the volume level of the signal the pad will route to each send effect.

Important: To set the send level, use, you have to load an effect into the corresponding send effect slot in the Channel Mixer. See Channel Mixer > Returns to learn more how to do this. To learn about send effects, please see General Features > Effects > Send/Return Effects.

Drum FX

The Drum FX tab lets you add and control up to eight effects per pad in a Drum program. See Addenda > Updates in MPC 2.10 > New Features > Drum and Keygroup Program Improvements to learn more.

Keygroup Programs

Bass GLOBAL SEMI 0 FINE 0 TRANSPOSE 0 POLY Mono KEY GROUP SEMI 0 FINE 0 LEVEL 0.00dB PAN LO KEY C-2 HKEY G8 KIS POLY 16 MUTE GROUP Off KEY TRACK LAYER PLAY CYC VEL RAN SAMPLE PLAY ONE SHOT NOTE OFF NOTE ON GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

When using keygroup programs, Program Edit Mode lets you edit the parameters for each keygroup.

To select a keygroup, press a pad within that keygroup. Its parameters will appear on the screen immediately. Alternatively, use the Keygroup field at the top of the screen.

To view a specific tab of parameters, tap the Global, Samples, Envelopes, LFO, Porta/Mod or Effects button at the bottom of the screen. You can tap the Samples and Envelopes buttons multiple times to cycle through the available tabs.

Tap the Keygroup field to select a keygroup to edit. You can also select All to edit all keygroups simultaneously.

Number of KG (keygroups) lets you create and select up to 128 keygroups within a keygroup program. This is 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 four possible velocity layers). A default keygroup program contains only one single keygroup. When you have created more than one keygroup with Number of KG, use KG Select to select any keygroup for editing. All selects all available keygroups of a keygroup program for simultaneous editing.

Tap the piano-keys icon to edit the note range of the current keygroup. This will open the Set Keygroup Note Range window. This lets you restrict the key range used for a sample's playback. Only notes with a key number higher or equal (Low Key) or lower and equal (High Key) to the selected value will trigger a sound.

Tips:

Alternatively, you can set the current keygroup's note range by using the Lo and Hi fields under Note Range in the Global tab.

Set the Lo parameter to A0 and the Hi parameter to C8 to emulate the range of a standard 88-key piano.

Set Keygroup Note Range 1 LOW: 0% C-2 HIGH: 0% F5

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

Global

In the Global tab, you can set the playback mode and tuning for the overall program.

Bass 1 1 GLOBAL SEMI 0 FINE 0 TRANSPOSE 0 POLY Mono KEY GROUP SEMI 0 FINE 0 LEVEL 0.00dB PAN LO KEY C-2 HI KEY G8 XG POLY 16 MUTE GROUP Off KEY TRACK LAYER PLAY CYC VEL RAN SAMPLE PLAY ONE SHOT NOTE OFF NOTE ON GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

Global Semi lets you tune the program up to 36 semitones up or down.

Global Fine provides fine-tuning of the program up to 99 cents up or down.

Transpose shifts the pitch of the MIDI notes sent to the program up to 36 semitones up or down.

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. In Poly Mode, several keygroups can be triggered at the same time (limited only by the total number of voices available).

Bass 1 1 GLOBAL SEMI 0 FINE 0 TRANSPOSE 0 POLY Mono KEY GROUP SEMI 0 FINE 0 LEVEL 0.00dB PAN LO KEY C-2 HI KEY G8 XG POLY 16 MUTE GROUP Off KEY TRACK LAYER PLAY CYC VEL RAN SAMPLE PLAY ONE SHOT NOTE OFF NOTE ON GLOBAL SAMPLES ENVELOPES LFD PORTA / MOD EFFECTS

Key Group Semi lets you transpose the sample 36 semitones up or down, while Key Group Fine provides fine-tuning of each layer up to 99 cents up or down.

Tip: The Edit Layers section has some parameters similar to those in this section (Level, Pan, Semi, Fine, Note Range). Remember that Key Group parameters control the overall settings for the sample, while Edit Layer parameters control the settings for each layer (up to 4).

Level controls the overall volume level of the loaded sample/samples.

Pan controls the overall panning of the loaded sample/samples in the stereo field.

The Lo Key and Hi Key fields let 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. Alternatively, tap the piano-keys icon to open the Set Keygroup Note Range window.

Tip: Set the Lo parameter to A0 and the Hi parameter to C8 to emulate the range of a standard 88-key piano.

Use the KG Poly (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. You can also select a specific number of pads (2–32) so that you can play up to this many pads at the same time (unless they exceed the total number of voices available).

Bass KEY GROUP 1 1 GLOBAL SEMI 0 FINE 0 TRANSPOSE 0 POLY Mono KEY GROUP SEMI 0 FINE 0 LEVEL 0.00dB PAN LO KEY C-2 HI KEY G8 KG POLY 16 MUTE GROUP Off KEY TRACK LAYER PLAY CYC VEL RAN SAMPLE PLAY ONE SHOT NOTE OFF NOTE ON GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

Mute Group allows you to assign the selected pad to one of the 32 available groups. When pads assigned to the same mute group receive MIDI notes, the last pad played will silence all other pads in that mute group. A mute group affects pads within that program only; mute groups do not affect pads in other programs.

Key Track allows you to switch a sample's automatic transposition on or off. If this is off, you will always hear the same pitch of the sample, no matter which note is triggered by pads or a connected MIDI keyboard.

Layer Play determines how multiple samples assigned to the same pad are played:

  • Cycle (Cyc): Each time the pad is played, it will play the next layer's sample. In other words, the samples will cycle through the layers as follows: 1, 2, 3, 4, 1, 2, 3, 4... etc.
    • Velocity (Vel): The pad will switch between layers depending on how hard you press a pad.
  • Random (Ran): Each time the pad is played, it will play one of its layer's samples at random.

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 Off: The entire sample will play from start to end after the pad has been pressed and released.
- Note On: The sample will play only as long as the pad is held. This is better for longer samples so you can control a sound's duration by pressing and holding its corresponding pad.

Samples

Each keygroup can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters.

Tap Samples to cycle through its four available tabs.

Bass 1 1 LAYER 1 EDM Hips Bass-02 @Hz 5 LAYER 2 EDM-Hip Bass-02 @Hz 3 LAYER 3 NASH 0 END 5170 LOOF 0 TRE LENGTH OFF TRE SPANTS 253 ms SILICE ALL SEM 0 FUSE 0 GEOE PAD LOOP GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

On all four sections, you can access the Settings window, which lets you configure certain settings in the Samples tab.

To view the Settings, tap the gear icon.

To close the Settings, tap Close, the X in the upper-right corner, or anywhere outside the window.

BASE SETTINGS ON ON OFF LOOP LOCK ON OFF CROO STOP ON OFF CLOSE

Use the Link Slices selector to set how the start point and end point of a slice in a larger sample is set. You can create these slices in Sample Edit Mode (Chop Mode).

When on, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable Link Slices if you are trying to create slices that use non-contiguous parts of the sample. This is the same as the Link Slices button in Sample Edit Mode.

Use the Loop Lock selector to "link" or "unlink" the loop point from the start point. When on, the loop point is the same as the start point. When off, the loop point is independent from the start point and indicated by a separate loop marker. This is the same as the Loop Lock button in Sample Edit Mode.

Use the Zero Snap selector to enable or disable the Zero Snap feature, which forces start points, end points, and loop points to occur only at the waveform's "zero-crossings." This can help to avoid clicks and glitches when playing a sample. This is the same as the 0 Snap button in Sample Edit Mode.

The first Samples tab contains the sample waveform for each layer and controls for its pitch, timing, and playback.

Bass 1 1 LAYER 1 EDM-Hits-Bass-02 BHits G LAYER 2 EDM-Hits-Bass-02 BHits G LAYER 3 - LAYER 4 SAMPLE START END LOOP TAIL LENGTH TAIL START EDM-Hits-Bass-02 ... 0 5170 0 OFF 253 ms SUCF SEMI FINE All 0 0 GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

The upper half of the screen shows the waveform of the sample on the currently selected layer. 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.

Use the bottom-most Q-Link knob in the fourth bank to zoom in or out of the sample waveform.

Tap each layer number (Layer 1–4) under the waveform to select it. When selected, its sample waveform will be shown in the upper half of the screen and its settings will be shown in the lower half.

Use the Sample field to select the sample file for that layer. Remember that the sample has to be loaded into the project's sample pool beforehand. For information on how to load samples into a project, please see the Browser chapter.

Important: The parameters in the 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 (keygroups), you can convert a slice using Non-Destructive Slice or Pad Parameters.

A Non-Destructive Slice will let its keygroup to refer to that slice when you press a pad in that keygroup; the original sample remains intact and each slice marker is like a “bookmark” for a keygroup. In Program Edit Mode, you’ll see that the layer to which it’s assigned has its Slice drop-down menu set to the corresponding slice number in the original sample. Playing that keygroup will cause it to refer to that slice marker like a “bookmark” instead of creating an entirely new sample of that slice. This means that you no longer have to clutter your project with a new sample for every slice (though you can still use this earlier method, if you prefer).

A slice converted using Pad Parameters is very similar to a non-destructive slice described above. The difference is that in Program Edit Mode, the layers they're assigned to have their Slice drop-down menus set to Pad (instead of the slice number), and the start and end points will correspond to the slice markers in the original sample.

Bass NE WINDUP 1 1 1.1.00 1.1.20 1.1.80 1.2.00 1.3.00 1.3.80 1.4.00 1.4.60 1.5.00 LAYER 1 EDM-Hits-Bass-02 BHz 6 LAYER 2 EDM-Hits-Bass-02 BHz 6 LAYER 3 - LAYER 4 SAMPLE START END LOOP TAIL LENGTH TAIL START EDM-Hits-Bass-02 ... 0 5170 0 OFF 253 ms SLICE SEMI FINE - REVERSE PAD LOOP ALL 0 0 GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

The green/S marker and red/E marker are the start point and end point (respectively). These two points define the region of the sample that will be played.

To move the start point or end point, do any of the following:

  • Tap and drag the S or E marker left or right.
    • Use the Start or End fields shown below the waveform.

- Use the first column of Q-Link knobs to adjust the start point or the second column of Q-Link knobs to adjust the end point. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides fine adjustment.

Note: When Loop Lock is on, the loop position (as determined by the Loop field, if enabled) is the same as the sample's start point. When off, the loop position is independent from the start point.

Use the Loop field to determine the position where the sample's playback will repeat when Pad Loop is activated. Alternatively, use the third column of Q-Link knobs to adjust the loop point. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides fine adjustment.

Note: When Loop Lock is on, the loop position is the same as the sample's start point. When off, the loop position is independent from the start point.

Use the Tail Length and Tail Loop fields to add adding extra audio tail to any chopped sample. This is useful for things like making an abrupt end to a sample sound more natural or adding experimental looping effects to a sample. The Tail Length parameter enables the sample tail and set its total length, and the Tail Loop parameter sets the starting point within the tail for looping.

Bass NEVERGELP 1 1 Best 1.140 1.1.20 1.1.60 1.2.25 1.3.00 1.3.60 1.4.20 1.4.80 1.5.60 1.6.60 1.7.60 LAYER 1 ECM-Hits-Bass-02 BHits 0 LAYER 2 ECM-Hits Base-02 BHits 0 LAYER 3 - LAYER 4 SAMPLE START END LOOP TAIL LENGTH TAIL START EDM-Hits-Bass-02 ... 0 5170 0 OFF 253 ms SLICE SEMI FINE REVERSE PAD LOOP All 0 0 GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

Use the Slice field to select what part/parts of the sample will play:

All: The entire sample will play.

Pad: The sample will play from the Pad Start position to the Pad End position, described earlier. This also lets you activate Pad Loop (if the Sample Play field in the Global tab is set to Note On).

Slice 1, 2, 3, etc.: If you have sliced the sample in Chop Mode, you can select which slice will play when you trigger the pad.

Semi lets you transpose the selected layer 36 up to semitones up or down. This is the same as the Semi knob on the second Samples tab.

Fine provides fine-tuning of each layer by cents. This is the same as the Fine knob on the second Samples tab.

Use the Reverse button to select in which direction the sample will play. When on, the sample will play in reverse. When off, the sample will play in the normal forward direction.

Use the Pad Loop button to cycle through the available Pad Loop modes.

Important: For Pad Loop to work, you must (1) set the Sample Play field (in the Global tab) to Note On instead of One Shot and (2) set the Slice field (in the first Samples tab) to Pad instead of All or a slice number.

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.

Reverse: You can hold down the pad to cause that sample to play in reverse, repeating from the end of the sample to the Loop Position. Release the pad to stop the repeating playback.

Alternating: You can hold down the pad to cause that sample to play from the Loop Position to the end of the sample and then play in reverse until it reaches the Loop Position again. This will repeat as long as you are holding the pad down. Release the pad to stop the repeating playback.

PAD LOOP PAD LOOP PAD LOOP PAD LOOP PAD LOOP

The second Samples tab contains controls for its pitch, volume level and panning.

Bass LAYER SEM1 FINE LEVEL PAN EDM-Hits-Bass-... 0 0 127 0 EDM-Hits-Bass-... -7 0 127 0 None 0 0 127 0 None 0 0 127 0 GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

Semi lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi field on the first Samples tab.

Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off). This is the same as the Fine field on the first Samples tab.

Level lets you adjust each layer's volume, letting you control the "balance" of the samples assigned to the pad.

Pan lets you adjust the stereo placement of the respective layer.

The third Samples tab contains the control for its offset, velocity range and root note.

Bass OFFSET VEL START VEL END ROOT NOTE EDM-Hits-Bass-... 0 127 SMP EDM-Hits-Bass-... 0 127 SMP None 0 127 SMP None 0 127 SMP GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

Use the Offset slider to determine a time offset for the sample's playback.

Positive values (right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value.

Negative values (left of center): When the pad is played, playback will be delayed by the amount specified by the offset value.

Use the Vel Start and Vel End knobs to define the velocity range of each layer.

A range from 0 to 127 lets the layer respond to the entire velocity range which is input from the respective pad while, for example, a range from 100 to 127 lets the layer respond only to higher velocity levels. By assigning several samples of one instrument, you can create a realistic-sounding “multi-sample” by adjusting the velocity ranges of each layer accordingly.

For example, you may have three samples of a piano key with low force, medium force, and high force. You can set each sample to a layer and set the Velocity ranges so only low velocities trigger the low-force sample, only mid-range velocities trigger the medium-force sample, and only high velocities trigger the high-force sample.

Use the Root Note menu to set the starting note of each loaded sample. Smp denotes the sample's default pitch.

The fourth Samples tab contains the controls for adding randomization to sample parameters such as pitch, level and panning.

Bass 1 1 LAYER PITCH LEVEL PAN OFFSET ALL LAYERS ATTACK DEPTH EDM-Hits-Bass... 0 0 0 0 0 EDM-Hits-Bass... 0 0 0 0 0 CUTOFF None 0 0 0 0 RES None 0 0 0 0 GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

Use the Pitch knobs to adjust the amount of randomization applied to each sample layer's pitch.

Use the Level knobs to adjust the amount of randomization applied to each sample layer's volume.

Use the Pan knobs to adjust the amount of randomization applied to each sample layer's stereo placement.

Use the Offset sliders to adjust the amount of randomization applied to each sample layer's time offset.

The All Layers section will apply randomization to all sample layers for the following envelope parameters: Attack, Decay, Cutoff and Resonance. Use the Depth slider to control the amount of envelope randomization applied overall.

Envelopes

Tap Envelopes to cycle through its three available tabs.

Bass KEYGROUP LEVEL 0.00dB PAN D AMP ENVELOPE A S D R ATTACK DECAY SUSTAIN RELEASE 1 6 127 0 AD VELOCITY MODULATION AMP 127 AMP ATTACK 0 PAN 0 GLOBAL SAMPLES ENV: AMP LFO PORTA / MOD EFFECTS

The first Envelope tab contains the amplitude modulation envelope.

Keygroup Level controls the overall volume level of the loaded sample/samples.

Keygroup Pan controls the overall panning of the loaded sample/samples in the stereo field.

The Amp Envelope controls affect level changes over time. Use the fields or tap and drag the "handles" of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope's influence on the filter frequency with the Env knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.

The Velocity Modulation controls determine how much the velocity affects the volume level of the amplitude envelope (Amp), the attack of the amplitude envelope (Amp Attack), and/or 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 slider.

The second Envelope tab contains the filter modulation envelope.

Bass REF:GROUP 1 1 FILTER LOW 2 CUTOFF 127 RES 0 FILTER ENVELOPE DEPTH 0 VELOCITY MODULATION CUTOFF 0 ATTACK 0 DEPTH 0 ATTACK 0 DEPTH 0 GLOBAL SAMPLES ENV: FILTER LFO PORTA / MOD EFFECTS

Use the Type field to select a filter for the selected pad. See Appendix > Glossary > Filter for an explanation of the available filter types.

Use the Cutoff knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency for band-pass and band-stop filter types.

Use the Res 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. At values higher than 80, the sound will result in a strong audible boost around the cutoff frequency.

The Filter Envelope controls affect the filter frequency. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the Depth knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.

Use the Depth slider to determine the amount of influence the filter envelope has on the cutoff frequency. Higher settings will increase the modulation of the filter by the envelope; lower settings will result in only subtle changes of the filter Cutoff over time.

Tip: To give a sound a more distinctive attack, increase the Depth setting and set low Attack and Decay values as well as a medium-low Sustain value of the Filter Envelope. This will start a sound with the filter opened and close it shortly afterward, giving it a bright start followed by a darker sustain. String sounds, on the other hand, can sound much more “alive” with low Depth settings and a high Attack value, resulting in a slight fade-in of the higher frequencies.

The Velocity Modulation controls determine how much the velocity affects the cutoff frequency of the filter envelope (Cutoff), the attack phase of the filter envelope (Attack), and/or depth of influence the filter envelope has on the cutoff frequency (Depth).

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 slider.

The third Envelope tab contains the pitch modulation envelope.

Bass NEIGHROUP 1 1 GLOBAL SEM1 D FINE 0 PITCH ENVELOPE DEPTH 0 VELOCITY MODULATION PITCH 0 ATTACK DECAY SUSTAIN RELEASE 0 6 127 0 GLOBAL SAMPLES ENV: PITCH LFO PORTA / MOD EFFECTS

Global Semi lets you transpose the keygroup up to 36 semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi field on the Global tab.

Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off). This is the same as the Fine field on the Global tab.

The Pitch Envelope controls affect the keygroups's pitch change over time. Use the fields or tap and drag the "handles" of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope's influence on the pitch with the Depth slider. See the later Anatomy of an Envelope section to learn about the envelope parameters.

The Velocity Modulation control determines how much the velocity affects the pitch envelope (Pitch).

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 Pitch slider.

LFO

Bass WAVEFORM Sine RATE 2.00 Hz SYNC None LFO DESTINATIONS PITCH FILTER AMP PAN GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be used for modulation purposes.

Use the Wave field to select the LFO waveform type:

Sine (best suited for smooth modulations)

Triangle (best suited for smooth modulations)

S&H (samples a random value and holds it until the next value is generated)

Saw (can generate interesting filter or volume changes)

Saw Down (can generate interesting filter or volume changes)

Square (interesting results with hard-panning modulations)

Noise (generates random values and glides)

Use the Rate field to determine the LFO frequency. 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.

Use the Destinations sliders to determine how much the LFO affects the pitch of the sound (Pitch), the cutoff frequency of the filter (Filter), the volume level of the sound (Amp) and panning of the sound (Pan).

Porta / Mod

Bass PORTAMENTO 0 TIME 0 QUANTIL LEANO VELOCITY SENSITIVITY PITCH 0 KBS>FLT 0 AMP ATTACK 0 FILTER ENV ATTACK 0 WHEEL>LFD 0 AMP 127 FILTER ENV DEPTH 0 AFT>FLT 0 PAN 0 FILTER CUTOFF 0 GLOBAL SAMPLES ENVELOPES LFO PORTA / MOD EFFECTS

Use the Portamento fields to adjust the settings for pitch gliding.

The Time slider sets the length of the glide between notes.

Tap the Quantize button to synchronize the portamento time with the project tempo.

Tap the Legato button to enable or disable pitch gliding for all triggered notes or just legato notes.

Use the Velocity Sensitivity sliders to set how much velocity is required to modulate certain other parameters:

  • Pitch enables velocity information to control the pitch of the sample.
  • Amp Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the Amp envelope.
  • Amp enables velocity information to control the overall amplitude (level) of the sample.
  • Pan enables velocity information to control the stereo panning of the sample.
  • KB>FLT sets how much the note value will be added to the filter cutoff. This allows samples to sound brighter as they are played higher on the keyboard.
  • Filter Env Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the Filter envelope.
  • Filter Env Depth enables velocity information to control the amount of the filter envelope's effect on the cutoff frequency.
  • Filter Cutoff uses the velocity of a pad to modulate the cutoff frequency directly.

The Controller Mod 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.

Wheel>LFO determines how much a connected MIDI keyboard's modulation wheel affects the LFO intensity.

Aft>Filt (Aftertouch→Filter Cutoff) determines how much a connected MIDI keyboard's aftertouch data affects the filter cutoff.

Effects

TIMING Bass 1 1 INSERTS 1 Distortion Amp [2 in 2 out] 2 ON 3 NO EFFECT 4 NO EFFECT ALL ON OFF SEND 1 0 SEND 2 0 SEND 3 0 SEND 4 0 GLOBAL SAMPLES ENVELOPES LFD PORTA / MOD EFFECTS

Inserts

You can select up to four insert effects for each keygroup. To learn how to use insert effects, 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. Swipe up or down to move through the list.
    You can tap the Type and Manufacturer buttons to sort your effects by those categories.

  3. To load an effect, double-tap it, or tap Select.

To close the list, tap Close.

To remove an effect from its slot, tap the trash can icon.

To enable or disable the effect, tap the On/Off button for the slot.

To enable or disable all four insert effects, tap the All On/Off button in the upper-right corner.

To load a factory FX rack, tap the Akai folder icon. You can choose from a number of preset combinations of insert effects by applications like Drums and Percussion, Voice, LoFi, Mastering, and more.

To load a saved FX rack, tap second folder icon.

To save an FX rack, tap the disk icon.

To adjust the effect's parameters, tap the pencil icon. Use the user interface or sliders to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global.

Compressor Opto Init 100 DRY / WET THRESHOLD INPUT RATIO 50 1 ATTACK KNEE 50 RELEASE OUTPUT INSERT 1 ON COMPRESSOR OPTO

Sends

The audio of the program will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned main output at the designated return levels.

Use the Send knobs to set the volume level of the signal the program will route to each send effect.

You can select up to four send effects for each keygroup, but remember that 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.

Important: To use a send effect, you have to load an effect into the corresponding send effect slot in the Channel Mixer. See Channel Mixer > Returns to learn more how to do this. To learn about send effects, please see General Features > Effects > Send/Return Effects.

Clip Programs

Clips-Loopmasters Classic Hous... A05 ClassicHouse-Clips-Drum-LM ... 0 SEM 0 FINE 0 LAUNCH QUANTIZE 1 bar A 13 ClassicHouse- A 14 ClassicHouse- A 15 ClassicHouse- A 16 ClassicHouse- A 17 ClassicHouse- A 18 ClassicHouse- A 19 ClassicHouse- A 20 ClassicHouse- A 21 ClassicHouse- A 22 ClassicHouse- A 23 ClassicHouse- A 24 ClassicHouse- A 25 ClassicHouse- A 26 ClassicHouse- A 27 ClassicHouse- A 28 ClassicHouse- A 29 ClassicHouse- A 30 ClassicHouse- A 31 ClassicHouse- A 32 ClassicHouse- A 33 ClassicHouse- A 34 ClassicHouse- A 35 ClassicHouse- A 36 ClassicHouse- A 37 ClassicHouse- A 38 ClassicHouse- A 39 ClassicHouse- A 40 ClassicHouse- A 41 ClassicHouse- A 42 ClassicHouse- A 43 ClassicHouse- A 44 ClassicHouse- A 45 ClassicHouse- A 46 ClassicHouse- A 47 ClassicHouse- A 48 ClassicHouse- A 49 ClassicHouse- A 50 ClassicHouse- A 51 ClassicHouse- A 52 ClassicHouse- A 53 ClassicHouse- A 54 ClassicHouse- A 55 ClassicHouse- A 56 ClassicHouse- A 57 ClassicHouse- A 58 ClassicHouse- A 59 ClassicHouse- A 60 ClassicHouse- A 61 ClassicHouse- A 62 ClassicHouse- A 63 ClassicHouse- A 64 ClassicHouse- A 65 ClassicHouse- A 66 ClassicHouse- A 67 ClassicHouse- A 68 ClassicHouse- A 69 ClassicHouse- A 70 ClassicHouse- A 71 ClassicHouse- A 72 ClassicHouse- A 73 ClassicHouse- A 74 ClassicHouse- A 75 ClassicHouse- A 76 ClassicHouse- A 77 ClassicHouse- A 78 ClassicHouse- A 79 ClassicHouse- A 80 ClassicHouse- A 81 ClassicHouse- A 82 ClassicHouse- A 83 ClassicHouse- A 84 ClassicHouse- A 85 ClassicHouse- A 86 ClassicHouse- A 87 ClassicHouse- A 88 ClassicHouse- A 89 ClassicHouse- A 90 ClassicHouse- A 91 ClassicHouse- A 92 ClassicHouse- A 93 ClassicHouse- A 94 ClassicHouse- A 95 ClassicHouse- A 96 ClassicHouse- A 97 ClassicHouse- A 98 ClassicHouse- A 99 ClassicHouse- A 100

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 screen. The Program tab is where you assign clips to pads (see Program below). The Pad tab is where you determine how each pad plays its clip (see Pad below).

EDIT ZONES MODE CURRENT 9 MULTIPLE ALL A B C D E F G H CLOSE

Tap the location icon at the top of the screen (between the Program and Pad fields) to open the Edit Zones window, which is a feature for drum programs and clip programs. This window displays an overview of any selected pads. Use the Mode selector to set how the selected pads will be edited:

Current: Only the currently selected pad can be edited.

Multiple: All selected pads can be edited simultaneously.

All: All pads can be edited simultaneously.

To close the window, tap Close, the X, or anywhere outside the window.

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

The Settings window lets you configure certain Audio Edit Mode settings.

To view the Settings, tap the gear icon.

Clip 001 G01 None A Elect15 B Loop Keys Null SETTINGS AUTO-SCROLL OFF → FOLLOW PAGE Loop Keys Blue Loop Keys Red Loop Drum Def Loop Bass Null Loop Keys Mu Loop Keys Re Loop Drum Mu Loop Bass Sq. Loop Keys Cry Elect13 1 bar CLOSE

Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead while viewing the Pad tab.

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.

These functions also apply to the Grid View, Audio Edit Mode, List Edit Mode, and Sample Edit Mode.

Program

This tab is where you can assign clips to each pad and adjust the program's overall tuning and quantization.

Clips-Loopmasters Classic Hous... A05 ClassicHouse-Clips-Drum-LM... A13 ClassicHouse-1 A24 ClassicHouse-1 A15 ClassicHouse-1 A16 ClassicHouse-1 A09 ClassicHouse-1 A10 ClassicHouse-1 A11 ClassicHouse-1 A12 ClassicHouse-1 A05 ClassicHouse-1 A06 ClassicHouse-1 A07 ClassicHouse-1 A08 ClassicHouse-1 A09 ClassicHouse-1 A10 ClassicHouse-1 A11 ClassicHouse-1 A06 ClassicHouse-1 A07 ClassicHouse-1 A08 ClassicHouse-1 A09 ClassicHouse-1 A10 ClassicHouse-1 A11 ClassicHouse-1 A06 ClassicHouse-1 A07 ClassicHouse-1 A08 ClassicHouse-1 A09 ClassicHouse-1 A10

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.

Coarse lets you transpose the program up to 36 semitones up or down.

Fine provides fine-tuning of the program up to 99 cents up or down.

Use the Launch Quantize field to set the quantization of the program in bars (or subdivisions of a bar).

Pad

PRINSE Clips-Cr2 Deep House 3 A05 SAMPLE DeepHouse-Clips-Drum-Full... Bear 1.1 AWD 1.2.0 1.2 AWD 1.3.0 1.3 AWD 1.4.0 1.4 AWD 2.1.0 2.1 AWD 2.2.0 2.2 AWD 2.3.0 2.3 AWD 2.4.0 2.4 AWD START 1: 1: 0 END 3: 1: 0 WARP EPM 124.00 PAD PLAY Toggle PAD QUANTIZE Program SEMI FINE MUTE GROUP 1 FADE PROGRAM PAD ZOOM +

The upper half of the screen shows the clip waveform. The lower half shows the editing controls.

The waveform display shows the "active" section of the clip waveform. Swipe left or right on the waveform to move through it.

Above the waveform is the timeline, shown in bars, beats, and ticks.

The green marker and red marker are the start point and end point (respectively). 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 any of the following:

  • Tap and drag the S or E marker left or right.
    • Use the Start or End fields shown below the waveform.
  • Use the first row of Q-Link knobs (Layer 1 Start) to adjust the start point or the second row of Q-Link knobs (Layer 1 End) to adjust the end point. The right-most Q-Link knobs (12 and 16) provide coarse adjustment. The left-most Q-Link knobs (9 and 13) provide fine adjustment.

Use the Zoom + or Zoom - buttons at the bottom of the screen to zoom in or out (respectively) of the waveform.

Below is a brief step-by-step process so you can get familiar with setting up a clip. Continue reading the rest of this chapter to learn how to use the parameters in this window.

To assign and edit a clip:

  1. Assign a sample to a pad using the Program tab (described earlier). For example, start with a four-bar drum loop.
  2. In the Pad tab, note that the BPM field has a value, which is automatically detected.

If the Warp button is not already on, tap it. The Warp function keeps the loop in time with the sequence tempo or the global tempo.

  1. If you need to edit the loop's tempo manually, do any of the following:

  2. Tap the BPM field, and then use the data dial or - / + buttons to change the value.

  3. Double-tap the BPM field, and then use the numeric keyboard that appears to enter a value.

  4. Let's shorten the loop to a two-bar loop by doing any of the following:

  5. Tap and drag the start point (S) or end point (E) marker.

  6. Tap the beat, bar, or tick value of the Start or End fields, and then use the data dial or - / + buttons to change the value.
  7. Double-tap the beat, bar, or tick value of the Start or End fields, and then use the numeric keyboard that appears to enter a value.

Set the locations properly to ensure the loop's timing is correct—neither too short nor too long. When the loop repeats, it should feel seamless.

  1. If the Fade button is not already on, tap it. This applies a very small fade-in and fade-out at the start and end of the clip to prevent "clicks" and glitches if start point or end point is not at a "zero-crossing."

  2. If you need to edit the loop's pitch manually, do any of the following:

  3. Tap the Coarse or Fine slider, and then use the data dial or - / + buttons to change the value.

  4. Use Q-Link Knobs 1 and 2 (Layer _ Semi Tune and Layer _ Fine Tune) to change the value of the Coarse or Fine sliders.
  5. Double-tap the Coarse or Fine slider, and then use the numeric keyboard that appears to enter a value.

The Coarse slider adjusts the pitch in semitones. The Fine value adjusts the pitch in cents. You will hear the pitch adjust in real time.

Clips-Cr2 Deep House 3 AOS SAMSIPLE DeepHouse-Clips-Drum-Full... Start 1: 1: 0 END 3: 1: 0 BPM 124.00 PAD PLAY Toggle PAD QUANTIZE Program SEMI FINE MUTE GROUP 0 0 1 PROGRAM PAD ZOOM

Clips-Cr2 Deep House 3 A05 SAMPLE DeepHouse-Clips-Drum-Full-... Start 1: 1: 0 END 3: 1: 0 WARP BPM 124.00 PAD PLAY Toggle PAD QUANTIZE Program SEMI FINE MUTE GROUP 1 FADE PROGRAM PAD ZOOM

Tap Warp to lengthen or shorten the clip without changing its pitch, and use the BPM field to change the tempo. Use the Coarse and Fine sliders if you want to change the pitch.

Use the Pad Play field to determine how the clip is played.

One Shot: When you press the pad, the entire clip will play from start to end and then stop.

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. This is the most common usage.

Use the Pad Quantize field to set the quantization of the pad in bars (or subdivisions of a bar). When set to Program so it uses the same quantization as the overall program (determined by the Launch Quantize field). When set to Off, the pad will not follow any quantization at all.

Tap Reverse to reverse the clip's audio.

Coarse lets you transpose the pad up to 36 semitones up or down.

Fine provides fine-tuning of the pad up to 99 cents up or down.

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.

By default, each column of pads is assigned to the same mute group. This means only one pad from each column can be playing its clip at a time. You can use the Mute Group field to configure this any way you like, though.

Use the Fade button to apply a very small fade-in and fade-out at the start and end of the clip. This can help prevent "clicks" and glitches that may occur if the start point or end point is not placed at the waveform's "zero-crossings."

Plugin Programs

Plugin 001 Rich Swell TUBE/SYNTI Oscillator 1 OCTAVE FINE 0.00 SHAPE FINE + SHAPE +18% Saw DETUNE 26% SWM Oscillator SHAPE Ti Oscillator 2 OCTAVE FINE 0.00 SHAPE FINE + SHAPE 0% SYNC MERC DETUNE 25% PHASE 149 degrees AIR OSCILLATOR MIXER / FILTER ENVELOPE LFO SETUP >

Plugin 002 POLYPICITY Legato GLODE MODE C# GLODE TIME OUTPUT VOLUME 50 % EXTERNAL INPUT VOLUME 0 % EXTERNAL INPUT INVERT Off OSC 1 VOLUME 100 % OSC 2 VOLUME Ramp OSC 1 METER ON On OSC 2 VOLUME 0 % OSC 1 RANGE .8 OSC 2 PITCH 2.00 semy OSC 2 METER ON On OSC 1 SHAPE Ramp OSC 3 RANGE 8 OSC 3 PITCH 0.00 semy 1 2 3 4 5 6

For plugin programs, you will see a graphical representation of the plugin interface, or an overview of all available plugin parameters with a slider for each.

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

Use the user interface or sliders to set the value of each parameter.

Use the six tabs at the bottom of the screen to access the available parameters.

To assign a parameter to one of the sliders, use the MPC software.

Note: To see the user guide in the MPC software and learn how to do this, click the Help menu, select MPC Help, and select MPC User Manual.

MIDI Programs

Midi 001 EFFECTIVE CC 14 CC 15 GEN PURPOSE 1 CC 9 PAN EXPRESSION EFFECT 1 PORTAMENTO DATA ENTRY VOLUME BALANCE MODULATION BRENGTH CC LUXFINISED FOOT 1 2 3 4 5 >

For MIDI programs, you will see an overview of all available MIDI CCs with a slider for each.

Use the sliders to set the value of each parameter.

Use the six tabs at the bottom of the screen to access the available parameters.

Midi 001 Effect 2 CC 9 Portamento Modulation CC 14 Pan Data Entry Breath CC 15 Expression Volume CC3 Undefined Gen Purpose 1 Effect 1 Balance Foot 1 2 3 4 5

Tap the Edit button in the top-right of the page to edit the MIDI program assignments and naming.

To assign a parameter, tap the dropdown menu and use the data dial or +/- buttons to scroll through the available MIDI assignments. You can also double-tap the menu to view a list of assignments.

To rename a parameter, tap the pencil icon next to the dropdown menu, and then use the keyboard that appears to enter a new name. Once renamed, you can save the program and use it with other projects to retain your custom naming.

CV Programs

CV 001 0 0 0 0 CV OUT 5 0.00V CV OUT 6 0.00V CV OUT 7 0.00V CV OUT 8 0.00V CV OUT 1 0.00V CV OUT 2 0.00V CV OUT 3 0.00V CV OUT 4 0.00V 1 2 3 4 5 6

For CV programs, you will see an overview of all available CV outputs with a slider for each.

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

Use the sliders to set the value of each parameter.

Use the six tabs at the bottom of the screen 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, select MPC Help, 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. When Sample Play is set to Note-On, it will use an ADSR envelope.

Keygroup programs always use AHDS envelopes. When Sample Play is set to Note-On, it will use an ADSR envelope.

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. The sample's maximum volume will be maintained during the Hold phase.
  3. During the Decay phase, the sample's volume will gradually drop to the sustain level.
  4. The sample's volume will stay at the sustain level (Sust) until the pad is released.

Use the A Shape and D Shape fields to adjust the curve of the Attack and Decay phases, respectively.

AKAI MPC Key 61 - Anatomy of an Envelope - 1

line | Point | Value | |-------|-------| | A | 57 | | H | -25 | | D | 26% | | S | 82 |

With AD 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. The sample's maximum volume will be maintained until its Decay phase, when the sample's volume will gradually drop to zero over the set duration. Click the Type dropdown menu to select how the decay functions:

Decay From Start: The volume will start decreasing immediately after reaching its maximum level.

Decay From End: The maximum volume will be maintained for a hold phase until it reaches the decay phase.

ENVELOPE ADD AHOS ATTICK 23 A-SHAPSE -25 DECAV 54 O-SHAPSE 78 DECAV FROM START END

Use the A Shape and D Shape fields to adjust the curve of the Attack and Decay phases, respectively.

With ADSR envelopes, the following happens when you trigger a sample:

  1. Within the period of time defined by Attack, the sample volume rises to its maximum value.
  2. During the Decay phase, the sample's volume will gradually drop to the Sustain level.
  3. The sample's volume will stay at the Sustain level until the Release phrase begins.
  4. The sample's volume will drop to "zero" over the duration set by Release.

Use the A Shape, D Shape and R Shape fields to adjust the curve of the Attack, Decay and Release phases, respectively.

AKAI MPC Key 61 - Anatomy of an Envelope - 3

line | Shape | Value | |---|---| | A | -25 | | B | -25 | | C | -25 | | D | -25 | | S | -25 | | R | 96 | | SUSTAIN | 96 | | RELEASE | 108 | | B SHAPE | -25 | ATTACF: 29

List Edit Mode

AKAI MPC Key 61 - List Edit Mode - 1

List Edit Mode has some of the features of the Grid View—as well as some additional ones—but with a different interface/workflow.

1 Drums TIME PAD/NOTE LENGTH VELOCITY MOD TYPE VALUE PROB RAT Expression 127 001:01:00 A03 (42) Pad Mute Off On 001:01:00 Pan 50R 001:01:00 A01 (37) 23 127 - 100% 001:01:00 A12 (43) 23 127 - 100% 001:01:00 A13 (49) 23 127 - 100% 001:01:24 A07 (46) 23 36 - 100% 001:01:48 Pan 50R 001:01:48 A05 (40) 23 91 - 100% 001:01:72 A06 (38) 23 61 - 100% INSERT DELETE NUDGE

The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.

The clock icon at the top of the screen opens the Timing Correct window. See General Features >Timing Correct (TC) to learn about this.

The View menu lets you select what type of events are shown in the list.

All: Select this option to show all event types.

Notes: Select this option to show only notes.

Aftertouch: Select this option to show only aftertouch messages.

Track Automation: Select this option to show only track automation events.

Program Automation: Select this option to show only program automation events.

Pitch Bend: Select this option to show only pitch bend events.

Control Change: Select this option to show only MIDI CC messages.

Program Change: Select this option to show only MIDI program change messages.

Ch Pressure: Select this option to show only channel pressure messages.

Solo/Mute: Select this option to show only solo and mute events for tracks, programs, and pads.

Other: Select this option to show other types of events not listed above, such as pad or keygroup parameters.

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

The Settings window lets you configure certain List Edit Mode settings.

To view the Settings, tap the gear icon.

Drums 1: 1: 0 All SETTINGS HITTING PAD SELECTS ALL EVENTS OFF ON AUTO-ADJUNCTION ON STEP RECORD OFF ON AUTO-SCROLL OFF → FOLLOW PAGE CLOSE

Use the Hitting Pad Selects All Events selector to turn the feature on or off. When On, pressing a pad will automatically select all note events for that pad in the sequence on that track. When set to Off, pressing a pad will simply play its sound without selecting any note events.

Use the Auto-Advance on Step Record selector to turn the feature on or off. When set to On, pressing a pad when the track is record-armed will move the audio playhead forward by a length determined by the current Time Division setting in the TC/Timing Correct window. When set to Off, pressing a pad when the track is record-armed will not change the audio playhead position.

Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead.

Follow: The list will scroll along in the background while keeping the audio playhead centered.

Page: The list will move to the "next page" to follow the audio playhead.

Off: The list will not move at all.

These functions also apply to the Grid View, Audio Edit Mode, and Sample Edit Mode.

TIME PAD/NOTE LENGTH VELOCITY MOD TYPE VALUE

The sequence for the track will be shown as a list of events, with the following parameters:

: This is the number of the note event.

Time: This is the position of the note event in bars, beats, and ticks. If multiple note events occur at the same time, additional note events will be listed immediately below, but their Time values will be grayed out.

Event Type: This icon indicates the type of event (e.g., Note, Aftertouch, Track Automation, etc.). See the list of icons below showing the different types of events.

Pad/Note: This is the pad and/or corresponding MIDI note number. For drum programs, you will see the pad number. For keygroup programs, plugin programs, and midi programs, you will see the note.

Length: This is the length of the note event in ticks.

Velocity: This is the velocity of the note event with its corresponding color.

Mod Type: This is the type of modifier used on the note event via automation.

Value: This is the value of the modifier automation.

1 Drums BAR BERT TIME 1: 1: 48 1/16 All TIME PAD/NOTE LENGTH VELOCITY MOD TYPE VALUE PROB RAT Expression 127 001:01:00 A03 (42) Pad Mute Off On 001:01:00 #↑ Pan 50R 001:01:00 A01 (37) 23 127 - 100% 001:01:00 A12 (43) 23 127 - 100% 001:01:00 A13 (49) 23 127 - 100% 001:01:24 A07 (46) 23 36 - 100% 001:01:48 #↑ Pan 50R 001:01:48 A05 (40) 23 91 - 100% 001:01:72 A06 (38) 23 61 - 100% INSERT DELETE NUDGE

The red arrow (▶) on the left side of the list represents the audio playhead's current position. If your sequence is playing, the arrow will move accordingly.

The following icons indicate the corresponding types of events:

Note
Track Mixer Automation (Volume, Pan, Mute, Solo)
Track MIDI CC Automation (0–127)
Track Parameter Automation (Aftertouch, Pitchbend, Channel Pressure, or Program Change)
Program Mixer Automation (Volume, Pan, Mute, Solo, or Send 1–4)
Program Parameter Automation (options vary based on the type of program)
Program Insert Effect Automation (options vary based on the effect)
Pad/Keygroup Mixer Automation (Level, Pan, Pad Mute, Pad Solo, or Send 1–4)
Pad/Keygroup Parameter Automation (options vary based on the type of program)
Pad/Keygroup Insert Effect Automation (options vary based on the effect)

To select an event, tap it.

To select multiple events, press and hold Shift and tap each event.

To insert a note event, press Rec or Overdub so the button is lit, and then press a pad. A note event will be created at the current location using the pad you pressed. You can keep pressing additional pads, which will continue to insert each press as a single note event in the order you pressed them (similar to a step sequencer). Press Stop to exit this function.

Note: Depending on the Auto-Advance on Step Record setting, the current time position will either advance each time you press a pad or remain in place. See the earlier description of Auto-Advance on Step Record to learn about this.

Alternatively, tap Insert at the bottom of the screen to open the Insert Event window. Use the Time Counter fields to set the location of the event. Use the Type field to set the type of event. Use the Pad field to set the pad where the note event will be created.

To edit the Pad/Note, Length, or Velocity or numeric Value of an event, tap the value to select it, and then use the data dial or - / + buttons to change the value. Alternatively, double-tap it and use the numeric keypad that appears to enter a value (for Length, Velocity, or numeric Value only).

To edit the Length of an event according to your Timing Correct settings, tap the value to select it, and then press and hold Shift and use the data dial or - / + buttons to change the value.

To shift the Pad/Note of an event by pad bank, tap the value to select it, and then press and hold Shift and use the data dial or - / + buttons to change the pad bank.

To turn a Solo/Mute event on or off, tap the desired setting on the On/Off switch. Alternatively, tap the On/Off switch to select it, and then use the data dial or - / + buttons to change the value.

To move an event, tap it to select it, tap Nudge at the bottom of the screen, and then use the data dial or - / + buttons to shift the event up or down. Repeat this for other events, or tap Nudge again to turn the feature off.

To move an event according to your Timing Correct settings, tap the Time value to select it, and then press and hold Shift and use the data dial or - / + buttons to change the value.

To play an event, tap it to select it, and then tap Play (▶) at the bottom of the screen. This works with note events only.

To delete an event, tap it to select it, and then tap Delete at the bottom of the screen.

Browser

AKAI MPC Key 61 - Browser - 1

The Browser lets you navigate your MPC hardware'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 X, MPC Live, MPC Live II, or MPC Key 61 hardware, allowing for even more storage space. See Appendix > SATA Drive Installation to learn more about this.

Important: MPC hardware supports read and write capability for exFAT, FAT32, NTFS, and EXT4 file systems as well as read-only capability for HFS+ file systems. We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.

To show the Browser, do any of the following:

  • Press Menu and then tap Browser.
  • Press Browse (MPC X, MPC One, MPC Studio) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61, MPC Touch).

To browse for files, tap Browse in the lower-left corner. See the Browse section to learn about this.

To view the project's sample pool and pads, tap Sample Assign in the lower-left corner. See the Sample Assign section to learn about this.

Browse

[Internal] /MPC Documents Plays Content Expansions Internal CBPS-A4EF MPC Documents Clip Launch Essential Instruments The Vault 2.0 BROWSE SAMPLE ASSIGN Search directory NAME (15 Items) [Exports] Exports FX Racks LegacyExports Live Recordings Midl Learn Plugin Presets AUDITION LOAD

[Internal]/Expansions/The Vault 2 Flares Campus Expansions Drums Instruments Clips Samples My Files Splice BROWSE SAMPLE ASSIGN Search directory NAME (492.8mm) Acoustic-Kit-Ac Fat Kit.xpm Acoustic-Kit-Ac Rock Kit.xpm Acoustic-Kit-Ac Snap Kit.xpm Acoustic-Kit-Ac Tight Kit.xpm Acoustic-Kit-Ac Vintage Kit.xpm Acoustic-Kit-Drum Pimp Chop.xpm Acoustic-Kit-TL Jr Live Kit.xpm AUDITION LOAD

When the Browse tab is selected, you can do any of the following:

To browse your files by location, tap Places on the left side of the screen.

Internal is the internal drive of MPC X/Live/Live II/One/Key 61.

MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X/Live/Live II/One/Key 61.

If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, MPC Live II, MPC One, MPC Key 61 or your computer (with MPC Studio or MPC Touch), they will appear in this column, as well.

To browse your files by content, tap Content and then tap the type of file: Drums, Instruments, Clips, Samples, My Files, or Splice (see below to learn about these content buttons).

To browse your MPC Expansions (MPC X/Live/Live II/One/Key 61 only), tap Expansions (see Addenda > Updates in MPC 2.1 > New Features > Exporting Expansions to learn how to export MPC Expansions from your computer to your MPC).

To move up one folder level, tap the folder/L icon in the upper-left corner.

To move through a list, swipe up or down, turn the data dial or use the -/+ buttons.

To select a file or folder, tap it once.

To enter a folder, double-tap it or tap Open in the lower-right corner. Alternatively, press the data dial, or press the center cursor or Enter (MPC X), to enter a selected folder. You can also tap one of the folder buttons (1–5) in the upper-right corner to jump immediately to those pre-assigned file paths (see below to learn how to assign these file paths).

To load a selected file, double-tap it, tap Load, press the data dial, or press the center cursor or Enter (MPC X). If the file is a sample, it will be loaded to the project's sample pool. If the file is a project, it will be loaded in its entirety (you will be asked if you want to close your current project).

To load all files in a folder, select the folder (so it is highlighted in the list), press and hold Shift, and then tap Load All in the lower-right corner.

Important: Although you can load multiple files at once, any samples you load into a project will be automatically converted to full-quality uncompressed audio files, so they may use more storage space than they do on your external storage device. If you are unable to load multiple files at once due to this, select fewer files and try again.

To delete a selected file or folder, press and hold Shift and then tap Delete File at the bottom of the screen.

To preview a selected sound, tap and hold Play (▶) at the bottom of the screen.

To enable or disable the audition function and set its volume level, tap Audition at the bottom of the screen. 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. Use the Sync and Warp buttons to audition samples and loops in time with your sequence. See Addenda > Updates in MPC 2.5 > New Features > Browser Audition Warp and Sync for more information. Tap Audition once more to hide the window.

To show the information for the current storage device, press and hold Shift and then tap Drive Info at the bottom of the screen. The drive's information will appear in a new window. Tap OK to return to the previous screen.

To format a storage device to use an exFAT file system, select it in the Browser, press and hold Shift and then tap Format Drive at the bottom of the screen. In the window that appears, tap OK and then Format in the next window to format the device, or tap Cancel to return to the previous screen without formatting. This formatting process will set the device to use the exFAT file system, remove any partitions from the drive, and erase all of its content. (Devices that are uninitialized or do not have a file system will not be recognized by the MPC hardware and consequently cannot be formatted.)

Tap the gear icon to open the Browser settings window.

Tap the Show file size, Show modified date or Show created date boxes to show the respective file information in the list.

Tap the Search includes subfolders box to enable recursive searching. When enabled, searching a directory will also search all subfolders within it.

Tap the Hide project data folders box to enable or disable MPC project folders from appearing in the file list.

BROWSER OPTIONS ✓ Show file size ☐ Show modified date ☐ Show created date ✓ Search includes subfolders ✓ Hide project data folders CLOSE

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 your MPC hardware's internal drive and/or any connected storage devices, 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). Now, when you tap that folder button again, the Browser will show that folder's content immediately.

1 2 3 4 5

Use the six filter buttons to show only specific types of files in the list below. Folders will still be shown in the list.

Screenshot of a software toolbar with icons for file, menu, zoom, playback, and document handling functions

To show project files only, tap the P/page icon.

To show sequence files only, tap the bars icon.

To show program files only, tap the four-squares icon.

To show preset files only, tap the plug icon.

To show sample files only, tap the waveform icon.

To show all file types, tap the three-pages icon.

Use the six Content buttons to show specific locations in the internal drive of MPC X/Live/Live II/One/Key 61 and filter them automatically by file type:

Drums: Tap this button to enter the Expansions/The Vault 2 folder on the internal drive, viewing program files only.

Instruments: Tap this button to enter the Expansions/Instruments folder on the internal drive, viewing program files only.

Clips: Tap this button to enter the Expansions/Clips folder on the internal drive, viewing program files only.

Samples: Tap this button to enter the Expansions/The Vault 2 folder on the internal drive, viewing sample files only.

My Files: Tap this button to enter the MPC Documents folder, viewing all files.

Splice: Tap this button to view samples synced from a paired Splice account. See Addenda > Updates in MPC 2.5 > New Features > Splice Integration for more information.

Places Content Expansions Drums Instruments Clips Samples My Files Splice

Sample Assign

Drums 1 SAMPLE POOL Acoustic-Cymbal-DpimpCRide Acoustic-Cymbal-TL P CRide Acoustic-Kick-TLJr Kik 1 Acoustic-Kick-TLJr Kik 2 Acoustic-Snare-TL P Snr 1 Acoustic-Snare-TL P Snr 2 Breaks-BOOGIE A Breaks-BP VARI A 13 Trap-Crash-PD46 C A 14 HipHop-Cymbal-D A 15 A 16 A 09 EDM-HiHat-Ajack- A 10 Acoustic-Cymbal-T A 11 Acoustic-Cymbal-D A 12 HipHop-Cymbal-D A 05 EDM-HiHat-Ajack- A 06 DeepHouse-HiHat- A 07 EDM-HiHat-Ajack- A 08 EDM-HiHat-Ajack- A 09 DeepHouse-Kick-D A 10 Acoustic-Kick-TLJr A 11 Acoustic-Snare-TL A 12 Acoustic-Snare-TL BROWSE SAMPLE ASSIGN ▶ AUDITION CLEAR PAD

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 screen. 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 screen.

