Page 1 User Guide English Manual Version 2.0.8...
Page 2: Table Of Contents
Sample Editing ..........48 Touchscreen ........... 19 Recording Automation with the XY Pad ..50 Rear Panel ........... 20 Using MPC X or MPC Live as a Controller .. 51 MPC Touch ............21 Top Panel ............. 21 Touchscreen ........... 23...
Page 3 Time Counter/Locate ........77 Operation .............. 52 Timing Correct (TC) ........79 General Features ..........53 Metronome (Click/Metro) ......81 Control Types ..........53 Knobs ............. 53 Parameter Values ..........53 Automation ........... 82 Drop-Down Menus / Lists ........ 54 Global .............
Page 4 Browser ............231 Modes............. 105 Browse ............231 Sample Assign ..........233 Main Mode ..........106 Sequence Section ......... 111 Sampler ............234 Track Section ..........119 Sample ............237 Program Section ........... 125 Slice .............. 239 Pad Tap ............240 Grid View ...........
Page 5 Flangers ............. 298 Chorus ............299 Technical Specifications ....... 315 Autopans ............ 299 Tremolos ............ 300 MPC X ............315 Phasers ............300 HP (High-Pass) Filters ........ 301 MPC Live ............ 318 LP (Low-Pass) Filters ......... 302 Parametric EQs .......... 303 MPC Touch ..........
Page 6: Introduction
This user guide explains how to create music using MPC X, MPC Live, 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.
Page 7: Important Notes
Refer to the section for more information. Setup 1. Connection Here is just an example of how to use MPC X in your setup. Items not listed under Introduction > Box Contents of your included quickstart guide are sold separately. Headphones Footswitch...
Page 8: Installation
Click OK when you are done. Important: We highly recommend using your MPC hardware’s sound card (Akai Pro MPC X/Live/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.
Page 9: Features
34 35 37 38 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 later Touchscreen section to learn how to use some basic functions.
Page 10: Pad & Q-Link Controls
3. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field on the screen. 4. –/+: Press these buttons to increase or decrease the value of the selected field on the screen. 5.
Page 11: Mode & View Controls
16. 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 >...
Page 12: Transport & Recording Controls
32. Track Mute/Pad Mute: Press this button to view Track Mute Mode where you can easily mute tracks within a sequence or set mute groups for each track. Press and hold Shift and press this button to view Pad Mute Mode where you can easily mute pads within a program or set mute groups for each pad within a program.
Page 13: I/O & Level Controls
I/O & Level Controls 44. Gain 1/2: Use these knobs to adjust the gain of the incoming signal from Input 1/2 on the rear panel or Inst 1/2 on the front panel. Use the Rear/Front switches below the knobs to determine the input. Use the level meter to check the recording level.
Page 14: Touchscreen
Touchscreen Here is some general information about how to use the MPC X touchscreen: Tap a button or option to select it. Use the data dial or Double-tap a button to access advanced editing options. –/+ buttons to change its setting or value...
Page 15: Front Panel
4 5 6 1. SD Card Slot: Insert a standard SD/SDHC card into this slot to access its files directly using MPC X. 2. Footswitch Inputs (FS 1/2) (1/4” / 6.35 mm): Connect optional 1/4” (6.35 mm) TS footswitches to these inputs.
Page 16: Rear Panel
Rear Panel 1. Power Input: Use the included power adapter to connect MPC X to a power outlet. This must be connected to a power outlet in order for MPC X to power on. 2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging.
Page 17: Mpc Live
MPC Live Top Panel 11 12 13 14 15 16 20 21 1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Live’s current operation. Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the later Touchscreen section to learn how to use some basic functions.
Page 18 8. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (127), regardless of how much force you use. Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (64).
Page 19: Touchscreen
Touchscreen Here is some general information about how to use the MPC Live touchscreen: Tap a button or option to select it. Use the data dial or Double-tap a button to access advanced editing options. In some cases, this will show a numeric keypad that you –/+ buttons to change its setting or value can use to enter a value (an alternative to the data dial or –/+ buttons).
Page 20: Rear Panel
Rear Panel 13 13 13 1. Power Input: Use the included power adapter to connect MPC Live to a power outlet. 2. Power Switch: Turns MPC Live’s power on/off. 3. Charging Indicator: This light (behind the vent) will turn on when MPC Live’s internal battery is charging (when the power input is connected to a power outlet).
Page 21: Mpc Touch
MPC Touch Top Panel 12 13 14 15 16 17 21 22 1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Touch’s current operation. Touchscreen Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the later section to learn how to use some basic functions.
Page 22 9. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (127), regardless of how much force you use. Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (64).
Page 23: Touchscreen
Touchscreen Here is some general information about how to use the MPC Touch touchscreen: Tap a button or option to select it. Use the data dial or Double-tap a button to access advanced editing options. In some cases, this will show a numeric keypad that you –/+ buttons to change its setting or value can use to enter a value (an alternative to the data dial or –/+ buttons).
Page 24: Rear Panel
Rear Panel 1. Power Input: Use the included power adapter to connect MPC Touch to a power outlet. Alternatively, you can power MPC Touch via the USB port only, but the touchscreen will be disabled. 2. Power Switch: Turns MPC Touch’s power on/off. 3.
Page 25: Basic Concepts
Basic Concepts This chapter should help explain some fundamental aspects of the MPC universe. The MPC workflow is quite different from traditional digital audio workstations (DAWs). In most typical DAWs, each track uses an instance of each instrument, and all tracks are always playing even if they don’t contain any audio or MIDI information.
Page 26: Tutorial
MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
Page 27 To load a selected file, double-tap it, tap Load, or press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch). 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).
Page 28: Creating A Drum Sequence
Creating a Drum Sequence Now that your drum kit is set up, let’s record a drum sequence. 1. Press Menu to enter the Menu, and then tap Grid View. 2. Press Tap repeatedly at the speed you want to record your sequence. Your MPC hardware will detect the rate and adjust itself automatically.
Page 29: Saving & Renaming
Saving & Renaming We recommend doing some renaming of your programs and samples before going further. The collection of drum samples you loaded earlier (and their respective pad assignments) are arranged into a program. When you load this program in the future, you will be able to use all of the samples that belong to it. Let’s rename the exisiting program as we’ll want to create more programs later on.
Page 30 To enter a folder, double-tap it. Alternatively, turn the data dial or use the –/+ buttons to move through the list, and press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch) 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 Operation >...
Page 31: Editing Note Events
Editing Note Events In the grid, you can see your recorded notes (or note events) as a sequence. To enter the Grid View, press Menu, and then tap Grid View. In the Grid View, you can do any of the following: To zoom in or out, tap the magnifying-glass icon in the upper-right corner.
Page 32 To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See Operation > General Features > Timing Correct (TC) to learn about this. To adjust the velocity of the selected notes, tap Velocity at the bottom of the screen, and then use the data dial or –/+ buttons.
Page 33: 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). Press a pad to show its parameters on the screen.
Page 34 The snare drum may need some reverb to give it a more spatial sound. Tap Effects at bottom of the screen to view the Insert Effects tab. Press the pad with your snare drum sound to select it. To add an effect: 1.
Page 35: Creating A Bass Track
Creating a Bass Track Let’s try recording a bass line. Unlike a drum kit, it’s important to be able to play and record a bass sound chromatically, so this will be slightly different than setting up the drum kit. Adding a bass line over the drum part means we need to work on a new track. A track is simply a layer of a sequence. Each track uses a program within your project.
Page 36 Instead, press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X). 3. In Program Edit Mode, tap the Samples tab at the bottom of the screen to show the four layers of samples in the program.