To enable or disable the audition function and set its volume level, tap Audition at the bottom of the screen. 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.

To assign a sample to a pad, press it or tap it on the screen so it lights green. Then, in the Sample Pool list, tap the desired sample. Alternatively, use the data dial or - / + buttons to select a sample, and press the data dial, or press the center cursor or Enter (MPC X), to assign it. You can also tap and drag from the sample name to the desired pad. Hold Shift while tapping and dragging to move the sample to a specific layer on the pad, indicated by the red bar.

To clear a sample from a pad, press it or tap it on the screen so it lights green. Then, tap Clear Pad at the bottom of the screen.

To delete a sample, tap and hold on the sample name until Delete Sample appears, and then tap it.

Sampler

AKAI MPC Key 61 - Sampler - 1

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 hardware or to your computer's audio interface.

To open the Sampler, do any of the following:

  • Press Menu and then tap Sampler.
  • Press Sampler (MPC X, MPC One), Shift+Mix/Sampler (MPC Live II), or Shift+Sample Edit/Sampler (MPC Key 61).
  • Press and hold Mode and press Pad 13 (MPC Studio).

Input 1,2 Stereo INSERTS OFF =29.8dB SAMPLE LENGTH 00:00:00 MM SS MS ARM MAX LENGTH 00:20 MM SS SAMPLE SLICE PAD TAP PAD HOLD 1: 4: 40

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. Connect a synthesizer or other line-level audio source to the input/inputs of your MPC hardware.
  3. Turn the 3/4 Rec Gain (MPC X), Gain (MPC Key 61), or Rec Vol (MPC Live, MPC Live II, MPC One, MPC Touch) knob to set the input level while playing your audio source. You should now see the level in the meter. Make sure it does not exceed the maximum level (the meter should not be "peaking" constantly).
  4. Set the recording controls as desired (described in this chapter).
  5. Tap the Arm button to record-arm the Sampler.

You can use the Sampler to record using four different methods: Sample, Slice, Pad Tap, or Pad Hold, all described later in this chapter. The following controls are present regardless of which method you use.

The Sampler page also contains the Auto Sampler, which lets you capture and convert any plugin preset or external instrument preset into a Keygroup sampler patch. See Addenda > Updates in MPC 2.3 > New Features > Auto Sampler for more information.

The time counter in the upper-right corner shows the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.

Tap the tuning fork icon to open the tuner. See Addenda > Updates in MPC 2.11 > New Features > Built-In Tuner for more information.

The upper-left Input Source field defines whether you are going to record an external audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–32 in Controller Mode). You can also select an internal signal from within your MPC hardware (Resample L, Resample R, or Resample L+R).

Resampling does not require an audio connection because the source is internal 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.

Use the second upper-left Mono/Stereo field to choose whether your recorded samples will be monaural (Mono) or binaural (Stereo).

Input 1,2 Stereo INSERTS OFF -14.0dB

The Inserts field shows any enabled or disabled effects for the Sampler. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects.

Important: These effects are applied to the audio as you record it. This means that the effects cannot be “removed” from the sound later. Learn more about how effects work in General Features > Effects.

Tap the Monitor button to enable or disable input monitoring. When set to In, 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.

Use the threshold slider to adjust the threshold. Alternatively, turn Q-Link Knob 1 (MPC X) or the first Q-Link knob in the fourth column (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch).

When the Sampler is record-armed, it automatically starts recording when the level of the incoming source exceeds this setting. If you set it 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 it too low, the recording may start too early, before you play the external source. Set this parameter to an appropriate level using the level meter.

To reset the "peak hold," which shows the highest level of your input signal in the level meter, tap it.

Input 1,2 Stereo INSERTS -14.0dB

For reference, the Sample Length counter shows you the length of your sample during the recording procedure.

Tap Arm to record-arm the Sampler. The button will then change to Record and show Waiting for signal.

At that point, start recording by doing either of the following:

  • Start performing so that the incoming audio level exceeds the level of the threshold slider.
    • Tap Record under the Sample Length counter.

To disarm the track instead, tap Cancel.

Use the Max Length field to define the maximum sampling time. Alternatively, turn the Q-Link Knobs 3 and 4 (MPC X) or the third and fourth Q-Link knobs in the fourth column (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch): Minutes and Seconds.

You can record up to 19 minutes and 59 seconds (19:59) per sample. We recommend setting these to values that roughly match your estimated recording duration.

SAMPLE LENGTH 00:00:00 AM GS RMS ARM MAX LENGTH 00:20 RMS 5S

SAMPLE LENGTH 00:00:00 SOM SIS RMS RECORD Waiting for signal

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).

Input 1,2 INSERTS OFF -10.5dB SAMPLE LENGTH 00:03:30 MM SS MS SLICE +

To start recording, do one of the following:

  • Start performing so that the incoming audio level exceeds the level of the threshold slider.
    • Tap Record under the Sample Length counter.

To insert a slice marker in a sample while recording, tap Slice+ (in the lower-right corner) as the sample records. Each time you tap it, a slice marker will be placed at that location.

To stop recording, tap Stop under the Sample Length counter.

After you stop your recording, the Keep or Discard Sample window will appear.

KEEP OR DISCARD SAMPLE New Sample New Sample Drums ASSIGN TO PAD ROOT NOTE A07 C3 SAVE PLAY DISCARD KEEP EDIT

Use the Edit Name field to name the new sample. Tap it and use the virtual keyboard that appears.

Use the Program field to assign the new sample to a program. Select if you want to save it to the project without assigning it to a program.

Use the Assign to Pad field to assign the sample to a pad in the program.

Use the Root Note field to set where the sample's original pitch will be on the keyboard.

If you recorded a sample while a sequence was playing, the Keep or Discard Sample window will show a few more options after you select a pad.

Check the Add Event box to automatically add the sample to the currently playing sequence.

Use the @ field to select where you want the event to start:

• Start: The sample will be a note event at the start of the currently playing sequence.
- Trigger: The sample will be a note event where you began recording it in the currently playing sequence.

Use the Track field to set which track will contain the new event.

To confirm your selections, tap Keep at the bottom of the screen.

To discard the recording and return to the Sampler, tap Discard at the bottom of the screen.

To play the recording, tap Play at the bottom of the screen.

Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).

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).

To start recording, do one of the following:

  • Start performing so that the incoming audio level exceeds the level of the threshold slider.
  • Tap Record under the Sample Length counter.

To insert a slice marker in a sample while recording, press any pad as the sample records. Each time you press it, a slice marker will be placed at that location.

The number of the pad that flashes red is the number of the slice marker that will be inserted next. The numbers of the pads that are lit yellow are the numbers of the slice markers that are already inserted.

When you are done recording, you can name the sample and create a new program using the slices.

To stop recording, tap the round Stop button.

After you stop your recording, the Keep or Discard Sample window will appear.

KEEP OR DISCARD SAMPLE New Sample New Sample CREATE NEW PROCESIVE With Non-Destructive Slices SAVE PLAY DISCARD Honduras BYKELTEN 00:06 EDIT

Use the Edit Name field to name the new sample. Tap it and use the virtual keyboard that appears. Otherwise, the process will add a consecutive number after the sample name.

Use the Create New Program field to assign the new sample to a new program:

Off: No program will be created. The slices will still be added to your project's sample pool.

With Non-Destructive Slices: In the new program, each pad's Slice setting will be set to the corresponding slice number. This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit Mode > Chop Mode > Converting or Assigning Slices).

With Pad Parameters: In the new program, each pad's Slice setting will be set to Pad. The Pad Start and Pad End will be set to the slice's start point and end point values, and the Loop Position will be set to the slice's start point but with Pad Loop deactivated. This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit Mode > Chop Mode > Converting or Assigning Slices).

To confirm your selections, tap Create or Keep at the bottom of the screen.

To discard the recording and return to the Sampler, tap Discard at the bottom of the screen.

To play the recording, tap Play at the bottom of the screen.

Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).

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. Recording will start immediately, and the pad will flash red. If you press a new pad, the recording will stop on the previous pad, which will turn green, and start on the new pad, which will flash red.

Note: If you start recording by tapping Record under the Sample Length counter—or if the volume exceeds the level of the threshold slider—the sample will record to your project's sample pool, not to a pad.

To stop recording to a pad, press the currently recording pad, which is flashing red. The sample will continue recording. You can start recording on another pad at any time.

To stop all recording, tap Stop under the Sample Length counter.

When you are done recording, each pad that you have pressed during recording:

• will have its Slice setting set to Pad;
- will have its Pad Start and Pad End set to the slice's start point and end point values; and
- will have its Loop Position set to the slice's start point but with Pad Loop deactivated.

This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit Mode > Chop Mode > Converting or Assigning Slices).

Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).

Pad Hold

Important: This mode works for drum programs only; you must select a drum program before using this mode. Otherwise, this feature will not do anything, even though it may appear to work.

With this method, pressing and holding a pad immediately starts or continues recording directly to that pad (make sure you are using the desired program before you start recording). Pads with assigned samples are lit bright yellow. Pads without samples are lit dim yellow.

To start recording to a pad, press and hold it. Recording will start immediately, and the pad will light red.

Note: If you start recording by tapping Record under the Sample Length counter—or if the volume exceeds the level of the threshold slider—the sample will record to your project's sample pool, not to a pad.

To stop recording, release the pad. The pad will light green, and the sample will continue recording. You can start recording on another pad at any time.

To stop all recording, tap Stop under the Sample Length counter.

When you are done recording, each pad that you have pressed during recording:

• will have its Slice setting set to Pad;
- will have its Pad Start and Pad End set to the slice's start point and end point values; and
- will have its Loop Position set to the slice's start point but with Pad Loop deactivated.

This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit Mode > Chop Mode > Converting or Assigning Slices).

Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).

Auto Sampler

See Addenda > Updates in MPC 2.3 > New Features > Auto Sampler for more information.

Looper

AKAI MPC Key 61 - Looper - 1

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, do either of the following:

  • Press Menu, and then tap Looper.
  • Press Shift+Sampler/Looper (MPC X, MPC One).
    • Press and hold Mode and press Pad 14 (MPC Studio).

Resample L + R Stereo INSERTS OFF -20.3dB BARS SYNC RECORD TO PLAY OVERDUB OUTPUT GAIN 0.00dB EXPORT CLEAR REVERSE REPLACE PLAY OVERDUB

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. Make sure to reduce the volume levels of your audio source and speakers/headphones/monitors before you make any connections to avoid "pops" or feedback.
  2. Connect a synthesizer, audio player, etc. to the input/inputs of your MPC hardware.
  3. Turn the 3/4 Rec Gain (MPC X), Gain (MPC Key 61), or Rec Vol (MPC Live, MPC Live II, MPC One, MPC Touch) knob to set the input level while playing your audio source. You should now see the level in the meter. Make sure it does not exceed the maximum level (the meter should not be "peaking" constantly).

  4. Set the recording controls as desired (described in this chapter).

  5. Tap the Record To selector so Overdub is selected.

  6. Tap the Rec/Record button in the lower-right corner to record-arm the Looper.

  7. Play your audio source. The Looper will start recording immediately when the input level reaches the threshold value. Alternatively, tap ▶/Play at the bottom of the screen to manually start recording.

Each time the Looper repeats, its contents are being overdubbed—a new layer of audio will be added each time you let the Looper repeat as it records.

Tip: You can record a loop while playing a sequence in the background for reference.

  1. To stop recording, tap ▶/Play at the bottom of the screen.

To export your loop as a sample, tap Export to open the Keep or Discard Sample window.

To clear the contents of the Looper, tap Clear.

The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.

The upper-left Input Source field defines whether you are going to record an external audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–32 in Controller Mode). You can also select an internal signal from within your MPC hardware (Resample L, Resample R, or Resample L+R).

Resampling does not require an audio connection because the source is internal 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.

Use the second upper-left Mono/Stereo field to choose whether your recorded loop will be monaural (Mono) or binaural (Stereo).

AKAI MPC Key 61 - To get started using the Looper: - 1

bar | Value | |---| | -30 | | -28 | ISO-12-01 ISO-12-02 ISO-12-03 ISO-12-04 ISO-12-05 ISO-12-06 ISO-12-07 ISO-12-08 ISO-12-09 ISO-12-10 ISO-12-11 ISO-12-12 ISO-12-13 ISO-12-14 ISO-12-15 ISO-12-16 ISO-12-17 ISO-12-18 ISO-12-19 ISO-12-20 ISO-12-21 ISO-12-22 ISO-12-23 ISO-12-24 ISO-12-25 ISO-12-26 ISO-12-27 ISO-12-28 ISO-12-29 ISO-12-30 ISO-12-31 ISO-12-32 ISO-12-33 ISO-12-34 ISO-12-35 ISO-12-36 ISO-12-37 ISO-12-38 ISO-12-39 ISO-12-40 ISO-12-41 ISO-12-42 ISO-12-43 ISO-12-44 ISO-12-45 ISO-12-46 ISO-12-47 ISO-12-48 ISO-12-49 ISO-12-50 ISO-12-51 ISO-12-52 ISO-12-53 ISO-12-54 ISO-12-55 ISO-12-56 ISO-12-57 ISO-12-58 ISO-12-59 ISO-12-60 ISO-12-61 ISO-12-62 ISO-12-63 ISO-12-64 ISO-12-65 ISO-12-66 ISO-12-67 ISO-12-68 ISO-12-69 ISO-12-70 ISO-12-71 ISO-12-72 ISO-12-73 ISO-12-74 ISO-12-75 ISO-12-76 ISO-12-77 ISO-12-78 ISO-12-79 ISO-12-80 ISO-12-81 ISO-12-82 ISO-12-83 ISO-12-84 ISO-12-85 ISO-12-86 ISO-12-87 ISO-12-88 ISO-12-89 ISO-12-90 ISO-12-91 ISO-12-92 ISO-12-93 ISO-12-94 ISO-12-95 ISO-12-96 ISO-12-97 ISO-12-98 ISO-12-99 ISO 00: -3.0 dBdB

The Inserts field shows any enabled or disabled effects for the Looper. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects.

Important: These effects are applied to the audio as you record it. This means that the effects cannot be “removed” from the sound later. Learn more about how effects work in General Features > Effects.

Tap the Monitor button to enable or disable input monitoring.

When set to In, the audio you hear in your headphones will be taken before it reaches the Looper, ensuring zero latency. You can turn input monitoring on only if the Input Source field is set to an input, not to a Resample setting.

When off, the audio you hear in your headphones will be taken after it is processed in the Looper, 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.

Use the threshold slider to adjust the threshold. Alternatively, turn Q-Link Knob 1 (Threshold on MPC X) or the first Q-Link knob in the fourth column (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch). The threshold slider will work only when Sync is off (see below).

When the Looper is record-armed, it automatically starts recording when the level of the incoming source exceeds this setting. If you set it 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 it too low, the recording may start too early, before you play the external source. Set this parameter to an appropriate level using the level meter.

To reset the "peak hold," which shows the highest level of your input signal in the level meter, tap it.

Use the Bars field to define the length of your loop. Regardless of how much or how little audio you record, this is how long your loop will be.

BARS 1 SYNC RECORD TO PLAY OVERDUB OUTPUT GAIN +6.00dB

Use the Sync button to sync or un-sync the looper with sequence playback. When on, the Looper will stay in step with your current sequence. When you play or record into the Looper, it will wait until the sequence starts playing Bar 1 to start.

Use the Record To selector to determine the loop recording behavior:

Play: Before recording, you must first tap the ▶/Play button on the screen, which will start playing the Looper.

Overdub: Before recording, you must first tap the Rec/Record button in the lower-right corner to record-arm the Looper.

Use the Output Gain slider to set the output signal level of the Looper.

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.

Resample L + R Stereo INSERTS -20.3dB BARS 4 SYNC RECORD TO PLAY OVERDUB OUTPUT GAIN 0.00dB EXPORT CLEAR REVERSE REPLACE PLAY OVERDUB

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.

To stop playback and recording, tap the ▶/Play button.

If Record To is set to Overdub:

To start recording, tap the ▶/Play button on the screen.

If Sync is off, you can also play your audio source so that the input level reaches the threshold value.

If Sync is on, you can also press the Play or Play Start button to start playing a sequence; recording will start when the sequence starts on Bar 1.

To stop recording, tap Overdub. The Looper will stop recording but continue playing.

To stop playback and recording, tap the ▶/Play button, or press Stop to stop sequence playback.

To play or stop the loop (without recording), tap the ▶/Play button on the screen.

To reverse loop playback, tap Reverse. If Sync is on, playback will reverse once the Looper's playhead reaches the end of the loop. If Sync is off, playback will reverse immediately.

To erase the loop immediately, tap Clear.

KEEP OR DISCARD SAMPLE New Looper Sample Drums ASSIGN TO PAD ROOT NOTE A15 C3

To export the loop as a sample:

  1. Tap Export to open the Export Loop as a Sample window.
  2. Tap the Edit Name field and use the virtual keyboard that appears to enter a new name.
  3. Optional: Use the Program field to assign it directly to a program. To ignore this feature, select .
  4. Optional: If you're assigning the sample to a program, use the Assign to Pad field to assign it to a specific pad. Alternatively, just press the pad. To ignore this feature, select Off.
  5. Use the Root Note field to select the sample's root note.
  6. Optional: Tap and hold your finger on Play to play the sample.
  7. Tap Do It to confirm your choice, or Cancel to cancel.

When your loop is done exporting, it will be added to your project's sample pool with the name you entered and will be assigned to the program and pad you selected (if any).

Pad Mixer

AKAI MPC Key 61 - Pad Mixer - 1

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). Even though you can view other pad banks, only Pad Bank A is relevant for clip programs.

For MIDI programs, plugin programs, and CV programs, this mode is unavailable.

For more information on how these programs differ, please see General Features > Programs.

To enter the Pad Mixer, do any of the following:

  • Press Menu, and then tap Pad Mixer.
  • Press Pad Mixer (MPC X), Shift+Track Mix/Pad Mix (MPC One), or Shift+Mix/Pad (MPC Key 61).
  • Press and hold Mode and press Pad 7 (MPC Studio).

DeepHouse-Kit-DH Kit 02 124 1 DH Drums 7: 1: 31 50 D02 Program INSERTS D13 No Samp S M 0.00dB D14 No Samp S M 0.00dB D15 No Samp S M 0.00dB D16 No Samp S M 0.00dB D09 No Samp S M 0.00dB D10 No Samp S M 0.00dB D11 No Samp S M 0.00dB D12 No Samp S M 0.00dB D05 No Samp S M 0.00dB D06 No Samp S M 0.00dB D07 No Samp S M 0.00dB D08 No Samp S M 0.00dB D01 No Samp S M 0.00dB D02 No Samp S M 0.00dB D03 No Samp S M 0.00dB D04 No Samp S M 0.00dB LEVEL PAN MUTE SEND INSERT ROUTE

The Pad Mixer works like an audio mixer with various settings for each pad, shown in a 4x4 array. All of their functionality is identical. If a sample has been assigned to a pad, its name is displayed at the top of it.

To select a pad, press its corresponding pad or tap it on the screen. Alternatively, use the numbered Pad field in the upper-left corner.

To view more channels, use the Pad Bank buttons.

Use the Program field in the upper-left corner to select the program whose pads you want to view. Remember that only drum programs, keygroup programs, or clip programs will display properly in the Pad Mixer.

Use the Track field at the top of the screen to select the desired track.

The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

To view a specific setting on all channels, tap the Level, Pan, Mute, Send, Insert, or Route button at the bottom of the screen. You can tap the Send or Insert buttons multiple times to cycle through the four available slots for each.

When a pad is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.

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: Program (the usual setting); Out 1,2–7,8, Out 1–8 or Sub 1–8 in Standalone Mode; and Out 1,2–31,32 or Out 1–32 in Controller Mode.

Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output.

The Inserts field shows any enabled or disabled effects for that pad. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects.

1 A01 Program INSERTS Distortion Amp C SOLO MUTE -3.37dB

Tap Solo or Mute to solo or mute the pad (respectively).

Adjust the pan knob or level slider to change the panning or level of the pad.

Levels

HipHop-Kit-CAPSUN Vintiq Kit 1 Group A1 - Pattern 1 2: 2: 48 9 A09 Program INSERTS Reverb Medium SOLD MUTE -21.0dB A13 HipHop-1 S M -11.0dB A14 HipHop-1 S M -15.0dB A15 HipHop-1 S M -15.0dB A16 HipHop-1 S M -15.0dB A09 HipHop-1 S M -21.0dB A10 HipHop-1 S M -15.0dB A11 HipHop-1 S M -9.00dB A12 HipHop-1 S M -9.00dB A05 HipHop-1 S M -5.00dB A06 HipHop-1 S M -10.0dB A07 HipHop-1 S M -10.0dB A08 HipHop-1 S M -12.0dB A01 HipHop-1 S M -5.00dB A02 HipHop-1 S M -7.00dB A03 HipHop-1 S M -12.0dB A04 HipHop-1 S M -12.0dB LEVEL PAN MUTE SEND INSERT ROUTE

When the Level tab is selected, use the data dial or - / + buttons to adjust the level of the currently selected pad.

The level sliders and meters in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the level slider and meter.

Panning

HipHop-Kit-CAPSUN Vintiq Kit 1 Group A1 - Pattern 1 2: 3: 26 9 A09 Program INSERTS Reverb Medium 26L SOLD MUTE -210dB A13 HipHop-V S M 50 R A14 HipHop-V S M 37 R A15 HipHop-V S M DC A16 HipHop-V S M DC A09 HipHop-V S M 26 L A10 HipHop-V S M DC A11 HipHop-V S M 11 L A12 HipHop-V S M DC A05 HipHop-X S M DC A06 HipHop-X S M DC A07 HipHop-X S M DC A08 HipHop-X S M DC A01 HipHop-X S M DC A02 HipHop-X S M DC A03 HipHop-X S M 16 R A04 HipHop-X S M 16 R LEVEL PAN MUTE SEND INSERT ROUTE

When the Pan tab is selected, use the data dial or - / + buttons to adjust the panning of the currently selected pad.

The pan sliders in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the pan knob.

Mute

HipHop-Kit-CAPSUN Vinbig Kit 1 Group A1 - Pattern 1 1: 1: 80 5 A05 Program INSERTS C A13 HipHop-I S M A14 HipHop-I S M A15 HipHop-I S M A16 HipHop-I S M A09 HipHop-I S M A10 HipHop-I S M A11 HipHop-I S M MUTED A12 HipHop-I S M MUTED A05 HipHop-K S M A06 HipHop-S S M A07 HipHop-S S M A08 HipHop-I S M MUTED A01 HipHop-I S M A02 HipHop-I S M A03 HipHop-I S M A04 HipHop-I S M LEVEL PAN MUTE SEND INSERT ROUTE

When the Mute tab is selected, mute the currently selected pad by doing any of the following:

• Turn the data dial.
• Use the -/+ buttons.
- Tap the pad on the screen.

When a pad is muted, its M button will light red.

Send Effects

HipHop-Kit-CAPSUN Vintiq Kit 1 Group A1 - Pattern 1 1: 4: 46 12 A12 Program INSERTS A13 HipHop-1 S M -INF dB A14 HipHop-1 S M -INF dB A15 HipHop-1 S M -6.64dB A16 HipHop-1 S M -INF dB A09 HipHop-1 S M -INF dB A10 HipHop-1 S M -INF dB A11 HipHop-1 S M -INF dB A12 HipHop-1 S M -4.30dB A05 HipHop-1 S M -INF dB A06 HipHop-1 S M -INF dB A07 HipHop-1 S M -INF dB A08 HipHop-1 S M -INF dB A01 HipHop-1 S M -INF dB A02 HipHop-1 S M -INF dB A03 HipHop-1 S M -INF dB A04 HipHop-1 S M -INF dB LEVEL PAN MUTE SEND INSERT ROUTE

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 on the screen 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 hardware as well as other VST and AU plugins installed on your computer. Tap the Send button to cycle through the four available slots for each.

To learn how to use send effects, please see General Features > Effects > Send/Return Effects.

Important: To use a send effect, you have to load an effect into the corresponding send effect slot in the Channel Mixer.

Insert Effects

HipHop-Kit-CAPSUN Vintiq Kit 1 Group A1 - Pattern 1 1: 1: 78 10 A10 Program INSERTS Delay Ping Pong C SOLD MUTE -15 dBN A13 HipHop - S M A14 HipHop - S M A15 HipHop - S M A16 HipHop - S M AC9 HipHop - S M A10 HipHop - S M A11 HipHop - S M A12 HipHop - S M Reverb Medium Delay Ping Pong AC5 HipHop - S M AC6 HipHop - S M AC7 HipHop - S M AC8 HipHop - S M A01 HipHop - S M A02 HipHop - S M A03 HipHop - S M A04 HipHop - S M LP Filter Distortion Over... LEVEL PAN MUTE SEND INSERT ROUTE

When the Insert tab is selected, use the data dial or -/+ buttons to open a window where you can select an effect for the currently selected pad.

Instead of level sliders, there are fields that display 0–4 boxes to indicate which insert slots have a loaded effect.

The level meters in each pad show a visual representation of the level. Double-tap a pad on the screen to open a window where you can load, change, and enable or disable the effects for all four insert slots.

You can select up to four insert effects for each pad. You can use various effects included in your MPC hardware as well as other VST and AU plugins installed on your computer. Tap the Insert button to cycle through the four available slots for each.

To learn how to use insert effects, 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.

If a routing is set to anything other than Program, then a program insert effect will not be applied to that pad or keygroup.

Routing

HipHop-Kit-CAPSUN Vintiq Kit 1 Group A1 - Pattern 1 2: 4: 78 15 A15 Sub 1 A13 HipHop- S M Program A16 HipHop- S M Program A18 HipHop- S M Sub 1 A16 HipHop- S M Program A09 HipHop- S M Sub 1 A10 HipHop- S M Program A11 HipHop- S M Program A12 HipHop- S M Sub 1 A05 HipHop- S M Program A06 HipHop- S M Program A07 HipHop- S M Program A08 HipHop+ S M Program A09 HipHop+ S M Program A01 HipHop- S M Program A02 HipHop- S M Program A03 HipHop+ S M Program A04 HipHop+ S M Program LEVEL PAN MUTE SEND INSERT ROUTE

When the Route tab is selected, use the data dial or - / + buttons to select the output of the currently selected pad. Usually, this is set to Program. Double-tap a pad on the screen to select a different destination: Out 1,2-7,8, Out 1-8 or Sub 1-8 in Standalone Mode; and Out 1,2-31,32 or Out 1-32 in Controller Mode.

Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output.

Channel Mixer

AKAI MPC Key 61 - Channel Mixer - 1

In the Channel (Track) Mixer, you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes and main outputs.

To open the Channel Mixer, do either of the following:

  • Press Menu, and then tap Channel Mixer.
  • Press Ch. Mixer (MPC X), Track Mix (MPC One), or Mix (MPC Key 61).
  • Press and hold Mode and press Pad 8 (MPC Studio).

MIDI Tracks 1 DH Drums DeepHouse-Kit-DH Kit 02 124 MIDI INPUT All Ports All SEND TO SOLO MUTE AUTO 13 • S M 14 • S M 15 • S M 16 • S M 9 • S M 10 • S M 11 • S M 12 • S M 5 OH Riser • S M 6 DH Vocals • S M 7 SPX • S M 8 • S M 127 127 127 127 127 127 127 4 DH Synth • S M LEVEL PAN MUTE

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.

Use the Mixer field at the top of the screen to select which mixer you want to view: MIDI Tracks, Audio Tracks, Programs, Returns, Submixes, or Main Outputs. Each page has slight differences, described in each section.

The following controls and tabs are available for all of the mixers (or most of them, as indicated).

To select a channel, tap its corresponding pad on the screen. Alternatively, use the field in the upper-left corner.

To view more channels (while viewing tracks or programs), use the - / + buttons at the top of the screen.

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/Locate to learn about this.

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

Levels

When the Level tab is selected, use the data dial or - / + buttons to adjust the velocity level or volume level of the currently selected track, program, return, submix, or main output.

The level sliders and meters in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the level slider and meter.

Panning

When the Pan tab is selected, use the data dial or - / + buttons to adjust the panning of the currently selected track, program, return, submix, or main output.

The pan sliders in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of a pan knob.

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 main outputs by doing any of the following:

  • Turn or press the center cursor or Enter (MPC X), or the data dial (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch).
  • Use the -/+ buttons.
  • Tap the pad on the screen.
  • Turn each of the Q-Link knobs to mute or unmute each of the pads.

When a track, program, return, submix, or main output is muted, its M button will light red.

When Solo is selected, solo tracks, programs, returns, submixes, or main outputs by doing any of the following:

  • Turn or press the center cursor or Enter (MPC X), or the data dial (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch).
  • Use the -/+ buttons.
  • Tap the pad on the screen.
  • Turn each of the Q-Link knobs to solo or unsolo each of the pads.

When a track, program, return, submix, or main output is soloed, its S button will light green while other tracks are muted with their M buttons lit red.

The Solo tab is available for tracks and programs only.

When Rec Arm is selected, record-enable audio tracks by doing any of the following:

  • Turn or press the center cursor or Enter (MPC X), or the data dial (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch).
  • Use the -/+ buttons.
  • Tap the pad on the screen. Press and hold Shift while tapping a pad on the screen to record-enable multiple tracks at once.

Send Levels (audio tracks, programs, and submixes only)

When the Send tab is selected, use the data dial or - / + buttons to adjust the send level of audio tracks, programs, or submixes.

The level sliders in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the level slider.

You can use up to four send channels. Tap Send to cycle through the four available slots for each.

To learn how to use send effects, please see General Features > Effects > Send/Return Effects.

Important: When using send channels, make sure you have already loaded at least one effect to it using the return mixer. See Returns below to learn how to do this.

Insert Effects (audio tracks, programs, returns, submixes, and main outputs only)

When the Insert tab is selected, use the data dial or - / + buttons to open a window where you can select an effect for the currently selected audio track, program, return, submix, or main output.

Instead of level sliders, there are fields that display 0–4 boxes to indicate which insert slots have a loaded effect.

The level meters in each pad show a visual representation of the level. Double-tap a pad on the screen 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 main output. Tap the Insert button to cycle through the four available slots for each.

To learn how to use insert effects, please see General Features > Effects > Insert Effects.

Routing (audio tracks, programs, returns, and submixes only)

When the Route tab is selected, use the data dial or - / + buttons to select the output of the currently selected program, return, or submix.

MIDI Tracks

MIDI Tracks 1 DH Drums DeepHouse-Kit-DH Kit 02 124 MIDI INPUT All Ports All SEND TO SOLO MUTE AUTO LEVEL PAN MUTE 13 • S M 14 • S M 15 • S M 16 • S M 9 • S M 10 • S M 11 • S M 12 • S M 5 DH Riser • S M 6 DH Vocals • S M 7 SFX • S M 8 • S M 127 127 127 1 DH Drums • S M 2 DH Bassol • S M 3 DH Cymb. • S M 4 DH Synth • S M 127 127 127 127

The MIDI Track Mixer shows levels, panning, and mute states for all used tracks.

To view a specific setting on all tracks, tap Level, Pan, or Mute at the bottom of the screen. Tap Mute/Solo/Rec Arm to switch between them.

When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.

When viewing the MIDI track channel strip:

Note: This is the same as the MIDI track channel strip in Main Mode.

The first field shows the current track (which you can change).

The second field shows the current program the track is using (which you can change to a program of the same type).

Use the MIDI Input and Channel fields to configure the MIDI input settings.

Use the MIDI Output and Channel fields to configure the MIDI output settings (MIDI tracks only).

Use the Send To field to send the track's MIDI output to another track.

Tap Solo or Mute to solo or mute the track (respectively).

Use the monitor button to set the monitor behavior for the track:

Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting is useful when using keyboards with Local Control active.

In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from recorded events will not be heard.

Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events will be heard.

Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.

Adjust the pan knob or velocity slider to change the panning or velocity of the track.

Audio Tracks

Audio Tracks Input 1,2 Out 1,2 INSERTS Reverb Small SOLO MUTE OFF -1.61dB LEVEL PAN MUTE SEND INSERT ROUTE 13 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 Guitar Am S M -2.00dB 6 Harmonie S M -3.29dB 7 S M 8 S M 1 Vocals 1 S M 2 Vocals 2 S M 0.00dB 3 Vocals 3 S M 4 Guitar S M 0.00dB -2.70dB

The Audio Track Mixer shows levels, mute/solo/record-arm states, send and insert effects, and routing for all used tracks.

To view a specific setting on all tracks, tap Level, Pan, Mute/Solo/Rec Arm, Send, Insert, or Route at the bottom of the screen. Tap Mute/Solo/Rec Arm to cycle through them.

When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.

When viewing the audio track channel strip:

Note: This is the same as the audio track channel strip in Main Mode.

The first field defines the input source of the external audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–32 in Controller Mode).

The second field shows where the track is routed, which you can change: Out 1,2–7,8, Out 1–8 or Sub 1–8 in Standalone Mode; and Out 1,2–31,32 or Out 1–32 in Controller Mode.

Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output.

The Inserts field shows any enabled or disabled effects for that audio track. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects for all four insert slots.

Tap Solo or Mute to solo or mute the track (respectively).

Tap the Monitor button to set how your audio track will be monitored. Tapping it will cycle through its three states:

When set to Auto, you will hear incoming audio while the track is record-enabled only.

When on, you will hear incoming audio whether or not the track is record-enabled.

When off, you will never hear any incoming audio.

Tap the automation button or press Read/Write (MPC X, MPC Key 61) to toggle between its two states:

When set to Read (R), the audio track will read automation data but will not record any additional automation over it. (Think of this as a protective feature to prevent accidental changes to your automation while recording.)

AKAI MPC Key 61 - Audio Tracks - 2

When set to Write (W), the audio track can record automation. (If you have any Q-Link knobs assigned to automatable parameters, make sure not to touch any accidentally while you are recording.)

AKAI MPC Key 61 - Audio Tracks - 3

Tip: You can quickly set all programs and audio tracks to the same automation by tapping the global automation button in the upper-right corner of the screen. See General Features > Automation to learn about this.

AKAI MPC Key 61 - Audio Tracks - 4

Press and hold Shift and tap the automation button or press Read/Write (MPC X, MPC Key 61) to disable program automation. When off, the audio track will ignore automation data.

Important: If you have already recorded automation and turn it off, the audio track will still use the effect and its parameter values at the point where you turned it off.

Adjust the pan knob or level slider to change the panning or level of the track.

Tap the Record Arm button or press Rec Arm (MPC X) to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track.

Tip: You can select multiple tracks in the Rec Arm tab by pressing and holding Shift and tapping each pad on the screen. You can also do this in the Track View by pressing and holding Shift while tapping the Arm button to each track. You can also set the Rec Arm preference to either Single or Multi in the Preferences.

Programs

Multiest Programs 1 - 16 7: 4: 50 DeepHouse-Kit-DH Kit 02 124 Out 1,2 INSERTS SOLD MUTE 0.00dB LEVEL PAN MUTE SEND INSERT ROUTE 13 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 DeepHouse S M 6 S M 7 S M 8 S M -17.9dB 1 DeepHouse S M 2 FutureHouse S M 3 FutureHouse S M 4 DeepHouse S M 0.00dB -3.72dB -3.42dB 0.00dB

The Program Mixer shows levels, panning, mute states, send and insert effects, and routing for all programs.

To view a specific setting on all programs, tap Level, Pan, Mute/Solo, Send, Insert, or Route at the bottom of the screen. Tap Mute/Solo to switch between them. Tap Send or Insert to cycle through the four available slots for each.

When a program is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.

When viewing the program channel strip:

Note: This is the same as the program channel strip in Main Mode.

The first field shows the current program number and name (which you can change).

The second field shows where the program is routed, which you can change: Out 1,2–7,8 or Out 1–8 in Standalone Mode, Out 1,2–31,32 or Out 1–32 in Controller Mode. You can also select a submix (Sub 1–8) in Controller Mode.

Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output.

The Inserts field shows any enabled or disabled effects for that program. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects for all four insert slots.

Tap Solo or Mute to solo or mute the program (respectively).

Tap the program automation button to change the program's automation. Tapping it will toggle between its two states:

When set to Read (R), the program will read automation data but will not record any additional automation over it. (Think of this as a protective feature to prevent accidental changes to your automation while recording.)

AKAI MPC Key 61 - Programs - 2

When set to Write (W), the program can record automation. (If you have any Q-Link knobs assigned to automatable parameters, make sure not to touch any accidentally while you are recording.)

AKAI MPC Key 61 - Programs - 3

Press and hold Shift and tap the program automation button or press Read/Write (MPC X, MPC Key 61) to disable program automation. When off, the program will ignore automation data. tap the program automation button or press Read/Write (MPC X, MPC Key 61) to enable program automation again.

AKAI MPC Key 61 - Programs - 4

Important: If you have already recorded automation and turn it off, the track will still use the effect and its parameter values at the point where you turned it off.

Tip: You can quickly set all programs and audio tracks to the same automation by tapping the global automation button in the upper-right corner of the screen. See General Features > Automation to learn about this.

Adjust the pan knob or level slider to change the panning or level of the program.

Returns

Mainset Returns 7: 3: 68 Return 1 Out 1,2 Inserts Delay Sync MUTE 13 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 S M 6 S M 7 S M 8 S M 1 Return 1 S M 2 Return 2 S M 3 Return 3 S M 4 Return 4 S M 0.00dB 0.00dB 0.00dB 0.00dB LEVEL PAN MUTE INSERT ROUTE

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 to the assigned main output 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.

To view a specific setting on all returns, tap Level, Pan, Mute, Insert, or Route at the bottom of the screen. You can tap Insert multiple times to cycle through the four available slots.

When a return is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.

When viewing the return channel strip:

The first field shows the current return number (which you can change).

The second field shows where the return is routed, which you can change: Out 1,2–7,8 or Out 1–8 in Standalone Mode; Out 1,2–31,32 or Out 1–32 in Controller Mode (MPC Live/MPC Live II do not use Out 7,8, and MPC One/MPC Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them).

Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output.

The Inserts field shows any enabled or disabled effects for that return. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects for all four insert slots.

Tap Mute to mute the return.

Adjust the pan knob or level slider to change the panning or level of the return.

Submixes

Submixes 20: 1: 20 Submix 1 Out 1,2 INSERTS MUTE 0.00dB LEVEL PAN MUTE SEND INSERT ROUTE 13 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 Submix 5 S M 6 Submix 6 S M 7 Submix 7 S M 8 Submix 8 S M 0.00dB 0.00dB 0.00dB 0.00dB 1 Submix 1 S M 2 Submix 2 S M 3 Submix 3 S M 4 Submix 4 S M 0.00dB 0.00dB 0.00dB 0.00dB

The Submixer shows levels, panning, mute states, send and insert effects, and routing for the eight available submixes.

To view a specific setting on all submixes, tap Level, Pan, Mute, Send, Insert, or Route at the bottom of the screen. You can tap Send or Insert multiple times to cycle through the four available slots for each.

When a submix is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.

When viewing the submixer channel strip:

The first field shows the current submix (which you can change).

The second field shows where the submix is routed, which you can change: Out 1,2–31,32 or Out 1–32.

Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output.

The Inserts field shows any enabled or disabled effects for that submix. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects for all four insert slots.

Tap Mute to mute the submix.

Adjust the pan knob or level slider to change the panning or level of the submix.

Main Outputs

Main Outputs 3: 3: 70 Outputs 1/2 INSERTS Bus Compressor XYFX MUTE 13 S M 14 S M 15 S M 16 S M 9 S M 10 S M 11 S M 12 S M 5 S M 6 S M 7 S M 8 S M 1 Outputs 1/2 S M 0.00dB 2 Outputs 3/4 S M 0.00dB 3 Outputs 5/6 S M 0.00dB 4 Outputs 7/8 S M 0.00dB LEVEL PAN MUTE INSERT

The Main Outputs Mixer shows levels, panning, mute states, and insert effects for all used stereo pairs of outputs (Out 1,2–7,8 in Standalone Mode, Out 1,2–31,32 in Controller Mode; MPC Live/MPC Live II do not use Out 7,8 and MPC One/MPC Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them).

To view a specific setting on all outputs, tap Level, Pan, Mute, or Insert at the bottom of the screen. You can tap Insert multiple times to cycle through the four available slots.

When viewing the main output channel strip:

Note: This is the same as the main output channel strip in Main Mode.

The first field shows the current main output (which you can change).

The Inserts field shows any enabled or disabled effects for that main output. Tap the area under Inserts to open a window where you can load, change, and enable or disable the effects for all four insert slots.

Tap Mute to mute that main output.

Adjust the pan knob or level slider to change the panning or level of the main output.

Pad Mute Mode

AKAI MPC Key 61 - Pad Mute Mode - 1

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, do either of the following:

  • Press Menu, and then tap Pad Mute.
  • Press Shift+Track Mute/Pad Mute (MPC X, MPC One), or Shift+Mute/Pad (MPC Key 61).
    • Press Pad Mute (MPC Studio).

DeepHouse-Kit-DH Kit 02 124 A B C D E F G PAD MUTE PAD GROUP TIME DIVISION TC A 19 DeepHouse-Cymb A 24 DeepHouse-Loop-F A 25 DeepHouse-Loop-F A 26 DeepHouse-Hits-R A 28 DeepHouse-SFX-F A 30 DeepHouse-Loop-F A 31 DeepHouse-Shake A 32 DeepHouse-Perc-F A 35 DeepHouse-Kick-D A 36 DeepHouse-Clap-C A 37 DeepHouse-Snare- A 38 DeepHouse-HiHat- A 39 DeepHouse-Kick-D A 40 DeepHouse-Clap-C A 41 DeepHouse-HiHat- A 42 DeepHouse-HiHat- PAD MUTE PAD GROUP

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 screen to select a program.

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/Locate to learn about this.

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

Time Correct lets you quantize pad mutes. This is useful when you want your mutes to line up with a specific time division. For example, with Time Division set to 1 Bar, your mutes will always align with the beginning of the measure immediately after you press the pad.

Tap Time Division at the bottom of the screen, and select a value from 1/16 to 2 Bars (T indicates a triplet-based time division).

Tap TC at the bottom of the screen to enable or disable the Time Correct feature.

Pad Mute

DeepHouse-Kit-DH Kit 02 124 A B C D E F G PAD MUTE PAD GROUP TIME DIVISION TC A 13 DeepHouse-Cymbe A 14 DeepHouse-Loop-F A 15 DeepHouse-Loop-F A 16 DeepHouse-Hits-F A 17 DeepHouse-SFX-F A 18 DeepHouse-Loop-F A 19 DeepHouse-Shaken A 20 DeepHouse-Perc-F A 21 DeepHouse-Kick-D A 22 DeepHouse-Clap-D A 23 DeepHouse-Snarc- A 24 DeepHouse-HiHat- A 25 DeepHouse-Kick-D A 26 DeepHouse-Clap-D A 27 DeepHouse-HiHat- A 28 DeepHouse-HiHat- PAD MUTE PAD GROUP

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. Use the Pad Bank Buttons or tap a pad bank shown on the left side of the screen.
  3. To mute or unmute a pad's sound, press it or tap it on the screen. Muted pads are lit red. Unmuted pads are lit yellow. Unused pads do not show any sample names.

To assign pads to pad groups within this tab, turn each of the Q-Link knobs (when the Screen Control Q-Link button is selected) to assign each of the pads to a pad group. The number of each pad's group is shown in its upper-right corner.

Pad Group

Drums 2: 4: 74 GROUPS OFF 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 A 13 A 14 A 15 A 16 A 09 1980Crash A 10 1980RideA A 11 1980RideB A 12 A 05 1980HatCl A 06 1980HatOp A 07 Bottle A 08 Side12 A 01 1980Kick1 A 02 1984Kick A 03 SnrSmall1 Elect12 A 04 1980Snare PAD MUTE PAD GROUP TIME DIVISION TC

The pad group feature extends the concept of pad mutes: you can mute or unmute multiple pads (on a single track) by pressing one pad that you have assigned to a mute group. This is useful if you want to hear a track without a particular group of sounds or if you want to isolate specific sounds in various combinations. You can create up to 16 different pad groups.

To use pad groups:

  1. If the Pad Group tab in the lower-left corner is not already selected, tap it.
  2. Use the Pad Bank buttons to select the desired pad bank.
  3. To select a pad to add to a mute group, press it or tap it on the screen. The selected pad is lit green. If there are other pads in the same mute group, they will flash yellow.
  4. To add the pad to the mute group, tap the number of the desired mute group on the left side of the screen. To remove it from the mute group, tap Off.

Alternatively, turn each of the Q-Link knobs (when the Screen Control Q-Link button is selected) to assign each of the pads to a pad group. The number of each pad's group is shown in its upper-right corner.

Track Mute Mode

AKAI MPC Key 61 - Track Mute Mode - 1

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, do either of the following:

  • Press Menu, and then tap Track Mute.
  • Press Track Mute (MPC X, MPC One), or press Mute (MPC Key 61).
  • Press and hold Shift and press Pad Mute (MPC Studio).

1 Deep House Template BAR SEAT TICH 2: 2: 43 A B C D E F G H T.12 T.14 T.16 T.18 T.20 T.22 T.24 T.26 T.28 T.30 T.32 T.34 T.36 T.38 T.40 DH Riser DH Vocals SFX T.05 T.06 T.07 T.08 DH Drums T.09 DH Bassline T.10 DH Cymbals T.11 DH Synth TRACK MUTE TRACK GROUP TIME DIVISION TC SOLO

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 screen to select a 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/Locate to learn about this.

Time Correct lets you quantize track mutes. This is useful when you want your mutes to line up with a specific time division. For example, with Time Division set to 1 Bar, your mutes will always align with the beginning of the measure immediately after you press the pad.

Tap Time Division at the bottom of the screen, and select a value from 1/16 to 2 Bars (T indicates a triplet-based time division).

Tap TC at the bottom of the screen to enable or disable the Time Correct feature.

Tap Solo to turn track soloing on or off. When on, using Track Mute Mode will solo tracks instead of muting them.

TRACK MUTE SETTINGS Instant Track Mute Play Track Mute and Solo Events Record Track Mute and Solo Events

Tap the gear icon to open the Track Mute Settings window.

Check the Instant Track Mute box to instantly mute all audio on a track when mute is enabled. When unchecked, any sustained sounds will continue to play when mute is enabled.

Check the Play Track Mute and Solo Events to play back track muting and soloing recorded with automation.

Check the Record Track Mute and Solo Events to capture track muting and soloing when recording automation.

Track Mute

1 Deep House Template 2: 2: 43 A B C D E F G H DH Riser DH Vocals SFX DH Drums DH Baseline DH Cymbals DH Synth TRACK MUTE TRACK GROUP TIME DIVISION TC SOLO

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. Use the Pad Bank buttons or tap a pad bank shown on the left side of the screen.
  3. To mute or unmute a track, press the corresponding pad or tap it on the screen. Pads for muted tracks are lit red. Pads for unmuted tracks are lit yellow. Pads for unused tracks do not show any information.

To assign tracks to track groups within this tab, turn each of the Q-Link knobs (when the Screen Control Q-Link button is selected) to assign each of the pads to a track group. The number of each pad's track group is shown in its upper-right corner.

Track Group

1 Deep House Template 2: 2: 43 GROUPS OFF 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 T.13 T.2 T.15 T.16 T.09 T.10 T.11 T.12 T.05 1 T.06 T.07 1 T.08 DH Riser DH Vocals SFX T.01 2 T.02 T.03 2 T.04 DH Drums DH Bassline DH Cymbals DH Synth TRACK MUTE TRACK GROUP TIME DIVISION TC SOLO

The track group feature extends the concept of track mutes: you can mute or unmute multiple tracks (in a single sequence) by pressing one pad that you have assigned to a track group. This is useful if you want to hear a track without a particular group of sounds or if you want to isolate specific sounds in various combinations. You can create up to 16 different track groups.

To assign tracks to track groups:

  1. If the Track Group tab in the lower-left corner is not already selected, tap it.
  2. Select the desired pad bank by using the Pad Bank buttons.
  3. To select a track to add to a mute group, press the corresponding pad or tap it on the screen. The pad for the selected track is lit green. If there are other pads for tracks in the same mute group, they will flash yellow.
  4. To add the track to a mute group, tap the number of the desired mute group.

To remove the track from the mute group, tap Off.

Alternatively, turn each of the Q-Link knobs (when the Screen Control Q-Link button is selected) to assign each of the pads to a track group. The number of each pad's track group is shown in its upper-right corner.

Next Sequence Mode

NEXT SEQUENCE

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, do either of the following:

  • Press Menu, and then tap Next Sequence.
  • Press Next Seq (MPC X, MPC Live II, MPC One).
  • Press and hold Mode and press Pad 9 (MPC Studio).

SEQUENCE LENGTH BPM 1 Deep House Tem 32 124.00 2 Sequence 02 8 124.00 3 Sequence 03 4 124.00 4 Sequence 04 16 124.00 5 (unused) 6 (unused) 7 (unused) 8 (unused) $45 $46 $47 $48 $49 $50 $51 $52 $53 $54 $55 $56 $57 $58 $59 $60 $61 $62 $63 $64 $65 $66 $67 $68 $69 NEXT BAR SUDDEN HOLD CLEAR

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/Locate to learn about this.

The sequence playlist on the left side 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 BPM column shows the tempo of a sequence in beats per minute.

The currently selected sequence is highlighted in the list. Tap a sequence in the list to select it.

SEQUENCE LENGTH BPM 1 Deep House Term 32 124.00 2 Sequence 02 8 124.00 3 Sequence 03 4 124.00 4 Sequence 04 16 124.00 5 (unused) 6 (unused) 7 (unused) 8 (unused)

In Next Sequence Mode, every pad is assigned to a sequence, starting from Pad A01 with Sequence 1 and ascending from there. The pads will show the names of their corresponding sequences. Empty pads correspond to unused sequences. The currently selected pad will flash green.

During playback, change the next sequence that will play by pressing the corresponding pad or tapping it on the screen. If you do not select another sequence, the current sequence will repeat indefinitely.

$13 $14 $15 $16 $09 $10 $11 $12 $05 $06 $07 $08 $01 Sequence 01 $02 Sequence 02 $03 Sequence 03 $04 Sequence 04

As a sequence plays, you can use the buttons at the bottom of the screen to change how playback works:

To switch to the currently selected sequence at the beginning of the next bar, tap Next Bar. This is useful if you want to switch to another sequence before the current one ends without having to worry about timing issues.

To switch to the currently selected sequence immediately, tap Sudden. The new sequence will start playing whether or not the current sequence is done. This is useful in live performances if you need to switch to the next sequence instantly at a certain cue.

To delete the currently selected sequence from the sequence playlist, tap Clear. This option is available only if that sequence is not playing at that moment.

To repeat the current sequence indefinitely and temporarily ignore pad presses, tap Hold. To return to normal operation, tap it again. This is useful if you want to select other pads without selecting them to play next.

To copy the sequence playlist to a song, tap → Song while playback is stopped.

In the Copy to Song screen that appears, select a song, and then tap Do It to continue or Close to cancel.

To read more about Song Mode, please see the Song Mode chapter.

Song Mode

AKAI MPC Key 61 - Song Mode - 1

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, do either of the following:

  • Press Menu, and then tap Song Mode.
  • Press Shift+Next Seq/Song (MPC X).
  • Press and hold Mode and press Pad 10 (MPC Studio).

Important: If a sequence is currently playing, stop playback before entering Song Mode. You cannot enter Song Mode during playback.

Important: When creating a song, the program used by each track in the song's first sequence will be used by all subsequent tracks. In other words, all identically numbered tracks (across sequences) will use the program used by the first sequence in the song—regardless of what programs each track uses while not in Song Mode.

For example, if you create a project in this way...:

Track 1 of Sequence 1 uses a drum program.

Track 1 of Sequence 2 uses a keygroup program.

A song uses Sequence 1 as its first sequence and then uses Sequence 2 any time after it.

...then, in that song, Track 1 in Sequence 2 will use the same drum program as Track 1, Sequence 1.

Because of this, we recommend trying to be consistent while creating tracks in sequences that you intend to use in a single song. Remember that you can copy one track to another if you ever need to reorder the tracks of a sequence (see Modes > Main Mode > Track Section to learn about this).

1 New Song SEQUENCE BPM BARS 1 4: Sequence 04 1 124.00 16 2 1: Deep House 1 124.00 32 3 3: Sequence 05 1 124.00 4 4 1: Deep House 1 124.00 32 5 2: Sequence 07 1 124.00 8 6 4: Sequence 04 1 124.00 16 END OF SONG A 13 - 2 bars 120.00 BPM A 14 - 2 bars 120.00 BPM A 15 - 2 bars 120.00 BPM A 16 - 2 bars 120.00 BPM A 09 - 2 bars 120.00 BPM A 10 - 2 bars 120.00 BPM A 11 - 2 bars 120.00 BPM A 12 - 2 bars 120.00 BPM A 06 - 2 bars 120.00 BPM A 07 - 2 bars 120.00 BPM A 08 - 2 bars 120.00 BPM A 01 Deep House Te 32 bars 124.00 BPM A 02 Sequence 02 8 bars 124.00 BPM A 03 Sequence 03 4 bars 124.00 BPM A 04 Sequence 04 16 bars 124.00 BPM CLEAR EXPORT CONVERT > SEQ DELETE INSERT

Use the Song field to select the song you want to show.

Use the BPM field to adjust the tempo of the sequence.

To set whether the sequence follows its own tempo (Seq) or a global tempo (Gbl), tap the Seq/Gbl button next to the BPM field. Alternatively, press Shift+Tap/Master.

AKAI MPC Key 61 - Song Mode - 3

The sequence playlist on the left lists of the "steps" of a song.

Each step has (in columns, left to right):

  • the step number (each song can contain up to 999 steps)
    • a sequence number and name
  • how many times the sequence plays (each step can play up to 999 times; set it to Hold [the lowest/minimum value] to set the sequence to repeat indefinitely until you stop playback)
    • the tempo of the sequence
  • the number of bars the step occupies (based on how many times it plays)

1 4: Sequence 0 1 124.00 16 2 1: Deep House 1 124.00 32 3 3: Sequence 0 1 124.00 4 4 1: Deep House 1 124.00 32 5 2: Sequence 0 1 124.00 8 6 4: Sequence 0 1 124.00 16 END OF SONG

Each used sequence is assigned to a pad. Empty pads correspond to unused sequences. Use the Pad Bank buttons to access the sequences assigned to pads in other banks.

A05 - 2 bars 126.00 BPM A06 - 2 bars 126.00 BPM A07 - 2 bars 126.00 BPM A08 - 2 bars 126.00 BPM A01 Sequence 01 2 bars 126.00 BPM A02 Sequence 02 2 bars 126.00 BPM A03 Sequence 03 2 bars 126.00 BPM A04 Sequence 04 2 bars 126.00 BPM

1 New Song SEQUENCE 1 4: Sequence 0 1 124.00 16 2 1: Deep House 1 124.00 32 3 3: Sequence 0 1 124.00 4 4 1: Deep House 1 124.00 32 5 2: Sequence 0 1 124.00 8 6 4: Sequence 0 1 124.00 16 END OF SONG A 19 - 2 Bars 120.00 BPM A 78 - 2 Bars 120.00 BPM A 6 - 2 Bars 120.00 BPM A 79 - 2 Bars 120.00 BPM A 87 - 2 Bars 120.00 BPM A 98 - Deep House To 32 Bars 124.00 BPM A 87 - Sequence 02 8 Bars 124.00 BPM Sequence 03 4 Bars 124.00 BPM Sequence 04 96 Bars 124.00 BPM CLEAR EXPORT CONVERT > SEQ DELETE INSERT

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 screen.

Alternatively, "record" a song using the pads:

Note: The sequences or song will not play back as you use the pads to create your song in this way. Pressing the pads just enters their corresponding sequences as steps.

  1. Press Rec or Overdub to "record-arm" the song.
  2. Press or tap the pad that corresponds to the first sequence you want to use. That sequence will appear in the sequence playlist as the first step.
  3. Repeat Step 2 for each additional step you want to add to the sequence playlist. Press or tap a pad multiple times to add to the number of times it plays.
  4. Press Stop to stop "recording."

1 New Song SEQUENCE 1 4: Sequence 0 1 124.00 16 2 1: Deep House 1 124.00 32 3 3: Sequence 0 1 124.00 4 4 1: Deep House 1 124.00 32 5 2: Sequence 0 1 124.00 8 6 4: Sequence 0 1 124.00 16 END OF SONG A 19 - 2 bars 120.00 BPM A 18 - 2 bars 120.00 BPM A 17 - 2 bars 120.00 BPM A 16 - 2 bars 120.00 BPM A 15 - 2 bars 120.00 BPM A 14 - 2 bars 120.00 BPM A 13 - 2 bars 120.00 BPM A 12 - 2 bars 120.00 BPM A 11 - 2 bars 120.00 BPM A 10 - 2 bars 120.00 BPM A 9 - 2 bars 120.00 BPM A 8 - 2 bars 120.00 BPM A 7 - 2 bars 120.00 BPM A 6 - 2 bars 120.00 BPM A 5 - 2 bars 120.00 BPM A 4 - 2 bars 120.00 BPM A 3 - 2 bars 120.00 BPM A 2 - 2 bars 120.00 BPM A 1 Sequence 04 16 bars 134.00 BPM CLEAR EXPORT CONVERT > SEQ DELETE INSERT

To change a step's sequence:

  1. In the desired step, tap the sequence name.
  2. Use the data dial or - / + buttons to select another sequence.

To delete a step, tap it, and then tap Delete in the lower-right corner of the screen.

To clear the entire sequence playlist (delete all steps), tap Clear.

To switch to the next sequence at the beginning of the next bar during playback, tap Next. This is useful if you want to switch to another sequence before the current one ends without having to worry about timing issues.

To switch to the next sequence immediately during playback, tap Sudden. The new sequence will start playing whether or not the current sequence is done. This is useful in live performances if you need to switch to the next sequence instantly at a certain cue.

To convert the current song to a single sequence:

  1. Tap Convert > Seq to open the Convert to Sequence window.
  2. Use the To Sequence field to select which sequence you want the song to export to.
  3. Use the Track Status field to select whether you want the song to Ignore Muted Tracks or Include Muted Tracks in the new sequence.
  4. To confirm your selections, tap Do It.
    To cancel the process, tap Close.

To render/export your song as an audio file, tap Export to open the Audio Mixdown screen. See General Features >Audio Mixdown to learn how to use this screen to export your song.

CONVERT TO SEQUENCE 2: (unused) Include Muted Tracks

Audio Mixdown AUDIO LENGTH START BAR 1 END BAR 10B AUDIO TAIL 1 SECONDS RENDER SOURCE STEREO OUTPUT Out 1.2 SEPARATE PROGRAMS FILE FORMAT WAVA BIT DEPTH 24 SAMPLE RATE 44.1 kHz CANCEL EXPORT

AKAI MPC Key 61 - Q-Link Edit Mode - 1

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 enter Q-Link Edit Mode, do any of the following:

  • Press Menu, and then tap Q-Link Edit.
  • Press Shift+Screen Control/Edit (MPC X), Shift+Sample Edit/Q-Link Edit (MPC One), or Shift+Q-Link (MPC Key 61).
  • Press and hold one of the five Q-Link buttons above the Q-Link knobs, and then tap Q-Link Edit at the bottom of the window that appears (MPC X).

Track 01 1 Track 01 TUNING FILTER CUTOFF FILTER CUTOFF FILTER CUTOFF Q-LINK 9 Assign parameters of the current program to the 16 Q-Links PROGRAM DeepHouse-Kit-DH Kit 02 124 TYPE PROGRAM PAD BAD A09 DeepHouse-SFX-FX-DH FX 09 MIXER PROGRAM INSERT 1 INSERT 2 INSERT 3 INSERT 4 PARAMETER Level MOMENTARY Default on Absolute when off PROJECT PROGRAM PAD SCENE PAD PARAMETER SCREEN RESET

To select an edit mode for the Q-Link knobs, tap one of the five buttons at the bottom of the screen. If you are using MPC X, you can also press one of the five Q-Link buttons above the Q-Link knobs (Project, Program, Pad Scene, Pad Param, or Screen Control/Edit):

Project: In this edit mode, the Q-Link knobs can control 16 parameters within the current project overall. See the following Project section to learn about this specific Q-Link Edit Mode.

Program/Audio Track: In this edit mode, the Q-Link knobs can control 16 program or audio track parameters. See the following Program/Audio Track section to learn about this specific Q-Link Edit Mode.

Pad Scene (for drum programs only): In this edit mode, the Q-Link knobs can control 16 parameters for the currently selected pad. See the following Pad Scene section to learn about this specific Q-Link Edit Mode.

Pad Parameter: In this edit mode, the 16 Q-Link knobs correspond to the 16 pads, each one controlling the same parameter for each pad. This is useful if you need to adjust the same parameter on multiple pads at one rather than having to select and edit each pad individually. See the following Pad Parameter section to learn about this specific Q-Link Edit Mode.

Screen: In this edit mode, the Q-Link knobs will control a parameter or group of parameters in your currently selected mode (e.g., Main Mode, Sample Edit Mode, etc.).

Use the Track field to select a track that uses the desired program (and therefore pad/pads). The contents of the screen below will vary based on (1) the type of program each track uses and (2) the Q-Link Edit Mode you selected.

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.

  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. In the MPC software on your computer, click and drag the slider or knob you want to assign to the Q-Link knob. The Q-Link knob will be able to control that parameter immediately.

To assign functions to other Q-Link knobs, repeat Steps 2–3.

To exit Learn Mode, tap Learn (or resume playback).

The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this.

At any time, in any mode, you can show the QLinks window over the touchscreen's current contents. These are the same parameters and settings as what is shown in Q-Link Edit Mode.

To show the QLinks window, press and hold any of the Q-Link buttons: Project, Program, Pad Scene, Pad Param, or Screen Control/Edit (MPC X) or the Q-Link button (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch).

To close the QLinks window, release that Q-Link button.

Q-LINKS GLOBAL SEMI TUNE 0 GLOBAL PINE TUNE G OFF PROGRAM POLYPHONY Poly LEVEL -5.00dB PAN C LAYER PLAY Vel SAMPLE PLAY One Shot SIMULT PLAY PAD1 OFF SIMULT PLAY PAD2 OFF SIMULT PLAY PAD3 OFF SIMULT PLAY PAD4 OFF MUTE TARGET PAD1 OFF MUTE TARGET PAD2 OFF MUTE TARGET PAD3 OFF MUTE TARGET PAD4 OFF Q-LINK EDIT SHOW Q-LINK STATUS WHEN TOUCHED PROJECT PROGRAM PAD SCENE PAD PARAMETER SCREEN LEARN

While the QLinks window is shown:

To adjust the settings of the selected knobs, turn the corresponding Q-Link knobs on your MPC hardware.

To select an edit mode for the Q-Link knobs, tap one of the five buttons at the bottom of the screen. If you are using MPC X, you can also press one of the five Q-Link buttons above the Q-Link knobs: Project, Program, Pad Scene, Pad Parameter, or Screen.

To turn Learn Mode on or off, tap Learn. (This button is not available while in Screen Q-Link Edit Mode where the Q-Link knobs are unassignable.)

To enter Q-Link Edit Mode immediately (regardless of the current mode), tap Q-Link Edit at the bottom of the window.

To enable or disable the Q-Link overlay, tap Show Q-Link Status When Touched at the bottom of the window. See Addenda > Updates in MPC 2.8 > New Features > Q-Link Overlay to learn more about this.

Project

In the Project Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the current project.

TANCE 1 Track 01 SEND 1 -5.5 dB SEND 2 -INF dB SEND 1 -INF dB SEND 1 -PAN C EFFECT INSERT 4 -SEND 3 -SEND 2 -SEND 1 -PAN VOLUME VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VOLUME -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume -VVolume

Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs:

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: program parameters. Use the Program field to select one of the programs in your project.

Return: return parameters. Use the Return field to select one of Returns 1–4.

Submix: submix parameters. Use the Submix field to select one of Submixes 1–8.

Main: main output parameters. Use the Main field to select one of the output pairs: Outputs 1/2–7/8 in Standalone Mode or Outputs 1/2–31/32 in Controller Mode (MPC Live/MPC Live II do not use Out 7,8 and MPC One/MPC Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them).

Next to the second row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs:

Program (in the Program tab if a drum program or clip program is selected): program parameters

Insert 1–4 (not available in the MIDI Track tab or Program tab if a MIDI program is selected): parameters for its program insert effects

If the Program tab is selected, use the Type selector to determine whether the Q-Link knobs will control the parameters of the entire program (Program) or for a single pad (Pad).

To select a program, use the Program field next to the top row of Q-Link knobs on the screen.

To select a pad (if Type is set to Pad), use the Pad field.

Use the Parameter field to select the parameter you want to control with the currently selected Q-Link knob.

When the MIDI Track tab is selected:

Mixer: Off, Volume, Pan, Mute, Solo

When the Audio Track tab is selected:

Mixer: Off, Volume, Pan, Mute, Solo, Send 1–4

Insert 1-4: Off, other available parameters depend on the effect

When the Program tab is selected and Type is set to Program:

Mixer: Off, Volume, Pan, Mute, Solo, Send 1–4

Program: Off, Global Semi Tune, Global Fine Tune

Insert 1–4: Off, other available parameters depend on the effect

When the Program tab is selected and Type is set to Pad:

Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4

Program:
Off Filter Env Attack Curve Layer Semi Tune (1–4) Layer Reverse (1–4)
Tuning Filter Env Decay Curve Layer Fine Tune (1–4) Layer Offset (1–4)
Filter Cutoff Filter Env Release Curve Velocity to Start Layer Loop Xfade (1–4)
Filter Resonance Pitch Env Attack Vel to Filter Attack Layer Loop Xfade Type (1–4)

Filter Env AmountPitch Env HoldVelocity to Env AmountLayer Slice Tail Length (1–4)
Amp Env AttackPitch Env DecayVelocity to FilterLayer Slice Tail Start (1–4)
Amp Env DecayPitch Env SustainLFO to PitchLayer Pitch Random (1–4)
Amp Env ReleasePitch Env ReleaseLFO to FilterLayer Level Random (1–4)
Amp Env HoldPitch Env Decay ModeLFO to AmpLayer Pan Random (1–4)
Amp Env SustainPitch Env Attack CurveLFO to PanLayer Offset Random (1–4)
Filter Env AttackPitch Env Decay CurveLFO WaveAttack Random
Filter Env HoldPitch Env Release CurveLFO RateDecay Random
Filter Env DecayPitch Env DepthLFO SyncCutoff Random
Filter Env SustainPitch Env TypeVelocity to PitchResonance Random
Filter Env ReleaseDrumFX (1–8)Vel to Volume AttackTotal Random Amount
Amp Env Attack CurveDrumFX Type (1–8)Velocity to AmpLFO Level
Amp Env Decay CurveLayer Level (1–4)Velocity to PanLFO Delay
Amp Env Release CurveLayer Sample Pan (1–4)Layer Slice (1–4)LFO Fade In

Insert 1–4: Off, other available parameters depend on the effect

When the Return tab is selected:

Mixer: Off, Volume, Pan, Mute

Insert 1–4: Off, other available parameters depend on the effect

When the Submix tab is selected:

Mixer: Off, Volume, Pan, Mute, Send 1–4

Insert 1–4: Off, other available parameters depend on the effect

When the Main tab is selected:

Mixer: Off, Volume, Pan, Mute

Insert 1-4: Off, other available parameters depend on the effect

Tap the Momentary checkbox to turn momentary behavior on or off.

When on, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release the Q-Link knob.

When off, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting when you release the Q-Link knob.

Program/Audio Track

In the Program/Audio Track Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the currently selected program or audio track.

When a MIDI track is selected:

TRACK 1 Track 01 TUNING FILTER CUTOFF FILTER CUTOFF FILTER CUTOFF Q-LINK 9 Assign parameters of the current program to the 16 Q-Links PROGRAM DeepHouse-Kit-DH Kit 02: 124 TYPE PROGRAM PAD PAD A09 DeepHouse-SFX-FX-DH FX 09 MIXER PROGRAM INSERT 1 INSERT 2 INSERT 3 INSERT 4 PARAMETER Level MOMENTARY Deburs to Absolute when off PROJECT PROGRAM PAD SCENE PAD PARAMETER SCREEN RESET

Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs:

Insert 1–4: parameters for its program insert effects

Use the Type selector to determine whether the Q-Link knobs will control the parameters of the entire program (Program) or for a single pad (Pad).

To select a program, use the Track field at the top of the screen to select a track that uses it. The program name will appear in the Program field next to the top row of Q-Link knobs on the screen.

To select a pad (if Type is set to Pad), use the Pad field.

Use the Parameter field to select the parameter you want to control with the Q-Link knobs.

When Type is set to Program:

Mixer: Off, Volume, Pan, Mute, Solo, Send 1–4

Program: Off, Global Semi Tune, Global Fine Tune

Insert 1-4: Off, other available parameters depend on the effect

When Type is set to Pad:

Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4

Program:

Off Filter Env Attack Curve Layer Semi Tune (1-4) Layer Reverse (1-4)
Tuning Filter Env Decay Curve Layer Fine Tune (1-4) Layer Offset (1-4)
Filter Cutoff Filter Env Release Curve Velocity to Start Layer Loop Xfade (1-4)
Filter Resonance Pitch Env Attack Vel to Filter Attack Layer Loop Xfade Type (1-4)
Filter Env AmountPitch Env HoldVelocity to Env AmountLayer Slice Tail Length (1-4)
Amp Env AttackPitch Env DecayVelocity to FilterLayer Slice Tail Start (1-4)
Amp Env DecayPitch Env SustainLFO to PitchLayer Pitch Random (1-4)
Amp Env ReleasePitch Env ReleaseLFO to FilterLayer Level Random (1-4)
Amp Env HoldPitch Env Decay ModeLFO to AmpLayer Pan Random (1-4)
Amp Env SustainPitch Env Attack CurveLFO to PanLayer Offset Random (1-4)
Filter Env AttackPitch Env Decay Curve LFO WaveAttack Random
Filter Env HoldPitch Env Release Curve LFO RateDecay Random
Filter Env DecayPitch Env DepthLFO SyncCutoff Random
Filter Env SustainPitch Env TypeVelocity to PitchResonance Random
Filter Env ReleaseDrumFX (1-8)Vel to Volume AttackTotal Random Amount
Amp Env Attack CurveDrumFX Type (1-8)Velocity to AmpLFO Level
Amp Env Decay CurveLayer Level (1-4)Velocity to PanLFO Delay
Amp Env Release CurveLayer Sample Pan (1-4)Layer Slice (1-4)LFO Fade In

Insert 1–4: Off, other available parameters depend on the effect

Tap the Momentary checkbox to turn momentary behavior on or off.

When on, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release the Q-Link knob.

When off, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting when you release the Q-Link knob.

When an audio track is selected:

TRACK 1 Audio 001 MUTE OFF SOLD OFF RAN C VOLUME 0.00 dB SEND 1 PARAMETER-2% O O SEND 2 PARAMETER-2% PARAMETER-2% O O SEND 3 PARAMETER-2% PARAMETER-2% O O SEND 4 PARAMETER-2% PARAMETER-2% O O SEND 5 PARAMETER-2% PARAMETER-2% O O SEND 6 PARAMETER-2% PARAMETER-2% O O SEND 7 PARAMETER-2% PARAMETER-2% O O SEND 8 PARAMETER-2% PARAMETER-2% O O SEND 9 PARAMETER-2% PARAMETER-2% O O SEND 10 PARAMETER-2% PARAMETER-2% O O SEND 11 PARAMETER-2% PARAMETER-2% O O SEND 12 PARAMETER-2% PARAMETER-2% O O SEND 13 PARAMETER-2% PARAMETER-2% O O SEND 14 PARAMETER-2% PARAMETER-2% O O SEND 15 PARAMETER-2% PARAMETER-2% O O SEND 16 PARAMETER-2% PARAMETER-2% O O SEND 17 PARAMETER-2% PARAMETER-2% O O SEND 18 PARAMETER-2% PARAMETER-2% O O SEND 19 PARAMETER-2% PARAMETER-2% O O SEND 20 PARAMETER-2% PARAMETER-2% O O SEND 21 PARAMETER-2% PARAMETER-2% O O SEND 22 PARAMETER-2% PARAMETER-2% O O SEND 23 PARAMETER-2% PARAMETER-2% O O SEND 24 PARAMETER-2% PARAMETER-2% O O SEND 25 PARAMETER-2% PARAMETER-2% O O SEND 26 PARAMETER-2% PARAMETER-2% O O SEND 27 PARAMETER-2% PARAMETER-2% O O SEND 28 PARAMETER-2% PARAMETER-2% O O SEND 29 PARAMETER-2% PARAMETER-2% O O SEND 30 PARAMETER-2% PARAMETER-2% O O SEND 31 PARAMETER-2% PARAMETER-2% O O SEND 32 PARAMETER-2% PARAMETER-2% O O SEND 33 PARAMETER-2% PARAMETER-2% O O SEND 34 PARAMETER-2% PARAMETER-2% O O SEND 35 PARAMETER-2% PARAMETER-2% O O SEND 36 PARAMETER-2% PARAMETER-2% O O SEND 37 PARAMETER-2% PARAMETER-2% O O SEND 38 PARAMETER-2% PARAMETER-2% O O SEND 39 PARAMETER-2% PARAMETER-2% O O SEND 40 PARAMETER-2% PARAMETER-2% O O SEND 41 PARAMETER-2% PARAMETER-2% O O SEND 42 PARAMETER-2% PARAMETER-2% O O SEND 43 PARAMETER-2% PARAMETER-2% O O SEND 44 PARAMETER-2% PARAMETER-2% O O SEND 45 PARAMETER-2% PARAMETER-2% O O SEND 46 PARAMETER-2% PARAMETER-2% O O SEND 47 PARAMETER-2% PARAMETER-2% O O SEND 48 PARAMETER-2% PARAMETER-2% O O SEND 49 PARAMETER-2% PARAMETER-2% O O SEND 50

Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs:

Insert 1–4: parameters for its program insert effects

Use the Parameter field to select the parameter you want to control with the Q-Link knobs.

Tap the Momentary checkbox to turn momentary behavior on or off.

When on, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release the Q-Link knob.

When off, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting when you release the Q-Link knob.

Pad Scene

In the Pad Scene Q-Link Edit Mode, the Q-Link knobs control your favorite 16 parameters for the currently selected pad. You can select another pad simply by pressing it, allowing you to adjust the same 16 parameters for that new pad. (These assignments are automatically saved with other user settings. Any project you load will use these assignments.)

Track 01 OFF/ATTAD OFF/AV DECK? OFF/AV STAR OFF/AV REGULAR 1 6 127 0 FILTER CUTOFF FILTER RESIDENCE FILTER AV DECK TUNING 127 0 0 0 SND 1 SND 2 SND 3 SND 4 -5.81 dB -100 dB -100 dB -100 dB LEVEL PAN RAD 50 LD RAD MUTE -5.80 dB 0 OFF OFF Q-LINK 1 Assign 16 parameters to edit the current pad in a short program. MVER PROGRAM PARAMETER Level MOMENTARY PROJECT PROGRAM PAD SCENE PAD PARAMETER SCREEN RESET

To select a pad, press it.

Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs:

Use the Parameter field to select the parameter you want to control with the Q-Link knobs.

Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4

Program:

Off Filter Env Attack Curve Layer Semi Tune (1–4) Layer Reverse (1–4)

Tuning Filter Env Decay Curve Layer Fine Tune (1-4) Layer Offset (1-4)

Filter Cutoff Filter Env Release Curve Velocity to Start Layer Loop Xfade (1-4)

Filter Resonance Pitch Env Attack Vel to Filter Attack Layer Loop Xfade Type (1-4)

Filter Env Amount Pitch Env Hold Velocity to Env Amount Layer Slice Tail Length (1–4)

Amp Env Attack Pitch Env Decay Velocity to Filter Layer Slice Tail Start (1–4)

Amp Env Decay Pitch Env Sustain LFO to Pitch Layer Pitch Random (1–4)

Amp Env Release Pitch Env Release LFO to Filter Layer Level Random (1–4)

Amp Env Hold Pitch Env Decay Mode LFO to Amp Layer Pan Random (1–4)

Amp Env Sustain Pitch Env Attack Curve LFO to Pan Layer Offset Random (1–4)

Filter Env Attack Pitch Env Decay Curve LFO Wave Attack Random

Filter Env Hold Pitch Env Release Curve LFO Rate Decay Random

Filter Env Decay Pitch Env Depth LFO Sync Cutoff Random

Filter Env Sustain Pitch Env Type Velocity to Pitch Resonance Random

Filter Env Release DrumFX (1–8) Vel to Volume Attack Total Random Amount

Amp Env Attack Curve DrumFX Type (1–8) Velocity to Amp LFO Level

Amp Env Decay Curve Layer Level (1–4) Velocity to Pan LFO Delay

Amp Env Release Curve Layer Sample Pan (1–4) Layer Slice (1–4) LFO Fade In

Tap the Momentary checkbox to turn momentary behavior on or off.

When on, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release the Q-Link knob.

When off, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting when you release the Q-Link knob.

Pad Parameter

In the Pad Parameter Q-Link Edit Mode, the Q-Link knobs control the same pad parameter for the each of the 16 pads in the current pad bank.

For example, if the Parameter is set to Level, the 16 Q-Link knobs will adjust the 16 independent Level settings for each pad in the current pad bank. You could then set the Parameter to Pan and use the Q-Link knobs to adjust the panning of all 16 pads.

Track 01 LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL 0.00dB LEVEL ALL Q-LINKS Q-Link grid rumors the pad layout. Assign one parameter for all Q-Links MVER PROGRAM PARAMETER Level MOMENTARY PROJECT PROGRAM PAD SCENE PAO PARAMETER SCREEN RESET

Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameter you want to control with the Q-Link knobs:

Use the Parameter field to select the parameter you want to control with the Q-Link knobs.

Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1-4

Program:

Off Filter Env Attack Curve Layer Semi Tune (1–4) Layer Reverse (1–4)

Tuning Filter Env Decay Curve Layer Fine Tune (1–4) Layer Offset (1–4)

Filter Cutoff Filter Env Release Curve Velocity to Start Layer Loop Xfade (1-4)

Filter Resonance Pitch Env Attack Vel to Filter Attack Layer Loop Xfade Type (1-4)

Filter Env Amount Pitch Env Hold Velocity to Env Amount Layer Slice Tail Length (1–4)

Amp Env Attack Pitch Env Decay Velocity to Filter Layer Slice Tail Start (1–4)

Amp Env Decay Pitch Env Sustain LFO to Pitch Layer Pitch Random (1–4)

Amp Env Release Pitch Env Release LFO to Filter Layer Level Random (1–4)

Amp Env Hold Pitch Env Decay Mode LFO to Amp Layer Pan Random (1–4)

Amp Env Sustain Pitch Env Attack Curve LFO to Pan Layer Offset Random (1–4)

Filter Env Attack Pitch Env Decay Curve LFO Wave Attack Random

Filter Env Hold Pitch Env Release Curve LFO Rate Decay Random

Filter Env Decay Pitch Env Depth LFO Sync Cutoff Random

Filter Env Sustain Pitch Env Type Velocity to Pitch Resonance Random

Filter Env Release DrumFX (1–8) Vel to Volume Attack Total Random Amount

Amp Env Attack Curve DrumFX Type (1–8) Velocity to Amp LFO Level

Amp Env Decay Curve Layer Level (1–4) Velocity to Pan LFO Delay

Amp Env Release Curve Layer Sample Pan (1–4) Layer Slice (1–4) LFO Fade In

Tap the Momentary checkbox to turn momentary behavior on or off.

When on, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release the Q-Link knob.

When off, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting when you release the Q-Link knob.

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.).

Track 1 Track 01 Q-LINK 13 Q-Links are fixed to the controls of the mode you are in PROJECT PROGRAM PAD SCENE PAD PARAMETER SCREEN

Pad Color Mode

AKAI MPC Key 61 - Pad Color Mode - 1

Pad Color Mode lets you assign specific colors to your pads in each program.

To enter Pad Color Mode, enter Main mode and tap the pencil icon in the Program section to open the edit options, and then tap Pad Color.

Important: If you are already in Pad Color Mode and want to assign pad colors for another program, exit Pad Color Mode first, and then select another track in Main mode that uses the desired program.

Bright->Velocity Empty pads dim SINGLE PAD ALL PADS COLORS A 13 DeepHouse-Cymb A 14 DeepHouse-Loop- A 15 DeepHouse-Loop- A 16 DeepHouse-Hits-B A 20 DeepHouse-SFX-F A 19 DeepHouse-Loop-f A 11 DeepHouse-Shakes A 12 DeepHouse-Perc-C A 28 DeepHouse-Kick-D A 26 DeepHouse-Clap-C A 27 DeepHouse-Snare- A 28 DeepHouse-HiHat- A 27 DeepHouse-Kick-D A 22 DeepHouse-Clap-C A 23 DeepHouse-HiHat- A 26 DeepHouse-HiHat- MAKE DEFAULT

Use the field in the upper-left corner to set how the pad lights will display:

Off: The pads will be unlit whether you are playing them or not.

Classic Velocity: The pads will be unlit while you are not playing them. When you press them, they will light with colors according to the velocity: red indicates a high velocity, yellow indicates a low velocity.

Fixed: The pads will be lit with their assigned colors whether you are playing them or not.

Off->Velocity: The pads will be unlit when you are not playing them. When you press them, they will light with their assigned color with a brightness that corresponds with the velocity.

Dim->Velocity: The pads will be dimly lit when you are not playing them. When you press them, they will light with their assigned color with a brightness that corresponds with the velocity.

Bright->Velocity: The pads will be brightly lit when you are not playing them. When you press them, they will light with their assigned color with a brightness that corresponds with the velocity.

Use the Empty Pads field in the upper-left corner to set how empty pads will display:

Empty pads off: Pads without any sounds will remain off.

Empty pads dim: Pads without any sounds will remain more dimly lit than pads with sounds assigned.

Empty pads normal: Pads without any sounds will appear the same as pads with sounds assigned.

Use the Single Pad/All Pads select to determine whether you are setting the color for a Single Pad or All Pads.

Tip: To quickly assign that color to all pads in the program, press and hold Shift while tapping a color button.

Use the color buttons to select which color you are assigning.

Tip: To select the color button corresponding a specific pad's color, press and hold Shift, and then press the pad or tap it on the screen.

Press a pad on your MPC hardware or tap it on the screen to assign the selected color to it.

To make the current pad color settings the defaults for all programs on the same type (e.g., drum programs, keygroup programs, etc.), tap Make Default. In the window that appears, tap Do It to confirm your choice or Cancel to cancel.

MIDI Control Mode

AKAI MPC Key 61 - MIDI Control Mode - 1

You can use MIDI Control Mode on your MPC hardware to customize what MIDI messages are sent from certain controls on your hardware. This custom "control map" will then work whenever you are in MIDI Control Mode. The edits you make in MIDI Control Mode will be retained with the current MPC project.

In Standalone Mode, this feature enables you to use your MPC hardware to control external MIDI devices connected to its MIDI out.

In Controller Mode, this is helpful when using MPC 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 plugin.

To enter MIDI Control Mode, do either of the following:

  • Press Menu, and then tap MIDI Control.
  • Press Shift+Program Edit/MIDI Control (MPC One), or press Shift+Keyboard Control/MIDI Control (MPC Key 61).
  • Press and hold Mode and press Pad 11 (MPC Studio).

Important:

In Standalone Mode: Make sure your MPC hardware is using the correct MIDI output. You can set this using the MIDI Output Port field at the top of the touchscreen, or in Preferences (see General Features > Menu > Preferences > MIDI / Sync).

In Controller Mode: In your host software, make sure your MPC hardware is selected as a MIDI controller device.

MPC A CONTROL Pad 1 BANK C SET ALL LIGHT LED NEVER MIDI INPUT LOCAL MIDI CHANNEL 10 NOTE 48.2 VELOCITY OFF ON AFTERTOUCH OFF CHANNEL POLY HARDWARE XY MIDI LEARN EXIT

In the touchscreen, use the fields and selectors to set each control's parameters to your preference. The available parameters depend on its type: a pad, or button, a Q-Link knob, or each axis of the XY pad. When you have set all of the parameters as desired, you can select another control or enter another mode.

Use the MIDI Output Port field at the top of the touchscreen to set the MIDI port that the MPC hardware will send messages from. You can also set this in the MIDI / Sync section of the Preferences menu.

Tap the I/O buttons at the top of the touchscreen to open the MIDI Monitor.

To select a control to edit, do any of the following:

  • Press or turn it. In the lower-left corner, tap the Hardware tab to edit a pad, button, or Q-Link knob, or tap the XY tab to edit the XY pad.
  • Tap the Control field in the upper-left corner, and then turn the data dial to select one.
    • Double-tap the Control field, and then tap a control name in the menu that appears.

Note: The Control field menu will show many more hardware controls than are actually available on your MPC hardware. This is because the list includes all possible controls from all current MPC models (MPC X, MPC Live, MPC Touch, etc.). You can edit only the controls that are described in this chapter.

Note: The software window will also display a graphical interface resembling your MPC hardware. Editable controls show their current MIDI message. Pads and Q-Link knobs show their current MIDI channels.

Pads

MPC A CONTROL Pad 1 BANK C SET ALL LIGHT LED NEVER MIDI INPUT LOCAL MIDI CHANNEL 10 NOTE 48 CZ VELOCITY OFF ON AFTERTOUCH OFF CHANNEL POLY HARDWARE XY MIDI LEARN EXIT

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.

Light LED: This determines how the pad's LEDs will behave.

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 pad.

When set to Local, the LEDs will light up when you press the pad and/or MIDI input is received.

MIDI Channel: This determines which MIDI channel (1–16) the pad will use to send its message to the software.

Note: This is the MIDI note number the pad will send to the software when you press it (0–127 or C-2 to G8).

Velocity: This determines whether the pad will be velocity-sensitive (On) or not (Off). When set to Off, pressing the pad will send a note at full-level (127) always.

Aftertouch: This determines how the pad's aftertouch (pressure applied to the pad after the initial press) behaves.

Off: The pad will not send any aftertouch messages.

Channel: If you press multiple pads that have this setting, the aftertouch messages they send will be identical.

Poly: If you press multiple pads, the aftertouch message each pad sends will be independent from the others.

Buttons

MPC A CONTROL Erase LIGHT LED NEVER MIDI INPUT LOCAL MIDI CHANNEL 1 CC NUMBER 21 TYPE MOMENTARY TOGGLE HARDWARE XY MIDI LEARN EXIT

These are the MIDI parameters you can edit for each button. You can edit the Erase, Tap, Undo/Redo, or Copy/Delete buttons:

Control: This is the hardware control you are currently editing (Erase, Tap, Undo, or Copy).

Light LED: This determines how the button's LED (or multiple LEDs) will behave.

When set to Never, the LEDs will always be off.

When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the button.

When set to Local, the LEDs will light up when you press the button and/or MIDI input is received.

MIDI Channel: This determines which MIDI channel (1–16) the button will use to send its message to the software.

CC Number: This determines what MIDI Control Change number the button will send to the software.

Type: This determines whether the button will behave as a Momentary switch or Toggle (latching) switch.

MPC A CONTROL Q-Link 1 SET ALL LIGHT LED NEVER MIDI INPUT LOCAL MIDI CHANNEL 1 CC NUMBER 100 MODE ABSOLUTE RELATIVE LOW RANGE 0 HIGH RANGE 127 TOUCH SENSE OFF ON NOTE 0 C-2 HARDWARE XY MIDI LEARN EXIT

These are the MIDI parameters you can edit for each Q-Link knob:

Control: This is the hardware control you are currently editing (QLink 1-4).

Light LED: Although you can edit this parameter, it does not actually have a function on your MPC hardware.

When set to Never, the LEDs will always be off.

When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the Q-Link knob.

When set to Local, the LEDs will light up when you touch or turn the Q-Link knob and/or MIDI input is received.

MIDI Channel: This determines which MIDI channel (1–16) the Q-Link knob will use to send its message to the software.

CC Number: This determines what MIDI Control Change number the Q-Link knob will send to the software.

Mode: This determines how the Q-Link knob will control its parameter.

Absolute: The Q-Link knob's current position determines its parameter's value; moving it may cause its parameter to "snap" to a new position if you're using it to control different parameters in different modes.

Relative: Moving the Q-Link knob will increase or decrease its parameter regardless of its physical position.

Low Range: This is the Q-Link knob's lowest possible value (0–127).

High Range: This is the Q-Link knob's highest possible value (0–127).

Touch Sense: This activates or deactivates the Q-Link knob's touch-capacitive circuitry.

On: You can touch the Q-Link knob to send a Note On message to the software (this is how your MPC hardware normally works).

Off: The Q-Link knob will not send any Note On messages; it will only send CC messages when you turn it.

Note: This is the MIDI note number the Q-Link knob will send to the software when you touch it (0–127 or C-2 to G8). Touch Sense must be set to On for this to work.

XY Pad

MPC A X-AXIS MIDI CHANNEL 1 CC NUMBER 11 LOW RANGE 0 HIGH RANGE 127 Y-AXIS MIDI CHANNEL 1 CC NUMBER 1 LOW RANGE 0 HIGH RANGE 127 HARDWARE XY MIDI LEARN SETTINGS EXIT

These are the MIDI parameters you can edit for each axis of the XY pad:

Control: This is the axis you are currently editing (XYFX X-Axis or XYFX Y-Axis). This field will be hidden if you tapped the XY tab to show the XY pad's parameters. You can tap the Hardware tab to show this field.

Mute: This button determines whether the axis is muted or not. When muted, its MIDI output is disabled. You must be viewing the Settings to do this.

MIDI Channel: This determines which MIDI channel (1–16) the axis will use to send its message to the software.

CC Number: This determines what MIDI Control Change number the axis will send to the software.

Low Range: This is the axis's lowest possible value (0–127).

High Range: This is the axis's highest possible value (0–127).

MIDI Learn

You can use the MIDI Learn function to assign external MIDI controllers to various parameters in your specific MPC project:

  • Mixer parameters such as volume, pan, mute, and solo for MIDI or audio tracks, programs, returns, submixes, and main outputs
  • Pad parameters (for drum programs and clip programs only) such as tuning, filter and amp envelopes, layer settings, LFO settings, and velocity
    • Program parameters, which depend on the program type
  • Insert effects parameters, which depend on the effect type

These assignments will be saved with your MPC project.

See Addenda > Updates in MPC 2.2 > New Features > MIDI Control Mode: MIDI Learn for more information.

Keyboard Control

See Addenda > Updates in MPC 2.11 > New Features > MPC Key 61 Support for more information.

Ableton Control Mode

See Addenda > Updates in MPC 2.7 > New Features > Ableton Live Control for more information.

Note: Ableton Control Mode is not compatible with MPC One, MPC Touch, and MPC Studio.

Pad Perform Mode

AKAI MPC Key 61 - Pad Perform Mode - 1

Pad Perform Mode lets you assign musical scales/modes, chords, or progressions to the pads for more creative performance.

To open the Pad Perform window, do any of the following while using a keygroup program, MIDI program, plugin program, or CV program:

  • Tap Pad Perform in the Program section of Main Mode.
  • Press Pad Perform (MPC X).
  • Hold Shift and press 16 Level (MPC Live, MPC Live II, MPC One, MPC Key 61, and MPC Touch)

Although you can enter Pad Perform Mode while using a drum program or clip program, it does not work with these programs.

PAD PERFORM CHROMATIC NOTES CHORDS CHROMATIC CHORDS CHORDS PROGRESSIONS CUSTOM SCALE & OCTAVE C 0 Major CHORD Not Available BANKS Start on root note A13 C1 A14 C#1 A15 D.1 A16 D#1 A20 G#0 A10 A0 A11 A#0 A12 B0 A25 E0 A05 F0 A17 F#0 A28 G0 A31 C0 C#0 D0 A29 B#0 CHROMATIC NOTES CHORDS PROGRESSIONS OCTAVE +

The touchscreen will show the current pad bank's mapping of notes or chords.

Use the type selector in the top-left to determine what will be mapped over the pads:

Chromatic: Each pad is assigned a note, ascending by one semitone with each pad. Pads with notes in the key determined by the Scale will be lit, while pads with notes between the scale degrees will be unlit.

Notes: Each pad is assigned a note, ascending by one scale degree with each pad.

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. Essentially, this is like the Chords setting but with more options to play chords out of the set key.

Progressions: Each pad is assigned a chord in a chord progression. You can play the pads in (or out of) order to construct songs quickly. The available chords are determined by the Chord field.

Tip: You can use your own progressions (created in the desktop version of the MPC software) on your MPC hardware. See Addenda > Updates in MPC 2.1 > New Features > Pad Perform Mode: User Progressions to learn more about this.

Custom: Each pad is assigned a custom note. See Addenda > Updates in MPC 2.11 > New Features > Pad Perform and 16 Levels Enhancements to learn more about this.

PAD PERFORM CHROMATE NOTES CHORDS CHROMATE CHORDS PROGRESSORS CUSTOM SCALE & DISCUIS C D Major CHORDO Not Available START on root note C1 CHT D1 DHT ANO A O ANO B O E O F O F E O G O C O (NO) D O D I O CHROMATIC NOTES CHORDS PROGRESSIONS OCTAVE

PAD PERFORM CHROMATIC NOTES CHORDS CHROMATIC CHORDS PROGRESSIONS CUSTOM SCALE & OCTAVE C 0 Major CHORD Not Available NOTES Start on root note A5 B5 C6 D6 D5 E5 F6 G5 G4 A4 B4 C5 C4 D4 E4 F4 CHROMATIC NOTES CHORDS PROGRESSIONS OCTAVE

Chromatic Notes in Pad Perform Mode. Notes in Pad Perform Mode.

PAD DESFORM CHROMATIC NOTES CHORDS CHROMATIC CHORDS PROGRESSIONS CUSTOM SCALE & WIDTH C 0 Major CHORDS 1-3-5 START on root note A:1 B:1 C:2 D:2 D:1 E:1 F:1 G:1 G:0 A:0 B:0 C:1 C:0 D:0 E:0 F:0 CHROMATIC NOTES CHORDS PROGRESSIONS OCTAVE

Chords in Pad Perform Mode.

PAD PERFORM CHROMATIC NOTES CHORDS CHROMATIC CHORDS PROGRESSIONS CUSTOM TOLER & ACTIVE C 0 Major (SHORT) Major SAVED Start on root note A5 B5 C6 D6 D5 E5 F5 G5 G4 A4 B4 C5 C4 D4 E4 F4 CHROMATIC NOTES CHORDS PROGRESSIONS OCTAVE

Chromatic Chords in Pad Perform Mode.

PAD PERFORM CHROMATIC NOTES CHORDS CHROMATIC CHORDS PROGRESSIONS CUSTOM SELECT A ROUTE C D AM Dim B Bdim C F G Em Am Dim B Bdim C F G Em Start on root note Chromatic NOTES CHORDS PROGRESSIONS OCTAVE

PAD PERFORM CHROMATIC NOTES CHORDS CHROMATIC CHORDS PROGRESSIONS CUSTOM G#1 A.1 A#1 B.1 E.1 F.1 F#1 G.1 C.1 C#1 D.1 D#1 G#0 A.0 A#0 B.0 CHROMATIC NOTES CHORDS PROGRESSIONS OCTAVE

Progressions in Pad Perform Mode. Custom Map in Pad Perform Mode

Use the Scale & Octave fields to determine the root note and the scale type.

Root Note (pitch and register): This is the starting point of the scale. The available notes are all chromatic notes across the range of the pads. The pad that's assigned the root note will be lit differently (and highlighted on the screen) to indicate where the scale starts in each octave.

Scale Type: This is the scale or mode based on the root note (this is disabled when Type is set to Progressions). The available scales are:

Major Blues (minor) Major Bebop Lydian

Natural

Minor

Flamenco

Whole

Tone

Mixolydian

Harmonic Minor Gypsy Chromatic Aeolian

Pentatonic Major Hungarian Gypsy Dorian Locrian

Pentatonic Minor Persian Phrygian

Use the Chord fields to determine what chord type will play when pressing a pad. The 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.

When set to Chords, the available chords are:

1-3-5 (major/minor)

1-3-5-7 (major7/minor7)

1-4-5 (sus4) 1-3-5-7b (dominant)

1-2-5 (sus2)

When set to Chromatic Chords, the available chords are:

Major

Major7

Augmented

Minor

Minor7

Diminished

Sus2

Major9

Sus4

Minor9

Use the Banks field to determine how the notes are mapped across the pad banks.

Continuous: Pad 01 of one bank is always one scale degree higher than Pad 16 of the previous bank.

Start on Root: Pad 01 will always be the root note of the scale in every pad bank.

You can use the buttons at the bottom of the screen to quickly select different Types and Chords:

Tap Notes to automatically set the Type to Notes.

Tap Chords to automatically set the Type to Chords.

Tap Progressions to automatically set the Type to Progressions.

Tap Octave -/+ to shift the pad assignments down or up by an octave.

Press Shift+1-3-5 to automatically set the Type to Chords and set the Chord to 1-3-5 (major/minor).

Press Shift+1-4-5 to automatically set the Type to Chords and set the Chord to 1-4-5 (sus4).

Press Shift+1-3-5-7 to automatically set the Type to Chords and set the Chord to 1-3-5-7 (major7/minor7).

Press Shift+1-3-5-7b to automatically set the Type to Chords and set the Chord to 1-3-5-7b (dominant).

Press Shift+Note -/+ to shift the pad assignments down or up by a semitone, essentially raising or lowering the Root Note field by a half-step.

Appendix

Effects & Parameters

This chapter lists the available effects. To learn more about how effects work with MPC, 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.

Reverbs

Options: Reverb Small, Reverb Medium, Reverb Large, Reverb Large 2, Reverb In Gate, Reverb Out Gate

Reverb Small

This is a spatial effect, designed to emulate a small room.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)50
Pre-Delay1–10050
Early Reflection0–100 50
Density0–10050
Diffuse0–10050
Decay0–10050
Lo-Cut0–10015
Hi-Cut0–10010

Reverb Medium

This is a spatial effect, designed to emulate a medium room.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)50
Pre-Delay1–10050
Early Reflection0–100 50
Density0–10050
Diffuse0–10050
Decay0–10050
Lo-Cut0–10015
Hi-Cut0–10010

Reverb Large

This is a spatial effect, designed to emulate the sound of a large hall.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)50
Pre-Delay1–10050
Early Reflection0–100 50
Density0–10050
Diffuse0–10050
Decay0–10075
Lo-Cut0–10010
Hi-Cut0–10010

Reverb Large 2

This is a less CPU-intensive spatial effect, emulating the sound of a large hall.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)50
Pre-Delay1–10050
Early Reflection0–100 50
Density0–10050
Diffuse0–10050
Decay0–10075
Lo-Cut0–10010
Hi-Cut0–10010

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.

ParameterValue RangeDefault Value
Dry/Wet0–100ry-wet) (d 50
Pre-Delay1–10050
Early Reflection0–100 50
Density0–10050
Diffuse0–10050
Decay0–10075
Lo-Cut0–10010
Hi-Cut0–10010
Gate In0–1000

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.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)50
Pre-Delay1–10050
Early Reflection0–100 50
Density0–10050
Diffuse0–10050
Decay0–10075
Lo-Cut0–10010
Hi-Cut0–10010
Gate Out0–100 0

Delays

Delays the original signal for a specified period of time and plays it back over an adjustable period of time.

Options: Delay Mono, Delay Mono Sync, Delay Stereo, Delay Sync (Stereo), Delay LP, Delay HP, Delay Analog, Delay Analog Sync, Delay Tape Sync, Delay Ping Pong, Delay Multi-Tap

Delay Mono

ParameterValue RangeDefault Value
Dry/Wet0–100(dry-wet)
Time2–2000 ms100
Feedback0–10025
Damping0–100100

Delay Mono Sync

ParameterValue RangeDefault Value
Dry/Wet0–100 (dry-wet)50
Time1 bar – 1/16 triplets1/4
Feedback0–10050
Damping0–100100

Delay Stereo

Stereo Delay operates similarly to Mono Delay but in true stereo.

Parameter Value Range Default Value

Dry/Wet0-100(dry-wet)50
Time2-2000ms100
Feedback0-10025
Damping0-100100

Delay Sync (Stereo)

Stereo Delay operates similarly to Mono Delay but in true stereo.

Parameter Value Range Default Value

Dry/Wet0-100ry-wet(d50
Time 1 bar – 1/16 triplets 1/4
Feedback0-10050
Damping0-100100

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

Dry/Wet0-100(dry-wet)50
Time2-2000ms500
Feedback0-10050
Cutoff0-10050
Resonance0-10020

Delay HP

HP Delay is identical to the Mono Delay, but it uses a resonant high-pass filter in the delay line.

Parameter Value Range Default Value

Dry/Wet0-100(dry-wet)50
Time2-2000ms100
Feedback0-10050
Cutoff0-10033
Resonance0-10033

Delay Analog

Analog Delay is similar to the Mono Delay, except that it's designed to emulate 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.

Parameter Value Range Default Value

Dry/Wet0–100(dry-wet)50
Time2–2000ms100
Feedback0–10025

Delay Analog Sync

Analog Delay is similar to Mono Delay, except that it's designed to emulate 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.

ParameterValue RangeDefault Value
Dry/Wet0–100(dry-wet)50
Time 1 bar – 1/16 triplets1/4
Feedback0–10050
Ramp0–10050

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.

Parameter Value Range Default Value

Dry/Wet0–100ry-wet(d50
Time 1 bar – 1/16 triplets1/4
Feedback0–10050
Ramp0–10050
Head 1 0–100100
Head 2 0–1000
Head 3 0–1000
Head 4 0–1000
Tone0–10050
Spread0–10050
Wow & Flutter0–10050

Delay Ping Pong

This stereo delay allows you to set different delay times for its left and right repeats.

Parameter Value Range Default Value

Dry/Wet0–100(dry-wet)50
Time, Left2–2000 ms100
Time, Right2–2000 ms100
Feedback0–10025
Damping0–100100

Delay Multi-Tap

This delay is a mono delay which has three delay generators with independently adjustable delay times and stereo position.

Parameter Value Range Default Value

Dry/Wet0-100(dry-wet)50
Time 12-2000 ms100
Time 22-2000 ms100
Time 32-2000 ms100
Feedback0-10025
Pan 10-10050
Pan 20-10050
Pan 30-10050
Damping0-100100
Gain 10-10025
Gain 20-10025
Gain 30-10025

Flangers

A flanger is a modulated delay to emulate the sound created when running two analog tape machines in parallel with a slight time misalignment. Slow Rate settings can produce a “whooshing” jet engine sound, while faster rates result in more of a “warble.”

Options: Flanger, Flanger Sync

Flanger

ParameterValue RangeDefault Value
Dry/Wet0–100(dry-wet)100
Rate0–10010
Feedback -100 – 100 0
Delay0–10020
Width0–10080

Flanger Sync

ParameterValue RangeDefault Value
Dry/Wet0–100 (dry-wet)100
Rate8 bars – 1/16 triplets1/4
Feedback-100 – 1000
Delay0–10020
Width0–10080

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.

Options: Chorus 2-Voice, Chorus 4-Voice

Chorus 2-Voice

Parameter Value Range Default Value

Dry/Wet0–100(dry-wet)100
Delay0–10020
Amount0–10080
Width0–10080
Feedback0–10050
Rate0–10010

Chorus 4-Voice

Parameter Value Range Default Value

Dry/Wet0–100(dry-wet)100
Delay0–10020
Amount0–10080
Width0–10080
Feedback0–10050
Rate0–10010

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

ParameterValue RangeDefault Value
Dry/Wet0–100(dry-wet)100
Rate0–10010

Autopan Sync

ParameterValue RangeDefaultValue
Dry/Wet0–100(dry-wet)100
Rate8 bars – 1/321/4

Tremolos

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).