Page 37 Let’s record that bass line now. Prepare your recording as described earlier, and record some bass notes. You can edit your recording just like we’ve done earlier. Once you’ve recorded it, let’s tweak the sound a bit in the Filter section: 1.
Page 38: Recording An Audio Track
8. Turn the 3/4 Rec Gain (MPC X) or Rec Vol (MPC Live, 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”...
Page 39: Creating A Song
To enter Song Mode, make sure playback is stopped, and then press Menu, and then tap Song to enter Song Mode. Alternatively, press Song (MPC X). In Song Mode, each of the sequences you’ve created in this project assigned to a pad. The sequence playlist is to the left of the pads, showing the song’s structure.
Page 40: Exporting The Song
Exporting the Song Want to share your new song? Just export it first. To export a song: 1. While in Song Mode, tap Export at the bottom of the screen. 2. In the Audio Mixdown screen that appears, do the following: •...
Page 41: Other Features Explained
To enter the Step Sequencer, press Menu, and then tap Step Sequencer. Alternatively, in some modes, you can tap the steps icon on the left edge of the screen. You can also press Step Seq (MPC X). 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.
Page 42: Drum Loops & Chop Mode
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.
Page 43 Let’s use this chopped sample to create a new program in which each of these slices is an individual sample. We can also automatically create corresponding note events to play back these slices sequentially. 1. Press and hold Shift and then tap Convert at the bottom of the screen to enter the Convert or Assign Slices window.
Page 44: Pad Muting & Track Muting
To enter Pad Mute Mode, press Menu, and then tap Pad Mute to enter Pad Mute Mode. Alternatively, press Shift+Track Mute/Pad Mute (MPC X). 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.
Page 45 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). 1. Press Play to play the sequence.
Page 46: Sampling (Recording)
Input 1,2. 3. Turn the 3/4 Rec Gain (MPC X) or Rec Vol (MPC Live, 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”...
Page 47 In the Keep or Discard Sample window: To name the new sample, tap the Edit Name field and use the virtual keyboard to enter a name. To assign the new sample to a program, tap the Program field, and then use the data dial or –/+ buttons to select the desired program.
Page 48: 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). In Sample Edit Mode: To switch between Trim Mode and Chop Mode, tap the Trim/Chop tab at the bottom of the screen.
Page 49 Let’s apply some processing to the sample. To open the Process Sample window, tap Process at the bottom of the screen. 1. Use the data dial or –/+ buttons to select the desired process in the Function field. Alternatively, tap Function or double-tap the Function field, and then tap the desired process.
Page 50: Recording Automation With The Xy Pad
10. When you are done recording, press Stop. 11. Tap the automation button or press Read/Write (MPC X) to select the green Read (R) option. This ensures your track uses the automation you just recorded when you play it back.
Page 51: Using Mpc X Or Mpc Live As A Controller
Using MPC X or MPC Live as a Controller If you are using the MPC software on your computer, you can switch MPC X or MPC Live into Controller Mode, allowing you to use it to control the software. MPC Touch already operates as a controller only.
Page 52: Operation
Looper). • MPC X: As an alternative to tapping a control on the screen to select it, you can use the cursors to navigate through the controls on the screen. The center cursor acts as an Enter key. •...
Page 53: General Features
• Double-tap the knob to show it in a larger screen. Alternatively, press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch) when the knob is selected. Tap and drag the larger version that appears, or use the data dial or –/+ buttons to adjust the value.
Page 54: Drop-Down Menus / Lists
Drop-Down Menus / Lists To select an option for a drop-down menu, do any of the following: • Tap the field to select it, and then use the data dial or –/+ buttons to select an option. • Double-tap the field. In the list that appears (examples below), tap the desired option. Alternatively, use the data dial or the –/+ buttons to select an option.
Page 55: Buttons
Buttons Buttons usually have two states: selected and deselected (active or inactive, respectively). Some may have more than two states. To switch between or cycle through a button’s states, do either of the following: • Tap it. • If it is outlined in red (and is not a mute button), use the data dial or –/+ buttons. Checkboxes Checkboxes have two states: checked and unchecked (enabled or disabled, respectively).