Options: Tremolo, Tremolo Sync

Tremolo

Parameter

Dry/Wet0–100(dry-wet)100
Rate0–10010
Sine to Square0–100 (sine-square)0

Tremolo Sync

Parameter

Dry/Wet0–100(dry-wet)100
Rate 1 bar – 1/16 triplets 1/4
Sine to Square0–100(sine-square)0

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.

Options: Phaser 1, Phaser 2, Phaser Sync

Phaser 1

Parameter Value Range Default Value

Dry/Wet0–100(dry-wet)100
Rate0–10010

Phaser 2

Parameter Value Range Default Value

Dry/Wet0–100(dry-wet)100
Rate0–10010

Phaser Sync

Parameter Value Range Default Value

Dry/Wet0–100(dry-wet)100
Rate 1 bar – 1/16 triplets1/4

HP (High-Pass) Filters

Options: HP Filter, HP Filter Sweep, HP Filter Sync, HP Shelving Filter

HP Filter

This effect is a static filter without modulation.

ParameterValueRangeDefault
Frequency10–19999Hz1500
Resonance0–1000

Valu

HP Filter Sweep

This effect is a high-pass filter with its cutoff frequency modulated by an LFO.

Parameter Value Range Default Value

Dry/Wet0-100(dry-wet)80
Low Frequency0-100 50
High Frequency0-100 100
Resonance0-10033
Rate0-10010

HP Filter Sync

This effect is a high-pass filter with its cutoff frequency modulated by an LFO.

Parameter Value Range Default Value

Dry/Wet0–100(dry-wet)100
Low Frequency0–100 0
High Frequency0–100 100
Resonance0–10050
Rate8 bars – 1/321/4

HP Shelving Filter

This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally.

Parameter Value Range Default Value

Frequency10–19999 Hz1500
Resonance0–1000
Gain-18.0 – 18.0 dB0.0

LP (Low-Pass) Filters

Options: LP Filter, LP Filter Sweep, LP Filter Sync, LP Shelving Filter

LP Filter

This effect is a static filter without modulation.

Parameter Value Range Default Value
Frequency10–19999Hz1500
Resonance0–1000

LP Filter Sweep

This effect is a low-pass filter with its cutoff frequency modulated by an LFO.

Parameter Value Range Default Value
Dry/Wet0–100(dry-wet)80
Low Frequency0–100 0
High Frequency0–100 100
Resonance0–10033
Rate0–10010

LP Filter Sync

This effect is a low-pass filter with its cutoff frequency modulated by an LFO.

Parameter Value Range Default Value
Dry/Wet0–100(dry-wet)100
Low Frequency0–100 0
High Frequency0–100 100
Resonance0–10050
Rate 8 bars – 1/321/4

LP Shelving Filter

This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally.

Parameter Value Range Default Value
Frequency10–19999Hz1500
Resonance0–1000
Gain -18.0 – 18.0 dB0.0

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.

ParameterValueRangeDefault
Low Frequency 22–1000 Hz 220
Frequency 1 82–3900 Hz 820
Frequency 2 220–10000 Hz 2200
High Frequency 560–19999 Hz 5600
Q10–1000
Q20–1000
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 0.0

PEQ 4-Band

This effect is a powerful four-band parametric equalizer with four independent EQ ranges.

Parameter Value RangeDefault Value
Low Frequency22–1000 Hz220
Frequency 182–3900 Hz820
Frequency 2220–10000 Hz2200
High Frequency560–19999 Hz5600
Q10–1005
Q20–1005
Q30–1005
Q40–1005
Gain 1-18.0 – 18.0 dB0.0
Gain 2-18.0 – 18.0 dB0.0
Gain 3-18.0 – 18.0 dB0.0
Gain 4-18.0 – 18.0 dB0.0

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.

Parameter Value Range Default Value

Dry/Wet0-100(dry-wet)100
Drive0-10050
Tone0-10050
Dynamics0-10050
Output0-10050

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.

Parameter Value Range Default Value

Dry/Wet0-100(dry-wet)100
Drive0-10050
Output0-10050
Low0-10050
Low-Mid0-10050
High-Mid0-10050
High0-10050

Distortion Grimey

This is a unique distortion effect that distorts a frequency range in a selectable band.

Parameter Value Range Default Value

Dry/Wet0–100(dry-wet)100
Drive0–10050
Grime0–10050
Center0–10050
Width0–10050
Resonance0–10050
Output0–10050

Distortion Overdrive

This distortion is designed to sound like a mildly distorting amplifier at medium volumes. It is the smoothest distortion type available.

Parameter Value Range Default Value

Dry/Wet0–100(dry-wet)100
Drive0–10050
Tone0–10050
Output0–10050

Distortion Custom

This effect is a highly customized distortion, capable of a wide range of useable sounds.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)100
Drive0–10050
+Soft5–752
+Clip5–5025
-Soft5–752
-Clip5–5025
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

Valu

Compressors

A compressor is an effect that changes the dynamic range of a signal by automatically reducing its gain.

Options: Bus Compressor, Compressor Opto, Compressor VCA, Compressor Vintage

Bus Compressor

This is the most transparent compressor, able to perform substantial volume adjustments without artifacts.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)100
Attack0–10050
Release0–10050
Threshold-50 – 0 dB0
Ratio1–201
OldskoolOff, OnOff
Output -6 – 24 dB0

Valu

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.

ParameterValueRangeDefault
Dry/Wet0–100ry-weld100
Input-6 – 18 dB0
Attack0–10050
Release0–10050
Threshold-50 – 0 dB0
Ratio1–201
Knee1–1001
Output -6 – 24 dB0

Vali

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.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)100
Input -6 – 18 dB 0
Attack0–10050
Release0–10050
Threshold -50 – 0 dB 0
Ratio1–201
Knee1–1001
Output -6 – 24 dB 0

Valu

Compressor Vintage

This compressor has a sound similar to classic tube compressors, with their gentle yet pumping response and a dash of tube saturation.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)100
Input -6 – 18 dB 0
Attack0–10050
Release0–10050
Threshold -50 – 0 dB 0
Ratio1–201
Knee1–1001
Output -6 – 24 dB 0

Valu

Bit Reducers

Options: Decimator, Resampler

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.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)100
Decimate0–1000
Bit Reducer4–3232

Valu

Resampler

Resampler is similar to Decimator in that it removes bits from an incoming signal. The difference is that Resampler applies a complex suite of filters and anti-aliasing to attempt to retain the original sound quality. This is a method used by popular vintage samplers and sampling drum machines from the 1980s. Resampler can be used to achieve a "dirty" sound on drum loops, without the harshness of distortion.

ParameterValue RangeDefault Value
Dry/Wet0–100(dry-wet) 100
Rate0–1000
Decimate0–1000

Other

Options: Auto Wah, Frequency Shifter, Transient Shaper

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.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)100
Resonance0–10075
Attack0–10030
Release0–10030
Center0–10050
Sensitivity0–10050

Valu

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.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)100
Frequency-1000- 10000
Asynchrony0–10000
A Pan 0–1000
B Pan0–100100
A Gain0–10075
B Gain0–10075

Valu

Transient Shaper

A transient shaper can be used to enhance or soften the Attack and Release phases of audio material.

ParameterValueRangeDefault
Dry/Wet0–100(dry-wet)100
Attack0–10050
Release0–10050
Output0–10050

Vali

Glossary

This glossary briefly defines and explains many of the technical terms used throughout this manual.

AftertouchThe 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).
AliasingAliasing is an audible side effect arising in digital systems as soon as a signal contains harmonics higher than half the sampling frequency.
AmountDescribes to which extent a modulation source influences a given parameter.
AmplifierAn amplifier is a component that influences the volume level of a sound via a control signal. It can be modulated by a control signal (e.g., generated by an envelope or an LFO).
AttackAn envelope parameter. This term describes the ascent rate of a time-relevant process (e.g., an envelope from its starting point to the point where it reaches its highest value). The attack phase is initiated immediately after a trigger signal is received (e.g., after you play a note on a trigger pad or a keyboard).
Bit RateBit rate (also known as word length), is the number of bits used to store the level information of each single sample slice within a whole sample. The higher the bit rate, the more precise the information about a sample (i.e., its dynamics' resolution). Normal audio CDs are 16-bit. The MPC hardware supports full 24-bit resolution.
BounceWhen you “bounce” a sequence, track, or program, you are rendering that part of your project as an audio file (as opposed to a MIDI file). The MPC hardware lets you bounce sequences, tracks, or programs as samples (saved to your project's sample pool) or as full audio tracks (saved to your project's sample pool and added directly to the current sequence).Bouncing a track will render that track after it is sent through its program. Bouncing a program will render all tracks that use that program after they are sent through it. Bouncing a sequence will render all tracks in that sequence after they are sent through their respective programs.
ClippingClipping is a sort of distortion that occurs when a signal exceeds the maximum value that can be handled by a signal processing system it is fed into. The curve of a clipped signal is dependent on the system where the clipping occurs. In the analog domain, clipping effectively limits the signal to a given maximum level. In the digital domain, clipping is similar to a numerical overflow, resulting in negative polarity of the signal's portions exceeding the maximum level.
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 level.
Controllers can be used for effects such as slowly swelling vibrato, changing the stereo panning position and influencing filter frequency.
CutoffThe cutoff frequency is a significant factor for a filter. A low-pass filter for example dampens the portion of the signal that lies above this frequency. Frequencies below this value are allowed to pass through without being processed.

CV

CV stands for control voltage, an analog method of sending control messages to external synthesizers, drum machines, etc. CV messages are typically used in conjunction with Gate messages (CV messages determine the pitch of notes while Gate messages determine note activation and length). CV messages are sent from the CV out ports of your MPC hardware and to the CV in ports of your external MIDI device.

Please note that each external MIDI device uses a specific control voltage range, which determines how many volts are used in each octave (e.g., 1V/oct). Be mindful of this when setting it up with the MPC software and/or controller hardware—mismatched voltage ranges can produce unusual/undesirable “re-scaling” of the octaves.

Decay

Decay describes the descent rate of an envelope once the attack phase has reached its maximum and the envelope drops to the level defined by the sustain value.

Envelope

An envelope is used to modulate a sound-shaping component within a given time. For instance, an envelope that modulates the cutoff frequency of a filter opens and closes this filter over a period of time. An envelope is started via a trigger, usually a MIDI note.

The classic ADSR envelope consists of four individually variable phases: attack, decay, sustain, and release. Attack, decay and release are time or slope values, while sustain is an adjustable level. Once an incoming trigger is received, the envelope runs through the attack and decay phases until it reaches the programmed sustain level. This level remains constant until the trigger is terminated. The envelope then initiates the release phase until it reaches the minimum value.

You can see and read about the envelopes used in MPC Live in Operation > Modes > Program Edit Mode > Anatomy of an Envelope.

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:

A low-pass filter (the most common type) dampens all frequencies above the cutoff frequency.

A high-pass filter in turn dampens the frequencies below the cutoff.

A band-pass filter allows only those frequencies around the cutoff frequency to pass. All others are dampened.

A band-stop filter does the opposite of a band-pass: it dampens only the frequencies around the cutoff frequency.

A band-boost filter boosts the frequencies around the cutoff frequency, similar to what a band on an equalizer would do. All other frequencies pass through normally.

The number of poles in a filter's "slope" determines how extreme or subtle the effect of the filter will be. Filters with one or two poles produce a subtler sound while filters with six or eight poles are much more pronounced.

The Model filters are analog-style emulations of famous vintage synth filters. Model1 is a four-pole filter that distorts at high input levels. Model2 uses a mellow resonance with a “fattening” distortion in the lower frequencies. Model3 can produce howling, piercing resonances and extreme sub frequencies—watch your speakers!

The Vocal filters are formant filters that emulate the human voice. Vocal1 produces “ah” and “ooh” vowel sounds. Vocal2 uses three bands to produce “oh” and “ee” vowel sounds. Vocal3 uses five bands to emulate an idealized model of the vocal tract.

MPC3000 LPF is a dynamic, resonant low-pass filter (12 dB/oct) that was used on the original MPC3000, released in 1994.

Please also see the entry for Resonance, an essential characteristic of a filter's sound.

Gate

Gate messages are analog messages sent to external synthesizers, drum machines, etc. Gate messages are typically used in conjunction with CV messages (CV messages determine the pitch of notes while Gate messages determine note activation and length). Gate messages are sent from the CV out ports of your MPC hardware and to the CV/Gate in ports of your external MIDI device.

LFO

LFO is an acronym for low-frequency oscillator. The LFO generates a periodic oscillation at a low frequency and features variable waveshapes. Similar to an envelope, an LFO can be used to modulate a sound-shaping component.

MIDI

MIDI stands for musical instrument digital interface. Developed in the early 1980s, MIDI enables interaction between various types of electronic music instruments from different manufacturers. 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. For instance, if you want to use a computer to play a MIDI synthesizer, the computer is the sender and the synthesizer acts as the receiver. With a few exceptions, the majority of MIDI devices are equipped with two or three ports for this purpose: MIDI In, MIDI Out and in some cases MIDI Thru. The sender transfers data to the receiver via the MIDI Out jack. Data are sent via a cable to the receiver's MIDI In jack.

MIDI Thru has a special function. It allows the sender to transmit to several receivers. It routes the incoming signal to the next device without modifying it. Another device is simply connected to this jack, thus creating a chain through which the sender can address a number of receivers. Of course, it is desirable for the sender to be able to address each device individually. To achieve this, a MIDI channel message is sent with each MIDI event.

MIDI Channel

This is a very important element of most messages. A receiver can only respond to incoming messages if its receive channel is set to the same channel as the one the sender is using to transmit data. Subsequently, the sender can address specific receivers individually. MIDI Channels 1–16 are available for this purpose.

MIDI Clock

The MIDI clock message transmits real-time tempo information to synchronize processes among several connected devices (e.g., a sound generator's delay time to a MIDI sequencer).

Note: Audio recording is disabled when receiving MIDI Clock sync. Use MIDI Time Code to record audio while receiving MIDI sync.

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 ranges from 1 to 127. A velocity value of 0 is equivalent to a note-off message.

Normalize

Normalization is a function to raise the level of a sample to its maximum (0 dB) without causing distortion. This function automatically searches a sample for its maximum level and consequently raises the entire sample's level until the previously determined maximum level reaches 0 dB. In general, this results in a higher overall volume of the sample.

Panning

The process or the result of changing a signal's position within the stereo panorama.

Pitch-Bend

Pitch-bend is a MIDI message. Although pitch-bend messages are similar in function to control change messages, they are a distinct type of message. The resolution of a pitch-bend message is substantially higher than that of a conventional controller message. The human ear is exceptionally sensitive to deviations in pitch, so the higher resolution is used because it relays pitch-bend information more accurately.

Program

A program is a file that contains a list of all samples to be used, and settings for each sample (e.g., pad assignments, loop points, pitch tuning, effects, etc.) Program Edit Mode is where you can edit and assign samples (read more about this in Operation > Modes > Program Edit Mode). You can have a total of 128 programs in a project.

There are three kinds of programs that use samples for their sound source. Drum programs are mostly used for creating drum programs and easy and quick assigning of samples to a pad. With keygroup programs, you can use one sample (or more) and spread it across two or more keys and play the sample chromatically over a keyboard. That way, there is no need to sample every key of, for instance, a piano. Clip programs use several samples that can be looped (clips), each of which can assigned to a pad; launching different combinations of clips together lets you create intriguing, layered performances.

Program Change

These are MIDI messages that select sound programs. Programs 1–128 can be changed via program change messages.

Release

An envelope parameter. This term describes the descent rate of an envelope to its minimum value after a trigger is terminated. The release phase begins immediately after the trigger is terminated, regardless of the envelope's current status. For instance, the release phase may be initiated during the attack phase.

Resonance

Resonance or emphasis is an important filter parameter. It emphasizes the frequencies around the filter cutoff frequency by amplifying them with a narrow bandwidth. This is one of the most popular methods of manipulating sounds. If you increase the emphasis to a level where the filter enters a state of self-oscillation, it will generate a relatively pure sine waveform.

Root Key

The root key defines the original pitch of a recorded instrument or of a sample. Samples in MPC contain the dedicated root key information. This information will be created automatically during recording or importing.

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 be recorded using the recording (sampling) function of your MPC hardware or loaded from the Browser.

You can edit and process a sample in different ways. For example, a sample can be trimmed, looped, pitch-shifted or processed, using various effects. When you have finished editing your sample, you can assign it to one or more drum pads to play it. Samples can be either mono or stereo.

Sample Rate

This is the frequency representing the amount of individual digital sample scans per second that are taken to capture an analog signal digitally. For normal CD audio recordings, 44100 samples per second are used, also written as 44.1 kHz.

You can export audio using sampling rates up to 96 kHz (see Operation > General Features > Audio Mixdown) and play audio using 44.1 kHz.

Sequence

A sequence is the most basic “building block” of music you can create within an MPC project. MIDI information from your MPC hardware pads, buttons, and Q-Link knobs are recorded to the tracks of a sequence. Each sequence on your MPC hardware can contain 128 MIDI tracks and 8 audio 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. However, MPC Live has a dedicated Song Mode that lets you chain sequences together to create a song.

Song

Song Mode that allows you to arrange different sections (verse, chorus, hook, etc.) in order to build a song. Each song can have up to 999 “steps” (stages in which a sequence may play one or more times). Each project can store up to 32 songs.

Stretch Factor

The stretch factor is a value generated by the Warp algorithm in the software. When you record an audio file, the current sequence tempo will be embedded with it. This information is stored within the sample file when you save the project. When you warp an audio track region, the warping algorithm uses this sequence tempo and the current value in the BPM field to generate the stretch factor.

Sustain

This term describes the level of an envelope remaining constant after it has passed the attack and decay phases. Once reached, the sustain level is kept until the trigger is terminated.

Time-Stretch

See Warp below.

Track

A sequence on your MPC hardware can contain 128 MIDI tracks and 8 audio tracks.

Each MIDI track contains MIDI note events and controller data. In this case, the track contains no audio information—only MIDI information that uses the samples in a program (or an external MIDI sound module) to generate its audio. You can edit your performance in many different ways once the performance has been captured.

Each audio track contains an audio signal that has been recorded or imported into your project. You can edit this audio within the software and incorporate it into your sequences alongside your MIDI tracks.

Trigger

A trigger is a signal that initiates events. Trigger signals are very diverse. For instance, a MIDI note or an audio signal can be used as a trigger. The events a trigger can initiate are also very diverse. A common application for a trigger is its use to start an envelope.

Warp

The Warp feature lengthens or shortens a region of an audio track or sample without changing its pitch. This enables you to fit the length of an audio track or sample to the length of a sequence, a bar in your sequence, etc. while maintaining its original key.

Please note that the Warp algorithms are very CPU-intensive and can result in audio dropouts during playback if used too freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by doing any/all of the following:

Minimize the amount of pitch adjustment of warped audio.

In Program Edit Mode, avoid using extreme Stretch values.

Avoid warping very small audio regions.

Warp as few tracks or track regions as possible (i.e., reduce the number of total number of voices of the polyphonic limit that use the Warp algorithm at a given time), especially instances where the warped regions start at the same time.

Avoid rapidly triggering samples that are warped.

If you have warped samples used in a drum program, consider using the Flatten Pad function to consolidate the affected pad's layers into one audio sample (see here to learn about this). After you flatten the pad, its sample/samples no longer need to be warped.

SATA Drive Installation

To create more internal storage space on your MPC hardware, you can purchase a SATA (Serial ATA) drive and install it yourself, but read this chapter first.

Your MPC X, MPC Live, MPC Live II, or MPC Key 61 can support nearly any standard 2.5" SATA drive on the market—either a solid-state drive (SSD) or hard-disk drive (HDD). Make sure it uses a 2.5" (63.5 mm) form factor and uses (or can use) one of these file systems: exFAT, FAT32, NTFS, or EXT4 (for read and write capability) or HFS+ (for read-only capability).

Note: We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.

Note: Alternatively, you could install an mSATA (mini-SATA) drive, but make sure you also purchase an adapter that enables it to fit into a typical 2.5" SATA interface.

  1. Make sure your MPC hardware is powered off.
  2. Locate the SATA drive panel in the center of the bottom panel of your MPC hardware. Use a Phillips-head screwdriver to remove the screws (don't lose them!), and remove the SATA drive panel.
  3. Gently pull the SATA connector and cable out from inside your MPC hardware. Be careful not to disturb anything inside—handle just the SATA connector and cable.
  4. Connect your SATA drive to the SATA connector. Make sure the connection is secure.
  5. Use four 3x5mm mounting screws (included with MPC hardware or with your SATA drive) to secure the SATA drive to the SATA drive panel. Do not overtighten the screws, but make sure the drive is secure and does not shake.
  6. Place the SATA drive panel back onto the bottom panel of your MPC hardware, and use the original screws to secure it in place.

You can now access this drive while using your MPC hardware!

In Standalone Mode, this drive will appear as a second internal drive.

In Controller Mode, this drive will appear as another drive connected to your computer (just as a USB drive or SD card connected does when connected to your MPC hardware).

MIDI Machine Control (MMC)

Your MPC hardware can send and receive MIDI Machine Control (MMC) messages, a standard protocol for transport controls.

The MPC hardware can send these messages:

MPC Button MMC Command Sent

RecMMC(when recording starts), the MMC Record Exit
OverdubMMC Record Strobe (when recording starts), then MMC Record Exit
StopMMCStop
Play MMC Deferred Play
Play Start MMC Locate Zero, then Deferred Play
Data Dial, -/+, Step </, Bar <</> MMC Locate values

To set up your MPC hardware to send MMC messages to an external device:

  1. Use a standard 5-pin MIDI cable to connect your MPC hardware's MIDI Out A to the MIDI input of your external device.
  2. Press Menu to show the menu, and tap the gear icon to enter the Preferences.
  3. Tap the Sync tab.
  4. Tap the Send Port 1 field, and use the data dial or -/+ buttons to select Midi Out A.
  5. Tap the Send MMC box so it is enabled (checked).
  6. Exit the Preferences.
  7. Configure your other device properly so it can receive MMC messages.

The MPC hardware can receive these messages:

MPC Command Received MPC Function

MMC Deferred Play Play
MMC Locate Zero, then Deferred Play Play Start
MMC Stop Stop
MMC Record Strobe Record (Rec)
MMC PauseStop
MMC Locate valuesChange location in sequence

To set up your MPC hardware to receive MMC messages from an external device:

  1. Use a standard 5-pin MIDI cable to connect your MPC hardware's MIDI In A to the MIDI output of your external device.
  2. Press Menu to show the menu, and tap the gear icon to enter the Preferences.
  3. Tap the Sync tab.
  4. Tap the Receive MMC box so it is enabled (checked).
  5. Exit the Preferences.
  6. Configure your other device properly so it can send MMC messages.

Technical Specifications

Specifications are subject to change without notice.

MPC X

Digital Audio System ADCs24-bit @ 44.1, 48, or 96 kHz
DACs24-bit @ 44.1, 48, or 96 kHz
Digital Signal Processing32-bit floating point
Mic Inputs 1-2(2) balanced XLR+1/4"(6.35 mm) TRSDynamic Range112 dB (A-weighted)
SNR111 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.003% (1 kHz, +4 dBu, -1 dBFS)
Preamp EIN-135 dBu (max gain, 40 Ω source, A-weighted)-129.5 dBu (max gain, 150 Ω source, unweighted)
Frequency Response20 Hz – 20 kHz (+0.2 / -0.2 dB)
Maximum Input Level+12.5 dBu
Sensitivity-46 dBu
Gain Range58 dB
Line Inputs 1-2(2) balanced XLR+1/4"(6.35 mm) TRSDynamic Range114 dB (A-weighted)
SNR112 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.003% (1 kHz, +4 dBu, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.1 / -0.1 dB)
Maximum Input Level+20 dBu
Sensitivity-9.5 dBu
Gain Range29.5 dB
Line Inputs 3-4(2) balanced 1/4"(6.35 mm) TRSDynamic Range114.5 dB (A-weighted)
SNR112.5 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.003% (1 kHz, +4 dBu, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.1 / -0.1 dB)
Maximum Input Level+20 dBu
Sensitivity-10 dBu
Gain Range30 dB
Inst Inputs 1-2(2) unbalanced 1/4"(6.35 mm) TSDynamic Range113.5 dB (A-weighted)
SNR111.5 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.003% (1 kHz, +4 dBu, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.1 / -0.2 dB)
Maximum Input Level+10 dBu
Sensitivity-20 dBu
Gain Range30 dB
Input Impedance~ 1 MΩ
Phono Inputs(2) unbalanced RCADynamic Range108 dB (A-weighted, 63 mVrms @ 1kHz, -1 dBFS, 20 Ω source)
SNR86 dB (A-weighted, 4 mVrms @ 1kHz, 20 Ω source)
THD+N0.005% (1 kHz, -46 dBu, -1 dBFS)
Maximum Input Level63 mVrms (1 kHz)
Sensitivity2 mVrms (1 kHz)
Main Outputs 1-2(2) impedance-balanced 1/4" (6.35 mm) TRSDynamic Range114 dB (A-weighted)
THD+N0.006% (1 kHz, -1 dBFS)
Frequency Response20 Hz - 20 kHz (+0.0 / -0.2 dB)
Maximum Output Level+20 dBu
Output Impedance100 Ω
Outputs 3-4(2) impedance-balanced 1/4" (6.35 mm) TRSDynamic Range114 dB (A-weighted)
THD+N0.006% (1 kHz, -1 dBFS)
Frequency Response20 Hz - 20 kHz (+0.0 / -0.2 dB)
Maximum Output Level+20 dBu
Output Impedance 100 Ω
Outputs 5-8(4) impedance-balanced 1/4" (6.35 mm) TRSDynamic Range118.5 dB (A-weighted)
THD+N0.001% (1 kHz, -1 dBFS)
Frequency Response20 Hz - 20 kHz (+0.1 / -0.0 dB)
Maximum Output Level+20 dBu
Output Impedance 100 Ω
Headphone Outputs(1) 1/4" (6.35 mm) stereo headphone(1) 1/8" (3.5 mm) stereo headphoneDynamic Range111 dB (A-weighted)
THD+N0.007% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones)
Frequency Response20 Hz - 20 kHz (+0.0 / -0.2 dB)
Maximum Power Delivered360 mW (<1% THD)
Maximum Output Level+20 dBu
MechanicalPads(16) velocity- and pressure-sensitive pads, RGB-backlit(8) banks accessible via Pad Bank buttons
Knobs(16) 360° touch-sensitive Q-Link knobs for parameter adjustment(7) 270° knobs for gain, mix & level adjustment(1) 360° encoder for value/data adjustment
Display10.1" (25.6 cm) full-color 1280x800 display with capacitive multi-touch
MemoryRAM2 GB
Internal Storage16 GB (6 GB user storage + 10 GB pre-installed content)Expandable via SATA connections
File System CompatibilityexFAT (read & write) (recommended)
FAT32 (read & write)
NTFS (read & write)
EXT4 (read & write)
HFS+ (read only)
Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV
Connections(2) XLR+1/4" (6.35 mm) TRS inputs (Input 1/2)(2) 1/4" (6.35 mm) TRS inputs (Input 3/4: 1 stereo pair)(2) 1/4" (6.35 mm) TS instrument inputs (Inst 1/2)(2) RCA inputs (Input 3/4: 1 stereo pair, phono- or line-level)(2) 1/4" (6.35 mm) TS footswitch inputs (FS 1/2)(2) 5-pin MIDI inputs(8) 1/4" (6.35 mm) TRS outputs (Main L/R, Outputs 3/4–7/8: 4 stereo pairs)(4) 5-pin MIDI outputs(8) 1/8" (3.5 mm) CV/Gate outputs(1) 1/4" (6.35 mm) stereo headphone output(1) 1/8" (3.5 mm) stereo headphone output(2) USB Type-A ports(1) USB Type-B port(1) SD card slot(1) power adapter input
Powervia power adapter: 19 V, 3.42 A, center-positive, included
Dimensions(width x depth x height)19.9" x 16.7" x 3.4" / 50.5 x 42.4 x 8.7 cm (display flat)19.9" x 15.3" x 8.4" / 50.5 x 38.8 x 21.4 cm (display upright)
Weight12.57 lb.5.66 kg

MPC Live

Digital Audio System ADCs24-bit @ 44.1, 48, or 96 kHz
DACs24-bit @ 44.1, 48, or 96 kHz
Digital Signal Processing32-bit floating point
Line Inputs(2) balanced 1/4" (6.35 mm) TRSDynamic Range113.5 dB (A-weighted)
SNR108 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.001% (1 kHz, +4 dBu, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.0 / -0.1 dB)
Maximum Input Level+11 dBu
Sensitivity-13.5 dBu
Gain Range24.5 dB
Phono Inputs(2) unbalanced RCADynamic Range107 dB (A-weighted, 63 mVrms @ 1 kHz, -1 dBFS, 20 Ω source)
SNR86 dB (A-weighted, 4 mVrms @ 1 kHz, 20 Ω source)
THD+N0.009% (1 kHz, -46 dBu, -1 dBFS)
Maximum Input Level63 mVrms (1 kHz)
Sensitivity2 mVrms (1 kHz)
Main Outputs 1–2(2) impedance-balanced 1/4" (6.35 mm) TRSDynamic Range113 dB (A-weighted)
THD+N0.002% (1 kHz, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.0 / -0.5 dB)
Maximum Output Level+9 dBu
Output Impedance100 Ω
Outputs 3–6(4) impedance-balanced 1/4" (6.35 mm) TRSDynamic Range116 dB (A-weighted)
THD+N0.001% (1 kHz, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.0 / -0.1 dB)
Maximum Output Level+9 dBu
Output Impedance100 Ω
Headphone Output(1) 1/8" (3.5 mm) stereo headphoneDynamic Range112 dB (A-weighted)
THD+N0.005% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones)
Frequency Response20 Hz – 20 kHz (+0.0 / -0.2 dB)
Maximum Power Delivered+35 mW (<1% THD, 32 Ω headphones)
Maximum Output Level+10 dBu
MechanicalPads(16) velocity- and pressure-sensitive pads, RGB-backlit(8) banks accessible via Pad Bank buttons
Knobs(4) 360° touch-sensitive Q-Link knobs(4) Q-Link knob columns accessible via Q-Link button(1) 360° encoder for value/data adjustment and selection via push
Display7" (17.8 cm) full-color 1280x800 display with capacitive multi-touch
MemoryRAM2 GB
Internal Storage16 GB (6 GB user storage + 10 GB pre-installed content)Expandable via SATA connections
File System CompatibilityexFAT (read & write) (recommended)FAT32 (read & write)NTFS (read & write)EXT4 (read & write)HFS+ (read only)Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV
Connections(2) 1/4" (6.35 mm) TRS inputs (1 stereo pair)(6) 1/4" (6.35 mm) TRS outputs (3 stereo pairs)(1) 1/8" (3.5 mm) stereo headphone output(2) RCA inputs (1 stereo pair)(2) 5-pin MIDI inputs(2) 5-pin MIDI outputs(2) USB Type-A ports(1) USB Type-B port(1) SD card slot(1) power adapter input
Powervia power adapter: 19 V, 3.42 A, center-positive, includedvia battery: lithium-ion, rechargeable, up to 6 hours of battery life
Dimensions(width x depth x height)16.7" x 8.8" x 2.7"42.4 x 22.4 x 6.9 cm
Weight5.9 lb.2.7 kg

MPC Live II

Digital Audio System ADCs24-bit @ 44.1, 48, or 96 kHz
DACs24-bit @ 44.1, 48, or 96 kHz
Digital Signal Processing32-bit floating point
Line Inputs(2) balanced 1/4” (6.35 mm) TRSDynamic Range113 dB (A-weighted)
SNR108.5 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.001% (1 kHz, +4 dBu, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.0 / -0.1 dB)
Maximum Input Level+16.5 dBu
Sensitivity-13 dBu
Gain Range29.5 dB
Phono Inputs(2) unbalanced RCADynamic Range108.5 dB (A-weighted, 74 mVrms @ 1 kHz, -1 dBFS, 20 Ω source)
SNR87 dB (A-weighted, 4 mVrms @ 1 kHz, 20 Ω source)
THD+N0.011% (1 kHz, -46 dBu, -1 dBFS)
Maximum Input Level74 mVrms (1 kHz)
Sensitivity2 mVrms (1 kHz)
Main Outputs 1–2(2) impedance-balanced 1/4” (6.35 mm) TRSDynamic Range118 dB (A-weighted)
THD+N0.001% (1 kHz, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.0 / -0.2 dB)
Maximum Output Level+9 dBu
Output Impedance100 Ω
Outputs 3–4(2) impedance-balanced 1/4” (6.35 mm) TRSDynamic Range116.5 dB (A-weighted)
THD+N0.001% (1 kHz, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.0 / -0.1 dB)
Maximum Output Level+9 dBu
Output Impedance100 Ω
Outputs 5–6(2) impedance-balanced 1/4” (6.35 mm) TRSDynamic Range112.5 dB (A-weighted)
THD+N0.002% (1 kHz, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.0 / -0.1 dB)
Maximum Output Level+9 dBu
Output Impedance100 Ω
Headphone Output(1) 1/8" (3.5 mm) stereo headphoneDynamic Range111 dB (A-weighted)
THD+N0.003% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones)
Frequency Response20 Hz – 20 kHz (+0.0 / -0.2 dB)
Maximum Power Delivered+35 mW (<1% THD, 32 Ω headphones)
Maximum Output Level+10 dBu
Output Impedance32 Ω
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 display navigation and selection via push
Buttons(27) dedicated function buttons; red-, amber-, or green-backlit
Display6.9" / 176 mm (diagonal)5.9" x 3.7" / 150 x 93 mm (width x height)Full-color LED-backlit display with touch interface
CPUProcessor: Quad-core ARM® processorRAM: 2 GBStorage: 16 GB, expandable via SATA connections
Connections(2) 1/4" (6.35 mm) TRS inputs (1 stereo pair)(6) 1/4" (6.35 mm) TRS outputs (3 stereo pairs)(1) 1/4" (6.35 mm) stereo headphone output(2) RCA inputs (1 stereo pair)(2) 5-pin MIDI inputs(2) 5-pin MIDI outputs(4) Stereo CV/Gate outputs(1) Ethernet link port(2) USB Type-A ports(1) USB Type-B port(1) SD card slot(1) power adapter input
Powervia power adapter: 19 V, 3.42 A, center-positive, includedvia battery: lithium-ion, rechargeable, up to 4 hours of battery life
Dimensions(width x depth x height)16.2" x 9.6" x 1.8"411.5 x 243.8 x 45.7 mm
Weight7.45 lbs.3.38 kg

MPC One

Digital Audio System ADCs24-bit @ 44.1, 48, or 96 kHz
DACs24-bit @ 44.1, 48, or 96 kHz
Digital Signal Processing32-bit floating point
Line Inputs 1–2(2) balanced 1/4"(6.35 mm) TRSFrequency Response20 Hz – 20 kHz (+0/-0.8 dB)
Dynamic Range113 dB (A-weighted)
Signal-to-Noise Ratio111 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.002% (1 kHz, +4 dBu, -1 dBFS)
Max Input Level+16 dBu
Sensitivity-13.5 dBu
Gain Range29.5 dB
Line Outputs 1–2(2) balanced 1/4"(6.35 mm) TRSFrequency Response20 Hz – 20 kHz (+0/-0.8 dB)
Dynamic Range113 dB (A-weighted)
THD+N0.003% (1 kHz, -1 dBFS)
Maximum Output Level+9 dBu
Output Impedance100 Ω
Headphone Output(1) 1/8" (3.5 mm) stereo headphoneFrequency Response20 Hz – 20 kHz (+0/-0.8 dB)
Dynamic Range112.5 dB (A-weighted, 32Ω)
THD+N0.006% (1 kHz, -1 dBFS, 32Ω)
Maximum Output Level28.8 mW @ 32Ω
MechanicalPads(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 display navigation and selection via push
Buttons(31) dedicated function buttons; red-, amber-, or green-backlit
Display7.0" / 177 mm (diagonal)5.9" x 3.7" / 151 x 94 mm (width x height)Full-color LED-backlit display with touch interface
CPUProcessor: Quad-core ARM® processorRAM: 2 GBStorage: 2 GB user storage, 2 GB pre-installed content
File System CompatibilityexFAT (read & write) (recommended)
FAT32 (read & write)
NTFS (read & write)
EXT4 (read & write)
HFS+ (read only)
Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV
Connections(2) 1/4” (6.35 mm) TRS inputs (1 stereo pair)
(2) 1/4” (6.35 mm) TRS outputs (1 stereo pair)
(1) 1/8” (3.5 mm) stereo headphone output
(1) 5-pin MIDI inputs
(1) 5-pin MIDI outputs
(4) CV/Gate outputs
(1) USB Type-A port
(1) USB Type-B port
(1) SD card slot
(1) power adapter input
Powervia power adapter: 19 V, 3.42 A, center-positive, included
Dimensions(width x depth x height)10.7” x 10.7” x 2.1”
272 x 272 x 53 mm
Weight4.7 lbs.
2.1 kg

MPC Key 61

Digital Audio SystemADCs24-bit @ 44.1, 48, or 96 kHz
DACs24-bit @ 44.1, 48, or 96 kHz
Digital Signal Processing32-bit floating point
Mic Inputs1-2(2) balanced XLR+1/4"(6.35 mm) TRSFrequency Response20 Hz - 20 kHz (+0.2 / -1.0 dB)
Dynamic Range111 dB (A-weighted)
SNR110 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.002% (1 kHz, +4 dBu, -1 dBFS)
Preamp EIN-130 dBu (max gain, 40 Ω source, A-weighted)-128 dBu (max gain, 150 Ω source, unweighted)
Maximum Input Level+13 dBu
Sensitivity-46 dBu
Gain Range59 dB
Line Inputs 1-2(2) balanced XLR+1/4"(6.35 mm) TRSFrequency Response20 Hz - 20 kHz (+0.2 / -1.0 dB)
Dynamic Range112 dB (A-weighted)
SNR111 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.001% (1 kHz, +4 dBu, -1 dBFS)
Maximum Input Level+20 dBu
Sensitivity-11 dBu
Gain Range31 dB
Inst Inputs 1-2(2) unbalanced 1/4"(6.35 mm) TSFrequency Response20 Hz - 20 kHz (+0.2 / -1.0 dB)
Dynamic Range112 dB (A-weighted)
SNR106 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.001% (1 kHz, +4 dBu, -1 dBFS)
Maximum Input Level+16 dBu
Sensitivity-15 dBu
Gain Range31 dB
Input Impedance1 MΩ
Main Outputs 1-2(2) impedance-balanced 1/4" (6.35 mm) TRSFrequency Response20 Hz - 20 kHz (+0.03 / -0.2 dB)
Dynamic Range115 dB (A-weighted)
THD+N0.004% (1 kHz, -1 dBFS)
Maximum Output Level+16 dBu
Output Impedance50 Ω
Outputs 3-4(2) impedance-balanced 1/4" (6.35 mm) TRSFrequency Response20 Hz - 20 kHz (+0.03 / -0.2 dB)
Dynamic Range115 dB (A-weighted)
THD+N0.004% (1 kHz, -1 dBFS)
Maximum Output Level+16 dBu
Output Impedance50 Ω
Headphone Output(1) 1/4" (6.35 mm) stereo headphoneFrequency Response20 Hz - 20 kHz (+0.05 / -0.2 dB)
Dynamic Range108 dB (A-weighted)
THD+N0.004% (1 kHz, 10 mW per channel into 32 Ω headphones)
Maximum Output Level+6 dBu (unloaded)
Power Output40 mW RMS (per channel into 32 Ω headphones)
MechanicalKeys61 semi-weighted keys with aftertouch
Pads(16) velocity- and pressure-sensitive pads, RGB-backlit(8) banks accessible via Pad Bank buttons
Knobs(4) 360° touch-sensitive Q-Link knobs(4) Q-Link Knob columns accessible via Q-Link button(1) 360° encoder for value/data adjustment
Buttons(44) dedicated function buttons; white-, red-, or green-backlit
Touch(1) MStripunction, touch-capacitive control strip0.8" x 4.4" / 20 x 113 mm (width x height)
Display7" / 177 mm (diagonal)Full-color LED-backlit display with touch interface
MemoryRAM4 GB
Internal32 GBStorageExpandable via SATA connections
File System CompatibilityexFAT (read & write) (recommended)FAT32 (read & write)NTFS (read & write)EXT4 (read & write)HFS+ (read only)Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV
Connections(2) 1/4" (6.35 mm) Combo XLR/TRS inputs (1 stereo pair)(1) 1/4" (6.35 mm) TRS sustain pedal input (TS compatible)(1) 1/4" (6.35 mm) TRS footswitch pedal input (TS compatible)(1) 1/4" (6.35 mm) TRS expression pedal input (TS compatible)(4) 1/4" (6.35 mm) TRS outputs (2 stereo pairs)(1) 1/4" (6.35 mm) stereo headphone output(8) 1/8" (3.5 mm) TS mono CV/Gate outputs(1) 5-pin MIDI inputs(1) 5-pin MIDI outputs(1) 5-pin MIDI thru-port(1) Ethernet link port(2) USB Type-A ports(1) USB Type-B port(1) IEC power input
Power100 V – 240 V AC, 50/60 Hz, 65 W
Dimensions(width x depth x height)38.8" x 12.3" x 3.8"986 x 313 x 96.7 mm
Weight17.9 lbs.8.1 kg

MPC Studio mk2

Pads(16) velocity- and pressure-sensitive pads, RGB-backlit(8) banks accessible via Pad Bank buttons
Knobs(1) 360° push encoder for display navigation and selection
Touch Strip(1) multi-function 5.5" (140 mm) touch-capacitive controller with LED indicators
Buttons(39) LED backlit dedicated function buttons
DisplayFull-color LCD
Connections(1) 1/8" (3.5 mm) MIDI input(1) 1/8" (3.5 mm) MIDI output(1) USB Type-B port
Powervia USB
Dimensions(width x depth x height)12.0" x 6.7" x 1.5"305 x 171 x 37 mm
Weight1.8 lbs.0.83 kg

MPC Touch

Line Inputs(2) balanced1/4” (6.35 mm) TRSDynamic Range102 dB (A-weighted)
SNR99 dB (1 kHz, +4 dBu, A-weighted)
THD+N0.002% (1 kHz, +4 dBu, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.1 / -0.1 dB)
Maximum Input Level+15 dBu
Input Impedance12 KΩ (balanced), 5 KΩ (unbalanced)
Sensitivity-16 dBu
Gain Range31 dB
Main Outputs(2) impedance-balanced 1/4”(6.35 mm) TRSDynamic Range100 dB (A-weighted)
THD+N0.006% (1 kHz, -1 dBFS)
Frequency Response20 Hz – 20 kHz (+0.25 / -0.25 dB)
Maximum Output Level+8 dBu
Output Impedance100 Ω
Headphone Output(1) 1/8” (3.5 mm) stereo headphoneTHD+N0.009% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones)
Frequency Response20 Hz – 20 kHz (+0.3 / -0.3 dB)
Maximum Output Level+6 dBu
Maximum Power Delivered12 mW/channel
Output Impedance33 Ω
MechanicalPads(16) velocity- and pressure-sensitive pads, RGB-backlit(8) banks accessible via Pad Bank buttons
Knobs(4) 360° touch-sensitive Q-Link knobs(4) Q-Link knob columns accessible via Q-Link button(1) 360° encoder for value/data adjustment and selection via push
Display7.0” (17.8 cm) full-color 1280x800 display with capacitive multi-touch
Connections(2) 1/4” (6.35 mm) TRS inputs (1 stereo pair)(2) 1/4” (6.35 mm) TRS outputs (1 stereo pair)(1) 1/8” (3.5 mm) stereo headphone output(1) 1/8” (3.5 mm) MIDI input (1/8"-to-5-pin adapter included)(1) 1/8” (3.5 mm) MIDI output (1/8"-to-5-pin adapter included)(1) USB Type-B port(1) power adapter input
Powervia power adapter: 6 VDC, 3 A, center-positive, included
Dimensions(width x depth x height)16.2” x 8.6” x 1.9”41.1 x 21.8 x 4.8 cm
Weight4.6 lb.2.1 kg

Trademarks & Licenses

Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries.

Ableton is a trademark of Ableton AG.

ASIO and VST are trademarks of Steinberg Media Technologies GmbH.

The Bluetooth word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Akai Professional is under license.

MPC software incorporates élastique Pro V3 by zplane.development.

Apple and macOS are trademarks of Apple Inc., registered in the U.S. and other countries.

SD and SDHC are registered trademarks of SD-3C, LLC.

Windows is a registered trademark of Microsoft Corporation in the United States and other countries.

Pro Tools is a trademark of Avid Technology, Inc. in the U.S. and other countries.

All other product names, company names, trademarks, or trade names are those of their respective owners.

For complete legal information, visit akaipro.com/product-legal

Addenda

Updates in MPC 2.1

New Features

Exporting Expansions

You can export MPC Expansion Packs (installed on your computer) to your MPC hardware for use in its Standalone Mode. (This has been added to Operation > Modes > Browser > Browse.)

To export MPC Expansions:

  1. Connect your MPC hardware to your computer. Make sure both are powered on.
  2. On your computer, open the MPC software.
  3. On your MPC hardware, enter Controller Mode.
  4. In the MPC software window, click the menu icon (≡), select File > Export, and then click Expansion...
  5. In the Export Expansion to Standalone MPC window that appears, click the Drive menu and select a storage device that you will use with your MPC hardware: the internal SATA drive (if you have installed one in your MPC hardware), an SD card, or a USB flash drive.
  6. In the Expansions list, click the box next to each one to select or deselect it. Only the selected ones will be exported. Click Select all to select all of them or Select none to deselect all of them.
  7. Click Export to start exporting, or click Cancel to close the window and not export anything.

The exporting process creates an Expansions folder at the root level of your storage device and copies your MPC Expansions into it.

To use your expansions, restart your MPC hardware in Standalone Mode, enter the Browser, and tap Expansion.

Export Expansion to Standalone MPC Destination This will export your expansion(s) to an external drive so you can load them into a standalone MPC. Drive ExternalUSB Expansions □ MPC 2.0 Demos □ MPC Drum Content □ 2 Step Garage □ Araab Muzik □ Chilled Trap □ Clip Launch □ Distant Pulse □ EDM & Future House □ EDM + Future House 2 □ Elements of Dystopia □ Elements of House □ Elements of UK Dance □ Essential Instruments 2 □ Essential Instruments □ Hook City Trap + Soul Edition □ LoFi Soul + Future Beats □ Melodic Horizon Cancel Export

Snap: Absolute & Relative

While editing a MIDI or audio track, you can now use the Grid View or Audio Edit Mode to move or copy events using two different ways of “snapping” note events to the grid: Absolute or Relative. (This has been added to Operation > Modes > Grid View and Audio Edit Mode.)

To view the Settings, tap the gear icon.

Use the Snap Mode selector to set how events "snap" to the grid.

Absolute: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time Correct window). This is the typical and traditional method of using the snap/quantization feature.

Relative: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time Correct window) plus the original time position of the event (e.g., an event that is originally three ticks past a time division on the grid will snap only to positions that are three ticks past every time division).

UNUSED 2 1 0 SETTINGS SNAP MODE ABSOLUTE RELATIVE HITTING PAD SELECTS ALL EVENTS OFF ON AUTO-SCROLL OFF → FOLLOW PAGE CLOSE

List Edit Settings: Auto-Advance

The Settings window now has some additional lets you configure certain List Edit Mode settings. (This has been added to Operation > Modes > List Edit Mode.)

To view the Settings, tap the gear icon.

Use the Auto-Advance on Step Record selector to turn the feature on or off.

When set to On, pressing a pad when the track is record-armed will move the audio playhead forward by a length determined by the current Time Division setting in the TC/Timing Correct window.

When set to Off, pressing a pad when the track is record-armed will not change the audio playhead position.

DRUMS 1: 1: 0 All SETTINGS MITTING PAD SELECTS ALL EVENTS OFF ON AUTO-ADVANCE ON STEP RECORD OFF ON AUTO-SCROLL OFF → FOLLOW PAGE CLOSE

Pitch Quantization

In a MIDI track, you can now force the pitches of note events into a specific scale. This quantization process is available with other track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section.)

Track 01 EDIT CLEAR EXPLODE 2x DOUBLE-SPEED EVENTS +2 PITCH QUANTIZE COPY TRACK BOUNCE TO SAMPLE HALF-SPEED EVENTS SAVE EXPORT AS PATTERN CANCEL

To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open.

To open the Pitch Quantize window, tap Pitch Quantize.

PITCH QUANTIZE ROOT NOTE C SCALE Major Note Input Filter ✓ Only apply to selected events Output Note Range Quantized notes will be moved up/down by an octave to fit into this note range. START NOTE F2 END NOTE A3 DO IT CLOSE

To select the desired root note of the scale, use the Root Note field.

To select a type of scale, use the Scale field.

To determine which note events will be quantized, tap the Only apply to selected events checkbox.

When on, only the currently selected note events will be quantized.

When off, all pitches in the current track will be quantized.

To set lowest-possible and highest-possible pitches where the quantized note events will be placed, use the Start Note and End Note fields (respectively). If a note event is originally outside of this range, it will be forced to the nearest pitch (within the scale) inside the range.

To continue and quantize the note events, tap Do It.

To cancel, tap Close.

While using the Step Sequencer, you can now use the Q-Link knobs to adjust the velocity of the note event at each step (the Q-Link knobs must be in the Screen edit mode). On MPC X, the number of each step will be shown under the corresponding Q-Link knob. (This has been added to Operation > Modes > Step Sequencer).

To adjust the velocity of each note event, use the corresponding Q-Link knob to select a value (1–127).

To enter a note event at a step, use the corresponding Q-Link knob to change its velocity from 0 (Off) to a value of 1 or greater.

To delete a note event from a step, set the corresponding Q-Link knob to its minimum position, 0 (Off).

Pad Perform Mode: User Progressions

You can now use your own progressions (created in the desktop version of the MPC software) on your MPC hardware.

To transfer progressions to your MPC hardware:

  1. Connect the storage device that you will use with your MPC hardware (e.g., the internal drive, an SD card, a USB drive) to your computer.
  2. On your computer, access the storage device and create a folder named Progressions on its root level.
  3. Copy your progression files (.progression) from your computer to that Progressions folder.

By default, progressions are saved here:

Windows: C:\Program Files\Akai Pro\MPC\Progressions and/or C:\ProgramData\Akai\MPC\Progressions macOS: \~/Library/Application Support/Akai/MPC/Progressions

  1. Eject and disconnect the storage device from your computer, and connect it to your MPC hardware.

To use your progressions, start your MPC hardware in Standalone Mode, enter Pad Perform Mode, and tap Progressions. Your MPC hardware will scan the Progressions folder you created and add them to the list of available progressions.

Faster Attack for Amp Envelopes

In the amp envelope of a drum program or keygroup program, an attack value of 0 now produces a much faster response, thus making your drum hits even punchier than before. (You can set the attack value in Program Edit Mode. See Operation > Modes > Program Edit Mode > Drum Programs > Filter/Envelope and Keygroup Programs > Filter/Envelope to learn more.)

Important: Any drum or keygroup programs that you created and saved before this update will load in MPC 2.1 with an attack value of 1 to ensure backwards compatibility.

Updates in MPC 2.2

New Features

MIDI Control Mode: MIDI Learn

You can now use the MIDI Learn function to assign external MIDI controllers to various parameters in your specific MPC project:

  • Mixer parameters such as volume, pan, mute, and solo for MIDI or audio tracks, programs, returns, submixes, and main outputs
  • Pad parameters (for drum programs and clip programs only) such as tuning, filter and amp envelopes, layer settings, LFO settings, and velocity
    • Program parameters, which depend on the program type
  • Insert effects parameters, which depend on the effect type

These assignments will be saved with your MPC project.

Tip: Because these MIDI assignments are saved within a project, you can use them while working with a project on both the desktop version of the MPC software or on your MPC hardware in Standalone Mode. You can also include them with a user template.

To display the MIDI Learn window, press Menu, tap MIDI Control to enter MIDI Control Mode, and then tap the MIDI Learn tab.

Each assignment has the following settings:

Source: This is the name or number of the track, program, return, submix, or main output.

Target: This is the name of the assigned command or parameter.

Type: This is the type of message:

  • Toggle Button: When the control is a button, pressing it will activate or deactivate its command or parameter. It will remain in that state until you press it again.
  • Momentary Button: When the control is a button, pressing and holding it down will activate its command or parameter. Releasing the button will deactivate it.
  • Fixed Button: When the control is a button, pressing it will send its command.
    • Note: When the control is a button, pressing it will send the MIDI note (determined by the Data field).
  • Abs CC: When the control is a knob, turning it will send its CC message (determined by the Data field) according to the precise physical position of the knob. (When you start turning it, the value may "jump" from its current value to the one corresponding to the knob's position.) This is for use with knobs that have a maximum and minimum position.
  • Rel CC Offset: When the control is a knob, turning it will send the CC message (determined by the Data field), starting from the current value. This is for use with 360° knobs controlling parameters that have a maximum and minimum position.
  • Rel CC 2's Complement: When the control is a knob, turning it will send the CC message (determined by the Data field), starting from the current value. This is for use with 360^ knobs controlling bipolar parameters where there is a center (12:00) position (e.g., panning).

This is automatically detected based on the Source and Target fields, though you can use this field to assign it manually if it does not detect it properly.

LEARN ENABLE MAPPING SOURCE Synth TARGET Master Fine Tune TYPE Abs CC FLIP TARGET Bass Volume Abs CC 1 22 Synth Volume Abs CC 1 23 Synth Master Fine Tune Abs CC 1 24 Outputs 1/2 Volume Abs CC 1 25 HARDWARE XY MIDI LEARN

Ch: This is the MIDI channel the control is using.

Data: This is the MIDI note number or CC number.

Flip: Tap this box to select or deselect it. When selected, the control's polarity will be reversed (e.g., a button's "off" state will become its "on" state and vice versa).

To assign a parameter to a hardware control:

  1. Tap Learn in the upper-left corner so it is on. (The Enable Mapping button will also activate if it is not already on.)
  2. Tap + in the lower-left corner to create an "empty" assignment (its Target menus will be set to None and Off).
    Alternatively, tap an assignment that is already in the list if you want to change it.
  3. Move or press the desired control on your MIDI controller. The Type, Ch, and Data fields will be automatically assigned.
  4. Use the Source field to select a MIDI or audio track, program, return, submix, or main output (for drum programs and clip programs, you can select the entire program or a single pad within it). The Target menu will indicate the source you selected.
  5. Use the Target menu to select the parameter. Your selection will be shown under Target in the list, as well. The control on your MIDI controller will now control the Target parameter.

To assign more controls, repeat Steps 2–5.

To stop assigning controls, tap Learn again so it turns off.

To clear an assignment, follow the steps above to reassign its Source field to None and assign its Target field to Off.

To delete an assignment (the entire slot), tap it in the list, and then tap the trash-can icon in the lower-right corner.

To delete all assignments, press and hold Shift, and then tap the trash-can icon in the lower-right corner. In the window that appears, tap Remove All to continue or tap Cancel to not delete any assignments.

Humanize

You can now apply randomization to the timing, length, and/or velocity of MIDI events. This process is available with other track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section).

Drums EDIT CLEAR EXPLODE 2x DOUBLE-SPEED EVENTS -Half-SPEED EVENTS PITCH QUANTIZE HUMANIZE GENERATE RANDOM EVENTS COPY TRACK BOUNCE TO SAMPLE BOUNCE TO AUDIO TRACK SAVE EXPORT AS PATTERN CANCEL

To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open.

To open the Humanize window, tap Humanize.

HUMANIZE Time ✓ Humanize Time AMOUNT (0/LOSE) 30 Less than a 64th note BALANCE 8 Often after the heat CLOSE APPLY DO IT

HUMANIZE LENGTH 10 Velocity ✓ Humanize Velocity STRENGTH 10 Input Filter ✓ Only apply to selected events CLOSE APPLY DO IT

The Humanize function applies randomization to the timing, length, and/or velocity of MIDI note events.

To select whether or not humanization will be applied to the timing of MIDI events, tap the Humanize Time checkbox.

To select the maximum number of pulses by which the timing of an event will be adjusted, use the Amount (Pulses) slider.

To set how dramatically the humanization effect is applied to the timing, use the Eagerness slider. Negative values correspond to playing “ahead of the beat” while positive values correspond to playing “behind the beat.”

To set whether or not humanization will be applied to the duration of MIDI note events, tap the Humanize Note Length checkbox.

To set how dramatically the humanization effect is applied to note lengths, use the Length (%) slider.

To set whether or not humanization will be applied to the velocities of MIDI note events, tap the Humanize Velocity checkbox.

To set how dramatically the humanization effect is applied to note velocities, use the Strength (%) slider.

To determine which notes will use these humanization values, tap the Only Apply to Selected Events checkbox.

When on, just the currently selected notes will be humanized.

When off, all notes in the track will be humanized.

To apply humanization and keep this window open, tap Apply.

To apply humanization and close the window, tap Do It.

To close the window without making any changes, tap Close.

Generate Random Events

You now create random melodic or drum patterns on the current MIDI track. This process is available with other track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section).

Drums EDIT CLEAR EXPLODE 2x DOUBLE-SPEED EVENTS +2 PITCH QUANTIZE HUMANIZE GENERATE RANDOM EVENTS COPY TRACK BOUNCE TO SAMPLE BOUNCE TO AUDIO TRACK SAVE EXPORT AS PATTERN CANCEL

To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open.

To open the Generate Random Events window, tap Generate Random Events.

The Generate Random Events function creates random melodic or drum patterns on the current MIDI track.

To select the type of events you want to create, use the Event Type field to select Drum Events or Melodic Events.

To select how the events will be created relative to the existing events on the track, use the Replace field:

Replace All Events: Select this option to replace all events on the track with the randomly generated ones.

Replace Events in Note Range: Select this option to replace all events in the designated note range on the track with the randomly generated ones. Use the Bank or Start Pad and End Pad menus to set the note range for drum events or the Start Note and End Note menus to set the note range for melodic events.

Add to Existing Events: Select this option to add the randomly generated events to the track without replacing or overwriting the existing ones.

To set how many bars the events will use, use the Pattern Size (Bars) field. The highest possible value is the number of bars in the current sequence.

To select the duration of the events, use the Note Length field. (This feature is nonfunctional if Legato is enabled while generating melodic events.)

To generate the events and keep this window open, tap Apply.

To generate the events and close the window, tap Do It.

To close the window without generating any events, tap Close.

GENERATE RANDOM EVENTS Generation Drum events Replace all events 2 1/16 Drum event options CLOSE APPLY DO IT

GENERATE RANDOM EVENTS RETURN ON WORK 2 1/16 Drum event options A DENSITY 0 10 RUSTRIE VARIATION 25 CLOSE APPLY DO IT

If Event Type is set to Drum Events:

To select the pad bank that will be used to generate the events, use the Bank field or select Range to use the Start Pad and End Pad menus to define a specific pad range instead.

To define a specific pad range over which the events will be generated, use the Start Pad or End Pad fields. You can use these fields only if the Bank menu is set to Range.

To set how closely together the events will be placed in the track, use the Density (%) slider.

To set how widely or narrowly the rhythmic patterns of the generated notes vary, use the Rhythm Variation slider.

GENERATE RANDOM EVENTS Generation Melodic events Replace all events 2 1/16 Melodic event options CLOSE APPLY DO IT

GENERATE RANDOM EVENTS Melodic event options C2 C4 Legato 8 Constrain notes to scale 75 Major CLOSE APPLY DO IT

If Event Type is set to Melodic Events:

To define a specific note range over which the events will be generated, use the Start Note or End Note fields.

To enable or disable legato, tap the Legato checkbox.

AKAI MPC Key 61 - If Event Type is set to Melodic Events: - 1

natural_image Grid background with scattered red and orange rectangular blocks (no text or symbols)

AKAI MPC Key 61 - If Event Type is set to Melodic Events: - 2

natural_image Abstract grid pattern with red and orange rectangular blocks on dark background (no text or symbols)

Without legato applied. With legato applied.

When on, the generated notes will be extended or shortened to create a long, unbroken phrase from the first note event's start point to the last note event's end point. Each note event will sustain until another note event starts. If multiple note events start at the same time (and are not the last note events), their lengths will become identical.

When off, the generated notes will use the duration set by the Note Length menu.

To set the maximum number of note events that can be sounding simultaneously in the track, use the Polyphony field to select 1–8.

To determine whether or not the notes will use a scale, tap the Constrain Notes to Scale checkbox.

When on, the notes will be within the scale determined by the Scale menu.

When off, the notes will be chromatic.

To set how closely together the events will be placed in the track, use the Density (%) slider.

To set the root note of the scale that the notes will use, use the Root Note field.

To select the scale or mode that the generated notes will use, use the Scale field.

Project Template

You can now select a project file to use as a template for new projects. (This has been added to Operation > General Features > Menu > Save and Menu > Preferences > Project Load/Save.)

To select a project template file, do either of the following:

  1. Tap the icon in the upper-left corner to enter the Menu.
  2. Tap the gear icon to enter the Preferences.
  3. Tap Project Load/Save.

  4. Tap the magnifying-glass icon next to the Template File field to select the project you want to use as a template.

  5. In Main Mode, tap the Project field in the upper-left corner.

  6. Tap Save As... at the bottom of the screen.
  7. Tap the Save as Template checkbox to check it.
  8. Name and select a location for the project, as usual.
  9. Tap Save. (The file will now be shown in the Template File field in the Preferences' Project Load/Save tab.)

To load the project template from the startup screen (when you power on your MPC hardware), tap User Template at the bottom of the screen. In order for this option to be available, New Project Dialog (in the Project Defaults tab) in the Preferences must be set to Demo or Demo/Template/Recent.

Updates in MPC 2.3

New Features

Arpeggiator

MPC now includes a full-featured arpeggiator and phrase player for melodic program types.

To open the Arpeggiator settings:

  1. Set the current track type to Plugin, Keygroup, MIDI, or CV.
  2. Open the Arpeggiator window by doing either of the following:

- Press and hold the Note Repeat button, then tap Arp at the bottom-right of the screen.

• Alternatively, press the Arpeggiator F-Key (MPC X).

To activate the Arpeggiator, tap Enable so it is checked. Tap again to Disable the Arpeggiator.

To latch the Arpeggiator, tap Latch so it is checked. Tap again to Disable Latch.

The Setup section of the Arpeggiator window sets what kind of arpeggiator will be used and its functions:

Use the Action field to set the type: Arp, Note Repeat, Rhythm and Pattern. See below for more details about these types and their additional parameters.

Use the Step Size field to set the note value of each arpeggiator step from 1/1-1/64 beats, including T (triplet) variations. This field is not used in Pattern mode.

Use the Note Length slider to set the length of the played note in each step, from 1–100%.

Use the Velocity field to set the velocity of the arpeggiator notes. Choose As played, From first note, Accented, Full, 3/4, Half or 1/4.

Use the Swing field to set the amount of swing in the arpeggiator from 50% to 75%. Swing lets you "shuffle" your beats—from subtle to extreme.

The Arp mode section of the Arpeggiator window is available when the Action is set to Arp. When this action is selected, hold down a chord and the arpeggiator will play a pattern based on the notes held.

Use the Pattern field to set how the arpeggiator triggers the held notes.

Use the Octaves field to set how many octaves of the held notes the arpeggiator will cycle through.

Use the Variation field to apply rhythmic variation to the set pattern.

ARPEGGIATOR Setup Enabled Latch notes Amp 0/16 1/16 5% Aftertouch As played CLOSE

ARPEGGIATOR 50 Arp mode Up 1 Normal Settings ✓ Sustain Pedal Gatisfies Reset CLOSE

The Rhythm section of the Arpeggiator window is available when Action is set to Note Repeat or Rhythm. The Note Repeat action provides traditional MPC Note Repeat behavior. When the Rhythm arpeggiator action is selected, hold down a chord and the arpeggiator will play the held notes in a rhythmic pattern.

Use the Spread field to spread the timing of the held notes, creating a glissando effect.

Use the Rhythm Pattern field to choose the pattern played when notes are held. This is only available for the Rhythm action.

ARPEGGIATOR As played 50 Rhythm Jaunty Settings Sustain Pdele Catches CATCH/WAY/ICE Reset Close

The Pattern section of the Arpeggiator window is available when the Action is set to Pattern. When this arpeggiator action is selected, hold down a single note to trigger a melodic phrase. As you change what note is held, the melodic phrase will be transposed.

Use the Pattern field to choose the pattern.

ARPEGGIATOR Pattern 54 As played Aftercall 50 Pattern Bass-Rhythm 01 Settings CLOSE

The Settings section of the Arpeggiator window offers additional options to control the arpeggiator.

If you have a sustain pedal connected, you can enable Sustain Pedal Latches to use it to control latching.

Use the Latch Mode setting to set the latch behavior. When set to Reset, adding a new note(s) will reset the currently latched note(s). When set to Add, new notes will be added to currently latched notes.

ARPEGGIATOR 50 Arp mode Up Normal Settings System Payload Latches RESET CLOSE

Tap Close to close the Arpeggiator window.

Auto Sampler

You can now capture and convert any plugin preset or external instrument preset into a Keygroup sampler patch.

To open the Auto Sampler:

  1. Open the Sampler mode by doing either of the following:

  2. Press Menu and then tap Sampler.

  3. Press Sampler (MPC X).

  4. Press the Auto Sampler icon in the toolbar.

Sample Source Information

The Track name and Program name fields show the target track and program that will be sampled. This will be automatically selected as the active track and program when Auto Sampler is opened.

Use the Record from field to select an external or resample input to record from:

To capture the output of a plugin, simply select a Plugin track before opening Auto Sampler.

Note: When a plugin track is selected, the Auto Sampler will only sample the plugin track, regardless of the setting in the Record From field.

To capture a preset from an external instrument such as a sound module, select the Input that the external instrument is connected to.

AUTO SAMPLER Sample source information This is the current track, which determines what will be sampled. Track 01 Track 02 Track 03 Track 04 Track 05 Track 06 Track 07 Track 08 Track 09 Track 10 Track 11 Track 12 Track 13 Track 14 Track 15 Track 16 Track 17 Track 18 Track 19 Track 20 Track 21 Track 22 Track 23 Track 24 Track 25 Track 26 Track 27 Track 28 Track 29 Track 30 Track 31 Track 32 Track 33 Track 34 Track 35 Track 36 Track 37 Track 38 Track 39 Track 40 Track 41 Track 42 Track 43 Track 44 Track 45 Track 46 Track 47 Track 48 Track 49 Track 50 Track 51 Track 52 Track 53 Track 54 Track 55 Track 56 Track 57 Track 58 Track 59 Track 60 Track 61 Track 62 Track 63 Track 64 Track 65 Track 66 Track 67 Track 68 Track 69 Track 70 Track 71 Track 72 Track 73 Track 74 Track 75 Track 76 Track 77 Track 78 Track 79 Track 80 Track 81 Track 82 Track 83 Track 84 Track 85 Track 86 Track 87 Track 88 Track 89 Track 90 Track 91 Track 92 Track 93 Track 94 Track 95 Track 96 Track 97 Track 98 Track 99 Track 100

Note Range

Use the Min note and Max note settings to determine the lowest and highest notes used to create the sampler patch.

Use the Note stride to determine the range of notes that each sample will cover. For instance, a note stride of 5 means that every 5 notes will utilize a different sample.

Check the Extend min/max notes box to sample all the way to the lowest and highest notes, regardless of the Min Note and Max Note settings.

AUTO SAMPLER Resample filter Resample L + R Note range C2 C4 Note attack 6 Velocity ✓ Layer 7 velocity output 127 CANCEL OK

Velocity

Tap the boxes next to Layers 1–4 to select how many layers will be used to create the sampler patch.

Use the Velocity value sliders to set the velocity of each layer.

AUTO SAMPLER Velocity ✓ Level 1 VELOCITY VALUE 127 ✓ Level 2 VELOCITY VALUE 96 ✓ Level 3 Sampling CANCEL OK

Sampling

Use the Note length slider to set the length of the sampled note in seconds.

Use Tail slider to set the length of the Audio Tail in seconds. This will add extra seconds to the end of the resulting audio file. This is useful if you are capturing samples whose sounds exceed the defined audio length (e.g., long reverb or delay, one-sh with long decays, etc.). We recommend using an audio tail of at least a couple of seconds.

Use Base name to set the naming convention for the samples that will be created by the Auto Sampler.

AUTO SAMPLER Layer 4 Sampling 3000ms 1000ms samples Plugin 001-Auto sampled Looping CANCE LOOPING Forwards CANCEL OK

Looping

Use the Enable looping field to select how the resulting samples can or cannot be looped:

• 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.
- Reverse: You can hold down the pad to cause that sample to play in reverse, repeating from the end of the sample to the Loop Position. Release the pad to stop the repeating playback.
- Alternating: You can hold down the pad to cause that sample to play from the Loop Position to the end of the sample and then play in reverse until it reaches the Loop Position again. This will repeat as long as you are holding the pad down. Release the pad to stop the repeating playback.

AUTO SAMPLER Looping Forwards LOOP START 500ms LOOP OUT 7500ms Equal Power Auto boom start On completion CANCEL OK

Use the Loop start and Loop end sliders to set the starting and ending points in the sample where the loop will occur.

Use the Crossfade field to set the amount of crossfade between the loop end and loop start in seconds.

Use the Crossfade Type field to select Equal Power or Linear crossfade.

Under On completion, check Make current program to load the completed sampler patch as the current program.

Under Info, the Session Duration field provides an estimate of how long the auto sampling process will take.

Tap OK to initiate the auto sampling process. A Progress window will appear. Click Cancel to stop the auto sampling process. Any samples already created will be retained.

Tap Cancel to close the Auto Sampler window without continuing.

AUTO SAMPLER 0 Equal Power ✓ Auto trim start On completion Make current program Info 32 secs CANCEL OK

Crossfade Looping

You can now add real time crossfade looping to sample playback.

Synth 01 C3 Samples 17600 25480 32780 39480 51280 57580 6450 71580 7850 8550 9250 9950 10650 11350 12050 12750 13450 14150 14850 15550 16250 16950 17650 18350 19050 19750 20450 21150 21850 22550 23250 23950 24650 25350 26050 26750 27450 28150 28850 29550 30250 30950 31650 32350 33050 33750 34450 35150 35850 36550 37250 37950 38650 39350 40050 40750 41450 42150 42850 43550 44250 44950 45650 46350 47050 47750 48450 49150 49850 50550 51250 51950 52650 53350 54050 54750 END END LOOP SUCF: All TUBE: FROM: 63582 DIM: 76.03 DEESE: C3 X-PAGE: LINK SLCES: LOGIFUSION: TRIM: PROGRAM: ZOOM: ASSIGN: PROCESS:

To apply crossfade looping to a sample:

  1. Open Sample Edit mode by doing either of the following:

  2. Press Menu, and then tap Sample Edit.

  3. Press Sample Edit (MPC X).

  4. Make sure the loop Lock setting is set to Off.

  5. Tap the Loop button to select the Forward (FWD) loop mode.
  6. Make sure there is at least 10 samples of space between the Start point and Loop point.
  7. Tap the X-Fade button to open the X-Fade window:

Synth 01-04B C2 X-FADE 10 True Equal Power CLOSE

To set the length of the crossfade in samples, use the Length field.

To set the type of crossfade, use the Type field. Select Equal Power or Linear.

To close the window and return to Trim Mode, tap the X or tap Close.

When you are finished, press Pad A16 – Play Continuous Loop in Sample Edit Trim Mode to hear the crossfade applied to the sample.

Mode Selection Shortcut

You can now press and hold the Menu button on your MPC hardware and press a pad to select a menu mode. The pads follow the 4x4 layout of the Mode Menu.

Pad Perform Mode: Chromatic Type

You can now use Pad Perform Mode to set the pads to follow a chromatic layout. When the Chromatic type is selected, each pad is assigned a note, ascending by one semitone with each pad. Pads with notes in the key determined by the Scale will be lit, while pads with notes between the scale degrees will be unlit.

Q-Link functionality has been enhanced in the following modes: Main Mode, Track View, Next Sequence, Grid Editor, and Audio Edit Mode.

Set the Q-Link Mode to Screen in these pages to access the following controls:

Use Q-Link Knob 2 to adjust the playhead position.

Use Q-Link Knob 3 to scroll through the waveform in the large waveform display.

Use Q-Link Knob 4 to zoom in or zoom out at the playhead position.

Note: For MPC hardware in standalone mode, the Zoom and Scroll Q-Links are only available in the Grid Editor and Audio Edit Mode.

Split Events

You can now easily split note events, useful for creating intricate hi-hat parts or quintuplet/sextuplet motifs or drum beats. (This has been added to Operation > Modes > Main Mode > Track Section.)

Drums EDIT CLEAR EXPLODE 2x DOUBLE-SPEED EVENTS +2 HALF-SPEED EVENTS SPLIT EVENTS PITCH QUANTIZE HUMANIZE GENERATE RANDOM EVENTS COPY TRACK BOUNCE TO SAMPLE BOUNCE TO AUDIO TRACK SAVE EXPORT AS PATTERN CANCEL

To edit the track, tap the pencil icon on the right edge of the Main Mode screen. The Track Edit window will open.

To open the Split Events window, tap Split Events.

SPLIT EVENTS Setup Only selected events Program 001 CLOSE DO IT

To set how many events notes will be divided into, use the Into slider.

To determine which notes will be divided, tap the Only selected events checkbox.

To split the events and close the window, tap Do It.

To close the window without making any changes, tap Close.

AIR Instrument Plugins

MPC now includes three new plugin instruments: AIR TubeSynth, AIR Bassline, and AIR Electric.

AIR Bassline

The AIR Bassline plugin emulates the sound of classic mono synths, with a contemporary twist. Bassline also comes packaged with four integrated AIR effects (Chorus, Delay, Compressor and Hype), as well as two built-in distortion algorithms (Overdrive and Clip).

Osc/Filter/Envelope

Use this tab to adjust the settings for the oscillators, as well as their filter and envelope settings.

Plugin 001 Default OSCILLATOR Waveform 30Hz Time 100Ω/825/5Hz Sub-Output Input 6.2 dB Freq 400 Hz HP Output 10.0 Hz FILTER 1.37 kHz Ampl Attach 30% Hard Ampl Delay 50% Filter Delay 21% Pick Mod 21% OSC / FLT / ENV VEL / MSTR / CHORUS DELAY COMPRESSR / HVPE

ParameterDescriptionValueRange
OscillatorWaveformContinuously variable waveshape for the oscillator.Saw Octave, Saw, Square, Sine
Sub-OctaveAmount of sub-octave oscillator. 0–100%
FifthAmount of fifth-oscillator. 0–100%
Start PhasePosition of the waveform when a note is triggered. Free, 0 degr., 180degr.
Glide TimeAmount of time to slide from the pitch of one note to the next note played.10.0 ms – 2.00 s
Boost Boosts the signal of the oscillator. 0.0 – 48.0 dB
Boost Freq.Center frequency of the boost.* 1.0 – * 240.0
Boost EnvelopeAmount of effect of the envelope on the Boost section.AdjustGainto control the amount of boost.AdjustFrequencyto control the center frequency of the boost.Gain 0–100%, Off, Frequency 0–100%
FilterLP CutoffCutoff frequency for the low-pass filter.20.0 Hz – 20.0 kHz
ResoResonance of the filter.0–100%
Filter EnvEnvelope of the filter.At negative values, decreases the cutoff value based on the decay value.At positive values, increases the cutoff value based on the decay value.-100% – 0 – +100%
HP CutoffCutoff frequency for the hi gh-pass filter.10.0 – 500 Hz
EnvelopeAmp AttackLength of time for the note to reach full volume.0–100 Soft, 0–100% Hard
Amp DecayLength of time for the note to reach the sustained volume.0–100%
Filter DecayLength of time for the filter to reset after being released.0–100%
Pitch ModAmount of pitch modulation applied to the envelope.0–100%

Velocity/Global/Chorus

Use this tab to adjust the Velocity Control settings and Global volume. You can also apply and adjust the settings for the built-in Chorus effect.

ParameterDescriptionValue
Velocity Amp Control The amount of effect velocity has on amplitude control.0–100%
Filter ControlThe amount of effect velocity has on filter control. 0–100%
Boost ControlThe amount of effect velocity has on boost control. 0–100%
Env RetriggerSets whether the envelope will retrigger when a note is played while another note is being held.Off, On
GlobalGlobal Volume Sets the volume level. -Inf dB – +6.0 dB
Drive TypeChoose one of two drive algorithms. Overdrive, Clip
DriveAmount of drive applied.0–100%
Bend RangeNumber of semitones up or down controlled by MIDI pitch bend messages.0–12
ChorusRateModulation speed of the chorus effect.20.0 Hz – 20.0 kHz
DepthModulation depth of the chorus effect.0–100%
MixWet/dry amount of the chorus effect. -100% – 0 – 100%
On/OffEnables or disables the effect.Off, On

Delay

Use this tab to apply and adjust the settings for the built-in delay effect.

ParameterDescriptionValue Range
TimeLength of time of the delayed signal.When Sync is set to Free: 1 ms – 2.00 sWhen Sync is set to Sync: 1/32 – 8/4
SyncSync the Delay Time to the Global Tempo or set to Free to adjust Time by milliseconds.Free, Sync
MixWet/dry amount of the delay effect.0–100%
FeedbackAmount of signal fed back into the delay line.0–100%
DampCenter frequency of where the delay signal will be dampened.1.00 – 20.0 kHz
ResoAmount of resonance of the feedback signal.0–100%
Reso FreqCenter frequency for feedback resonance.100 Hz – 10.0 kHz
RatioReduces the delay Time in either the Left or Right stereo field. This is useful for creating offset, panned delays.L 50:100, R 50:100
HPFCenter frequency for delay signal high-pass filter.20.0 Hz – 1.0 kHz
WidthStereo width of delay signal. Higher values give wider stereo separation.0–100%
On/OffEnables or disables the effect.Off, On

Compressor/Hype

Use this tab to apply and adjust the settings for the built-in Compressor and Hype effects.

ParameterDescriptionValue
CompressorThresholdSignal level after which the compressor will be applied.0.0 – -60. dB
Ratio Amount of compression applied. 1.0:1 – 100.0:1
Output Amount of additional output gain for the compressed signal.0.0 – 30.0 dB
Mix Wet/dry mix of the compressor effect. 0–100%
Knee How gradually the compressor reacts as the threshold is reached.0–100%

AIR Electric

The AIR Electric plugin emulates the sound of classic electric pianos. Dedicated Pickup, Envelope, Bell and Noise parameter sections provide a huge amount of flexibility to configure the timbre of the electric piano sound. Electric also includes five AIR effects: Tremolo, Tube Distortion, Chorus, Delay and Spring Reverb.

While viewing any of the tabs listed below, you can quickly enable or disable the Bell and Noise sounds, as well as the built-in effects (Tremolo, Tube, Chorus, Delay and Spring Reverb).

When viewing a specific tab, you can enable or disable the sound or effect by pressing the circle in the upper-right corner of each section.

Plugin 001 Default PICKUP EnMagnetic CLIP 10% KEYTRACK 100% HEIGHT 5.5 mm DISTANCE 2.5 mm ENVELOPE ATTACK PEAK LENGTH 100% Hard 6 mm DELAY KEYTRACK 80% RELEASE 370 ms BELL NOSIS TREMOLO TURI CHORUS DELAY SPRING REVERB PICKUP / ENV BELL / NOISE SETUP TREM / TUBE / CHRS DELAY SPRING REVERB

Pickup/Env

Use this tab to edit the settings for the emulated pickup and the sound envelope.

ParameterDescriptionValue
Pickup TypeType of pickup emulated. Pickup, 0–100%Electro-Static,0–100% Electro-Magnetic
HeightHeight of the pickup to the tines. 0.0 – 5.0 mm
DistanceDistance of the pickup to the tines. 0.1 – 10.0 mm
ClipAmount of clipping applied to the signal.0–100%
KeytrackTies the pickup parameters to the pitch being played.At higher values, the Distance is increased as the pitch is increased.0–100%
EnvelopeAttack Length of time for the note to reach full volume. 100–0% Hard,0–100% Soft
DecayLength of time for the note to reach the sustained volume.100 ms – 20.0 s
ReleaseLength of time for the note to become silent after being released.100 ms – 5.0 s
Peak LengthLength of time full volume is held before decaying.3–50 ms
KeytrackTies the envelope parameters to the pitch being played.At higher values, the envelope time is decreased as the pitch is increased.0–100%

Bell/Noise

Use this tab to apply and adjust the settings for the Bell and Noise sounds.

ParameterDescriptionValue
Bell Tune Pitch of the bell sound, in semitones above the root pitch.0-60 semitones
Dry/PU Mix of Dry versus Pickup signal for the bell sound.-100% - 0% - +100%
Volume Level of the bell sound.-Inf dB - 0.0 - +6.0 dB
Tune Keytrack Ties the tuning of the bell sound to the pitch being played.0-100%
Decay How long it takes for the bell sound to dissipate. 100 ms - 7.0 s
Keytrack Ties the amount of bell sound to the pitch being played.-100% - 0% - +100%
At negative values, the bell sound is increased as the pitch increases.
At positive values, the bell sound is increased as the pitch decreases.
NoiseFreqCenter frequency of the noise effect.200 Hz - 16.0 kHz
RandomAmount of randomization applied to the noise effect.0-100%
MixLevel of noise effect present.-Inf dB - 0.0 - +6.0 dB
AttackLength of time for the noise effect to reach full level.1-50 ms
DecayLength of time for the noise effect to dissipate.100 ms - 3.00 s
KeytrackTies the Freq to the pitch being played.0-100%

Setup

Use this tab to adjust general settings for the plugin.

ParameterDescriptionValue Range
PolyphonyNumber of voices available.1–16 Voices
LevelOverall level of the plugin.-Inf dB – 0.0 – +6.0 dB
Velo LevelAdjusts how much incoming velocity is applied.0–100%
Velo ToneTies the incoming velocity to tone.At higher values, increased velocity increases tone brightness.0–100%
Velo AttackTies the incoming velocity to the attack envelope.At higher values, lower velocities feature longer attack times.0–100%

Trem/Tube/Chorus

Use this tab to apply and adjust the settings for the built-in Tremolo, Tube (Overdrive), and Chorus effects.

ParameterDescriptionValue
Tremolo Rate Modulation speed of the effect.
When Sync is set to Free: 0.25 – 13.00 Hz
When Sync is set to Sync: 8/4 – 1/16
SyncSync the Tremolo Rate to the Global Tempo or let it run Free.Free, Sync
ModeSelect Pan for stereo field modulation, or Tremolo for amplitude modulation.Pan, Tremolo
DepthAmount of modulation applied. 0–100%
TubeDriveAmount of drive applied. 0–100%
HeadroomAmount of gain reduction between the clean signal and the driven signal.-30.0 – 0.0 dB
SaturationAmount of saturation applied. 0–100%
Output Output level of the tube driven signal. -20.0 – 0.0 – +20.0 dB
ChorusRateModulation speed of the effect.0.40 – 3.20 Hz
DepthAmount of pitch modulation of the effect.0–100%
MixWet/dry amount of the chorus effect.0–100%

Delay

Use this tab to apply and adjust the settings for the built-in Delay effect.

ParameterDescriptionValue Range
TimeAmount of time between the dry signal and the delayed signal.When Sync is set to Free: 1 ms – 2.00 sWhen Sync is set to Sync: 1/32 – 8/4
SyncSync the Delay Time to the Global Tempo or set to Free to adjust Time by milliseconds.Free, Sync
MixWet/dry amount of the delay effect.0–100%
FeedbackAmount of signal fed back into the delay line.0–100%
DampCenter frequency of where the delay signal will be dampened.1.00–20.0 kHz
ResoAmount of resonance of the feedback signal.0–100%
Reso FreqCenter frequency for feedback resonance.100 Hz – 10.0 kHz
RatioReduces the delay Time in either the Left or Right stereo field. This is useful for creating offset, panned delays.L 50:100, R 50:100
HPFCenter frequency for delay signal high-pass filter.20.0 Hz – 1.0 kHz
WidthStereo width of delay signal. Higher values give wider stereo separation.0–100%

Spring Reverb

Use this tab to apply and adjust the settings for the built-in Spring Reverb effect.

Parameter Description Value Range

Pre-DelayLength of time between dry signal and reverberated signal.0-250ms
TimeLength of reverb tail. 1.0 – 10.0 s
Mix Wet/dry amount of the reverb effect. 0-100%
Diffusion Rate of increasing density of reverb reflections. 0-100%At lower settings, the sound of individual reflections is more present.At higher settings, reflections are more uniform.
Width Stereo width of reverb si gnal. Higher values give wider stereo separation. 0-100%
Low Cut Center frequency for reverb si gnal low-cut filter. 20.0 Hz – 1.00 kHz

AIR TubeSynth

The AIR TubeSynth plugin emulates the sound of classic vintage analog polysynths. TubeSynth is based on the highly acclaimed AIR Vacuum Pro desktop synth plugin and also includes 5 integrated AIR effects.

Oscillator

Use this tab to adjust the settings for the two variable Oscillators and the Sub Oscillator.

Screenshot of an oscillator interface showing two oscillator controls with labeled buttons and function icons

ParameterDescriptionValue
Oscillator 1OctaveCoarse tuning of the oscillator by octaves. The Wide setting provides additional Fine tuning controls.Wide, 32', 16', 8', 4', 2'
FineFine g of the oscillator by semitones.When Octave is set to Wide: -70.00 - 0.00 - +70.00When Octave is set to 32'-2': -12.00 - 0.00 - +12.00
Shape Waveshape of Oscillator 1 (continuously variable).Triangle, Saw, Square, Pulse
Quad Enables or disables four-voice emulation for the oscillator.Off, On
Oscillator 2OctaveAdjusts tuning of the additional Quad voices.0-100%
Coarse tuning of the oscillator by octaves all the way down to LFO speed.LFO, 32', 16', 8', 4', 2'
Fine Fine tuning of the oscillator.
When Octave is set to LFO: 0.01 - 20.00 HzWhen Octave is set to 32'-2': -12.00 - 0.00 - +12.00 semitones
Shape Waveshape of Oscillator 2 (continuously variable).Noise, Saw, Square, Pulse
Sync Enables or disables syncing of Oscillator 2 to Oscillator 1.Off, On
PhaseMicro DetuneAdditional detuning of Oscillator 2.0-100%
Position of the waveshape when the sound is triggered.0-360 degrees
Sub Oscillator ShapeWaveshape of the sub oscillator (continuously variable).Triangle, Saw, Square, Pulse

Mixer / Filter

Use this tab to control EQ for Oscillator 2, set the levels of the oscillators and effects, and edit the low-pass filter.

ParameterDescriptionValue
Osc 2 EQ GainAmount of gain applied to the selected Frequency.-48 - 0 - +48 dB
FrequencyCenter frequency for the equalization band.25-10,000 Hz
Drive Amount of drive added to the EQ signal. 0-100%
Keytrack Ties the EQ settin gs to the pitch being played 0-100%
Mixer Osc 1 Level of Oscillator 1. 0-100%
Osc 2 Level of Oscillator 2. 0-100%
Drive Level of Drive effect. 0-100%
LP FilterCutoffCenter frequency of the low-pass filter cutoff.0-100%
ResoAmount of resonance of the low-pass filter.0-100%
Slope Amount of attenuation applied above the cutoff frequency. 0-24 dB/oct
EnvSaturationAmount of saturation applied to the low-pass filter.0-100%
Percentage of the envelope output subtracted from or added to the LP Filter Cutoff.-100 - 0 - +100%
KeytrackTies the LP Filter Cutoff to the pitch being g played.0-100%

Envelope

Use this tab to adjust the various envelope settings.

ParameterDescriptionValue
Filter EnvelopeAttackLength of time for the filter to reach full level. 1.00 ms – 100 s
Decay Lengthof time for the filter to reach sustain level. 1.00 ms – 100 s
Sustaingth before for the filter to hold sustain level. 0–100%
Release Length of time for the filter to dissipate when released. 1.00 ms – 100 s
Amp EnvelopeAttackLength of time for the note to reach full level. 1.00 ms – 100 s
Decaygth before for the note to reach sustain level. 1.00 ms – 100 s
Sustaingth before for the note to hold sustain level. 0–100%
ReleaseLength of time for the note to dissipate when released. 1.00 ms – 100 s
Envelope 3Start LevelInitial velocity level of the envelope.0–100%
Start TimeLength of time for the envelope to start.0–5000 ms
Slope HoldPercentage of Envelope subtracted from or added to the Destination when a note is held.-100 – 0 – +100%
Slope RelPercentage of Envelope subtracted from or added to the Destination when a note is released.-100 – 0 – +100%
DestinationWhere the envelope will be applied to.Off, Pitch, Osc 2Pitch, LFO 1/2 Rate,Osc1 Quad Det., Osc1/2 Shape, Osc 1/2Level, Ring Level

LFO

Use this tab to adjust the settings for the low-frequency oscillators.

ParameterDescriptionValue
LFO 1/LFO 2 Shape Waveshape of the low-frequency oscillator. Sine, Square. Saw
Up, Saw Down,Pump, S&H, Drift
DestinationWherethe low-frequency oscillator is sent.
LFO1: Off, Pitch, Filter,Level, Pan
LFO2: Pitch, Osc 1/2 Shape,Osc 1/2 Pitch, LPF,Quad Detune, OscEQ Freq, Osc 2 EQGain, Ring Level
Rate Speed of modulation.
When Sync is Off: 0.01 – 20.00 Hz
When Sync is On: 8/4 – 1/32
Depth Amount of modulation applied. 0–100%
FadeApply a fade-in or fade-out of the LFO signal.0.00 – 20.00 s out,No fade,0.00 – 20.00 s in
SyncSync the LFO Rate to the Global Tempo or turn Off toadjust Rate by Hertz.Off, On
ModulationSourceWhere the modulation signal is sent from.Filter Env, Amp Env,Osc 1, Osc 2
DestinationWhere the modulated signal is received.Pitch, Osc 1/2 Shape,Osc 1/2 Pitch, LPF,Quad Detune, OscEQ Freq, Osc 2 EQGain, Ring Level
DepthAmount of modulation applied. 0–100%

Setup

Use this tab to adjust plugin setup parameters.

ParameterDescriptionValue
Controller Destinations
Velocity 1Send Velocity data to one of the following control destinations.Amp, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape
DepthAmount of modulation applied. 0-100%
Velocity 2Send Velocity data to one of the following control destinations.Amp, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape
DepthAmount of modulation applied. 0-100%
ModwheelSend Modwheel data to one of the following control destinations.Amp, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape
DepthAmount of modulation applied. -100 - 0 - 100%
AftertouchSend Aftertouch data to one of the following control destinations.LFO 1 Depth, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape
DepthAmount of modulation applied. -100 - 0 - 100%
Setup PolyphonyNumber of allowable voices, and how voices are triggered.Legato, Retrigger, 2, 3, 4
Bend RangeNumber of semitones up or down controlled by MIDI pitch bend messages.0-12 (semitones)
Glide TimeAmount of time to slide from the pitch of one note to the next note played.1.00 ms - 100 s
Glide AllEnables or disables pitch gliding for all triggered notes, not just legato notes.Off, On
DetuneAmount of detuning applied. This setting is only applied when Doubling is enabled.0-100%
DoublingEnables or disables voice doubling.Off, On
OutputShapeAmount of signal sent to a Tube Drive.0-100%
Width Stereo width of the audio signal. Higher values give wider stereo separation.0-100%
LevelOverall output volume of the plugin.-Inf dB - +12.0 dB

Chorus

Use this tab to apply and adjust the settings for the built-in Chorus effect.

ParameterDescriptionValueRange
RateModulationspeedof the effect. 0.01 – 10.0 Hz
DelayLength of time the wet signal is offset from the dry signal. 0.00 – 24.00 ms
Voices Number of voices used in the chorus effect. 3, 4, 6
LFO WaveWaveshape of the low-frequency oscillator for the chorus effect.Tri, Sine
DepthAmount of pitch modulation of the effect. 0.00 – 24.00 ms
Width Stereo width of the chorus effect. Higher values give wider stereo separation.0–100%
Lo Cut Center frequency for the chorus low-cut filter. 20.0 Hz – 1.0 kHz
MixWet/dry amount of the chorus effect.0–100%

Delay

Use this tab to apply and adjust the settings for the built-in delay effect.

ParameterDescription Value Range
TimeLength of time between the dry signal and the delayed signal.When Sync is set to Free: 1 ms – 2.00 sWhen Sync is set to Sync: 1/32 – 8/4
SyncEnable to sync the Delay Time to the Global Tempo, disable to set the Time in milliseconds.Off, On
FeedbackAmount of delay signal fed back into the delay line.0–100%
MixWet/dry amount of the delay effect.0–100%
DampCenter frequency of where the delayed signal will be dampened.1.00 – 20.0 kHz
ResoAmount of resonance of the feedback signal.0–100%
Reso FreqCenter frequency for feedback resonance.100 Hz – 10.0 kHz
RatioReduces the delay Time in either the Left or Right stereo field. This is useful for creating offset, panned delays.L 100:50, R 50:100
HPFCenter frequency for delay signal high-pass filter.20.0 Hz – 1.0 kHz
WidthStereo width of delay signal. Higher values give wider stereo separation.0–100%

Reverb / Compressor / Hype

Use this tab to apply and adjust the settings for the built-in Reverb, Compressor and Hype effects.

ParameterDescriptionValue
Reverb ModeType of reverb applied.Hall,Stadium,
Abstract
TimeLength of reverb tail. 0.4 s - +Inf s
Lo Cut Center frequency for the reverb low-pass filter. 1 - 1000 Hz
Hi Cut Center frequency for the reverb hi gh-pass filter. 1.0 - 20.0 kHz
Mix Wet/dry mix of the reverb effect. 0-100%
CompressorThresholdSignal level after which the compressor will be applied.0.0 - -60. dB
OutputAmount of additional output gain for the compressed signal.0.0 - +30.0 dB
Mix Wet/dry mix of the compressor effect. 0-100%
RatioAmount of compression applied.1.0:1 - 100.0:1
KneeHow gradually the compressor reacts as the threshold is reached. Lower values apply a "soft" knee (compression is applied more slowly as signal approaches the threshold), and higher values apply a "hard" knee (compression is immediately applied when the threshold is reached).0-100%
AttackLength of time to apply the compression.100 us - 300 ms
ReleaseLength of time for compressed signal to return to original level.10 ms - 4.00 s
HypeHighDampens or maximizes high end frequencies.-100 - 0 - +100%
Low Dampens or maximizes low end frequencies. -100 - 0 - +100%

Plugin Preset Support

Internal Akai effects now include all new plugin editors and factory presets.

Compressor Opto Init DRY / MET THRESHOLD INPUT RATIO ATTACK KNEE RELEASE OUTPUT COMPRESSOR OPTO

Plugin 001 Default Oscillator 1 Oscillator 2 OCTAVE FINE OCTAVE FINE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE PHASE

To load a plugin preset:

  1. Open a plugin instrument or effects plugin editor.
  2. At the top of the instrument or effect editing window will be a dropdown menu for selecting presets. Double-tap the menu to open it, and tap a preset to select it.

A number of third-party VST plugins will also display a bank of presets when used with MPC.

Additionally, you can now save and load plugin presets.

Compressor Opto Init DRY / MET THRESHOLD INPUT BATIO ATTACK KNEE RELEASE OUTPUT COMPRESSOR OPTO

Plugin 001 Default OSCILLATOR Frequency 100/Hz Sub-Noise Noise 54.5 Fills 3.5 Stock Phase 100 Hz Gain 6.2 dB Power 1.37 kHz Filter 100 Hz Color Gain -100 Hz HP Output 10.0 Hz ENVELOPE Auto Attack 30% Hard Audio Delay 90 Hz Filter Delay 21% Push Mode 21% OSC / FLT / ENV VEL / MSTR / CHORUS DELAY COMPRSSR / HYPE

To save or load a plugin preset:

  1. Open a plugin instrument or effects plugin.
  2. To the right of the dropdown menu for selecting presets are Folder and Disc icons.

Tap the Folder icon to load a plugin preset saved on your MPC or any connected drive. Use the window that opens to select the location where the preset is saved.

Tap the Disc icon to save your plugin settings as a new preset. Use the window that opens to select where you would like to save the preset.

Updates in MPC 2.4

New Features

AIR FX Bundle

Your MPC now includes the AIR FX Bundle—a collection of 28 effects designed with ease of use in mind with all new touch-interface layouts. These effects include the legendary AIR Creative FX collection that has been used by countless professionals as part of Pro Tools® software since Version 8. They also include 10 new plugins that have been expertly designed by the DSP gurus at AIR Music Technology.

16 classic effects from Pro Tools ^® now available include the following:

AIR Channel Strip Standard EQ ON GATE ON COMP ON OUTPUT 22.61 dB HIGH SHELF 0.0 dB FREQ 8.46 kHz MUD +1.7 dB FREE 247 Hz 1.00 LOW SHELF +4.7 dB PRESS 45.2 Hz HF FILTER 0 Hz EQ GATE/COMP

AIR Distortion

This effect is a multi-type distortion that adds color to your audio signal with varying types and amounts of distortion.

Parameter Value Range Default Value

ModeHard,Soft,Wrap
Drive 0 – 60 dB15 dB
Output0–100%100%
Mix0–100%(dry-wet)
Tone Pre-Shape-100 – 0 – +100%0%
Tone gh Cut1.00 – 20.0 kHz20.0 kHz
StereoOn,
Clipping Thresh.-20.0 – 0.0 dB FS-10.0 dB FS
Clipping

AIR Enhancer

This effect enhances the low and high broadband frequencies of the audio signal.

Parameter Value Range Default Value

High Gain0.0 – 12.0 dB0.0 dB
Low Gain0.0 – 12.0 dB0.0 dB
Output- Inf – 0.0 dB0.0 dB
Freq. High1.0 – 10.0 kHz3.16 kHz
Freq. Low40.0 – 640 Hz160 Hz
Harmonics0.0 – 12.0 dB0.0 dB
Phase+ (positive), - (negative)+

AIR Ensemble

This effect applies fluid, shimmering modulation effects to the audio signal.

Parameter Value Range Default Value

Rate 0.01 – 10.0 Hz 1.00 Hz
Depth 0.00 – 24.00 ms 6.00 ms
Width0–100%100%
Mix0–100%(dry-wet)
Mod. Delay 0.00 – 24.00 ms 0.00 ms
Mod. Shimmer0–100%50%

AIR Filter Gate

This effect chops your audio signal into rhythmic patterns with variable filtering, amplitude and panning.

Parameter Value Range Default Value

Pattern Straight, Pulse, Pumper, Marching, Fader, Offbeats, Off+Pan, L/R Pan, LL/RR Pan, Slow Pan, Rand Pan, Shorter, Longer, Reverse, Random, Keyed 1-2, Half Time, 12-Step, Ducked, Trance 1-6, Tech 1-6Straight
Rate1/2-1/32, including Dotted and Triplet1/16
Swing50.0-66.7%50.0%
Mix0-100%100%
Filter ModeOff, LP, BP, HP, PhaserLP
Filter Cutoff-100 - 0 - 100%0%
Filter Reso-100 - 0 - 100%0%
Gate Attack0-100%25%
Gate Hold0-100%50%
Gate Release0-100%25%
Mod LFO WaveRandom; 2-12, 16, 24, 32, 48, 64, 96, 128, 192, 256 StepsRandom
Mod Env-100 - 0 - 100%0%
Mod LFO0-100%0%

AIR Flanger

This effect applies a short, modulating delay to the audio signal.

Parameter Value Range Default Value

Rate 0.02 – 10.00 Hz 0.40 Hz
Depth0–100%50%
Feedback0–100%50%
Mix0–100%(dry-wet) 50%
Headroom-20.0 – 0.0 dB FS-10.0 dB FS

AIR Freq Shift

This effect shifts the audio signal's individual frequencies for unique effects.

ParameterValueRangeDefaultValu
Mode Up, Down, Up &Down, StereoUp
Frequency 10.0 mHz – 10.0 kHz 316 mHz
Feedback0–100%0%
Mix0–100%(dry-wet)10

AIR Fuzz Wah

This is a multi-effect that combines transistor-like distortion and wah.

TabParameterValue RangeDefault Value
Fuzz-WahMix0-100% (dry-wet)100%
OrderFuzz>Wah,Wah>FuzzFuzz>Wa
Fuzz Mix0-100% (dry-wet)100%
Wah Mix0-100% (dry-wet)100%
Fuzz Drive0 - 40 dB20 dB
Fuzz Tone1.00 - 10.0 kHz3.16 kHz
Fuzz Output-Inf - 0.0 dB0.0 dB
FuzzEnable Off,On
WahPedal 0-100%50%
Wah Filter Mode Lowpass, Bandpass, Hi ghpass Bandpass
Min. Freq.50.0 Hz - 4.00 kHz428 Hz
Max Freq.50.0 Hz - 4.00 kHz2.07 kHz
Min.Resonance 0-100%55%
MaxResonance 0-100%33%
WahEnable Off,On
ModulationModeLFO, EnvLFO
Rate
LFO8/4 - 164T
Env0-100%75%
Depth-100 - 0 - 100%0%

AIR Kill EQ

This effect can zap out the Low, Mid or High broadband frequency from an audio signal.

ParameterValueRangeDefault
HighThru,Kill
MidThru,Kill
LowThru,Kill
Output -20.0 – +20.0 dB 0.0 dB
High Gain -Inf – +12.0 dB 0.0 dB
Mid Gain -Inf – +12.0 dB 0.0 dB
Low Gain-Inf – +12.0 dB 0.0 dB
High Freq.500 Hz – 8.00 kHz2.00 kHz
Offset-100 – +100%0%
Low Freq.50.0 – 800 Hz200 Hz

Valu

Tr

T

AIR Lo-Fi

This effect is used to bit-crush, down-sample, clip, rectify and mangle an audio signal.

TabParameterValue RangeDefault Value
Lo-FiBit Depth1.0 – 16.0 bit16.0 bit
Sample Rate500 Hz – 50.0 kHz50.0 kHz
Mix0–100%100%
DistortionClip0.0 – 40.0 dB0.0 dB
Rectify0–100%0%
Noise Mod0–100%0%
Anti-AliasPre0.125 – 2.000 Fs0.5000 Fs
Post0.125 – 2.000 Fs1.000 Fs
EnableOn, OffOff
LFO / EnvWaveSine, Tri, Saw, Square, Morse, S&H, RandomSine
Rate
Sync Off:0.01 – 10.0 Hz1.00 Hz
Sync On:8/4 – 162T
SyncOn, OffOff
Depth-100 – 0 – 100%0%
Attack0.1 – 10.0 s0.5 s
Release0.1 – 10.0 s0.5 s
Depth-100 – 0 – 100%0%

AIR Multi-Chorus

This effect applies a thick, complex chorus effect to your audio signal.

Parameter Value Range Default Value

Rate 0.01 – 10.0 Hz 1.00 Hz
Depth 0.00 – 24.00 ms 6.00 ms
Voices3,4,6
Mix0–100%(dry-wet)
Chorus Low Cut20.0 Hz – 1.00 kHz20.0 Hz
Chorus Width0–100%100%
Mod
Mod Delay0.00 – 24.00 ms6.0 ms

4 50%

AIR Non-Lin Reverb

This is a spatial effect, designed to produce synthetic, processed ambience with special gated and reversed reverb effects.

ParameterValue RangeDefault Value
Pre-Delay0–250 ms0 ms
Dry Delay0–1500 ms0 ms
Time0–1000 ms250 ms
Mix0–100% (dry-wet)50%
Diffusion0–100%100%
Width0–100%50%
ShapeGated, ReverseGated
Low-Cut20.0 Hz–1.00 kHz141 Hz
High-Cut1.00–20.0 kHz9.46 kHz

AIR Phaser

This effect applies a phaser to your audio signal, for that wonderful "wooshy," "squishy" sound.