Page 56: Envelopes
Envelopes To set the stages of an envelope, do either of the following: Tip: Tap the expand-rectangle icon above the envelope to show a closeup view. • Tap and drag a “handle” of an envelope stage in the desired direction. •...
Page 57: Grid View Tools
Grid View Tools In the Grid View, these four icons enable you to use different functions in the grid. Tap one to select its mode: Pencil: Draw Mode: To enter a note in an empty grid square, tap the grid square. To select a note, tap it.
Page 58: Audio Edit Tools
Audio Edit Tools In Audio Edit Mode, these six tool icons enable you to use different functions in the waveform. Tap one to select its mode: Marquee: Marquee Mode: To select a track region, tap the upper third of it. To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.
Page 59: Programs
Plugin Programs for more information. Important: For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software. They are not available in Standalone Mode. A MIDI program lets you send your track’s MIDI data to an external MIDI device like a synth or drum MIDI Programs machine.
Page 60: Drum Programs
To load a sample into a drum program: 1. Press Browse (MPC X) or Shift+Menu/Browse (MPC Live, 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 Modes >...
Page 61 Alternatively, assign samples in a drum program in Program Edit Mode in one of these two ways: 1. Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X). 2. Tap the Samples tab. This lets you view the samples assigned to all four layers of the current pad as well as tuning and level parameters for each layer.
Page 62: Keygroup Programs
To assign samples in a keygroup program: 1. Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X). 2. Tap Samples. This lets you view the samples assigned to all four layers of the current keygroup as well as tuning and level parameters for each layer.
Page 63: Clip Programs
Clip Programs A clip program uses several samples that can be looped (clips). Each clip can be assigned to a pad, which you can press to trigger the clip according to a quantization setting. This lets you create intriguing, layered performances by launching different combinations of clips together.
Page 64 Alternatively, assign clips in a clip program this way: 1. Press Browse (MPC X) or Shift+Menu/Browse (MPC Live, 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.
Page 65: Plugin Programs
To adjust the volume and panning of a track using the plugin program: 1. Press Menu, and then tap Channel Mixer to enter the Channel Mixer. Alternatively, press Ch. Mixer (MPC X). 2. Double-tap the Mixer field in the upper-left corner, and then tap Midi Tracks.
Page 66: Midi Programs
To adjust the volume and panning of a track using the MIDI program: 1. Press Menu, and then tap Channel Mixer to enter the Channel Mixer. Alternatively, press Ch. Mixer (MPC X). 2. Double-tap the Mixer field in the upper-left corner, and then tap Midi Tracks.
Page 67: Cv Programs
CV Programs A CV program lets you send your control voltage (CV) signals to an external MIDI device like a synth or drum machine that uses CV. To create a CV program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the CV icon, which indicates a CV program. 3.
Page 68: Menu
Menu The Menu lets you select any of the 21 modes or save your project. On MPC X or MPC Live, you can also use it to set your preferences, switch between Standalone Mode and Controller Mode, or view your system resources.
Page 69: Save
To enter a folder, double-tap it. Alternatively, turn the data dial or use the –/+ buttons to move through the list, and press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch) to enter a folder. You can also tap one of the five folder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Modes >...
Page 70: Preferences
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 and MPC Live, the Preferences will appear differently in Controller Mode than in Standalone Mode. Some of the options described in this section may be available in only one of these modes or in a different order.
Page 71: Sync
Pad Threshold and Pad Sensitivity parameters (above). Footswitch 1 & Footswitch 2: These determine how connected footswitches will work. These options are available for MPC X only, not for MPC Live or MPC Touch, which do Applied not have footswitch inputs.
Page 72: Project Defaults
(i.e., the program used by the currently selected track and any other tracks that also use it). Date (MPC X & MPC Live only): This is the current date, formatted as Month / Day / Year. When saving files on MPC X or MPC Live in Standalone Mode, the file will include the current date in its metadata.