Parameter Value Range Default Value

Rate 0.10 – 10.00 Hz1.00 Hz
Depth0–100%50%
Feedback0–100%0%
Mix0–100%(dry-wet)
Phaser ModelVibe, Stone, Ninety, Tron,Ninety
Offset
Phase-180 – +180 deg.0 deg.
Rate25–400%100%
TypePhase,

50%

AIR Reverb

This is a spatial effect, with a wide range of reverb types to add space or room to your audio signal.

TabParameterValuesDefault
ReverbPre-Delay0-250ms0ms
RoomSize0-100%
Time 0.4 ms - +inf s1.9 s50
Mix0-100%
Early Reflection TypeOff, Booth, Club, Room, Small Chamber, Medium Chamber, Large Chamber, Small Studio, Large Studio, Scoring Stage, Philharmonic, Concert Hall, Church, Opera House, Vintage 1, Vintage 2Off
Length0-100%100%
ER / Tail Mix0-100%50%
ReverbInput Width0-100%0%0
OutputWidth0-100%
Delay0-250ms
RoomAmbience0-100%0%
Density0-100%100%
Hi/Lo Freq
Hi FreqTime -100 - 0 - 100%0%
Freq2.00 - 20.0 kHz6.32 kHz
Cut1.0 - 20.0 kHz9.46 kHz
Lo FreqTime -100 - 0 - 100%0%
Freq20.0 Hz - 2.00 kHz200 Hz
Cut1 - 1000 Hz1 Hz

AIR Spring Reverb

This is a spatial effect, designed to emulate the sound of a spring reverb tank.

ParameterValue RangeDefault Value
Pre-Delay0–250 ms3 ms
Time1.0–10.0 s4.0 s
Mix0–100 (dry–wet)50%
Diffusion0–100%100%
Width0–100%0%
Low Cut20.0 Hz –1.0 kHz141 Hz

AIR Stereo Width

This effect creates a wider stereo presence in an audio signal.

ParameterValueRangeDefault
Width0–200%100%
Delay 0.0 – 8.0 ms 0.0 ms
Level Trim -Inf – 0.0 – +12.0 dB 0.0 dB
Pan Trim L100 – – R100
High0–200%100%
Mid0–200%100%
Low

AIR Talk Box

This effect adds voice-like resonances to audio signals.

ParameterValueRangeDefault
Vowel OO, OU, AU, AH, AA, AE, EA, EE, EH, ER, UH, OH, OOAH
Env Depth-100 - 0 - +100%0%
Formant-12.00 - +12.000.00
Mix0-100%100%
LFO WaveSine, Tri, Saw, Square, S&H, RandomSine
LFO Rate
Sync Off:0.01 - 10.0 Hz1.00 Hz
Sync On:8/4 - 162T
LFO SyncOff, OnOff
LFO Depth-100 - 0 - +100%0%
Env Thresh-60.0 - 0.0 dB -30.0 dB
Env Attack0.1 - 10.0 s0.5 s
Env Release0.1 - 10.0 s0.5 s

Vali

12 all new plugins from AIR include the following:

AIR Channel Strip

This specially-designed plugin combines multiple effects with a fast interface. The EQ section provides a highpass filter, low and high shelves, and a fully parametric mid-band. For dynamics, the AIR Compressor and Gate algorithms are perfect for achieving hard-hitting drum sounds.

TabParameterValueRange
EQ Enable Enabled, Bypass Enabled
GateEnableEnabled,
CompEnableEnabled,
Output -Inf - +24.00 dB 0.00 dB
EQHigh Shelf Gain -12.0 - +12.0 dB 0.0 dB
High Shelf Freq 1.20 - 20.0 kHz 6.00 kHz
Mid Gain-18.0 - +18.0 dB 0.0 dB
Mid Freq40.0 Hz - 16.0 kHz 247 Hz
Mid Q0.40 - 10.00 1.00
Low Shelf Gain-12.0 - +12.0 dB 0.0 dB
Low Shelf Freq20.0 Hz - 1.00 kHz 100 Hz
HP r0Filt000 Hz 0 Hz
Gate/CompGate Thresh-120.0 - 0.0 dB-120.0 dB
Gate Depth0 - -120.0 dB-120.0 dB
Gate Attack0.01 - 1000.00 ms0.18 ms
Gate Release1.00 - 3000.00 ms7.40 ms
Comp Thresh0.0 - -60.0 dB0.0 dB
Comp Ratio1.0:1 - 100.0:13.9:1
Comp Attack100 us - 300 ms5.48 ms
Comp Release10.0 ms - 4.00 s200 ms

AIR Compressor

This basic compressor effect changes the dynamic range of a signal by automatically reducing its gain if it exceeds a certain level (the threshold).

ParameterValue RangeDefault Value
Threshold-60.0 – 0 dB-48.0 dB
Ratio1.0:1 – 100.0:13.9:1
Output0.0 – 30.0 dB15.0 dB
Mix0–100% (dry-wet)100%
Knee0–100%50%
Attack100 us – 300 ms5.48 ms
Release10.0 ms – 4.00 s200 ms

AIR Delay

This is a classic delay line effect with a variable feedback filter. Additional Ratio and Width parameters enable you to achieve a wide range of stereo delay effects.

ParameterValueRangeDefault
Time
Sync Off1 ms – 2.00 s388 ms
Sync On1/32 – 8/41/8D
SyncOff,OnOff
Feedback0–100%40%
Mix0–100% y-wet) 50%dr
Delay Ratio 50:100 – 100:50 100:100
Delay HPF 20.0 Hz – 1.0 kHz 20.0 Hz
Delay Width 0–100% 100%
Feedback Damp 1.0 – 20.0 kHz 20.0 kHz
Feedback Reso 0–100% 0%
Fdbk. Reso Freq 100 Hz – 10.0 kHz 1.0 kHz

AIR Diff Delay

This is a delay line effect that is synchronized to your session tempo and uses an adjustable amount of diffusion to emulate the dissipation of echoes in reverberant space.

ParameterValueRangeDefault
Time
Sync Off:1 – 1000 ms161 ms
Sync On:1/64 – 4/4(including Triplet and Dotted variations)1/16D
SyncOff,OnOn
Width0–100%100%
Mix0–100%(dry-wet)40%
Feedback0–100%50%
Fdbk. Diffusion0–100% 40%
Fdbk. High Damp0–100% 35%
Low Cut20.0 Hz – 1.00 kHz20.0 Hz
Pan-100 – 0 – +100%0%

AIR Filter

This effect applies a filter to the audio signal and then applies selectable saturation or reduction to the filtered signal.

Parameter Value Range Default Value

Cutoff Freq 55.0 Hz – 20.0 kHz 20.0 kHz
Reso Factor 0.7 – 20.0 1.0
Type LP4-1, BP2, BP4, HP2_LP1,HP3_LP1, HP4-1, BR2, BR4,BR2_LP1, BR2_LP2, HP1_BR2,BP2_BR2, HP1_LP2, HP1_LP3,AP3, AP3_LP1, HP1_AP3LP4
Output Gain -Inf dB – 0.0 dB 0.0 dB
Saturation TypeResample, Bit Crush, Rectify, Hard Clip, Distort, OverdriveOverdrive
Saturation Drive0.0 – 12.0 dB 0.0 dB
Saturation ModeDCF, CVF DCF

AIR Maximizer

This effect is a limiter optimized for professional mastering.

Parameter Value Range Default Value

Threshold -40.0 – 0.0 dB -20.0 dB
Ceiling -20.0 – 0.0 dB FS -5.0 dB FS
Look Ahead0.0 – 20.0 ms0.0 ms
KneeHard, SoftHard
Release10.0 ms – 10.0 s316 ms
LF Mono10.0 Hz – 1.00 kHz10.0 Hz

AIR Noise Gate

This effect is similar to a compressor, but instead of attenuating audio signal that rises above a threshold, a noise gate attenuates audio signal that falls below a threshold by a set amount. This can help reduce background noise in your audio signal.

ParameterValue RangeDefault Value
Threshold-120.0 – 0.0 dB-48.0 dB
Depth0 dB – -120.0 dB-120 dB
Denoise FilterOff, OnOff
Denoise Thresh-120.0 – 0.0 dB-60.0 dB
Attack0.01 – 1000.00 ms0.18 ms
Hold0 – 1000 ms250 ms
Release1.00 – 3000.00 ms7.40 ms

AIR Para EQ

This effect is a powerful four-band parametric equalizer with four independent EQ ranges, adjustable Low and High EQ filter types, and dedicated Low Cut and High Cut.

Parameter Value Range Default Value

High Freq 1.2 – 20.0 kHz 6.00 kHz
High Q
Shelf0.40 – 2.001.00
Bell0.40 – 10.001.00
High Gain
Shelf-12.0 – +12.0 dB0.0 dB
Bell-18.0 – 18.0 dB0.0 dB
High Type Shelf, Bell Shelf
High Out/In Out, In
High Mid Freq 120 Hz – 16.0 kHz 2.00 kHz
High Mid Q 0.40 – 10.00 1.00
High Mid Gain -18.0 – 18.0 dB 0.0 dB
High Mid Out/In Out, In
Low Mid Freq40.0 Hz – 16.00 kHz 247 Hz
Low Mid Q0.40 – 10.00 1.00
Low Mid Gain-18.0 – 18.0 dB 0.0 dB
Low Mid Out/In Out, In
Low Freq20.0 Hz – 1.00 kHz 100 Hz
Low Q
Shelf0.40 – 2.001.00
Bell0.40 – 10.001.00
Low Gain
Shelf-12.0 – +12.0 dB0.0 dB
Bell-18.0 – 18.0 dB0.0 dB
Low Type Shelf, Bell Shelf
Low Out/In Out, In
Output-20.0 – +20.0 dB0.0 dB
High Cut Freq120 Hz – 20.0 kHz 20.0 kHz
High Cut Type6, 12, 18, 24 dB12 dB
High Cut Out/In Out, In
Low Cut Freq20.0 Hz – 8.00 kHz100 Hz
Low Cut Type6, 12, 18, 24 dB12 dB
Low Cut Out/In Out, In

AIR Pitch Shifter

This effect alters the pitch of the audio signal and can be adjusted based on the source or style of the signal.

ParameterValueRangeDefaultValu
Mode Vocal, Bass, Beats, Chords, TexturesVocal
Shift -24.0 – 0 – 24.0 0.0
Mix0–100%100%

AIR Pumper

This effect creates a rhythmic pumping effect, similar to that of sidechain compression.

ParameterValueRangeDefaultValu
Depth0–100%80%
Speed Bar, 1/2 – 1/32T 1/4
Release Shape0–100%10%
Trigger Offset-100.0 – +100.0 ms0.0 ms
Attack0–100%5%
Hold0–100%10%
Release0–100%60%

AIR Transient

This effect is used to enhance or soften the Attack and Release phases of audio material.

ParameterValueRangeDefaultValu
Attack-100 - 0 - +100%0%
Attack Shape0-100%50%
Sustain-100 - 0 - +100%0%
Output-20.0 - +20.0 dB0.0 dB
LimitOff, OnOn

AIR Tube Drive

This effect is designed to reproduce the sound of an overdriven tube amplifier.

ParameterValue RangeDefault Value
Drive0–100%0%
Headroom-30.0 – 0.0 dB-15.0 dB
Saturation0–100%50%
Output-20.0 – +20.0 dB0.0 dB

AIR Instrument Layouts

MPC now contains stunning new touch-interface layouts for the following AIR Music Technology instrument plugins: Hybrid, Loom, Vacuum Pro, Velvet, Xpand!2 and theRiser.

Clip Program Improvements

Internal Clip Program architecture has been significantly improved, allowing you to play up to 16 clip programs at the same time. Clips will continue to play when changing tracks or sequences, allowing you to seamlessly integrate them into live performance.

FLAC and OGG Support

You can now load and export FLAC and OGG files with MPC.

Mother Ducker

You can now apply sidechain ducking effects in MPC using the new Mother Ducker and Mother Ducker Input insert effects.

Mother Ducker RATIO KNEE MOTHER DUCKER ATTACK RELEASE +1.2% +0.5% +0.3% THRESHOLD GAIN -19.847 GB 0.37% UK AUTO BUS 1 -10.568 0.048 MOTHER DUCKER

Mother Ducker

Add this effect as an insert to the track you want to have the ducking effect applied to. Use the meters to monitor the level from your trigger input and tweak the Threshold and Ratio parameters to adjust the amount of ducking. The Attack and Release parameters can be used to sculpt the envelope of the gain reduction to achieve exactly the pumping effect you are after. Mother Ducker has eight internal buses so you can set up multiple channel strips with ducking effects from different sources.

ParameterValueRangeDefaultValue
Ratio1.00:1 – 60.00:16.00:1
Knee0.000 – 6.000 dB0.000 dB
Attack1.0 – 1000.0 ms10.0 ms
Release1.0 – 1000.0 ms100.0 ms
Threshold-100.000 – 0.000 dB-6.021 dB
Gain-100.000 – +12.000 dB-0.000 dB
Auto GainOn, OffOn
FromBus 1–8Bus 1

Mother Ducker Input

Add this effect as an insert to the track you want to use as a trigger input, such as a kick drum track.

ParameterValue RangeDefault Value
ToBus 1–8Bus 1

Next Sequence Mode

Next Sequence Mode now remembers the next sequence change when switching to another mode.

Additional Transport Controls

You can now hold Shift and press Stop to return the playhead to the beginning of the timeline.

Updates in MPC 2.5

New Features

Splice Integration

Your standalone MPC hardware now integrates with the Splice platform, allowing you to download and browse your Splice sample library on your standalone device.

To access Splice:

  1. First, make sure your MPC hardware is connected to a Wi-Fi network. See Preferences > Wi-Fi to learn how to connect to a wireless network. You will also need access to a web browser.
  2. On your MPC, press Menu and tap the gear icon at the top of the screen to open the Preferences page.
  3. Navigate to the Splice tab.
  4. Tap the Get Login Code button. (If you are not connected to a network, you will be prompted to do so before the Get Login Code button appears.)
  5. Follow the on-screen instructions to link your MPC to your Splice account via a web browser. It may take your MPC a few moments to successfully link.
  6. A message will appear on screen when the link has been successfully established. Tap OK to continue and return to the Splice Preferences page.
  7. Once the process is complete and your MPC has been paired to your Splice account, tap the Sync Files button to download samples from your Splice account via Wi-Fi to a drive of your choice.
    By default, files will be stored on the Internal drive. You can change the selected drive by tapping the Change button under Sync Files To Drive.

To browse samples imported from Splice:

  1. Open the Browser.
  2. Under the Content tab, tap the Splice shortcut icon to view samples downloaded from your Splice account.
    If nothing appears, make sure that you have connected your Splice account and synced your files by following the directions above.
  3. The right-side of the browser will display your Splice samples organized into a series of top level folders, allowing you to easily browse your sample library by BPM, Instrument, Key, Pack or Tag. The All Your Samples folder will show a list of all samples you have downloaded.

Note: The original sample files are stored in the By Pack folder on your drive. Other folders such as By Instrument contain internal links to help sort the samples by various tags. If the By Pack folder on your drive is deleted, the files in the remaining folders will become unusable. To fully remove all files, the entire Splice directory should be deleted.

IMPORTANT: Drives formatted using the FAT32 system do not support these internal links. For these drives, and on the internal storage drives of some earlier MPCs, samples will only be sorted in the By Pack folder. We recommend using an exFAT file system on external drives used with MPC, as it is the most robust one supported by both Windows and macOS.

To view the number of samples available to download from your account, tap the Check For Update button.

To log out of a Splice account, tap the Log Out button.

Browser Audition Warp and Sync

In the Browser, you can now audition samples that have an MPC-embedded tempo in sync with the project tempo.

  1. Open the Browser by doing either of the following:

  2. Press Menu and then tap Browser.

  3. Press Browse (MPC X) or Shift+Menu/Browse (MPC Live, MPC Touch)

  4. Tap Audition at the bottom of the screen, or press the respective F-Key (MPC X only).

  5. In the options that appear, enable Sync to set samples to be auditioned at the beginning of the next bar of the sequence when playback is active.

Enable Warp to set samples with an embedded tempo to be warped to the project tempo. Samples with no embedded tempo or externally-embedded tempo will not be affected by this setting.

  1. Select a sample, loop, program or project to preview, then tap the Play button to audition. If Auto Audition is turned on, samples will audition when selected.

Updates in MPC 2.6

New Features

Ableton Live Set Export

You can now export MPC sequences as an Ableton Live Set (.ALS) file.

To export the current sequence as an Ableton Live Set:

  1. Open Main Mode by pressing Main, or by pressing Menu and then tapping Main.
  2. Tap the Project field at the top of the display to open the Project window.
  3. Tap ALS Export.
  4. In the window that appears, you can adjust the following settings for your export:

ABLETON LIVE SET EXPORT Audio Bounce Audio Include Program Volume/Pass Settings Bypass Program Effects Plugins AUDIO NAME: MT.00718 0 24 44.1 kHz CLOSE EXPORT

Use the Export MIDI As settings to choose how MIDI programs and sequences are exported, either as Audio files or MIDI files. When using Plugin, Drum or Keygroup programs, you can render sequences as Audio to preserve the sound of the instruments, or render sequences as MIDI data.

Check the Include Program Volume/Pan Settings box to include these settings in the export. When disabled, the volume and pan settings will be set to 0 dB and center (C), respectively.

Check the Bypass Program Effects Plugins box to deactivate any third-party effect plugins used with the program for the export. When disabled, those effects will be activated.

Use the Audio Tail field to set the amount, in seconds, of extra time added to the end of the resulting audio files.

Use the Bit Depth field to set the bit depth to 8, 16 or 24.

Use the Sample Rate field to set the sample rate to 44.1, 48, 88.2 or 96 kHz. In most cases, we recommend selecting 44.1 kHz.

  1. Tap Export to begin the export, or tap Close to cancel and return to the previous page.

Erase Parameters

From the Erase window, you can now erase selected automation parameters.

  1. While the sequence is stopped, press the Erase button to open the Erase window.
  2. Tap Automation to select it.
  3. By default, the Parameter field is set to All. Double-tap this field to display a list of all parameters that have been automated on the current track.
  4. Select the parameter you would like to erase, and then tap Do It to erase the automation.

ERASE 1: Sequence 01 1: Track 01 ALL AUTOMATION NOTE EXCEPT NOTE PRG: Pan CANCEL DO IT

Grid Automation Lanes

You can now input, view and edit automation in Grid View and Audio Edit Mode.

Track 01 2 1: 1: 0 401 PRG-Pan DON'T SNAP NUDGE EDIT START EDIT END TRANSPOSE VELOCITY

Audio 001 2 1: 1: 0 PRG Sand 1 loop FREE IN FROE OUT LEVEL 0 0 0.00dB CHANGE HUNT STOP DON'T SNAP NUDGE EDIT START EDIT END SPLIT DUPLICATE

To add automation to a sequence:

  1. Select a MIDI program or Audio program.
  2. For MIDI programs, tap the grid icon to open Grid View. For Audio programs, tap the waveform-and-box icon to open Audio Edit Mode.
  3. Tap the up arrow on the parameter bar to expand the velocity/automation lane.
  4. By default, Velocity is shown in this lane for MIDI programs and PRG: Volume is shown for Audio programs. Double-tap this field to open the Parameter drop-down menu.
  5. In the menu that appears, tap Add New to add an automation parameter. You can choose from a variety of parameters depending on the type of program, insert effects added and other options.

To edit automation, do any of the following in Grid View or Audio Edit View:

  • Use the pencil tool to draw your automation in the automation lane.
  • Use the eraser tool to erase automation points. If you erase all automation points, the parameter will be removed.
  • Tap the trash can icon to delete all automation for the selected parameter at once (Grid View only).

You can also edit automation using the Step Sequencer (see below).

Step Automation

You can now input, view and edit automation in the Step Sequencer.

AKAI MPC Key 61 - Step Automation - 1

bar | Time | Value | | :--- | :--- | | 1 | 1 | | 2 | 1 | | 3 | 1 | | 4 | 1 | | 5 | 10 | | 6 | 10 | | 7 | 10 | | 8 | 10 | | 9 | 16 | | 10 | 16 | | 11 | 16 | | 12 | 16 | | 13 | 10 | | 14 | 10 | | 15 | 10 | | 16 | 10 | | 17 | 10 | | 18 | 10 | | 19 | 10 | | 20 | 10 | | 21 | 10 | | 22 | 10 | | 23 | 10 | | 24 | 10 | | 25 | 10 | | 26 | 10 | | 27 | 10 | | 28 | 10 | | 29 | 10 | | 30 | 10 | | 31 | 10 | | 32 | 10 | | 33 | 10 | | 34 | 10 | | 35 | 10 | | 36 | 10 | | 37 | 10 | | 38 | 10 | | 39 | 10 | | 40 | 10 | | 41 | 10 | | 42 | 10 | | 43 | 10 | | 44 | 10 | | 45 | 10 | | 46 | 10 | | 47 | 10 | | 48 | 10 | | 49 | 10 | | 50 | 10 | | 51 | 10 | | 52 | 10 | | 53 | 10 | | 54 | 10 | | 55 | 10 | | 56 | 10 | | 57 | 10 | | 58 | 10 | | 59 | 10 | | 60 | 10 | | 61 | 10 | | 62 | 10 | | 63 | 10 | | 64 | 10 | | 65 | 10 | | 66 | 10 | | 67 | 10 | | 68 | 10 | | 69 | 10 | | 70 | 10 | | 71 | 10 | | 72 | 10 | | 73 | 10 | | 74 | 10 | | 75 | 10 | | 76 | 10 | | 77 | 10 | | 78 | 10 | | 79 | 10 | | 80 | NA | | Peak at End of Track: BOS9 Peak at End of Track: PRG: LP Cutoff Time: RUN Duration: NUDGE Reset: PRESETS TAI - BAR PAD SEL - PAD +

To add a step automation parameter:

  1. Open the Step Sequencer by doing either of the following:

  2. Press Menu, and then tap Step Sequencer.

  3. Press Step Seq (MPC X).

  4. By default, the Parameter field of the Step Sequencer displays Velocity for MIDI programs and PRG: Volume for audio programs. Double-tap this field to open the drop-down menu.

  5. In the menu that appears, tap Add New to add an automation parameter. You can choose from a variety of parameters depending on the type of program, insert effects added and other options.

To edit step automation, do any of the following:

  • Tap and drag your finger in the step area to freely draw step values.
  • Press and hold the Q-Link button, and then tap Screen to set the Q-Link knobs to Screen Mode. While viewing the step sequencer, you can use the Q-Link knobs for tactile control of each step's automation value, emulating traditional knob-based step sequencers. While it is being adjusted, the current automation value will be shown next to the Parameter field, as well as in the display strip above the knobs (MPC X only).

For MPC Live and MPC Touch, use Bank 1 of the knobs to control Steps 1–4, Bank 2 to control Steps 5–8, Bank 3 to control Steps 9–12 and Bank 2 to control Steps 13–16.

  • Press and hold Shift and tap Clear to clear all automation for the selected parameter in the selected sequence.
  • Press and hold Shift and tap Clear Bar to clear all automation for the selected parameter in the current bar of the selected sequence.
  • Use the Nudge < and > buttons to shift the current automation parameter to the left or right at the current Timing Correct value.
  • Use the slider on the right edge of the screen to increase or decrease the parameter values of all automation steps in the visible time range.
  • Tap Presets and use the buttons to apply the presets to the step automation (See Operation > Modes > Step Sequencer for more information).

Note: When editing step automation, if a step is not activated, a darkened step bar will indicate the current parameter value at that step, based on the last active step.

Submixes

MPC hardware now contains 8 submixes in Standalone Mode for additional track and program routing options.

Submixes 2: 4: 69 Submix 1 Out 1,2 INSERTS Reverb Large C 0.00dB SUBMIX 5 S M 0.00dB SUBMIX 6 S M 0.00dB SUBMIX 7 S M 0.00dB SUBMIX B S M 0.00dB 1 Submix 1 S M 0.00dB 2 Submix 2 S M 0.00dB 3 Submix 3 S M -1.50dB 4 Submix 4 S M 0.00dB LEVEL PAN MUTE SEND INSERT ROUTE

To assign an audio track or program to a submix:

  1. Press Menu, and then tap Channel Mixer. Alternatively, press Ch. Mixer (MPC X only).
  2. Set the Mixer field at the top of the display to Audio Tracks or Programs.
  3. Double-tap the Output field of the audio track or program channel strip.
  4. In the drop-down menu, scroll to the top of the list and tap to select Sub 1-8. The audio track or program's audio will now be routed to the selected submix.

To edit a submix:

  1. Press Menu, and then tap Channel Mixer. Alternatively, press Ch. Mixer (MPC X only).
  2. Set the Mixer field at the top of the screen to Submixes.
  3. Use the mixer grid to select a submix, and then use the channel strip on the left side of the screen to add effects or adjust level, pan and other parameters.

Workflow Enhancements

The Keep or Discard window in Sample Record Mode and the Export Loop as Sample window in Looper Mode now have easy-access buttons to Save or Edit the recorded sample or loop.

In Sequence Edit Mode, you can now copy events from individual or multiple pads or notes from the Copy Events window.

In the Sequence Edit > Copy Sequence and Track Edit > Copy Track windows, you can now rename the destination sequence or track.

The FX list can now be sorted by type of effect for easier navigation.

Timing Correct can now be applied to all tracks by pressing the All Track button in the Timing Correct window.

Updates in MPC 2.7

New Features

Ableton Live Control

Your standalone MPC X and MPC Live are now pre-mapped to control Ableton Live 10.1.2 or later for instant performance and production setup, providing an unparalleled level of integration with Ableton Live from a standalone device. MPC's Live Control Mode has been carefully designed to allow you to instantly switch between using MPC in standalone mode and Live Control mode without ever stopping playback. You can control Ableton Live over a Wi-Fi network for cableless operation, or connect standalone MPC X or MPC Live to your computer using a USB-to-Ethernet adapter for a more tightly controlled setup.

To get started with Ableton Live Control, you will need to follow the directions in the sections below download, install and configure the necessary software.

Akai Network Driver

The Akai Network Driver will allow your MPC X or MPC Live to seamlessly communicate with and control Ableton Live.

  1. Download the Akai Network Driver from akaipro.com and install it by following the directions.
  2. Once the installation has completed, restart your computer.
  3. Power on your MPC.
  4. Press Menu and tap the gear icon to open the Preferences menu.
  5. Tap Wi-Fi to open the Wi-Fi settings. Make sure Wi-Fi is set to On, and then connect to your local wireless network.
    Alternatively, you can connect MPC to your network using a USB-to-Ethernet adapter. In this case, select Ethernet from the Preferences menu and make sure the Enabled option is checked.
  6. Open the Akai Network Driver application.
  7. In the Configured Remote Device field, locate the IP address and Serial Number of your MPC and select it. If you need to verify you are selecting the correct unit, you can view network information on your MPC in the Wi-Fi menu by holding Shift and tapping Info.
  8. If you still do not see your unit's Serial Number and IP, click the Add a Device button to manually enter your unit's IP address.
  9. Once your unit has been successfully configured, you can rename it by pressing the Rename a Selected Device button. When you are finished, you can close the Akai Network Driver application and open Ableton Live.

Configuring Ableton Live

  1. Important: To use MPC v2.7 to control Ableton Live, you will need to download and install version 10.1.2 or later.
  2. Open Ableton Live 10.1.2 or later.
  3. Open the Preferences menu by selecting Live > Preferences.
  4. Make sure you have selected your preferred Audio Device in the Audio tab.
  5. In the Link / MIDI tab, click the first available Control Surface field and select Akai Force MPC.
  6. In the same row, select Akai Network - DAW Control as the Input and Output.
  7. Under the MIDI Ports section, set Remote for the Akai_Force_MPC Input and Akai_Force_MPC Output to On.

Once the previous steps have been completed, you can begin controlling Ableton Live with your MPC.

Live Control Mode

To open Live Control mode, press Menu (or tap the icon in the upper-left corner of the screen) on your standalone MPC hardware and then tap Live Control.

Alternatively, press and hold the Menu button and then tap Pad 4 to jump to Live Control mode.

To exit Live Control mode, press Menu (or tap the icon in the upper-left corner of the screen) on your standalone MPC hardware and then select another mode.

Alternatively, press and hold the Menu button and then tap a pad to jump to another mode.

Live Control Mode consists of three main views, which can be selected by tapping the tabs on the left side of the display: Matrix View, Mixer View and Device Control View. Click the links to jump to that section.

In each of these modes, you will always have access to the following controls and functions on the display:

Tap a track name to select it.

Tap the stop icons at the bottom of the display to stop clips in the selected track.

Tap the Launch Quantize field (above the scene launch arrows) to set the Launch Quantize value.

Tap the Scene Launch arrows on the right side of the display to launch all clips in that row.

Additionally, MPC's hardware controls are pre-mapped to give you hands-on control of parameters and functions. See the MPC X Control Map and MPC Live Control Map for the complete mappings.

Control Bar

At the top of the interface is the Control Bar. This toolbar can be configured to one of three presets based on typical Ableton Live use cases in the Settings window.

To open the Settings window, tap the gear icon in the top-right corner of the display.

Use the Control Bar field to select one of the three preset configurations: Settings, Arrangement or Performance.

- Session: The Session View configuration is ideal for working in Ableton Live's 8x8 clip launch matrix.

Use the BPM field to adjust the tempo in Ableton Live.

Tap the Phase Nudge Down and Phase Nudge Up icons to temporarily decrease or increase the tempo in Ableton Live.

Tap the metronome icon to enable to disable the metronome in Ableton Live.

Tap the follow icon to turn following on or off. When set to on, your Ableton Live software display will move along with playback to keep the current playback position in view. You can adjust the Follow Behavior in Ableton Live's Preferences.

Use the Position field to select the playback position.

Tap the + icon to enable or disable MIDI Arrangement Overdubbing.

Tap the automation icon to enable to disable automation recording.

- Arrangement: The Arrangement configuration is ideal for working with Ableton Live's linear Arrangement view.

Use the BPM field to adjust the tempo in Ableton Live.

Use the Position field to select the playback position.

Use the Start field to select the Arrangement loop start point.

Tap the loop icon to enable or disable Arrangement looping.

Use the Length field to select the Arrangement loop length.

• Performance: The Performance configuration is ideal for real-time performance with Ableton Live.

Use the BPM field to adjust the tempo in Ableton Live.

Tap the Phase Nudge Down and Phase Nudge Up icons to temporarily decrease or increase the tempo in Ableton Live.

Use the Quantize To field to set the time division for quantization: 1/4, 1/8, 1/8T, 1/8 and 1/8T, 1/16, 1/16T, 1/16 and 1/16T or 1/32.

Matrix View

The Matrix View provides an overview of the clip matrix from Ableton Live's Session view, displaying up to eight tracks and eight rows of clips on the display. The tracks and clips displayed on your MPC's touchscreen will be shown in Ableton Live with a colored box outline.

Your MPC's pads control up to four tracks and four rows of clips, marked by a white outline on the display.

To move the 4x4 Session Matrix focus one row or column at a time:

MPC X: Use the cursor buttons.

MPC Live: Use the Bank buttons.

To move the 4x4 Session Matrix focus by eight rows or eight columns at a time:

MPC X: Hold Shift and use the cursor buttons.

MPC Live: Hold Shift and use the Bank buttons.

To launch a clip from the 4x4 Session Matrix, press the corresponding pad on your MPC X or MPC Live.

You can also use the pads to launch scenes.

To toggle between launching clips and scenes:

MPC X: Press the XYFX button.

MPC Live: Press the 16 Level button.

To launch a scene, press a pad in the corresponding row.

See the MPC X Control Map and MPC Live Control Map for more information.

All tracks, clips and scenes will display the same color and names as assigned in Ableton Live. The pads on your MPC hardware will also change color depending on the playback or recording state:

When a clip is stopped, it will display the color set in Ableton Live on both the hardware pads and display.

When a clip is playing, the hardware pad will blink green, and the clip on the display will fill with white based on the clip length.

When a clip is preparing to record, it will flash red on both the hardware pads and display until the launch quantization value is reached.

When a clip is recording, it will blink red on the hardware pads and be lit red on the display.

You can also access the following controls and features by tapping the buttons at the bottom of the display:

Tap Quantize at the bottom of the screen to quantize the currently selected clip according to the Quantize To value (set in the Ableton Live Control Settings).

Tap Delete at the bottom of the screen to delete the currently selected clip.

Tap Insert Scene at the bottom of the screen to insert a new scene after the currently selected clip.

Tap Rec at the bottom of the screen to enable or disable Ableton Live's Arrangement Record. Use this to capture your Session performance into the Arrangement view.

Mixer View

The Mixer View gives you control of Ableton Live's key mixing features, such as levels, stereo panning, sends and returns and more. Use the tabs at the bottom of the display to select what information is shown on MPC's display.

- Levels: The Levels tab gives you an overview of the volume level of your tracks, including the Returns and the Main Output track.

Tap a level slider and then use the data dial or - / + buttons to adjust the volume level of the currently selected track, return or main output. Alternatively, tap and drag a level slider to adjust the volume level.

The level sliders and meters in each pad show a visual representation of the level. Double-tap a track on the screen to open a large version of the level slider and meter.

- Main: The Main tab gives you a full channel strip with a number of mixing options for your tracks.

Tap the track activator (under the track name) to enable or disable (mute) the track.

Tap the S button to solo the track.

Tap the record button to arm the track for recording.

The pan sliders in each track show a visual representation of the pan. Tap a pan slider and then use the data dial or - / + buttons to adjust the panning of the currently selected track, return or main output. Alternatively, tap and drag the pan slider to adjust the panning. Double-tap a pan slider on the screen to open a large version of the slider.

Tap a level slider and then use the data dial or - / + buttons to adjust the volume of the currently selected track, return or main output. Double-tap a level slider on the screen to open a large version of the slider. Alternatively, tap and drag a level slider to adjust the volume level.

- Sends: The Sends tab gives you an overview of the Send and Return controls in Ableton Live.

Use the send knobs to adjust the send level of tracks. Tap the knob and use the data dial or - / + buttons to adjust the level. Alternatively, tap and drag the send knob to adjust the send level.

Tap the A or B icons to assign the track to the Ableton Live's A or B cue mix.

Device Control View

The Device Control View allows you to control MIDI Instruments, Audio Effects and other Devices in Ableton Live directly from your MPC. The current view of the Device Control Tab is determined by the "blue hand" remote control icon in Ableton Live's Detail View.

Tap the Track Name under the Control Bar to select the Track. If there is a Device(s) associated with the Track, the first will be shown below.

Tap the lock icon on the right side to lock parameter changes to the device.

Use the sliders to adjust the parameters of the device. Tap a slider and then use the data dial or - / + buttons to adjust the parameter. Alternatively, tap and drag a slider to adjust the parameter.

Use the Device - and + buttons to change devices on the same track. The white and grey boxes below the parameter sliders represent the number of available Devices.

Use the Bank – and + buttons to cycle through banks of controls for the device, if available. For internal Ableton Live plugins, you will see the name of the current bank. For third party plugins, you will see the number of the current bank.

Tap Device On to enable or disable (bypass) the device.

The Q-Links on your MPC give you hands-on control of Ableton Live's key parameters.

On MPC X, Q-Links 1–8 control track volume for the eight tracks currently in view, while Q-Links 9–16 control the device on the currently selected track, based on the "blue hand" in Ableton Live's Detail View. The OLED screens above each Q-Link also provide clear visual feedback of the parameter name and value being controlled.

On MPC Live, Q-Link Banks 1 and 2 control track volume, and Q-Link Banks 3 and 4 control the current device at the "blue hand" position. Press and hold the Q-Link button to bring up the Q-Links Overview on the touchscreen, where you can view the current assignments and quickly select another bank.

MPC X Control Map

AKAI PROFESSIONAL PAD BANK PULL LEVEL 18 LEVEL TRACK MATS NEXT FULL LEVEL PULL LEVEL PAD MATS NEXT PROG EDIT SAMPLE EDIT PAD ADDR CHL 26 27 28 29 30 31 PROJECT PROGRAM PAD INSURANCE PAD PROGRAM CONTROL CLINK MPC BROWSE STEP REG SAMPLER XY FLOW PAD PERFORM SAVE LET EDIT COOPER MENU BROWSE STEP REG SAMPLER XY FLOW PAD PERFORM EAVOC LINE COPY LINE COPY FAEV 1 2 3 TUP 5 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 33

General Controls and Features

#Device Control Ableton Live Function
1Display In Ableton Live Control Mode, MPC X's display will show a dynamic representation of Ableton Live's software.
2Pads Press the pads to launch clips or scenes. Press the XYFX button to toggle between launching clips (the button is off) and launching scenes (the button is on).
3Data Dial Adjusts the highlighted field.
4-/+ Decreases or increases the value of the highlighted field.
5Numeric Input If the selected field on the screen is a number, press these numbered buttons as you would on a standard numeric keypad to enter a value. Press the keypad's Enter to enter it. (A numeric keypad with additional operations will appear on the screen, as well.)
6Directional Cursors Moves the 4x4 Session Matrix focus on the display by one row or one column at a time.
7Shift Hold this button to access secondary button functions. See Shift Controls for more details.

Transport Controls

#Device Control Ableton Live Function
8Record Enable and disable Arrangement Record
9Overdub Enable and disable Session Record.
10Stop Stop playback.
11Play Start playback from the Stop position.
12Play Start Start playback from the Arrangement start (1:1:1).
13< Move Playhead back by one bar
14> Move Playhead forward by one bar
15<< Phase Nudge down
16>> Phase Nudge up

Right-Hand Side Buttons

#Device Control Ableton Live Function
17Tap Tempo Tap this button at the desired rate to set a new tempo in Ableton Live.
18XYFXToggles the MPC pads between launching clips (XYFX off) and launching scenes (XYFX on).
19EraseDeletes the selected clip.
20UndoUndo the last action.
21CopyDuplicates the selected clip into the next available clip slot.
22MuteMutes/deactivates the current track.
23SoloSolos the current track.
24Rec Arm Arms the current track for recording.
25Read/WriteArms Global Automation.

Left-Hand Side Buttons

#Device Control Ableton Live Function
26Next SeqOpens the Ableton Clip Launch Matrix tab
27Ch. Mixer Opens the Ableton Mixer tab.
28Q-Link ProjectMoves to the previous device.
29Q-Link ProgramMoves to the next device.
30Q-Link Pad SceneDevice Control Bank Left
31Q-Link Pad ParamDevice Control Bank Right
32Q-Link Screen ControlOpens the Ableton Device Control tab
33Q-LinksAdjusts the currently selected parameters displayed in the OLED screens above.Q-Links 1–8 control track volume for the eight tracks currently in view, while Q-Links 9–16 control the device on the currently selected track, based on the "blue hand" in Ableton Live's Detail View.

Shift Controls

Press and hold MPC X's Shift button, and then press the following buttons for additional actions.

#Device Control AbletonLive Function
2Pads Selects a clip without launching it.
6Directional Cursors Moves the 4x4 Session Matrix focus on the display by eight rows or eight columns at a time.
10Stop Stop playback and return song position to 1:1:1.
17Tap Tempo Toggle the metronome on and off.
21Undo Redo the last action.

MPC Live Control Map
7—8—9—10— A E B F C G D H NOTE REPEAT FULL LEVEL S LEVEL ERASE LATCH HALF LEVEL 12 11 PAD 13 PAD 14 PAD 15 PAD 16 PAD 9 PAD 10 PAD 11 PAD 12 PAD 5 PAD 6 PAD 7 PAD 8 PAD 1 PAD 2 PAD 3 PAD 4 AKAI PROFESSIONAL MPC LIVE ① ② ③ ④ ⑤ ⑥ ⑦ ⑧ ⑨ ⑩ ⑪ ⑫ ⑬ ⑭ ⑮ ⑯ ⑰ ⑱ ⑲ ⑳ ⑴ ⑵ ⑶ ⑷ ⑧ ⑨ ⑩ ⑪ ⑫ ⑬ ⑭ ⑮ ⑯ ⑰ ⑱ ⑲ ⑳ ⑪ ⑫ ⑬ ⑭ ⑮ ⑯ ⑰ ⑱ ⑲ ⑳ ⑪ ⑫ ⑬ ⑭ ⑮ ⑯ ⑰ ⑱ ⑲ ⑳ ㉑ ㉒ ㉓ ㉔ ㉕ ㉖ ㉗ ㉘ ㉙ ㉚ ㉛ ㉜ ㉝ ㉞ ㉟ ㉟a ㉟b ㉟c ㉟d ㉟e ㉟f ㉟g ㉟h ㉟i ㉟j ㉟k ㉟l ㉟m ㉟n ㉟o ㉟p ㉟q ㉟r ㉟s ㉟t ㉟u ㉟v ㉟w ㉟x ㉟y ㉟z ㉟c ㉟d ㉟e

Basic Controls

#Device Control Ableton Live Function
1Display In Ableton Live Control Mode, MPC Live's display will show a dynamic representation of Ableton Live's software.
2Pads Press the pads to launch clips or scenes. Press the 16 Level button to toggle between launching clips (the button is off) and launching scenes (the button is on).
3Data Dial Adjusts the highlighted field.
4-/+ Decreases or increases the value of the highlighted field.
5Q-Link Button Press this button to move forward between Q-Link Banks 1–4. Push and hold this button to bring up the Q-Links Overview window on the display.
6Q-Links Adjusts the currently selected parameters.
7Bank A/E Move the 4x4Session Matrix focus up by one row.
8Bank B/F Move the 4x4Session Matrix focus down by one row.
9Bank C/G Move the 4x4Session Matrix focus left by one column.
10Bank D/H Move the 4x4Session Matrix focus right by one column.
11Erase Deletes the selected clip.
1216 Level Toggles the MPC pads between launching clips (16 Level off) and launching scenes (16 Level on).
13ShiftHold this button to access secondary button functions. See Shift Controls for more details.
14Undo Undo the last action.
15Copy Duplicates the selected clip into the next available clip slot.
16Tap Tap this button at the desired rate to set a new tempo in Ableton Live.
17Rec Enable and disable Arrangement Record.
18Overdub Enable and disable Session Record.
19Stop Stop playback.
20PlayStart playback from the current playhead position.
21Play Start Start playback from the Arrangement start (1:1:1).

Shift Controls

Press and hold MPC's Shift button, and then press the following buttons for additional actions.

#Device Control Ableton Live Function
2PadsSelects a clip without launching it.
5Q-Link ButtonMove backward between Q-Link Banks 1–4.
7Bank A/E Move the 4x4Session Matrix focus up by eight rows.
8Bank B/F Move the 4x4Session Matrix focus down by eight rows.
9Bank C/G Move the 4x4Session Matrix focus left by eight columns.
10Bank D/H Move the 4x4Session Matrix focus right by eight columns.
13Undo Redo the last action.
15Tap Toggle the metronome on and off.
18StopStop playback and return song position to 1:1:1.

Ethernet Adapter Support

Standalone MPC hardware now supports USB-to-Ethernet adapters. Ethernet settings can be set in the Ethernet tab of the Preferences menu.

Improved Preferences Organization

The Preferences menu has been updated with improved organization. Wi-Fi, Ethernet and Bluetooth tabs have been grouped and are now located beneath the Info tab. (This has been updated in Operation > General Features > Menu > Preferences.)

Updates in MPC 2.7.2

New Features

MPC One Support

MPC 2.7.2 adds support for the Akai Professional MPC One hardware.

Note: Ableton Live Control is not available for MPC One.

Updates in MPC 2.7.3

New Features

MPC Live II Support

MPC 2.7.3 adds support for the Akai Professional MPC Live II hardware.

MPC Live II Ableton Live Control

The MPC Live II hardware is also pre-mapped to control Ableton Live 10.1.2 or later. See Addenda > Updates in MPC 2.7 > New Features > Ableton Live Control for more information on how to use Live Control Mode.

Note: You can control Ableton Live over a Wi-Fi network for cableless operation, or connect MPC Live II to your computer using an Ethernet cable for a more tightly controlled setup.

MPC Live II Control Map
7 8 9 10 13 14 A E B F C G D H UNDO COPY NOT REPEAT RULL LEVEL RELAYE ERASE STEP ORDER MASTISH LATCH HALF LEVEL AUTOMATION ON/OFF RAD 12 RAD 14 RAD 15 RAD 16 RAD 9 RAD 10 T1 RAD 12 RAD 5 RAD 6 RAD 7 RAD 8 RAD 1 RAD 2 RAD 3 RAD 4 AKAI PROFESSIONAL 5 QUNK ① MPC LIVE II 4 SHIFT MENU MAIN MIX MUTE NEXT BROWSE GRID SAMPLER SAURLE EDIT XYFX + TAP REC OVER STOP PLAY PLAY START - 16 17 18 19 20 21 4 3

Basic Controls

#Device Control Ableton Live Function
1Display In Ableton Live Control Mode, MPC Live II's display will show a dynamic representation of Ableton Live's software.
2Pads Press the pads to launch clips or scenes. Press the 16 Level button to toggle between launching clips (the button is off) and launching scenes (the button is on).
3Data Dial Adjusts the highlighted field.
4-/+ Decreases or increases the value of the highlighted field.
#Device Control Ableton Live Function
5Q-Link ButtonPress this button to move forward between Q-Link Banks 1–4. Push and hold this button to bring up the Q-Links Overview window on the display.
6Q-Links Adjusts the currently selected parameters.Use the Q-Link button to toggle between Q-Link Banks 1 and 2 (which control Track Level for the eight tracks currently viewed) and Banks 3 and 4 (which are mapped to control the device on the current track, based on the location of the "blue hand" in Ableton Live's Detail View).
7Bank A/E Move the 4x4Session Matrix focus up by one row.
8Bank B/F Move the 4x4Session Matrix focus down by one row.
9Bank C/G Move the 4x4Session Matrix focus left by one column.
10Bank D/H Move the 4x4Session Matrix focus right by one column.
11Erase Deletes the selected clip.
1216 Level Toggles the MPC pads between launching clips (16 Level off) and launching scenes (16 Level on).
13Undo Undo the last action.
14Copy Duplicates the selected clip into the next available clip slot.
15ShiftHold this button to access secondary button functions. See Shift Controls for more details.
16Tap Tap this button at the desired rate to set a new tempo in Ableton Live.
17Rec Enable and disable Arrangement Record.
18Overdub Enable and disable Session Record.
19StopStop playback.
20PlayStart playback from the current playhead position.
21Play Start Start playback from the Arrangement start (1:1:1).

Shift Controls

Press and hold MPC Live II's Shift button, and then press the following buttons for additional actions.

#Device Control Ableton Live Function
2PadsSelects a clip without launching it.
5Q-Link ButtonMove backward between Q-Link Banks 1–4.
7Bank A/E Move the 4x4Session Matrix focus up by eight rows.
8Bank B/F Move the 4x4Session Matrix focus down by eight rows.
9Bank C/G Move the 4x4Session Matrix focus left by eight columns.
10Bank D/H Move the 4x4Session Matrix focus right by eight columns.
13Undo Redo the last action.
16Tap Toggle the metronome on and off.
19StopStop playback and return song position to 1:1:1.

Updates in MPC 2.8

New Features

MIDI Improvements

MPC now supports multi-MIDI control, making MPC the ultimate MIDI sequencing studio centerpiece. In addition to getting the most out of the MIDI DIN ports on your MPC hardware, you can now use your hardware's USB ports to connect class-compliant MIDI devices such as USB keyboards, MIDI interfaces and USB-to-CV modules, allowing you to dramatically increase the MIDI input and output capabilities of MPC.

Note: To use multiple USB MIDI devices with standalone MPC, we recommend using a high-quality, powered USB hub.

Configuring MIDI

To configure the MIDI Inputs and Outputs, go to Preferences > MIDI / Sync.

The Input Ports section displays all available MIDI input ports in a list. Tap the keyboard icon to rename a port to a custom name. This is particularly useful when using multiple devices connected to a single MIDI interface or hub, as you can name the ports according to the devices connected to them. The custom port names will be reflected throughout the internal software.

Next to each MIDI input port are the Global, Control and Track buttons:

  • When Global is enabled, MIDI data from this port will always go to the current track. The MPC Pads are an example of a device that is always Global.
  • When Control is enabled, MIDI data from this port will be sent to MIDI Learn.
  • When Track is enabled, this MIDI port will appear in the list of available track MIDI Inputs.

The Output Ports section displays all available MIDI output ports in a list. Tap the keyboard icon to rename a port to a custom name.

Next to each MIDI output port are the Sync and Track buttons:

  • When Sync is enabled, the MIDI output port will send MIDI sync messages according to the type set in the Preferences menu under MIDI / Sync > Sync Send > Send.
  • When Track is enabled, the MIDI output port will appear in the list of available track MIDI Outputs.

By default, the Track Enable Ports When Discovered option is set to On so that when any MIDI device is plugged in, the Track option is automatically enabled so the ports can be selected as an available MIDI input or output.

To configure the MIDI Input and Output for a track:

  1. In Track View, use the MIDI Input and Channel fields to set the desired MIDI input port and channel. For tracks where the Program type is set to MIDI, you can also set the MIDI Output port and Channel.
  2. In Main Mode, open the channel strip by tapping the eye icon. Set the channel strip view to Track by tapping the bars icon and then use the MIDI Input/Output Ports, Input/Output Channels and/or Send To fields to configure the MIDI settings.
  3. In Channel Mixer Mode, set the Mixer field at the top of the touchscreen in the toolbar to MIDI Tracks, and then use the Channel Strip to adjust the MIDI Input/Output Ports, Input/Output Channels and/or Send To fields to configure the MIDI settings.

1 Sequence 01 MID TRACKS INPUT OUTPUT AVY MONITOR LEVEL Drums All Ports AUTO 127 MUTE SOLD Bass All Ports AUTO 127 MUTE SOLD Keys All Ports AUTO 127 MUTE SOLD Synth Pad All Ports MARGE 127 MUTE SOLD AUDIO TRACKS INPUT OUTRAT ARM MONITOR LEVEL Vocals Input 1.2 Out 1.2 OFF 0.00dB MUTE SOLD TC CLICK TRACK MUTE SOLO

You can now also send MIDI from one track to another to layer two or more sound generators. For example, to layer two plugin instruments:

  1. On Track 1, set the Program Type to Plugin and select a plugin instrument and preset.
  2. On Track 2, also set the Program Type to Plugin and press the Program + icon to create a second plugin program. Select a new plugin instrument and preset.
  3. Open Main Mode and select Track 1.
  4. Open the Channel Strip by pressing the eye icon and then select Track view by tapping the bars icon.
  5. Use the Send To field to select Track 2.
  6. Now, any note input or MIDI from Track 1 will automatically be sent to Track 2 as well, giving you a quick and easy way to layer two sounds.

4 Synth Midi 001 MIDI INPUT All Ports All MIDI OUTPUT 1 SEND TO Keys SOLO MUTE AUTO C 127 96 64 32 0 127

MIDI Recording

For recording, MIDI Tracks now have an Input Monitor button with four states:

  • Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting is useful when using keyboards with Local Control active.
  • In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from recorded events will not be heard.
  • Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events will be heard.
  • Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.

Copy Pads

You can now copy one or more pads from one drum program to another. This process is available with other program editing processes. (This has been added to Operation > Modes > Main Mode > Program Section).

To show the Copy Pads window, tap the pencil icon on the right edge of the Program section in Main Mode. After the Program Edit window opens, tap Copy Pads.

Use the Copy Type menu to select the whether you want to copy an individual Pad, a Bank of pads or a Range of pads. Use the fields that appear to select the Pad, From Bank or Start/End Pads that will be copied.

Use the From Program menu to select the program from which the pads will be copied.

Use the To Program menu to select the program to which the copied pads will be added.

Use the Pad, To Bank or Start Pad where the copied pads will be added starting from.

Click Apply to confirm your setting, and then click Do It to copy the pads or Cancel to return to the previous screen.

COPY PADS Pad FROOF PROCESSED Drum Hits A1 FULL KIT A12 CLOSE APPLY DO IT

Custom Progressions

You can now create custom Progressions based on the current MIDI track from your standalone hardware. This process is available with other track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section).

To show the Convert to Progression window, tap the pencil icon on the right edge of the Track section in Main Mode. After the Track Edit window opens, tap Convert to Progression.

Use the Progression fields to set the parameters of the new Progression.

To set the progression name, use the Name field.

To set the root note, use the Root Note field.

To set the scale type, use the Scale Type field.

Use the Chord fields to set the parameters for the chords in your progression.

To select a chord from the progression to edit, use the Chord field.

To rename the selected chord, use the Name field.

To set the type of chord, use the Type field to select Root, Normal or Below Root.

To play the selected chord, tap the Play button.

To close the window and return to the previous screen, tap the X, Close or anywhere outside the window.

CONVERT TO PROGRESSION Progression Progression 26 E4 Major Chord CROTT Chord 1 E Plas Root PLAY CLOSE DO IT

Edit Pad MIDI Note Map

You can now create custom note mappings for any program type directly from your standalone MPC hardware. Note mapping lets you assign specific MIDI notes to your pads in each program, except for keygroup programs. This process is available with other track editing processes. (This has been added to Operation > Modes > Main Mode > Program Section).

To show the Edit Pad MIDI Note Map window, tap the pencil icon on the right edge of the Program section in Main Mode. After the Program Edit window opens, tap Edit Pad Map.

Use the Pad field to select the pad to edit. You can also press a pad to select it.

Use the MIDI Note field to set the corresponding MIDI Note for the pad.

Use the Presets buttons to quickly apply one of three common pad layout presets: Chromatic C-2, Classic MPC and Chromatic C1.

To close the window and return to the previous screen, tap the X, Close or anywhere outside the window.

EDIT PAD MIDI NOTE MAP PAD A1 MAP NOTE C#1 Presets CHROMATIC C-2 CLASSIC MPC CHROMATIC C1 CLOSE

Global Automation Button

All automation buttons, including the global automation button (available in Main Mode, Grid View, XYFX Mode, List Edit Mode, the Pad Mixer, the Channel Mixer, Pad Mute Mode, and Q-Link Edit Mode) and the program automation buttons (available in Main Mode and the Channel Mixer) now toggle between Read and Write states when tapped. To turn automation off or on, hold Shift and tap the global automation button or program automation button.

Pressing the Read/Write button on MPC X now also toggles between Read and Write states. Hold the Shift button and press Read/Write to turn automation off or on.

Global Timing Correct On/Off

The Timing Correct (TC) window now has a convenient Global Timing Correct On/Off button.

You can also enable or disable Global Timing Correct by holding Shift and tapping the TC value at the top of the screen in Main Mode or List Edit Mode.

TIMING CORRECT GLOBAL TIMING CORRECT ON TIME DIVISION 048 1/4 1/0 1/16 1/32 1/64 THUPLET Start All 50 0 100 100 ALL TRACKS CLOSE DO IT

Main Button Track Select

You can now press and hold the Main button to view the Select Track window where you can select a track by pressing the corresponding pad or tapping the pad in the Select Track window.

Use the MIDI and Audio tabs to switch between track types.

SELECT TRACK_* (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (unused) (A1) Track 01 A2 Track 02 A3 Track 03 A4 Track 04 MIDI AUDIO

Expanded Pad Perform

You can now easily open and use Pad Perform from Main Mode and other modes where the pads play notes.

To open the Pad Perform window in Main Mode, tap the Pad Perform icon in the program section when using a plugin, keygroup or MIDI program.

To open the Pad Perform window in other modes, hold Shift and press 16 Level. Alternatively, press Pad Perform (MPC X only).

PLUBIN PROGRAM TubeSynth TubeSynth 001 Default PRO PERFORM

Retrospective Record

Your MPC hardware now captures MIDI events in the background, allowing you to recall performances when record was not enabled.

To capture events using retrospective record, hold Shift and press Record after playing some notes to add the recent events to the current track.

Single or Multi Record Arm

You can now configure the behavior of the Record Arm buttons by adjusting the Record Arm setting under Preferences > Sequencer.

  • In Single mode, selecting a different track will automatically arm that track and disarm all other tracks. This is the default mode and is is the same as previous MPC releases. To arm multiple tracks to record in Single mode, hold Shift and tap each track's record button.
  • In Multi mode, you can tap any track's record button to add it to the group of armed tracks. This is useful when doing multitrack recording.

MPC Live, MPC Live MKII, MPC One and MPC Touch now display visual feedback when a Q-Link knob is touched. A panel will appear on the right side of the touchscreen showing the available parameters beign controlled and their values.

(This has been added to Preferences > General).

Untitled 2: 1: 3 1/8 1 Sequence 01 115.05 2 1 2 Sequence Track 01 CVI Seq 100% PLUMBREDA TubeSynth TubeSynth 001 1 TubeSynth Analog Monster PROGRAMMLEVEL DOOR PLANHEAD 50% HORIZONTAL SCROLL 0% HORIZONTAL DOOR 0% MIDI AUDIO TRACK MUTE

Updates in MPC 2.9

New Features

AIR DrumSynth

The AIR DrumSynth plugins emulate the sound of classic drum machines and feature multiple synthesis types, advanced modeling and carefully crafted, built-in effects to create powerful contemporary drum sounds.

To use AIR DrumSynth:

  1. Create a Plugin program.
  2. Double-tap the Plugin field to open the Plugin window.
  3. Expand the MPC Drum Plugins option and select the desired plugin.

You can add the following drum types as individual plugins per track: Clap, Crash, HiHat, Kick, Perc, Ride, Snare and Tom. Each of these instruments has comprehensive synthesis and effects sections described below.

DrumSynth:Clap 001 Default DRUMSETH Count 50 % Speed 56 % Color 50 % Reso 50 % Tune 50 % Room 60 % Ruu11+Lust 50 % Stereo 70 % ClAP TRANS/DIST EQ/COMP Clap MODEL Noise One-Shot VELOCITY 100% VELOCITY 2 0 % TARGET None Volume 70 % FX Transient Distortion SQ Compressor

In each plugin, you can quickly enable or disable the built-in effects (Transient, Distortion, EQ and Compressor) while viewing any of the tabs listed below by tapping the buttons on the right side of the touchscreen under FX.

Drum Sound

Use this tab to adjust the basic settings for the drum sound. You can also use the knobs on this tab to quickly adjust up to eight parameters specifically chosen for each sound.

Parameter Description Value Range

Model Type of drum sound emulated. Varies
One-Shot Allows the drum sound to play entirely when triggered or only for how long the note length is set.Enabled, Disabled
Velocity Amount of incoming Velocity applied. When set to 0, all notes will sound as if Full Level.0–100%
Velocity 2 Amount of additional Velocity envelope that can be used to control a parameter.-100 – 0 – +100%
Target Select the Parameter where the Velocity 2 information is sent.Param 1–8
Gain Volume level of the drum sound.-Inf, -68.0 – 0 – +12.0 dB
Parameter Knobs Each drum sound has up to eight associated parameters that can be used to further shape the sound. The available parameters vary based on the type of drum sound selected. Use the knobs to adjust the selected parameter.Varies

Trans/Dist

Use this tab to adjust the settings for the Transient and Distortion effects.

ParameterDescriptionValue
Transient Attack Decreases or increases the amount of transient attack applied to the signal.-100 - 0 - +100%
Shape Adjusts the shape of the processed transient. 0-100%
Sustain Percentage of sustain envelope subtracted from or added to the transient effect.-100 - 0 - +100%
Distortion Pre-Shape Increases or decreases the high-end tone of the incoming audio signal pre-distortion.-100 - 0 - +100%
Drive Amount of drive applied. 0-60 dB
Threshold Signal level after which the distortion will be applied.-20.0-0.0 dB FS
High Cut Center frequency of the distortion signal high-cut filter.1.00-20.0 kHz
Mix Wet/dry amount of the distortion effect. 0-100%

EQ/Comp

Use this tab to adjust the settings for the EQ and Compressor effects.

ParameterDescriptionValue
EQHigh FreqCenter frequency for the High EQ band.1.20 – 20.0 kHz
High GainAmount of gain applied to the High EQ band.Cut, -12.0 – 0 – +12.0 dB
High Mid FreqCenter frequency for the High Mid EQ band.120 Hz – 16.0 kHz
High Mid QWidth of the High Mid EQ band.0.40–10.00
High Mid GainAmount of gain applied to the High Mid EQ band.-18.0 – 0 – +18.0 dB
Low Mid FreqCenter frequency for the Low Mid EQ band.40.0 Hz – 8.00 kHz
Low Mid QWidth of the Low Mid EQ band.0.40–10.00
Low Mid GainAmount of gain applied to the Low Mid EQ band.-18.0 – 0 – +18.0 dB
Low FreqCenter frequency for the Low EQ band.20.0 Hz – 1.00 kHz
Low GainAmount of gain applied to the Low EQ band.Cut, -12.0 – 0 – +12.0 dB
CompressorRatioAmount of compression applied.1.0:1 – 100.0:1
AttackLength of time to apply the compression. 100 us – 300 ms
ThresholdSignal level after which the compressor will be applied.-60.0–0.0 dB
OutputAmount of additional output gain for the compressed signal.0.0–30.0 dB

You can also use the DrumSynth:Multi plugin to access all DrumSynth sounds from one plugin, which includes additional dedicated effects and mixing controls.

Note: You can only have one DrumSynth:Multi plugin active per project when in Standalone mode.

DrumSynth 1–8 / Trans/Dist / EQ/Comp

Use the first eight tabs in the Multi to control the same parameters as the individual DrumSynth plugins. Tap each tab to cycle between the Drum Sound view, the Trans/Dist view, and the EQ/Comp view.

DrumSynth:Multi 001 Default DRUMSYNTH Kick MODEL Eighty VELOCITY 100 % 2 DRUMSYNTH 2 DRUMSYNTH 3 DRUMSYNTH 4 DRUMSYNTH 5 DRUMSYNTH 1 Tune 6Hz 5Ω 1 Hold 0% 1 Decay 21% 1 Sweep 94% 1 Harm 0% 1 Click 50% 1 Noise 0% 1 Noise-Col 0% FX Transient Distortion sq Compressor 1 DRUMSYNTH 2 DRUMSYNTH 3 DRUMSYNTH 4 DRUMSYNTH 5 DRUMSYNTH

Send FX

Use this tab to adjust the settings for the Delay, Diffuser and Reverb effects.

ParameterDescriptionValue
Delay Time Length of time between the dry signal and the delayed signal.1/32 - 8/4
RatioReduces the delay Time in either the Left or Right stereo field. This is useful for creating offset, panned delays.L 100:50, R 50:100
FeedbackAmount of delay signal fed back into the delay line.0-100%
Filter FreqSets the center frequency of the filtered delay signal.1.00 - 20.0 kHz
Reso Amount of resonance of the feedback signal. 0-100%
Reso FreqCenter frequency for feedback resonance. 100 Hz - 10.0 kHz
Diffuser DelayDelay time between the dry signal and the diffused signal.1/64 - 4/4
FeedbackAmount of diffused signal sent back into the delay line.0-100%
DiffusionRate of increasing density of reverb reflections. At lower settings, the sound of individual reflections is more present. At higher settings, reflections are more uniform.0-100%
BrightAdjusts the high-end tone of the diffused signal.0-100%
ReverbModeType of reverb applied.Hall, Stadium, Room, Abstract
Time Length of reverb tail.0.4 s - +Inf s
Low CutCenter frequency for the reverb low-pass filter.1 - 1000 Hz
High CutCenter frequency for the reverb high-pass filter.1.00 - 20.0 kHz

Mixer / FX / Sends

Use this tab to mix the individual drum sounds as well as control their effects. The Mixer / FX / Sends tab contains three different views that can be accessed by tapping the tab at the bottom of the display.

Use the Mixer view to adjust the volume, panning, muting and soloing for each drum.

Tap the 1–8 icons to mute or unmute the selected drum.

Tap the S icon to solo the selected drum.

Tap and drag the pan slider to adjust the drum panning. Alternatively, tap the slider and use the encoder, or use the appropriate Q-Link knob.

Tap and drag the volume slider to adjust the drum volume. Alternatively, tap the slider and use the encoder, or use the appropriate Q-Link knob.

Use the FX view to enable or disable the Transient, Distortion, EQ and Compressor effects for each drum sound.

Tap the FX box to enable or disable the selected FX on the selected drum.

Use the Sends view to adjust the send levels for the Delay, Diffuser and Reverb Send FX.

Tap and drag the Send knob to adjust the send level for the selected effect on the selected drum. Alternatively, tap the knob and use the encoder, or use the appropriate Q-Link knob.

Updates in MPC 2.10

New Features

Four New Instrument Plugins

Your MPC hardware now includes four new plugin instruments: AIR Hype, AIR Mellotron, AIR Solina and WayOutWare Odyssey.

To use the new plugins:

  1. Make sure you have downloaded the new Synth Content installation pack from your account at akaipro.com.
  2. Copy the Synths directory from the downloaded pack into the top-level folder of a SD card or USB drive. You do not need to copy any of the other files. Then, insert the drive into your device.

Note: For maximum convenience, we recommend you install a SATA drive in the drive bay of your standalone MPC and then copy the Synths folder onto this drive.

AIR Hype

The AIR Hype plugin is a modern style dual-oscillator synthesizer that includes a wide variety of built-in effects for endless combinations of sound, as well as convenient macro controls for lightning-fast adjustments.

Macro

Use this tab to adjust the macro settings for the plugin. You can access the Effect on/off switches in all tabs.

Plugin 001 Aimighty De Mix: 50 % Wave Start: 0 % Ost1: Bass Sew Ost2: Knicker Format: -100 % Semi: -12 cutoff delay 80% map sensitivity 0% mali pumpier 15% distraction yellowness 25% -3.2 dB MODULATION DISTORTION MYPE DELAY REVERN COMPRESSOR PUMPER LIMITED MACRO FILTER / AMP EFFECTS 1 EFFECTS 2 SETUP

ParameterDescriptionValueRange
Macros These six macro controls are unique to each preset.Varies
CutoffAmount of filter cutoff applied. 0–100%
ResoAmount of filter resonance applied. 0–100%
Mod Amount of modulation effect applied. 0–100%
Distortion Amount of distortion effect applied. 0–100%
DelayAmount of delay effect applied. 0–100%
ReverbAmount of reverb effect applied. 0–100%
PumperAmount of pumper effect applied. 0–100%
Volume Main output volume.-inf – 0.0 – +6.0 dB

AIR Hype (continued)

Filter / Amp

Use this tab to adjust the filter and amplitude envelope settings.

Plugin 001 Default FILTER sutoff 38 % remo 0 % MOS spike 11% decay 91 % MACRO FILTER / AMP EFFECTS 1 EFFECTS 2 SETUP any depth 42 L velocity 70 L Stable 80 L velocity 40 L MODULATION SPRING STEM TYPE DELAY REVERN COMPRESSOR PUMPER LIMITER

ParameterDescriptionValue
FilterCutoffCutoff frequency for the filter. 0-100%
Reso Amount of resonance of the filter. 0-100%
Filter EnvelopeAttackLength of time for the filter to reach full level. 0-100%
Decay Length of time for the filter to reach sustain level.0-100%
Sustain Length of time for the filter to hold sustain level. 0-100%
Release Length of time for the filter to dissipate when released.0-100%
Amp Spike DecaySpikeApplies additional velocity to the amplitude attack.0-100%
Length of time for the Spike to decay. 0-100%
Amp EnvelopeAttackLength of time for the note to reach full level.0-100%
Decay Length of time for the note to reach sustain level.0-100%
Release Length of time for the note to dissipate when released.0-100%
VelocityFadeAmount added to the envelope sustain level.0-100%
Amount of effect the note velocity has on the amplitude envelope.0-100%

AIR Hype (continued)

Effects 1

Use this tab to adjust the settings for the Low-Frequency Oscillator and Modulation, Distortion and Hype effects.

Plugin 001 Default LPG HDD MISTINATION TYPE MODULATION RATE 1/4 Hz 0.0 Hz 0.5 0.25 0.1 0.05 0.025 0.01 0.005 0.0025 0.001 0.0005 0.00025 0.0001 0.00005 0.000025 0.00001 0.000005 0.0000025 0.000001 0.0000005 0.00000025 0.0000001 MASCRO FILTER / AMP EFFECTS 1 EFFECTS 2 SETUP

ParameterDescriptionValueRange
LFORateSpeedof thelow frequency oscillator.
When Sync is set to 1st Note, Each Note, or Off:0.03 – 30.00 Hz
When Sync is set to Temp+Note or Tempo+Beat:8/4 – 1/64
SyncEnables or disables LFO sync, and sets how it is synced when enabled.Off, 1st Note, Each Note, Tempo+Note, Tempo+Beat
DepthAmount of LFO modulation applied. 0–100%
Mod Rate Speed of modulation. 0.05 – 20.00 Hz
Adjust Length of time the wet signal is offset from the dry signal.0.0 – 24.0 ms
Depth Amount of modulation applied. 0–100%
DistortionDriveAmount of drive applied.0–100%
BiasEmulates amount of voltage sent to a tube power-amp.-100 – 0 – 100%
OutputOutput level of the distorted si gnal.0–100%
Mix Wet/dry mix of the distortion effect. 0–100%
HypeLowDampens or maximizes low end frequencies.-12.0 – 0.0 – +12.0 dB
Lo-MidDampens or maximizes low-mid frequencies.-20.0 – 0.0 – +20.0 dB
Hi-MidDampens or maximizes high-mid frequencies.-20.0 – 0.0 – +20.0 dB
HighDampens or maximizes high end frequencies.-12.0 – 0.0 – +12.0 dB

AIR Hype (continued)

Effects 2

Use this tab to adjust the settings for the Delay, Reverb, Compressor, Pumper and Limiter effects.

Plugin 001 Default MODULATION TYPE DELAY REVERB PRE-DELAY COMPRESSOR PUMPER 1/4 17.5 ms 12.5 dB 1/4 1.9 s 3.0 s 3.0 s depth reversor 2.8 dB MAYA DEAVES REVERB COMPRESSOR PUMPER LIMITED +2.8 dB MACRO FILTER / AMP EFFECTS 1 EFFECTS 2 SETUP

ParameterDescriptionValue
Delay Time Amount of time between the dry signal and the delayed signal.1/16 – 16/4
FeedbackAmount of signal fed back into the delay line. 0–100%
Freq Adjusts the filter cutoff frequency of the delayed signal.100 – 16000 Hz
Mix Wet/dry amount of the delay effect. 0–100%
L/RReduces the delay Time in either the Left or Right stereo field. This is useful for creating offset, panned delays.L 50:100 – R 100:50
Reverb Pre-Delay Length of time between dry signal and reverberated signal.0.0 – 250.0 ms
TimegthLehreverb tail. 0.3 – 60.0 s
Mix Wet/dry amount of the reverb effect. 0–100%
CompressorThresholdSignal level after which the compressor will be applied.-30.0 – 0.0 – +10.0 dB
RatioAmount of compression applied. 1.0:1 – 20.0:1
AttackLength of time to apply the compression.0–100%
OutputAmount of additional output gain for the compressed signal.-20.0 – 0.0 – +20.0 dB
PumperRateSpeed of the pumper effect.Bar, 1/2 – 1/32T
DepthAmount of signal attenuation by the effect.0–100%
ReleaseAmount of time to release the effect.0–100%
LimiterDriveAmount of drive added after the limiter effect.0.0 – 30.0 dB

AIR Hype (continued)

Setup

Use this tab to adjust the plugin setup parameters.

Plugin 00.1 Altmighty Glide time 250 ms windwheel destination depth Cutoff -27.1% LFD METHROOM destination death Pitch +0.80 LFD lighter Pitch Only sync rate OFF 1.00 Hz shift shift_lip shift_lip_lip shift_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lup_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_lip_liPUMPER MODULATION DISTORTION TYPE DELAY REVERB COMPRESSION PUMPER LIMITED MACRO FILTER / AMP EFFECTS 1 EFFECTS 2 SETUP

ParameterDescriptionValueR
Setup Transpose Transposition of the plugin, in semitones. -36 - 0 - +36
TuneFing of the plugin, in cents. -100 - 0 - +100
Glide Time Amount of time to slide from the pitch of one note to the next note played.0 ms - 32 s
Glide Mode Enables or disables pitch gliding for all triggered notes or legato notes.Off, Legato, All
Mode Sets the plugin to polyphonic or monophonic Poly, Mono
Del-RevLevel of the delay and reverb signals.-inf - 0.0 - +6.0 dB
VolumeOverall level of the plugin.-inf - 0.0 - +6.0 dB
MIDI Control
Mod WheelDestinationSend Mod Wheel data to one of the following control destinations.Pitch, Cutoff, Reso, Amp, Pan
DepthAmount of modulation applied.When Destination is set to Pitch: -12.0 - +12.0When Destination is set to Cutoff, Reso, Amp or Pan: -100 - 0 - 100%
AftertouchLFOTies the modulation to the Control LFO.Off, On
DestinationSend Aftertouch data to one of the following control destinations.Pitch, Cutoff, Reso, Amp, Pan
DepthAmount of modulation applied.When Destination is set to Pitch: -12.0 - +12.0When Destination is set to Cutoff, Reso, Amp or Pan: -100 - 0 - 100%
Control LFOLFOTies the modulation to the Control LFO.Off, On
SyncEnables or disables Control LFO sync, and sets how the Control LFO is synced when enabled.Off, First Note, Each Note, Tempo + Note, Tempo + Beat
RateSpeed of modulation of the Control LFO.When Sync is set to First Note or Each Note: 0.03 - 30.00 HzWhen Sync is set to BPM & Note or BPM & Beat: 8/4 - 1/64
ShapeWaveshape of the Control LFO.Sine, Triangle, Sawtooth, Square, S&H Random, S&H Alternate, Random Drift, Slow Drift

AIR Mellotron

The AIR Mellotron plugin is a software recreation of the classic tape keyboard, including reproductions of the original tape samples in both clean and dirty versions.

Model

Use this tab to adjust the settings for the tape sample.

Plug 001 Default POS 1/AMP Q % MW VOL TDC % AC VOL 2 C VBR SPEED 0.000 MHz NEXT ON OFF OUT 30 % OFF VOLT 0 L/s SAMPL VOL 20 LEVEL 50 S Melltron Flate Class 1 Block 3 VOUT 3 8 Source Chips CLEAR PROMANT Wave v-10 ADD 0 % SMPL START 0 % CUSTOM 100 % ATTACK 0 ms RELEASE 40 ms MODEL FLAVOR/COMPLED DELAY/SPIRING

ParameterDescriptionValueRange
SampleSelect the tape loop sample. 8 Voice Choir, Boys
CleanEnables or disables a cleaner sample sound. Off, On
FormantDecreases or increases the harmonic resonance of the formant frequency.
AgeAmount of sound degradation applied. 0–100%
Smpl StartStarting point of the tape loop sample. 0–100%
CutoffAmount of filter cutoff applied. 0–100%
AttackLength of time for the sound to reach full level. 0 ms – 32 s
ReleaseLength of time for the sound to dissipate when the note is released.
Vel > AmpThe amount of effect velocity has on amplitude control.
MW VibAmount of vibrato applied from the mod wheel.
AT VibAmount of vibrato applied from aftertouch.
Vib SpeedModulation speed of the vibrato effect.
Key OnEnables or disables key action noise on note on.
Key OffEnables or disables key action noise on note off.
On VolAmount of key-on noise.
Off VolAmount of key-off noise.
Smpl PolyNumber of voices available.
LevelOverall level of the plugin.

AIR Mellotron (continued)

Flavor / Compressor / EQ

Use this tab to adjust the settings for the flavor, compressor and EQ effects. Each effect can be turned on and off by using the buttons on the right side.

Plugin 001 Default FLAVOR DEPTH +5% FUTTER 100% VINYL ORIENTATION 0% NOME 0% COMPRESSOR THRESHNESS -13.4 dB RATIO 20.9 -7 ATTAGE 27% MAKEUP +3.2 dB EQ LOW +3.2 dB LOW MD +1.9 dB HIGH MD +16.0 dB HIGH -6.4 dB FLAVOR COMP REQ DELAY SPRINGS MODEL FLAVOR/COMP/EQ DELAY/SPIRING

ParameterDescriptionValueRange
Flavor Use the button in the upper-right corner to enable or disable the flavor effect.Off, On
Timbre Selects an emulation type to color the sound. Varies
TimbreAmount0-100%
FlutterAmount of speed fluctuation of the sound playback.0-100%
Vinyl DistortionAmount of vinyl distortion noise applied to the signal.0-100%
Vinyl Noise Amount of vinyl noise such as clicks and pops applied to the signal.0-100%
Compressor Use the button in the upper-right corner to enable or disable the compression effect.Off, On
Thresholdgnal level after which the compressor will be applied.-30.0 - 0.0 - +10.0 dB
RatioAmount of compression applied.1.0:1 - 20.0:1
AttackLength of time to apply the compression.0-100%
MakeupAmount of additional output gain for the compressed signal.-20.0 - 0.0 - +20.0 dB
EQUse the button in the upper-right corner to enable or disable the EQ effect.Off, On
LowAmount of attenuation or boost applied to the low frequency band.-12.0 - 0.0 - +12.0 dB
Low MidAmount of attenuation or boost applied to the low-mid frequency band.-20.0 - 0.0 - +20.0 dB
High MidAmount of attenuation or boost applied to the high-mid frequency band.-20.0 - 0.0 - +20.0 dB
HighAmount of attenuation or boost applied to the high frequency band.-12.0 - 0.0 - +12.0 dB

AIR Mellotron (continued)

Delay / Spring Reverb

Use this tab to adjust the settings for the delay and spring reverb effects. Each effect can be turned on and off by using the buttons on the right side.

Plugin 001 Default DELAY TIME 1/2 UP RATIO 90 MHz FRESHBACK 50 % MIN 29 % BEENO UP RATIO 362.4Hz SELLING 1285.4Hz BELOW GAIN 50 % SPRING REVERB PRE-DELAY 0 MHz TIME 1.00 Hz LOW OUT 4x3.5Hz DIVISION 50 % WIDTH 100 % MIN 7 %

ParameterDescriptionValueRange
Delay Use the button in the upper-right corner to enable or disable delay.Off, On
Time Amount of time between the dry signal and the delayed signal.1/16 – 16/4
L/RRed Ratio the delay Time in either the Left or Right stereo field. This is useful for creating offset, panned delays.50:100 – 100:100 – 100:50
Feedback Amount of signal fed back into the delay line. 0–100%
Mix Wet/dry amount of the delay effect. 0–100%
Reso LP Freq Low pass frequency for feedback resonance. 100 – 16000 Hz
Reso Bell FreqCenter frequency for feedback resonance.100 – 16000 Hz
ResoAmount of gain applied to the resonant frequency.0–100%
Spring Reverb Use the button in the upper-right corner to enable or disable the spring reverb effect.Off, On
Pre-DelayLength of time between dry signal and reverberated signal.0 – 250 ms
TimeLength of reverb tail.1.00 – 10.00 s
Low Cut Center frequency for reverb si gnal low-cut filter.20 – 1000 Hz
DiffusionRate of increasing density of reverb reflections. At lower settings, the sound of individual reflections is more present. At higher settings, reflections are more uniform.0–100%
Width Stereo width of reverb signal. Higher values give wider stereo separation.0–100%
Mix Wet/dry amount of the reverb effect. 0–100%

AIR Solina

The AIR Solina plugin is a software recreation of the classic string synthesizer.

Plugin 001 Back To The 80s Control Band — Cells — Viola — Violin — Trumpet — Horn Ensemble — Vialo solling 2500 75% ENSEMBLE SOLID FLAVOR CHORUS/EO DELAY/REVERB

Ensemble

Use this tab to adjust the voice and ensemble settings.

ParameterDescriptionValueRange
Voice Click each button to enable or disable the selected voice.Contra Bass, Cello, Viola, Violin, Trumpet, Horn
Voice VolumeVolume of the selected voice.-Inf - 0 - +12
Voice Panning Stereo panning of the selected voice. L64 - C - R64
Voice Octave Octave adjustment for the selected voice. -2, -1, 0 (Contra Bass)0, +1, +2 (Violin)-1, 0, +1 (All others)
Ensemble Enables or disables the ensemble effect. Off, On
Bass Volume Adjusts the volume of the bass voices. 0-100
Dual When enabled, both bass and upper voices will play on every key, regardless of the octave. When disabled, the voices will be split so that the bass voices play on lower octaves and the upper voices play on higher octaves.Off, On
Upper Volume Adjusts the volume of the upper voices. 0-100
LevelOverall level of the plugin.0-100%

AIR Solina (continued)

Sound

Use this tab to adjust additional settings for the plugin sound.

Plug-in 001 Default 9 CROSSWAVE 5 ms RUSTAIN 100 ms INSTRAVANT 300 x 100% AVG 0% MASCIFY 20 MHz 0% LOW VOLTAGE 30% AF VOLTAGE 0% DRUM/AVG WIRE 3.4 Hz 25 BASUAL PLUG ENSEMBL SOUND FLAVOR CHORUS/EO DELAY/REVERE

ParameterDescriptionValueRange
CrescendoLength of time for the sound to reach full volume.0 ms – 32 s
Sustain Length of time for the sound to remain playing after the key is released.0 ms – 32 s
Formant Decreases or increases resonant frequencies to adjust the timbre of the sound.-12 – 0 – +12
FilterAdjusts the low-pass filter frequency.0–100%
AgeAmount of detuning and drift applied.0–100%
Velocity to Amp The amount of effect velocity has on amplitude control.0–100%
MW VibratoAmount of vibrato applied from the mod wheel.0–100%
AT Vibrato Amount of vibrato applied from aftertouch.0–100%
Vibrato Speed Modulation speed of the vibrato effect.1.00–30.00 Hz
Sample Poly Number of voices available.1–50

AIR Solina (continued)

Flavor

Use this tab to adjust the settings for the flavor and vinyl effects.

Plugin 001 Default Flower INFLUID DEPTH 100% DIMENSION 6% ERROR 8% RUSTOR 6% METHNICY 8% ENSEMBLE SOUND FLAVOR CHORUS/EO DELAY/REVERB

Parameter Description Value Range

Flavor Enables or disables the flavor effect. Off, On
Timbre Selects an emulation type to color the sound. Varies
TimbreAmount of timbre emulation applied to the sound. 0–100%
Vinyl DistortionAmount of vinyl distortion noise applied to the signal. 0–100%
Vinyl NoiseAmount of vinyl noise such as clicks and pops applied to the signal.0–100%
FlutterAmount of speed fluctuation of the sound playback. 0–100%
MonofyReduces the stereo spread.0–100%

AIR Solina (continued)

Chorus / EQ

Use this tab to adjust the settings for the chorus and EQ effects. Use the buttons on the right side to enable or disable each effect.

Plugin 001 Default Ensemble 1.00 Hz OFF/FF 50% Normal 30% Normal 50% Normal -0.02 dB Normal RMS -0.2 dB HOLD RED: -1.6 dB HOLD 40 dB Tapping Switches ENSEMBLE SOUND FLAVOR CHORAGE/SEQ DELAY/REVERB

ParameterDescriptionValueRange
ChorusRateModulationspeedofthe chorus effect. 0.05 – 20 Hz
Depth Modulation depth of the chorus effect. 0–100%
Tone Decreases or increases the brightness of the chorus effect.-100 – 0 – +100%
Mix Wet/dry amount of the chorus effect. 0–100%
EQ Low Amount of attenuation or boost applied to the low frequency band.-12.0 – 0.0 – +12.0 dB
Low MidAmount of attenuation or boost applied to the low-mid frequency band.-20.0 – 0.0 – +20.0 dB
High MidAmount of attenuation or boost applied to the high-mid frequency band.-20.0 – 0.0 – +20.0 dB
HighAmount of attenuation or boost applied to the high frequency band.-12.0 – 0.0 – +12.0 dB

AIR Solina (continued)

Delay / Spring Reverb

Use this tab to adjust the settings for the delay and spring reverb effects. Use the buttons on the right side to enable or disable each effect.

Plugin 001 Default Audio/Board Remainance TIME 1.0 Hz FREFORM 100 Hz LF PRICE 1500 Hz BELL FROSE 900 Hz BELL GLOW 90 Hz MOS 90 Hz Effective FL Reset Spring Balance OFF FIRE DELIN 0 Hz CLOCK 1.80 s LOW OUT 480 Hz RIFUSION 100 S RECYCLE 100 S HOL 21 S ENSEMBL SOUND FLAVOR CHORAGE/DI DELAY/REVERB

ParameterDescriptionValueRange
Delay Time Amount of time between the dry signal and the delayed signal.1/16 – 16/4
L/RReduction the delay Time in either the Left or Right stereo field. This is useful for creating offset, panned delays.50:100 – 100:100 – 100:50
Feedback Amount of signal fed back into the delay line. 0–100%
LP Freq Low pass frequency for feedback resonance. 100 – 16000 Hz
Bell Freq Center frequency for feedback resonance. 100 – 16000 Hz
Bell GainAmount of gain applied to the resonant frequency.0–100%
MixWet/dry amount of the delay effect.0–100%
Spring Reverb Time Length of reverb tail.0 – 250 ms
1.00 – 10.00 s
Low CutCenter frequency for reverb signal low-cut filter.20 – 1000 Hz
DiffusionRate of increasing density of reverb reflections. At lower settings, the sound of individual reflections is more present. At higher settings, reflections are more uniform.0–100%
WidthStereo width of reverb signal. Higher values give wider stereo separation.0–100%
MixWet/dry amount of the reverb effect.0–100%

WayOutWare Odyssey

The WayOutWare Odyssey plugin is a software recreation of the classic analog synthesizer that captures the character and nuance of the original Odyssey using WayOutWare's experience and expertise in circuit modeling and signal processing.

VCO 1/2

Use this tab to adjust the settings for the voltage controlled oscillators.

Plugin 001 Default VOLTAGE CONTROLLED OSCILLATOR 1 FM 240 F/N 340 PINE 540 WHTM 640 MDD 740 RACE WIDTH 80.000 Hz SYNC VOLTAGE CONTROLLED OSCILLATOR 2 FM 340 F/N 540 WHTM 640 MDD 740 RACE WIDTH 80.000 Hz ECHD SETTINGS UCO 1/2 MOD/ENV MAX/FILTER ECHD REFERENCES 80.000 Hz

ParameterDescriptionValueRange
LFO/AudioWhen set to Audio, standard pitches will be produced as indicated by the Oct, Semi and CT values for the Frequency setting.When set to LFO, the VCO will be controlled by an LFO and may be used for modulating VCO2.LFO, Audio
FrequencyDetermines the pitch adjustment for the oscillator.The total frequency range depends on the LFO/Audio setting, and is shown at the bottom of this section.0.174 – 1478.852 Hz
CoarseCoarsepitchadjustment.-0.200 – 6.333 V
Fine Fine pitch adjustment.0.000 – 0.875 V
VCO 1 FMSource 1 WaveformType of frequency modulation waveform applied by the LFO.LFO Sine, LFO Square
Depth 1Depth of frequency modulation.0.0–100.0%
Source 2Determines the frequency modulation source.S/H, ADSR
Depth 2Depth of Source 2 modulation.0.0–100.0%
VCO 1 Pulse WidthWidthWidth of pulse width modulation.50.0–90.0%
ModDepth of pulse width modulation.0.0–100.0%
SourceDetermines the pulse width modulation source.LFO Sine, ADSR
SyncDetermines whether VCO 2 is synced with the frequency of VCO 1. When disabled, you can use both VCOs to produce separate pitches.Off, On
FrequencyPitch adjustment for the oscillator.8.706 – 1478.852 Hz
CoarseCoarsepitchadjustment.-0.200 – 6.333 V
Fine Fine pitch adjustment.0.000 – 0.875 V
VCO 2 FMSource 1Type of modulation source. When S/H Mixer or Pedal is selected, the modulation can be controlled by the Sample and Hold mixer or by an optional external expression pedal.LFO Sine, S/H Mixer or Pedal
Depth 1Depth of Source 1 modulation.0.0–100.0%
Source 2Type of modulation source.S/H, ADSR
Depth 2Depth of Source 2 modulation.0.0–100.0%
VCO 2 Pulse WidthWidthWidth of pulse width modulation.50.0–90.0%
ModDepth of pulse width modulation.0.0–100.0%
SourceType of source for pulse width modulation.LFO Sine, ADSR

WayOutWare Odyssey (continued)

Mod/Env

Use this tab to adjust the settings for the low frequency oscillator, sample and hold generator, and envelope generator.

Plugin 001 Default LOW FREQUENCY OSCILLATOR UP/TEMPD DMC SAMPLE/ HOLD IPO TRIGGER NN NORM UFO UFO SPEED UFO ENVELOPE GENERATOR ATTACK RELEASE VCC-1 DEPTH LED ACC ATTICK DEEAF SUSTAIN RELEASE ADD ATM-SATE AVG SYMD-SATE UFO 1/2 MOD/ENV BEX/FILTER ECHO SETTINGS

ParameterDescriptionValue
LFOLFO SyncDetermine whether LFO speed is free floating or synced to project tempo.Off, On
LFO SpeedSpeed of the low frequency oscillator.
Sample/HoldTrigger Determines the source signal for triggering the Sample and Hold mixer, either the Low Frequency Oscillator or the pitched Keyboard output.LFO Trigger, Kybd Trigger
Source 1Selects the VCO-1 waveform or pulse width modulation as Sample and Hold input.Saw, Pulse
Source 2Selects a noise generator or the VCO-2 pulse width modulation as Sample and Hold input.Noise, Pulse
VCO-1 Level of the VCO-1 input. 0.0–100.0%
DepthLevel of the noise or VCO-2 input. 0.0–100.0%
LagAdjusts the smoothing of the Sample and Hold output voltage.0.0–100.0%
ARAttackAttack time of the AR envelope generator.0.003 – 10.000 seconds
ReleaseRelease time of the AR envelope generator.0.003 – 10.000 seconds
Trigger SourceDetermines the input source sent to the AR envelope generator.When set to KYBD Gate, the envelope generator is triggered by key input.When set to LFO Repeat, the envelope generator is trigger by the LFO pulse wave.KYBD Gate, LFO Repeat
ADSRAttackAttack time of the ADSR envelope generator.0.003 – 10.000 seconds
DecayDecay time of the ADSR envelope generator.0.003 – 10.000 seconds
SustainSustain time of the ADSR envelope generator.0.000 – 10.000 V
ReleaseRelease time of the ADSR envelope generator.0.003 – 10.000 seconds
Trigger SourceType of input to trigger the envelope generator.KYBD Gate, LFO Repeat
RepeatWhen Trigger Source is set to LFO Repeat, select KYBD Repeat for the LFO to trigger only when a key is pressed, or select Auto Repeat for the LFO to trigger automatically without key input.KYBD Repeat, Auto Repeat

WayOutWare Odyssey (continued)

Mix/Filter

Use this tab to adjust the audio mixing and routing, as well as adjust the voltage controlled filter, high-pass filter, and voltage controlled amplitude.

AKAI MPC Key 61 - Mix/Filter - 1

flowchart 
graph TD
    A["16012.70 Hz"] --> B["AUDIO MIXER"]
    C["16.32 Hz"] --> D["VC FILTER"]
    E["16.32 Hz"] --> F["MP FILTER"]
    G["16.32 Hz"] --> H["VC AMP"]
    I["16.32 Hz"] --> J["MODERN"]
    K["16.32 Hz"] --> L["MODERN"]
    M["16.32 Hz"] --> N["MODERN"]
    O["16.32 Hz"] --> P["MODERN"]
    Q["16.32 Hz"] --> R["MODERN"]
    S["16.32 Hz"] --> T["MODERN"]
    U["16.32 Hz"] --> V["MODERN"]
    W["16.32 Hz"] --> X["MODERN"]
    Y["16.32 Hz"] --> Z["MODERN"]
    AA["16.32 Hz"] --> AB["MODERN"]
    AC["16.32 Hz"] --> AD["MODERN"]
    AE["16.32 Hz"] --> AF["MODERN"]
    AG["16.32 Hz"] --> AH["MODERN"]
    AI["16.32 Hz"] --> AJ["MODERN"]
    AK["16.32 Hz"] --> AL["MODERN"]
    AM["16.32 Hz"] --> AN["MODERN"]
    AO["16.32 Hz"] --> AP["MODERN"]
    AQ["16.32 Hz"] --> AR["MODERN"]
    AS["16.32 Hz"] --> AT["MODERN"]
    AU["16.32 Hz"] --> AV["MODERN"]
    AW["16.32 Hz"] --> AX["MODERN"]
    AY["16.32 Hz"] --> AZ["MODERN"]
    BA["16.32 Hz"] --> BB["MODERN"]
    BC["16.32 Hz"] --> BD["MODERN"]
    BE["16.32 Hz"] --> BF["MODERN"]
    BG["16.32 Hz"] --> BH["MODERN"]
    BI["16.32 Hz"] --> BJ["MODERN"]
    BK["16.32 Hz"] --> BL["MODERN"]
    BM["16.32 Hz"] --> BN["MODERN"]
    BO["16.32 Hz"] --> BP["MODERN"]
    BZ["16.32 Hz"] --> CA["MODERN"]
    CB["16.32 Hz"] --> CD["MODERN"]
    CE["16.32 Hz"] --> CF["MODERN"]
    CG["16.32 Hz"] --> CH["MODERN"]
    CI["16.32 Hz"] --> CJ["MODERN"]
    CK["16.32 Hz"] --> CL["MODERN"]
    CM["16.32 Hz"] --> CN["MODERN"]
    CO["16.32 Hz"] --> CP["MODERN"]
    CS["16.32 Hz"] --> CK
ParameterDescriptionValue
VCF VCF Cutoff Cutoff frequency of the filter. 0.680 - 10.645 V, or 16.02 - 16012.70 Hz
VCF Res Resonance of the filter. 0.000 - 0.800 Q
Audio Mixer Noise/Ring ModSelect the noise generator or ring modulation input for the mixer.Noise, Ring Mod
Noise/Ring Mod LevelLevel of the noise generator or ring modulation into the mixer.0.0-100.0%
VCO-1 Input Select the VCO-1 input type for the mixer. Saw, Pulse
VCO-1 Level Level of VCO-1 into the mixer. 0.0-100.0%
VCO-2 Input Select the VCO-2 input type for the mixer. Saw, Pulse
VCO-2 Level Level of VCO-2 into the mixer. 0.0-100.0%
VC Filter VCO-1 Filter Modulation SourceSet the input source for VCO-1 filter modulation.Select KYBD CV to use key input as the source.Select S/H Mixer or Pedal to use the Sample and Hold generator or optional external pedal.KYBD CV, S/H Mixer or Pedal
CV Modulation LevelLevel of VCO-1 filter modulation.0.0-100.0%
VCO-2 Filter Modulation SourceSet the input source for VCO-2 filter modulation.S/H, LFO Sine
CV Modulation LevelLevel of VCO-2 filter modulation.0.0-100.0%
HP Filter Filter Modulation SourceSelect which envelope generator to use as a filter modulation source.ADSR, AR
CV Filter Modulation LevelAmount of envelope filter modulation applied to the VC Filter.0.0-100.0%
HPF CutoffCutoff frequency of the high-pass filter.0.680 - 10.645 V, or 16.02 - 16012.70 Hz
VC Amp Mod SourceSelect which envelope generator to use as an amplitude modulation source.ADSR, AR
Mod Amount of envelope modulation applied to the output signal.0.0-100.0%
VCA GainAmount of gain applied to the VC Amp.0.0-100.0%

WayOutWare Odyssey (continued)

Echo

Use this tab to adjust the settings for the tape echo effect.

Plugin 001 Default ON SYNC SUSTAIN ECHO SET 1/2 1/3 1/4 1/5 1/6 1/7 1/8 1/9 1/10 1/11 1/12 1/13 1/14 1/15 1/16 1/17 1/18 1/19 1/20 1/21 1/22 1/23 1/24 1/25 1/26 1/27 1/28 1/29 1/30 1/31 1/32 1/33 1/34 1/35 1/36 1/37 1/38 1/39 1/40 1/41 1/42 1/43 1/44 1/45 1/46 1/47 1/48 1/49 1/50 1/51 1/52 1/53 1/54 1/55 1/56 1/57 1/58 1/59 1/60 1/61 1/62 1/63 1/64 1/65 1/66 1/67 1/68 1/69 1/70 1/71 1/72 1/73 1/74 1/75 1/76 1/77 1/78 1/79 1/80 1/81 1/82 1/83 1/84 1/85 1/86 1/87 1/88 1/89 1/90 1/91 1/92 1/93 1/94 1/95 1/96 1/97 1/98 1/99 2000.0000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000

ParameterDescriptionValueRang
Delay Use the switch in the bottom-left corner to enable or disable the delay effect.Off, On
Sync Enable to sync theEcho Timeto theGlobal Tempo, or Off, On disable to adjust theEcho Timeby milliseconds.
Sustain Length of time that the echo continues playing. 0.0–100.0%
Echo Mix Adjusts the wet/dry amount between the original sound and the echo.100% Synth – 50/50% – 100% Echo
Echo Time Amount of time between the dry signal and the delayed signal. Use the slider or the Echo Time field to change the value.WhenSyncis Off: 0.02 – 5.00 secondsWhenSyncis On: 1/64 – 4/4

WayOutWare Odyssey (continued)

Settings

Use this tab to adjust general settings such as voice count, portamento and performance parameters.

Plugin 001 Default VOICE COUNT PORTACTO TRANSPORTS EXP FEDAL POSTSWITCH MOSS PERFORMANCE VELOCITY DEPTH MW VELLO MW FLOW KTED FILTER KTED AMT VCO 1/2 MOD/ENV MAXFILTER ECHO OPTIONS Odyssey

ParameterDescriptionValueRange
Voice CountNumber of voices available. When set to Duo, each VCO controls a separate note.Duo, 2–4
PortamentoLength of time to slide between notes.0.000 – 1.500 seconds
Exp PedalEnables or disables the use of an expression pedal to control portamento.Off, On
FootswitchEnable or disables the use of a footswitch to activate portamento.Off, On
TransposeAmount of transposition applied to the keyboard. -2, 0, +2 octaves
Noise Type of noise used for the noise generator. White, Pink
Performance Velocity DepthMW Vib LFO Amount of vibrato LFO applied by the mod wheel.0.0–100.0%
MW PWMAmount of pulse width modulation applied by the mod wheel.0.0–100.0%
KYBD Filter Amount that the filter is tied to the pitch being played.0.0–100.0%
KYBD AmpAmount that the amplitude is tied to the pitch being played.0.0–100.0%

AIR FX Bundle

Your MPC hardware now includes nine new insert effects, including a new AIR vocal effects suite, an improved AIR Diffuser Delay, and more.

AIR Diff Delay

This is a delay line effect that is synchronized to your session tempo and uses an adjustable amount of diffusion to emulate the dissipation of echoes in reverberant space.

ParameterValue RangeDefault Value
Time
Sync Off: 1 – 1000 ms161 ms
Sync On: 1/64 – 4/4 (including Triplet and Dotted variations)1/16D
SyncOff,On
Width0–100%100%
Mix0–100% y-wet)40%(dr)
Feedback0–100%50%
Fdbk. Diffusion 0–100% 40%
Fdbk. gh Damp0–100% 35%
Low Cut20.0 Hz – 1.00 kHz20.0 Hz

Pan -100 - 0 - +100% 0%

AIR Diode Clip

This is a distortion effect that can be used for anything from adding subtle grit to drum breaks to aggressive distorted mayhem.

ParameterValue RangeDefault Value
Input HP200 – 800 Hz500 Hz
Env Speed0–100%50%
Output HP1000 – 4000 Hz2000 Hz
Output LP1000 – 12000 Hz6000 Hz
WideOff, OnOff
SoloOff, OnOff
OversamplingOff, OnOn
Level-inf – 0.0 – +12.0 dB0.0 dB

AIR Half Speed

This effect can quickly create half-speed versions from any input material. Filter the processed audio using the built-in high pass and low pass filter to create dramatic transitions, and use the fade in and fade out parameters to create synchronized transitions between dry and effected audio.

HPF Off, 20.0 Hz - 20.0

LPF 20.0 Hz - 19.9 kHz,

ParameterValueRangeDefault
Start,Stop
Loop Length 1/16 – 4 Bars1 rBa
Mode *1.5, *2, *4 *2
Mix0–100%100%
Loop Fade 1.00 – 200 ms 4.90 ms
Fade InHard, Soft, 1/16–4 BarsHard
Fade OutHard, Soft, 1/16–4 BarsHard
kHzOff
OffOff
BandOff, OnOff

AIR Limiter

This is a lookahead limiter perfect for mastering or mixing.

LF Mono 10.0 Hz - 1.00 kHz 10.0 Hz

ParameterValue RangeDefault Value
Gain-12.0 – 36.0 dB0.0 dB
Ceiling-24.0 – 0.0 dB0.0 dB
Look Ahead0.0 – 20.0 ms0.0 ms
Release10.0 ms – 10.0 s316 ms

AIR Stutter

This effect creates mind-blowing glitch effects using a wide range of volume, pan and pitch stutter effects.

Pitch Mod -100 - 0 - +100% 0%

ParameterValueRangeDefault
Intervals 1/64 - 14 1/16
SyncOff, OnOn
Steps2–645
Step Length0–100%100%
FreezeOff, OnOff
Decay50.0 ms – 100 s6.99 s
Volume-12.0 – 0.0 – 6.0 dB-1.2 dB
Mix0–100%100%
Pan Mod0–100%50%

MPC now also includes a new AIR Vocal insert effects suite, designed to enhance working with voices in MPC.

AIR Vocal Doubler

This effect creates realistic vocal doubles to add width or thickness to a vocal line.

ParameterValueRangeDefault
Voices1-84
Stereo Spread0-100% 70%
Lead Volume-Inf - +6.0 dB 0.0 dB
Doubler Volume-Inf - +6.0 dB 0.0 dB
Pitch+/-0-250%+/-
Pitch Speed0-100% 75%
Timing0-800 ms63 ms

AIR Vocal Harmonizer

This effect can create up to four-part realistic vocal harmonies and complex doubling effects. Each vocal part has its own level, delay, formant, mode and interval parameters.

ParameterValueRangeDefault
KeyA-G#C
ScaleMajor, Minor, Harm Minor, Melo Minor, Dorian, Phrygian, Lydian, Mixo, Locrian, Chromatic, Penta, Maj Triad, Min Triad, RootMajor
Lead Volume -Inf - 0.0 dB0.0 dB
Harmony Volume-Inf - 0.0 dB-2.5 dB
Timing0-100%42%
Tuning0-100%14%
Smooth5-200 ms8 ms
Voice RangeVery Low, Low, Mid, High, Very HighMid
Root Mode SplitA-G#E
Reference420.0-460.0 Hz440.0 Hz
Delay SyncOff, OnOn
Harmony 1-4Off, On1 On

AIR Vocal Tuner

This effect applies pitch correction for natural sounding or hard-tuned vocal effects.

ParameterValueRangeDefault
DetectionUnworried, Selective, Picky, BlindDefault
Voice RangeVery Low, Low, Mid, High, Very HighMid
KeyA-G#A
ScaleMajor, Minor, Melo Minor, Dorian, Phrygian, Lydian, Mixo, Locrian, Chromatic, Penta, Maj Triad, Min Triad, RootMinor
Retune Time1-1000 ms 32 ms
Reference420.0-460.0Hz440.0 Hz

Two new Akai insert effects are also included:

Sample Delay

This effect is a utility delay plugin that can delay the left and right channels by different, small amounts to to loosen percussion elements or add stereo width.

ParameterValueRangeDefault
Left / Right 0–11025 Samples or 0.0–250.0 ms0 Samples or 0.0 ms
Samples / MS Samples, MS Samples
LinkOff,OnOff

Granulator

This effect turns your incoming audio into small grains of sound that can be looped, pitch shifted, and manipulated in new and interesting ways.