Page 73: Auto Load/Save
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 and MPC Live, this option is available only when using your MPC hardware in Controller Mode.)
Page 74: Bluetooth
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 and MPC Live, this option is available only when using your MPC hardware in Controller Mode.) Bluetooth The settings on this screen will determine how your MPC hardware’s Bluetooth connection works, so you can use...
Page 75: Wi-Fi
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 and MPC Live when used in Standalone Mode.
Page 76: System Resources
System Resources Tap one of these icons to show the System Resources window for MPC X or MPC Live. 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.
Page 77: Time Counter/Locate
Time Counter/Locate In most of the available modes, there is a time counter at the top of the screen. This indicates the current playhead position. To adjust the position, tap it, and then use the use the data dial or the –/+ buttons. To open the Locate screen and adjust its settings, double-tap the time counter.
Page 78 You can use this screen to set time markers, allowing you to jump automatically to precise locations in a sequence. You can set up to six time markers. To set a time marker, tap the time counter at the top of the screen, find the desired time, and then tap Set next to the desired time marker.
Page 79: Timing Correct (Tc)
Timing Correct (TC) The Timing Correct window contains various settings to help quantize the events in your sequence. You can quantize note events on MIDI tracks or track regions on audio tracks (though you cannot apply all types of quantization to audio tracks). To open the Timing Correct settings: In Main Mode or List Edit Mode: Tap the TC/clock icon at the top of the screen.
Page 80 Use the Time Division selector to set the quantization value. Events will “snap” to these time divisions on the grid. The T indicates a triplet-based value. Alternatively, press and hold Note Repeat while in Main Mode, and then use the six buttons at the bottom of the screen. Use the Swing field to set the amount of swing from 50% to 75%.
Page 81: Metronome (Click/Metro)
Use the Output field to set which pair of outputs will play the metronome click: Out 1,2–7,8 in Standalone Mode, Out 1,2–31,32 in Controller Mode (MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them).
Page 82: Automation
In the Channel Mixer, if you do not see a program automation button in the channel strip, make sure the Mixer field is set to Audio Tracks or Programs. Tap the program automation button or press Read/Write (MPC X) to cycle through its three states: When off, the program will ignore automation data. If you have already recorded or entered automation, tapping this will switch between Read (R) and Write (W) only, but you can override this and turn it off by pressing and holding Shift while pressing or tapping the button.
Page 83: 16 Level
16 Level Press the 16 Level button on your MPC hardware to activate or deactivate 16 Level. When first activated, the selected pad (Pad A01 by default) will be temporarily copied to all 16 pads. The pads will now output the same note number as the initial pad, but a selectable parameter will be fixed at values that increase as the pad numbers increase (e.g., Pad 1 is the minimum, Pad 16 is the maximum), regardless of how hard you press them.
Page 84: Erase
Erase The Erase function erases all or part of a track in a specific sequence. To open the Erase window, press the Erase button. Alternatively, while in Main Mode, tap the pencil icon on the right edge of the section, and then tap Erase in the screen that appears. To select the sequence you want to erase, use the Sequence field.
Page 85: Effects
Effects You can apply various effects to the pads, keygroups, audio tracks, programs, submixes, and master outputs, using insert and send/return effects. This chapter can help you get a good overall understanding of how the effects work. Appendix > Effects & Parameters for a list of all available effects (with a brief description of each) and their editable parameters.
Page 86 Type or Manufacturer in the lower-left corner. To load an effect, double-tap it. Alternatively, tap Select, or press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch). To cancel, tap Close or anywhere outside the list.
Page 87: Insert Effects
Insert Effects Pads You can load up to four insert effects to each pad. You can do this in Main Mode, the Pad Mixer, or Program Edit Mode. Tip: When using pad insert effects, they will be applied to the selected pad only. This means that you could apply unique combinations of effects to each pad within a program.