ParameterValueRangeDefault
Grain Density1.0–300.0 grains/sec68.0 grains/sec
Grain Window20.0–1000.0 ms608.0 ms
Grain Length10.0–200.0 ms171.9 ms
Grain Feedback-99.9 – 0.0 – 99.9%0.0%
Trigger Randomization0–100%0.0%
Pitch Randomization0–100%0.0%
Pitch-12.0 – 0.0 – 12.0 semitones0.0 semitones
Fine-50.0 – 0.0 – 50.0%0.0%
Stereo0–100%0.0%
Mix0–100%34.6%
FreezeOff, OnOff

Standalone Audio Interface Support

You can now use most audio interfaces that are both USB class-compliant and Linux class-compliant with your standalone MPC. Audio devices must also be set to 44.1 kHz sample rate and 128 sample buffer size.

Note: If you are unsure of your audio interface's compatibility, check with the original equipment manufacturer for more information.

To use an external audio interface:

  1. Open the Menu and tap the gear icon to open the Preferences.

  2. Select the Audio Device settings from the sidebar.

  3. Use the Audio Device field to select the Internal sound device or a connected, class-compliant audio interface.

Check the 32 Inputs/Outputs box to enable use of up to 32 simultaneous inputs and outputs.

Note: Increasing the number of simultaneous inputs and outputs will also increase CPU overhead.

FX Racks

You can now load and save FX racks with your MPC hardware. An FX rack is a preset file containing all parameter settings of up to four insert effects on a single channel strip. A factory library of FX Rack presets are also included, divided into helpful categories such as Drums and Percussion, Voice, Guitar, Experimental, Mastering, and more.

To load or save an FX rack, open any Inserts page (such as in the Program Edit, Channel Mixer or Pad Mixer modes):

Tap the Akai folder icon to load one of the included factory presets.

Tap the FX folder icon to load a previously saved custom preset file.

Tap the disk icon to save all settings from all Insert effects in the channel strip to a single file.

Drums AO2 INSERTS 1 Compressor Vintage [2 in 2 out] 2 Distortion Amp [2 in 2 out] 3 NO EFFECT MASTER SAMPLES PAN VELOCITY FILTER/ENV LFD MODULATION EFFECTS

Drum and Keygroup Program Improvements

Drum and Keygroup programs have been significantly reworked to add more features and improve the ergonomics of the editors. The Program Edit interface has been improved overall, and many new features have been added.

Sample Tail

Drum Programs now include a Tail Length and Tail Start parameters for adding extra audio tail to any chopped sample. This is useful for things like making an abrupt end to a sample sound more natural or adding experimental looping effects to a sample.

To adjust the tail of a sample:

  1. Load a Drum or Keygroup Program.
  2. Press Menu, and then tap Program Edit to open Program Edit mode.
  3. Tap the Samples tab to open the first page.
  4. Use the Tail Length parameter to enable the sample tail and set its length.
  5. Use the Tail Start parameter to set the starting point of the tail for looping. Set this to smaller values for delay effects, or longer values for more obvious looping effects.

DeepHouse-Kit-DH Kit 02/124 AO1 LAYER 1 Layer 2 Layer 3 Layer 4 Diphouse-Kid-2 0 21338 0 OFF 253 ms Pad -2 0 100% MPV TYPE MASTER SAMPLES ENVELOPES LFD MODULATIONS EFFECTS

Drum FX

You can now quickly add effects to samples in a Drum program by using the built-in Drum FX

To use the Drum FX:

  1. Load a Drum Program.
  2. Press Menu, and then tap Program Edit to open Program Edit mode.
  3. Tap the Effects tab twice to open the second page.

  4. There are eight available Drum FX slots, each with an adjustable parameter:

  5. Ring Mod

  6. Rectifier
  7. Bit Crush
  8. Bass Enhancer (Tight)
  9. Decimeter
  10. Bass Enhancer (Medium)
  11. Tube Drive
  12. Bass Enhancer (Wide)
  13. Soft Clipper
  14. Stereo Width
  15. Hard Clipper
  16. Wave Folder
  17. Low Pass
  18. Gain
  19. High Pass

DeepHouse-Kit-DH Kit 02 124 AO5 RingMod 10W BassE (Tight) 3.5W BitCrush 7.5W Decimator OFF TubeDrive 4.3 OFF HighPass OFF SoftClipper OFF Gain OFF MASTER SAMPLES ENVELOPES LFD MODULATIONS DRUM FN

  1. Use the Type dropdown menu to select the effect in each slot and turn each knob to adjust the selected effect parameter.

Randomization

Drum and Keygroup programs now have a Randomization section. You can use this section to add subtle variation to drum samples or keygroup programs by randomizing parameters.

To adjust the Randomization parameters:

  1. Load a Drum or Keygroup program.
  2. Press Menu, and then tap Program Edit to open Program Edit mode.
  3. Tap the Samples tab until you reach the fourth page.
  4. Use the knobs to adjust the available randomization parameters for each layer: Pitch, Level, Pan, Sample Offset, and Envelope (Attack, Decay, Cutoff, Resonance).

Use the Depth slider to control the amount of randomization applied overall.

DeepHouse-Kit-DH Kit 02.174 AOS LAYER MHz O OFFSET LEVEL1 RIN OUTPUT ALL APPROD MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MHz MATERIALS ENVELOPES LFD MODULATIONS EFFECTS

Other Enhancements

Drum and Keygroup programs now have adjustable curve parameters for each time stage.

Drum and Keygroup programs now have an adjustable Pitch envelope.

Drum and Keygroup programs now have Note-Off as an available option for the Sample Play triggering parameter.

Keygroup Programs now have Portamento, Time, Quantize, and Legato parameters that can be controlled through program automation. These can also be accessed in Program Edit mode in the Porta/Mod tab.

File Browser Enhancements

The MPC File Browser now supports recursive searching. When searching for files, enter a search term and by default MPC will search for files that match the search term in the current and all available subfolders. To disable this, click the Settings icon next to the Search bar and uncheck

You can now view the Size, Date Created, and Date Modified for each file in the File Browser. Tap the gear icon below the Search bar to open the Browser settings window, and then tap to enable the options you would like to view.

You can now order the File Browser by column type. Tap the column header to sort the files in ascending or descending order for the selected column.

You can now Filter the file list in the File Browser by Plugin Presets. Tap the plug icon in the filters list to show only plugin preset files.

You can now tap and drag samples in the Sample Assign tab to a drum pad. Hold Shift and tap and drag to add the sample to a specific layer on the pad, indicated by a red bar.

Key Detection

MPC now automatically calculates the key of melodic samples after being loaded.

To view the sample key, load a sample and open in it in Sample Edit or Program Edit modes.

Expanded CV Program Operation

You can now set CV programs to Melodic or Drum operation. Melodic CV programs behave the same as previous MPC versions. Drum CV programs can be used to configure any pad to output on any CV port.

To set the CV program type:

  1. Load a CV program.

  2. In the Program section of Main Mode, tap the Keys icon to select Melodic program, or tap the Pads icon to select Drum operation.

To edit the assignments of a Drum type CV program:

  1. After adding a CV Drum program, click Edit next to CV Map in the Program Inspector window.

  2. In the window that appears:

• Use the Pad field to select the pad to edit.
- Use the To Port field to select the CV port the pad will send data on.
- Use the Data Type field to select the type of data sent: Gate, Velocity, or Note.

1 Track 01 CV 001 MCV Last CV 1 Off CV 2 Off MOSO OF MELLO ADD POMFORM

ASSIGN PAD TO CV PORT A1 IO PORT GV 1 GV10 GAVTS GATE CLOSE

MIDI Program Renaming

You can now rename any control in a MIDI program. This lets you save the MIDI program with renamed parameters and use it in any MPC project.

To rename a MIDI control:

  1. Select a MIDI program.
  2. Press Menu, and then tap Program Edit to open Program Edit mode.
  3. Tap the Edit button at the top of the screen.
  4. Tap the MIDI Control dropdown menu to select the MIDI assignment for each control.
  5. Tap the pencil icon to edit the name of the selected control using the keyboard that appears.

MIDI 001 Effect 2 CC 9 Portamento Modulation CC 14 Pan Data Entry Breath CC 15 Expression Volume CC3 Undefined Gen Purpose 1 Effect 1 Balance Foot

MIDI Monitor

You can now monitor incoming MIDI messages using the built-in MIDI monitor.

To view incoming MIDI data, tap the MIDI In/Out icons in the Main Mode or Menu toolbar. The MIDI Monitor popup will display the last 10 MIDI messages sent or received.

Tap In to view incoming MIDI messages.

Tap Out to view outgoing MIDI messages.

Tap Clear to clear the monitor log.

Tap Close or the X to close the MIDI monitor and return to the previous page.

MIDI MONITOR INDEX TYPE PORT CH NOTE DETAIL 487 ✓: Pitchbend MPK mini 3 MI 1 23% (10101) 488 ✓: Control change 16 MPK mini 3 MI 1 Gen Purpose 1: 33 489 ✓: Control change 16 MPK mini 3 MI 1 Gen Purpose 1: 40 490 ✓: Pitchbend MPK mini 3 MI 1 0% (8192) 491 ✓: Control change 16 MPK mini 3 MI 1 Gen Purpose 1: 60 492 ✓: Note off MPK mini 3 MI 1 E3 Velocity 0% (0) 493 ✓: Control change 16 MPK mini 3 MI 1 Gen Purpose 1: 64 494 ✓: Note off MPK mini 3 MI 1 G3 Velocity 0% (0) 495 ✓: Control change 16 MPK mini 3 MI 1 Gen Purpose 1: 1 496 ✓: Control change 16 MPK mini 3 MI 1 Gen Purpose 1: 2 IN OUT CLEAR CLOSE

Undo History

You can now view your Undo History from your MPC hardware.

To view the Undo History window, open the Menu and tap the clock icon. The last 10 undoable (and redoable) actions you have performed will appear in this list in sequence. Each step is numbered in the # column. Each action is named in the Action column with additional information in the Detail column.

Tap the Undo button to undo the last action.

Tap the Redo button to redo the last action you undid.

The magenta action marker indicates the current "undo state" location—the last-performed action.

UNDO HISTORY ACTION DETAIL Change Event Selection 0 events Modify Events Add 1, remove 1 Modify Events Add 12, remove 12 Modify Events Add 8, remove 8 Modify Events Add 2, remove 2 Draw automation Draw automation Select Events (with Pointer) Modify Events Add 1, remove 1 UNDO REDO CLOSE

To undo or redo multiple actions at once, click and drag the action marker to the desired location in the list. The project will immediately revert to that state. Actions that can be redone (below the action marker) are grayed out.

Tap Close or the X to close the Undo History window and return to the previous page.

Updates in MPC 2.10.1

New Features

MPC Studio mk2 Support

MPC 2.10.1 adds support for the Akai Professional MPC Studio mk2 hardware. This hardware differs from other MPC hardware in this manual in that it acts primarily as a controller for the MPC software.

Updates in this manual will instruct you how to use your MPC Studio hardware to access various modes, parameters, and functions of the MPC software. To learn more about how to use the MPC software, consult the MPC software User Guide. This can be accessed by opening the MPC software, and then navigating in the menu to Help > MPC Help > MPC Software Manual.

For a breakdown of MPC Studio's controls, see Features > MPC Studio mk2.

Touch Strip and Touch FX

MPC now supports MPC Studio's touch strip control, which gives you expressive control over levels, notes, and more, including the new Touch FX insert effects. As you move your finger along the touch strip, the current position will determine the current value of the parameter.

To use the touch strip with MPC Studio:

  1. Press the Touch Strip button to enter Touch Strip mode selection.

  2. Press the Touch Strip button again repeatedly to cycle through the available Touch Strip modes as shown on MPC Studio's display:

  3. Touch FX

  4. Expression
  5. Notes
  6. Q-Link
  7. Pitch Bend
  8. Pad level
  9. Mod Wheel
  10. Program Level
  11. Sustain
  12. Project

You can also use the data dial or -/+ buttons to cycle through the modes while the Touch Strip button is activated. See below for more information on each mode.

  1. Press your finger on the touch strip and move it up and down as an expressive control for the selected parameter.
  2. Press and hold Shift and press the Touch Strip button to configure settings for each mode, if available. See below to learn more.

To load the Touch FX plugin from MPC hardware with a touchscreen:

  1. Tap an empty slot in the Inserts section of any channel strip.
  2. Double-tap an empty insert slot in the Effects window to open the list of plugin effects
  3. Tap the + or - button to expand the Harmonic category.
  4. Select the TouchFX plugin.
  5. Tap the pencil icon to open the plugin window, where you can adjust the plugin settings and use the virtual touch strip to control the effect.

Touch FX

Select this mode to use the touch strip as an expressive control for an effect parameter. The effect you control acts like an insert effect on the selected output.

To configure the Touch FX settings from MPC Studio:

  1. Press and hold Shift and press the Touch Strip button to open the Touch FX Setup window in the software.
  2. Use the Touch FX Destination field to select where the Touch FX should be applied. You can select the current Program, a Return, a Submix, or an Output. Click the Insert Touch FX button to add Touch FX to the selected destination.
  3. Once Touch FX has been inserted, you can press and hold Shift and press the Touch Strip button again to reopen the Touch FX Setup window in the software to configure additional settings:

Touch FX Preset: Use this field to select the desired effect for the touch strip. You can also use the data dial or -/+ buttons to cycle through the presets as shown on the display once Touch FX has been inserted to a destination. The specific parameters for each effect can be set by clicking the Touch FX Setup button at the bottom of the window.

Latch: Check this box to keep the current position on the touch strip even after you release it. The position will remain in place until you touch another part of the XY pad or until you uncheck Latch.

Touch > Wet/Dry: Check this box to use the touch strip to control the Wet/Dry amount in addition to the Assigned Parameter as set by clicking the Touch FX Setup button at the bottom of the window.

Wet/Dry: Use this slider to set the blend the original signal (dry) and the effect signal (wet).

Attack: Use this slider to set the length of the attack phase of the envelope, which is triggered when you make contact with the touch strip. In other words, this determines how long it takes the effect to fully respond to your touch.

Release: Use this slider to set length of the release phase of the envelope, which is triggered when you release the touch strip. In other words, this determines how long it takes the effect to fully deactivate after you release your finger from the touch strip.

Touch FX Setup: Click this button at the bottom of the window in the software to open the effect plugin setup window to change the parameters for the selected preset.

In this window, you can also use the Assigned Parameter field to select a preset parameter to be controlled by the touch strip. This can be separate from or in addition to controlling the Wet/Dry amount, depending on the Touch > Wet/Dry setting.

To close the Touch FX Setup window, click Close in the software, or press and hold Shift and press the Touch Strip button again.

TouchFX Bandpass INSERT 1 ON ASSIGNED PARAMETER (BF) Cutoff TOUCH VALUE 58.4% WET AMOUNT 100.0% TOUCH ATTACK 10.00 ms TOUCH RELEASE 205.67 ms BEAT Sync Filter CUTOFF 3437.15 Hz RESONANCE 0.50 MANUAL SPEED 1.00 Up DEPTH 50.0% MODE BandPass SHAPE Ramp Up SYNC SPEED 1/4

Use the controls on the left side of the Touch FX plugin window to adjust the settings for MPC Studio's Touch Strip control. For other hardware, you can control the Touch Strip by assigning it to a MIDI control or by using the virtual touch strip on the touchscreen.

Touch Strip: This strip represents the MPC Studio's touch strip control, and can also be controlled manually by clicking and dragging from the software, tapping and dragging from a hardware touchscreen, or by assigning it a MIDI control. Use this to control the selected Touch FX.

Touch Enable: Tap this box to enable touch control the currently selected Touch FX.

Assigned Parameter: Use this field to select a preset parameter to be controlled by the touch strip. This can be separate from or in addition to controlling the Wet/Dry amount, depending on the Touch > Wet/Dry setting.

Touch Value: Use this slider to control the value of the Assigned Parameter controlled by the touch strip.

Wet Amount: Use this slider to set the blend the original signal (dry) and the effect signal (wet).

Touch Value / Wet/Dry Lock: Tap the lock icon to use the touch strip to control the Wet/Dry amount in addition to the touch value of the Assigned Parameter.

Touch Attack: Use this slider to set the length of the attack phase of the envelope, which is triggered when you move the touch strip control.

Touch Release: Use this slider to set length of the release phase of the envelope, which is triggered when you release the touch strip control.

Use the controls on the right side of the Touch FX plugin window to select a Touch FX type and adjust its settings. You can also select from the included presets at the top of the window.

Manual Filter

The touch strip controls a static, multi-mode filter without modulation.

Parameter Value Range Default Value

Cutoff40.00–10000Hz
Resonance0.00–1.000.50
ModeLowPass,BandPass, HiPassLowPass

2530.C

Beat Sync Filter

The touch strip controls a multi-mode filter with its cutoff frequency modulated by an LFO, which can be synced to the project tempo.

Parameter Value Range Default Value

Cutoff40.00–10000Hz
Resonance0.00–1.000.50
Manual Speed Off, 0.10–50.00 Hz Off
Depth0.0–100.0%50.0%
ModeLowPass,BandPass, HiPassBandPass
Shape Ramp Up, RampDown, Triangle,Sine, Square,Random1,Random2Ramp Up
Sync Speed Off, 2 Bars, 1 Bar,1/2, 1/4, 1/4t, 1/8,1/8t, 1/16, 1/16t,1/32, 1/641/4

34737

Beat Sync Delay

The touch strip controls repeated instances of the original signal that decay over a period of time that is synced to the project tempo.

ParameterValueRangeDefaultValue
Cutoff40.00–10000Hz3052.90
Resonance0.00–1.000.50
Feedback-99.00 – 0.00 – 99.0049.50
Diffusion0.00–1.00%0.50%
ModeLowPass, BandPass, HiPassLowPass
Delay Time1 Bar, 1/2, 1/4, 1/4t, 1/8, 1/8t, 1/16, 1/16t, 1/32, 1/641/4
Delay ModeNormal, Cross- Feedback, Ping- PongNormal
Octave ModeOff, OnOff

Beat Repeat

The touch strip controls an effect that will slice and repeat the source audio according to a tempo-synced beat value.

ParameterValue RangeDefault Value
Cutoff40.00–10000 Hz2530.00 Hz
Resonance0.00–1.000.50
ModeLowPass,BandPass, HiPassLowPass
Delay Time1/4, 1/4t, 1/8, 1/8t,1/16, 1/16t, 1/32,1/641/4
ReverseOff, OnOff

Tape Stop

The touch strip controls a tape stop effect that emulates the slowing down of analog tape playback.

ParameterValueRangeDefaultValu
Cutoff40.00–10000Hz2530.00
Manual Stop Time1.00 – 4.00 s2.50 s
Sync Stop TimeOff, 1/4, 1/4t, 1/8, 1/8t, 1/16, 1/16t, 1/32, 1/64Off

Phaser

The touch strip controls a phaser 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 can be modulated by an LFO to create a sweeping sound.

ParameterValueRangeDefaultValu
Feedback0.0–100.0%100.0%
Manual Speed0.10–50.00 Hz Off
Sync SpeedOff, 2 Bars, 1 Bar, 1/2, 1/4, 1/4t, 1/8, 1/8t, 1/16, 1/16t, 1/32, 1/641/4

Comb Filter

The touch strip controls a comb filter, which creates "notches" in the frequency spectrum, similar to the phaser, by delaying the audio signal and adding it back to itself.

ParameterValueRangeDefaultValu
Feedback0.0–100.0%100.0%
Manual Speed0.10–50.00 HzOff
Sync SpeedOff, 2 Bars, 1 Bar, 1/2, 1/4, 1/4t, 1/8, 1/8t, 1/16, 1/16t, 1/32, 1/641/4

Washout

The touch strip controls an echo effect that is useful for creating transitions.

ParameterValueRangeDefault
Cutoff40.00–9000Hz
Resonance0.00–100.00%0.50%
Feedback0.00–100.00%0.50%
Diffusion0.0–10000.0%5000.0%
Delay Time1 Bar, 1/2, 1/4, 1/4t, 1/8, 1/8t, 1/16, 1/16t, 1/32, 1/641 Bar

Granulator

The touch strip controls a granulator effect, which turns your incoming audio into small grains of sound that can be looped, pitch-shifted, and manipulated.

ParameterValueRangeDefault
Density1.0–300.0 grains/sec150.0 grains/sec
Window Length20.0–1000.0 ms510.0 ms
Grain Length10.0–200.0ms105.0
Grain Feedback-99.00 – 0.00 – 99.000.0%
Pitch-12.0 – 0.0 – 12.0 semi0.0 semi
Stereo Spread0.0–100.0%0.0%

ms

Manual Flanger

The touch strip controls a flanger effect, a modulated delay that emulates the sound created when running two analog tape machines in parallel with a slight time misalignment.

ParameterValueRangeDefault
Frequency100.00–4000.00 Hz4000.00 Hz
Feedback0.0–100.0%100.0%

Notes

Select this mode to use the touch strip as a control for playing notes in the selected program.

To configure the Note settings, press and hold Shift and press the Touch Strip button to open the Touch Strip Notes Config window in the software.

Root Note: Use this field to set the desired root note of the scale.

Scale: Use this field to set the type of scale.

Octave: Use this field to set the starting octave of the root note.

Velocity: Use this field to set the velocity of the notes played with the touch strip.

Number of Notes: Use this field to set the number of notes covered by the length of the touch strip.

Pitch Bend

Select this mode to use the touch strip as you would a pitch wheel on a typical keyboard to control pitch bend.

To configure the Pitch Bend settings, press and hold Shift and press the Touch Strip button to open the Pitch Bend Settings window in the software.

Relative Mode: When checked, the center pitch is set wherever you first place your finger along the touch strip. When unchecked, the touch strip is fixed with the center being the unchanged noted.

Bend Up Range: Use this field to set the range of the pitch bend up in semitones.

Bend Down Range: Use this field to set the range of the pitch bend down in semitones.

Note: Pitch Bend ranges are only applied to MPC instruments and not to third-party plugins.

Global Pitch Bend: Check this box to override the pitch bend settings of all programs, so that those with pitch bend disabled or set to different ranges will only use the Global Range instead. When unchecked, all programs may use their individual pitch bend settings.

Mod Wheel

Select this mode to use the touch strip as you would a mod wheel on a typical keyboard to control the MIDI CC1 modulation control.

Sustain

Select this mode to use the touch strip as you would a sustain pedal on a typical keyboard to enable or disable note sustain. When enabled, notes will continue sounding until sustain is disabled.

Expression

Select this mode to use the touch strip as you would an external expression pedal to control the MIDI CC11 expression control.

Select this mode to use the touch strip as a Q-Link control as found on other MPC hardware.

To configure the Q-Link settings, press and hold Shift and press the Touch Strip button to open the Touch Strip Q-Link window in the software.

Q-Link: Use this field to select which Q-Link is controlled by the touch strip (1–16). You can also press one of the 16 pads to select that Q-Link while the Touch Strip Q-Link window is open in the software.

Pad Level

Select this mode to use the touch strip to control the current Pad Level.

Program Level

Select this mode to use the touch strip to control the current Program Level.

Project

Select this mode to assign a project parameter to the touch strip control.

To configure the Project settings, press and hold Shift and press the Touch Strip button to open the Touch Strip Project Mode Config window in the software.

Source: Use this field to select the location of the project parameter: MIDI Track, Audio Track, Program (and Pad), Return, Submix or Main (Output).

Parameter: Use this field to select a project parameter to control with the touch strip. The available parameters depend on the type of Source selected.

When the MIDI Track source is selected:

Off

Mixer: Volume, Pan, Mute, Solo

When the Audio Track source is selected:

Off

Mixer: Volume, Pan, Mute, Solo, Send 1–4

Insert 1–4: Other available parameters depending on the effect

When the Program source is selected, and a Program is selected:

Off

Mixer: Volume, Pan, Mute, Solo, Send 1–4

Program: Global Semi Tune, Global Fine Tune

Insert 1–4: Other available parameters depending on the effect

When the Program source is selected, and a Pad is selected:

Off

Mixer: Level, Pan, Pad Mute, Pad Solo, Send 1–4

Program:

Tuning Filter Env Decay Curve Layer Fine Tune (1–4) Layer Offset (1–4)
Filter Cutoff Filter Env Release Curve Velocity to Start Layer Loop Xfade (1–4)
Filter Resonance Pitch Env Attack Vel to Filter Attack Layer Loop Xfade Type (1–4)
Filter Env Amount Pitch Env Hold Velocity to Env Amount Layer Slice Tail Length (1–4)
Amp Env AttackPitch Env DecayVelocity to FilterLayer Slice Tail Start (1–4)
Amp Env DecayPitch Env SustainLFO to PitchLayer Pitch Random (1–4)
Amp Env ReleasePitch Env ReleaseLFO to FilterLayer Level Random (1–4)
Amp Env HoldPitch Env Decay ModeLFO to AmpLayer Pan Random (1–4)
Amp Env SustainPitch Env Attack CurveLFO to PanLayer Offset Random (1–4)
Filter Env AttackPitch Env Decay CurveLFO WaveAttack Random
Filter Env HoldPitch Env Release CurveLFO RateDecay Random
Filter Env DecayPitch Env DepthLFO SyncCutoff Random
Filter Env SustainPitch Env TypeVelocity to PitchResonance Random
Filter Env ReleaseDrumFX (1–8)Vel to Volume AttackTotal Random Amount
Amp Env Attack CurveDrumFX Type (1–8)Velocity to AmpLFO Level
Amp Env Decay CurveLayer Level (1–4)Velocity to PanLFO Delay
Amp Env Release CurveLayer Sample Pan (1–4)Layer Slice (1–4)LFO Fade In
Filter Env Attack CurveLayer Semi Tune (1–4)Layer Reverse (1–4)

Insert 1–4: Other available parameters depending on the effect

When the Return source is selected:

Off

Mixer: Volume, Pan, Mute

Insert 1–4: Other available parameters depending on the effect

When the Submix source is selected:

Off

Mixer: Volume, Pan, Mute, Send 1–4

Insert 1-4: Other available parameters depending on the effect

When the Main source is selected:

Off

Mixer: Volume, Pan, Mute

Insert 1-4: Other available parameters depending on the effect

Momentary: Check this box to turn momentary behavior on or off.

When on, moving your finger along the touch strip will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release your finger from the touch strip.

When off, moving your finger along the touch strip will adjust its parameter, and the parameter will remain at its new setting when you release your finger from the touch strip.

Note Repeat

You can also use the touch strip for Note Repeat control.

To enable Note Repeat, press and hold the Note Repeat button. You can then use the touch strip to control the rate of Note Repeat, as indicated by the LEDs next to the touch strip.

To latch Note Repeat, press and hold Shift and press the Note Repeat button. When latched, you do not have to keep your finger on the touch strip for Note Repeat to be activated.

Updates in MPC 2.11

New Features

MPC Key 61 Support

MPC 2.11 adds support for the Akai Professional MPC Key 61 hardware. For a breakdown of MPC Key 61's controls, see Features > MPC Key 61.

MPC Key 61 also includes a new Keyboard Control menu for customizing how its 61-key keypad is used.

To access Keyboard Control, press the Keyboard Control button on your MPC Key 61. You can then edit the following parameters.

Keyboard Input

Transpose: This determines the amount of transposition to the keyboard, up to 36 semitones up or down.

MIDI Channel: This determines which MIDI channel (1–16) the keyboard input will use to receive messages.

Aftertouch (Channel Pressure): This determines whether aftertouch is enabled (As Played) or not (Disable).

Note On Velocity: This determines the incoming velocity of note on messages. For velocity that is responsive to your playing, select As played. Alternatively, you can set a fixed velocity for all note on messages, at 12%, 18%, 25%, 31%, 37%, 43%, Half, 56%, 62%, 68%, 75%, 81%, 87%, 93% or Full velocity.

Scale Filter

Filter Input: This determines how specific notes are filtered. Select As Played to apply no filtering, Snap to Scale to shift non-scale notes played to the nearest scale degree, or Filter to Scale to disable non-scale notes from playing entirely.

Root Note: This determines the root note of the set scale.

Scale: This determines the type of scale used for note filtering. The available scales are:

Chromatic Pentatonic Minor Aeolian Hungarian Gypsy

Major Dorian Locrian Persian

Natural Minor Phrygian Blues Major Bebop

Harmonic Minor Lydian Flamenco Whole Tone

Pentatonic Major Mixolydian Gypsy

Internal Keyboard Routing

Keyboard Route: This determines where MIDI data from the keyboard is sent. Select from the following options:

Local Off: Keyboard MIDI data is only sent to the MIDI out. This may be useful if working with external sound modules.

Global: Keyboard MIDI data will always go to the current track.

Tracks: The Keyboard will appear as a port in the list of available track MIDI Inputs.

Global and Tracks: Keyboard MIDI data will go to the current track and be available as a track MIDI input.

External Keyboard Routing

MIDI Output Port: This determines the MIDI port where the keyboard will output MIDI externally.

Keyboard sends MIDI here: Check this box to send all MIDI from the keyboard to the selected MIDI Output port.

MIDI Channel: This determines which MIDI channel (1–16) the keyboard will use to send messages externally.

Minimum Note / Maximum Note: This determines the range of notes that will output MIDI externally.

Keyboard Settings

Velocity Response: This determines how playing the keys translates into velocity values. Select preset Light 1–3, Linear, or Heavy 1–3 responses, or select Custom to create your own response using the following settings:

Velocity Curve: Use this slider to adjust the velocity curve, from -50 to 0 to +50. At negative values, it takes more force to hit higher velocity values; at positive values, it takes less force.

Gain: Use this slider to apply additional gain to the velocity curve, from -20 to 0 to +20. Increasing the gain will make it easier to hit high velocity values, and decreasing it will make it harder.

Black Key Sensitivity: Use this slider to set the sensitivity of the keyboard's black keys, from -20 to 0 to +20.

White Key Sensitivity: Use this slider to set the sensitivity of the keyboard's white keys, from -20 to 0 to +20.

Pedal Settings

Pedal: This determines the pedal input port from MPC Key 61. Select Sustain, FS2, or Expression.

Type: This determines the pedal type, either Switch (on/off) or Variable (such as an expression pedal).

Polarity: This determines the polarity of the pedal input. Select Auto, Positive, or Negative. If you are having issues with your pedal, check the settings on your hardware or try adjusting this field for the correct behavior.

CC Assign: This is the MIDI CC assignment the pedal will send. Select Disable, Default (varies depending on the port used), or CC 000-126.

Pitch Bend / Mod Wheel

Pitch Bend: Use this field to select the MIDI function for the keyboard pitch wheel. Select Disable, Default - Pitch Bend, or CC 000-126.

Mod Wheel: Use this field to select the MIDI function for the keyboard modulation wheel. Select Disable, Default – CC 001: Modulation, or CC 000–126.

Global Pitch Bend Settings

Global Pitch Bend: Check this box to override the pitch bend settings of all programs, so that those with pitch bend disabled or set to different ranges will only use the Global Range instead. When unchecked, all programs may use their individual pitch bend settings.

Range Up/Range Down: Use these sliders to set the range of the pitch bend in semitones.

MPC Key 61 also includes touch strip and touch FX support.

To use the touch strip with MPC Key 61:

  1. Press the Touch Strip button to enter Touch Strip mode selection.
  2. Press the Touch Strip button again repeatedly to cycle through the available Touch Strip modes as shown on MPC Key 61's display:

- Notes

- Q-Link

- Pitch Bend

- Pad level

- Mod Wheel

- Program Level

- Sustain

- Project

- Expression

You can also press and hold the Touch Strip button and use the window that appears to select a mode.

  1. Press your finger on the touch strip and move it up and down as an expressive control for the selected parameter.
  2. Press and hold Shift and press the Touch Strip button to configure settings for each mode, if available.

To load the Touch FX plugin from MPC Key 61:

  1. Tap an empty slot in the Inserts section of any channel strip.
  2. Double-tap an empty insert slot in the Effects window to open the list of plugin effects
  3. Tap the + or - button to expand the Harmonic category.
  4. Select the TouchFX plugin.
  5. Tap the pencil icon to open the plugin window, where you can adjust the plugin settings.

Note: In standalone mode, starting an empty project will automatically place an instance of Touch FX on Outputs 1/2.

Alternatively, you can insert Touch FX into the channel strip from the Touch FX setup window (Shift+Touch FX).

To use Touch FX with MPC Key 61:

  1. If it is not already, press the Touch FX button to set the touch strip to Touch FX mode. Touch FX mode is the default mode for the MPC Key 61 touch strip.
  2. Press and hold Shift and press the Touch FX button to open the Touch FX setup window.
    Press the Touch FX Setup button at the bottom of the touchscreen to open the effect window.
  3. Once setup is complete, you can also press and hold the Touch FX button to quickly select one of the available effects linked above.

See Addenda > Updates in MPC 2.10.1 > New Features > Touch Strip and Touch FX for more information on the touch strip and touch FX modes.

Sounds and Favorites

MPC now includes two new menus for browsing included plugin instruments, the Sounds and Favorites menus.

INSTRUMENTS LOCATE PRESET 1 of 2 FABRIC VcPE OPx.4 TUBESYNTH STAGE PIANO STAGE EP Orgun STUDIO STRINGS ↑ odyssey ↓ solina Mellotron BASSLINE DRUMSYNTH FABRIC FABRIC PIANO FABRIC ELECTRIC PIANO Rich Swell SOUNDS SETLISTS TRACK KEY RANGES EDIT INSTRUMENT

To enter the Sounds and Favorites menus, do any of the following:

• In Main mode, select a plugin track and then tap the Sounds or Favorites buttons in the Program section.
- Press Menu, and then tap Sounds.
• Press Sounds (MPC Key 61).

When viewing either the Sounds or Favorites menu, you can swap to the other menu by tapping the first tab at the bottom of the touchscreen.

Tap the gear icon at the top of the screen to open the Sounds menu settings. Here, you can set the default Sounds menu view to be Instruments or the Current Preset.

Tap Locate Preset at the top of the touchscreen to open the preset list for the currently selected plugin instrument.

Tap Track -/+ to move to the previous or next track.

Tap the ← Instruments button to select another program type to search for using the Sounds interface. You can search for Drum, Plugin, Keygroup, Clip, MIDI, and CV program types in any factory expansions or user expansions on any attached drives. When browsing an expansion or user folder, tap a cell to load the selected program.

When searching for non-Plugin programs, you can also tap and hold on an empty space to set a preferred folder location for your saved programs.

DH Drums DH ... DH Baseline Future/Impulse-lnds-FH Series 2 DH ... DH Synth Future/Impulse-lnds-FH Synth DH ... DH ... SFX Track 08 Subsystem Rich Sows NEW TRACK DRUM SPLIT LEARN MIN LEARN MAX MUTE SOLO

Tap Key Ranges to set the MIDI key ranges for each track. This can allow you to play multiple instruments from one keyboard.

To add a new track, tap New Track, and then select the type of track to add.

To instantly adjust the key range for drum tracks, tap Drum Split. This will automatically set the key range to the first 16 notes of the keyboard to correspond with Pads 1–16. This is useful for using the MPC Key 61 to play melodic sounds on the keypad and drum sounds on the pads at the same time.

To adjust the key range, tap and drag from the ends of the blue bar for each track. Alternatively, tap Learn Min or Learn Max and then press a key on a connected keyboard to set that note as the min or max.

To mute the current track, tap Mute.

To solo the current track, tap Solo.

To view the channel strip for the current track, tap the eye icon on the left side of the touchscreen. See Operation > Modes > Main Mode for more information on using the channel strip.

Tap Edit Instrument at the bottom of the touchscreen to open Program Edit Mode to adjust the instrument parameters.

To save a preset as a favorite:

  1. Select the desired plugin and preset using the Sounds menu.
  2. Open the Favorites menu by tapping the bottom-left tab in the Sounds menu, or by tapping Favorites in the Plugin Program section of Main mode.
  3. Press and hold on an empty Favorites slot to save the preset in the selected slot.

To edit an existing Favorite slot, tap and hold on a filled Favorite slot. In the menu that appears:

  • Tap Clear to clear the slot.
  • Tap Overwrite to replace the favorite with the currently selected preset.

Performances

The Performances tab is available for MPC Key 61 users with an MPC Keys Performance expansion installed. Tap one of the slots to load a sample Performance project, which show off the layering and key split capabilities of MPC Key 61. Each performance project loads with a drum kit and multiple instruments mapped across the key range for fast experimentation.

Setlists

Use the Setlists tab to create a list of projects to easily recall, such as for a live performance.

To create a Setlist:

  1. Open the Setlist tab from the Sounds page.
  2. Tap and hold on an empty Setlist slot, and then tap Choose Project.
  3. In the file browser that appears, locate the project you would like to add and then tap Select to load it.

To edit an existing Setlist slot, tap and hold on a filled slot. In the menu that appears:

  • Tap Choose Project to select a different project for the same slot.
  • Tap Clear to empty the selected slot.
  • Tap Copy to copy the project to another slot. Then, tap and hold on an empty slot and tap Paste.

New Plugin Instruments

You can now purchase a range of new plugin instruments for use with MPC standalone, MPC desktop software, and other DAWs.

AIR OPX-4 is the brand-new four operator FM powerhouse, delivering the ultimate in FM synthesis sound shaping. The instrument includes:

  • Advance FM Synthesis: Four Operators, each capable of producing complex waveforms through feedback, formant shaping, FM filtering and FM shaping parameters.
    • Dual-mode filter path with 23 different filter types.
  • Six envelopes with tempo-synchronized looping.
  • Two LFOs and two Ramps.
  • Three insert effect slots and two global effect slots, with a huge library of 27 AIR effects including reverbs, delays, modulations, and distortions.
  • Modulation Matrix with 32 slots.
  • Sample layer for adding percussive attacks.
    • Over 670 factory presets included.

AIR Stage Piano is the brand-new flagship acoustic piano instrument. With an elegant interface, you can tweak the sound of each piano model to your taste by changing the dynamics, age, and formants of the piano timbre and adjust note release samples and sustain resonance to increase realism. From the depth and richness of a concert grand to the upright jazz feel of the most vibrant club, Stage Piano and its inspiration selection of carefully crafted presets are perfect for capturing the moment. The instrument includes:

  • Advanced acoustic piano sound engine
  • Up to six velocity layers.
    • Four multi-sampled acoustic pianos: Yamaha C7, Steinway D, Bechstein Upright, and Workstation.
  • Sympathetic resonance.
  • Hammer fall and staccato release layers.
    • Equal and stretched tunings.
  • Five built-in AIR effects: Flavor, Compressor, EQ, Delay, and Reverb.

AIR Stage EP is the brand-new flagship electric piano instrument, delivering the lush and rich sounds of the most desirable electric pianos at your fingertips. Stage EP includes five detailed electric piano models, including acoustic mechanics and an FM tine synth, to capturing the magic and warm smoothness of the originals, while also adding the full spectrum of modern and classic electronic sounds.

This instrument includes:

  • Advanced electric piano sound engine.
  • Up to twelve velocity layers.
  • Five multi-sampled electric pianos: Rhodes, Rhodes Hot, Suitcase, Wurlitzer, Pianet.
    • Acoustic and FM mechanics layer.
  • Seven built-in AIR effects: Chorus, Tremolo, Amp Sim, Compressor, EQ, Delay, and Reverb.

AIR Studio Strings is the brand-new orchestral strings instrument, bringing the rich and elegant sounds of orchestral, chamber, and solo strings inside your MPC. Create beautifully articulated masterpieces from a powerful sampled library featuring combined and individual strings, including Violin, Cello, Bass, and Viola.

This instrument includes:

  • Advanced four-part, sample-based string ensemble engine.
  • Orchestral, chamber, and solo sample sets.
  • Unique intelligent legato engine.
    • Four built-in AIR effects: Flavor, EQ, Delay, and Reverb.

AIR Organ is the brand-new organ instrument for MPC, delivering advanced drawbar organ additive synthesis for every musical occasion. With ten incredible tonewheel sets, all gathered from authentic vintage organs, and the award-winning rotary speaker simulation from AIR DB33, AIR Organ will bring you a rich, expressive experience in a stunning user interface.

This instrument includes:

  • Advanced drawbar organ additive synthesis engine.
    • 10 different drawbar models sampled from vintage organs.
  • Percussion layer and key click sounds.
  • Scanner vibrato.
    • Four built-in AIR effects: Rotary, EQ, Delay, and Reverb.

The Fabric Series includes four new plugin instruments: Fabric XL, Fabric, Fabric Piano, and Fabric Electric Piano.

Fabric XL is the brand-new flagship sample-based synthesizer from AIR Music Technology and delivers the ultimate sounds for all your production needs. Fabric XL brings a stunning collection of cutting-edge presets, including everything from twisted and dark motion pads, drone and sub-basses, acoustic and electric guitars, acoustic and electric pianos, classic poly and lead synths, and much more.

Fabric is almost identical to Fabric XL, but removes the largest sample keymaps to reserve less of your MPC's memory.

Fabric Piano and Fabric Electric Piano deliver the sonic characteristics of the flagship Stage Piano and Stage EP instruments, respectively, but in less CPU-intensive forms. Each includes a comprehensive set of editing features and built-in effects, such as the AIR Flavor effect for adding grit for a lo-fi sound.

Activating Instrument Plugins

If you have purchased an MPC instrument, you can activate it on up to three devices.

Note: Activation requires an internet connection.

To activate plugins:

  1. Open the Preferences menu by pressing Menu or tapping the icon in the upper-left corner of the screen, and then tapping the Preferences icon at the bottom of the screen.
  2. You will need a valid internet connection to activate your plugins, so if you are not already connected, use the Wi-Fi or Ethernet menus to select your network.
  3. Tap the Activate Plugins option on the left side of the screen.
  4. Tap the Log In button to log into your inMusic Profile. You can scan the QR code with a mobile device or open the URL shown on the page in a browser of your choice. If you do not already have an account, you will be prompted to create one.
  5. Once you have been logged in, you can try out plugin instruments through a free trial, or activate your purchases.

To start a trial, tap the Start Trial button next to the desired plugin.

To register a purchase, use the Enter Serial field to enter your serial number and then tap Register.

To refresh the page with your latest purchases or activations, tap Refresh.

To activate a plugin on your device, tap the Activate button next to its name. Tap Deactivate to remove the plugin activation from your device.

To download a purchase to your device, first tap the Change button at the bottom of the touchscreen to select a Content Download Drive. This can be a connected SATA drive, USB drive, or SD card. Then, tap the download icon to begin downloading the plugin to your drive. The download icon will change to show the installation progress. Once the process is complete, you can use your plugin with standalone MPC.

To log out of your account, tap Log Out.

Insert Effect Updates

MPC now includes two new AIR insert effects: AIR Amp Simulation and AIR Flavor.

AIR Amp Sim

This effect simulates guitar and bass amplifiers with a wide range of available cabinet models and tone shaping options.

ParameterValueRangeDefaultVal
Cab Model D.I., Brit, 1x8", 1x12", 4x10", 2x10", 2x12", 4x10", 4x12", 1x15" Bass, 4x10" Bass, Radio
Drive0.0-11.00.0
ModeMono,StereoStereo
Output -12.0 - 0.0 - +12.0 dB 0.0 dB
Soft Clip 0-100%0%
Top Boost0-100%0%
Bias0-100%0%
Bass-12.0 - 0.0 - +12.0 dB -12.0 dB
Mid-12.0 - 0.0 - +12.0 dB 0.0 dB
Mid Freq250 Hz - 4.00 kHz1.00 kHz
Treble-12.0 - 0.0 - +12.0 dB 0.0 dB

AIR Flavor

This effect applies EQ simulations of radios, phones, tape machines, and more to dramatically change the timbre of your sound.

Parameter Value Range Default Value

TimbreVariesNeutral
Timbre Depth0–100% 100%
Vinyl Distortion0–100% 0%
Vinyl Noise0–100% 0%
Flutter0–100%0%
Monofy

Additionally, the following improvements have been made to existing MPC plugins:

  • Rack FX presets have been updated to include presets that use the AIR Flavor and AIR Amp Sim effects.
  • The Akai Granulator effect now includes three new parameters for more control over the grains: Reverse, Shape, and Skew.
    • The AIR Vocal Tuner effect now includes a suite of factory presets.
    • The AIR Reverb effect now has an expanded range of factory presets.

You can now edit the order of MPC modes in the Menu.

MAIN MODE EDIT SVOC Off BATTERY 0% MIN 8% CPU 13% MAIN MODE PROGRAM EDIT SAMPLE EDIT STEP SEQUENCER BROWSER TRACK VIEW SAMPLER LOOPER PAD MIXER CHANNEL MIXER GRID VIEW PAD MUTE TRACK MUTE NEXT SEQUENCE SONG SOUNDS LIST EDIT Q-UNK EDIT MIDI CONTROL CONTROL XYFX NEW PROJECT SAVE PROJECT PREFERENCES

To edit the Menu appearance:

  1. Press Menu, or tap the icon in the upper-left corner of the screen while viewing any mode.
  2. Tap the Edit button at the top of the touchscreen, or press and hold Shift. The menu icons will now be outlined to indicate editing is enabled.
  3. Tap and drag the menu icons to your preferred location.

Mode icons placed in the left-most column will be available in the shortcuts panel in other modes.

The bottom row also serves as a shortcut area that by default lets you quickly create a new project, save projects or other MPC files, open the Project popup, and access Preferences.

The remaining sixteen modes in the main area of the Menu will also be available to select by pressing and holding Menu and tapping a pad according to your selected layout.

  1. To exit editing and commit your changes, tap the Edit button again, or release the Shift button.

To return the menu to the default order, press and hold Shift and then tap Reset at the top of the touchscreen.

To use the shortcuts panel, swipe the black touch handle to the right from the left edge of the touchscreen while viewing any mode. The five modes from the left-most column of the Menu can be accessed here.

To close the shortcuts panel, swipe the menu to the left, or select one of the modes.

Built-In Tuner

Standalone MPCs now include a built-in tuner function, allowing you to easily tune any connected audio sources such as guitars, basses, synth modules, and other pitched instruments.

TUNER A 109.8 Hz A-1 -2.6 ct Input Change Input 1.2 FREQUENCY OF A 440 CLOSE

To access the tuner:

  1. Open the Menu by pressing Menu, or tapping the icon in the upper-left corner of the screen while on the normal page of your current mode.
  2. Tap the tuning fork icon at the top of the touchscreen.
  3. In the window that appears:

• Use the Input Channel field to select the input for the instrument you would like to tune.
• Use the Frequency of A field to set the base tuning frequency.

  1. Play a note and use the indicator to adjust your instrument to the correct pitch.
  2. To close the tuner screen, tap Close, the X in the upper-right corner, or anywhere outside the window.

You can also access the tuner from the Sampler mode by tapping the tuning fork icon at the top of the touchscreen.

Note Probability and Note Ratchet

You can now add probability and create roll effects by adding ratchets to any note in the MPC sequencer. You can apply probability and ratchet from your MPC in Grid View or by using 16 Levels.

To apply probability or ratchet to a note in Grid View:

  1. Open Grid View.
  2. Tap the up arrow (∧) button in the lower-right corner to show the velocity/automation lane.
  3. Tap to select the current parameter (by default, Velocity), and then use the data dial or -/+ buttons to select Probability or Ratchet.
  4. Adjust the blue bars to alter the probability that the note will play, or the ratchet subdivisions for the selected notes. The subdivisions are shown as dotted lines on the original note.

You can also view and adjust the probability or ratchet information using the Step Sequencer. Select the desired note and then set the Step Sequencer Parameter to Probability or Ratchet. As the bars are adjusted, the current probability value (1–100%) or ratchet subdivision (Off, 2-8) will be shown in the Parameter field. The ratchet value will also be shown in the note on button beneath the accompanying slider.

To apply probability or ratchet using 16 Levels:

  1. Press the pad with the note where you would like to add probability or ratchet.
  2. Press the 16 Levels button to open the 16 Levels window.
  3. In the 16 Levels window, set the Type field to Probability or Ratchet.
  4. The 16 pads will now represent probability that the note will play from lowest to highest, or increasing ratchet subdivision values.

Note probability and ratchet values will also be saved and loaded as part of MPC pattern files (.mpcpattern).

Pad Perform and 16 Levels Enhancements

You can now use 16 Levels with all Pad Perform settings. Instead of producing an error message when 16 Levels is activated on a melodic program, 16 Levels will activate as follows:

  • For Pad Perform modes where a pad plays a single note (Chromatic, Notes, Custom), activating 16 Levels will apply to the current note.
  • For Pad Perform modes where there is more than one note per pad (Chords, Chromatic Chords, Progressions), activating 16 levels will apply to the root note of the current chord.
  • For melodic programs that are not keygroups, only Velocity, Probability, and Ratchet options are available for 16 Levels.

Five extra chord progressions have also been added to Pad Perform > Progressions.

Pad Perform mode also now supports user-created pad note maps by selecting the Custom type. After this option is selected in the Pad Perform mode window:

  1. Tap the Edit Note Map button to begin editing.
  2. Tap a pad or use the Pad field to select a pad.
  3. Use the MIDI Note field to set the desired note.
  4. When you are finished editing, tap Close, the X, or anywhere outside the window.

You can also choose from three presets: Chromatic C1, Chromatic C2, or Classic MPC.

PAD PERFORM CHORATIC NOTES CHORDS CAPROMATIC CHORDS PROGRESSORS CUSTOM G#1 A#1 B# E1 F1 F#1 G1 C1 C#1 D1 D# G#0 A0 A#0 B0 CHORATIC NOTES CHORDS PROGRESSORS OCTAVE

Track MIDI Perform Settings

The MPC Track View has been redesigned and you can now edit a MIDI track's MIDI perform settings, making it easier to control multiple tracks at the same time on the same controller.

To open the Track MIDI Perform Settings window:

  1. Open Track View by pressing Menu, and then tapping Track View.
  2. Tap the Filter button under Solo for the desired MIDI track.
  3. In the window that appears, you can adjust the following settings:

- Note Range: This determines the Note Min and Note Max range that passes MIDI. Notes outside this range will not be heard in the track. You can also adjust this directly from Track View by using the Keyrange fields. Tap Learn and press the desired note for the Min and Max values.

- Velocity Range: This determines the Velocity Min and Velocity Max that passes MIDI. Velocities outside this range will not be heard in the track.

- MIDI CC Filter: Check these boxes to allow the listed MIDI Control Change messages to pass through the track. When unchecked, the MIDI CC message type will be ignored by the track. You can filter the following MIDI CC messages:

CC1 ModulationCC65 Pmento (Portamento) On/Off
CC2 BreathCC66 Sost (Sostenuto) On/Off
CC3 UndefinedCC67 Soft Ped (Soft Pedal) On/Off
CC4 FootCC68 Legato Switch
CC5 PortamentoCC128 Pitchbend
CC7 VolumeCC130 Program Change
CC10 PanCC129 Channel Pressure
CC11 ExpressionCC131 Aftertouch
CC64 Sustain On/Off

MIDI Control Mode Updates

MIDI Control Mode now has two additional toolbar items:

  • Use the MIDI Output Port field to set where outgoing MIDI is sent without having to leave the MIDI Control Mode page. This is the same setting as found in Preferences > MIDI/Sync > Output Ports > MIDI Control Mode.
  • Tap the I/O icon to open the MIDI Monitor, where you can view incoming and outgoing MIDI messages.

Workflow Improvements and Enhancements

The AIR DrumSynth-Multi plugin instrument effect now has assignable mute groups. The accompanying factory presets have been updated to use them.

MPC now supports Ableton Link v3. Go to Preferences > MIDI / Sync > Sync Receive and enable the Ableton Start/Stop Sync parameter to sync the MPC transport with other Ableton Link devices.

A new setting has been added to Preferences > Hardware > General to set the Shift + Q-Link button behavior to either open the Q-Link Edit window or Cycle Backwards.

References to Master have been renamed Global or Main.

The Drum Program note map is now Chromatic starting from C1 by default.

The Project popup now has an Audition function key.

Arpeggiator settings and XYFX location are now saved and recalled with your MPC project.

In Program Edit mode, you can now tap the keyboard-plus icon at the top of the screen to quickly convert a drum sample to a new keygroup program.

The Slice assigned to a drum pad layer can now be automated.

Plugin instruments will now show a loading progress bar on the touchscreen for presets.

Changing an “unused” track’s program no longer makes it used.

When selecting the User Template option on the Demo screen, a popup now indicates where to set a template in the Preferences menu if one has not already been set.

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Product information

Brand : AKAI

Model : MPC Key 61

Category : Keyboard