Page 88 To load a pad insert effect in the Pad Mixer: 1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at the top of the screen to select the desired track—the program it uses will be selected automatically. 2.
Page 89: Keygroups
Keygroups You can load up to four insert effects to each keygroup. You can do this in Main Mode, the Pad Mixer, or Program Edit Mode. Important: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.
Page 90 To load a keygroup insert effect in the Pad Mixer: 1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at the top of the screen to select the desired track—the program it uses will be selected automatically. 2.
Page 91: Audio Tracks
Audio Tracks You can load up to four insert effects to each audio track. You can do this in Main Mode and the Channel Mixer. To load an audio track insert effect in Main Mode: 1. When the Audio tab is selected (in the lower-left corner), use the Track field to select the audio track. 2.
Page 92: Programs
Programs You can load up to four insert effects to each program. You can do this in Main Mode, XYFX Mode, and the Channel Mixer. Note: In XYFX Mode, the effects act like a single insert effect on that program. In fact, XYFX is the name of the insert effect that is loaded when use this mode.
Page 93 To load XYFX for a program in XYFX Mode: 1. Select the desired program in another mode, and then enter XYFX Mode. 2. If you have not yet used XYFX Mode for this program, tap Insert XYFX on the screen to load it and show the XY pad.
Page 94: Submixes
Submixes You can load up to four insert effects to each submix. You can do this in the Channel Mixer only. Important: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software. To load a submix insert effect: 1.
Page 95: Masters
Masters You can load up to four insert effects to each master output (a stereo pair of channels: Outputs 1/2, Outputs 3/4, etc.). You can do this in Main Mode or the Channel Mixer. To load a master insert effect in Main Mode: 1.
Page 96: Send/Return Effects
Send/Return Effects Send/return effects work in the following way: 1. A pad, keygroup, audio track, program, or submix sends its audio to a return at a designated send level. 2. That audio is processed by the effects on the return. Each return can have up to four insert effects loaded and activated.
Page 97: Pads
Pads You can set the send levels for pads in Program Edit Mode or the Pad Mixer. To set the send levels for a pad in Program Edit Mode: 1. While editing the desired program in Program Edit Mode, press the desired pad to select it. 2.
Page 98: Keygroups
Keygroups You can set the send levels for keygroups in Program Edit Mode or the Pad Mixer. To set the send levels for a keygroup in Program Edit Mode: 1. While using the desired program, press the desired pad to select its keygroup. Alternatively, use the Keygroup field at the top of the screen.
Page 99: Audio Tracks
Audio Tracks You can set the send levels for audio tracks in the Channel Mixer only. To set the send levels for an audio track: 1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Audio Tracks. 2.
Page 100: Submixes
Submixes You can set the send levels for submixes in the Channel Mixer only. Important: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software. To set the send levels for a submix: 1.
Page 101: Audio Mixdown
Submix 1–8 or Out 1,2–31,32 in Controller Mode; MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them). The mixdown will be taken from these outputs. Check Separate Programs to create a mixdown of each program used in the sequence or song.
Page 102: Battery Usage
Battery Usage Important: Only MPC Live may use battery power. MPC X and MPC Touch must be connected to a power outlet. Although you can power MPC Live by from a power outlet (using the included power adapter), you can use its internal battery, which typically has four hours of life, depending on CPU and how you’re using MPC Live.
Page 103: Standalone Vs. Controller Mode
Standalone vs. Controller Mode MPC X and MPC Live can function in two ways: Standalone Mode and Controller Mode. (MPC Touch already operates as a controller only.) To enter Standalone Mode, do one of the following: • If MPC X or MPC Live is not connected to a computer, simply press the power switch to power it on.
Page 104 Live is connected to your computer. 2. On your computer, open the MPC software. 3. If MPC X or MPC Live is powered off, press the power switch to power it on. 4. If MPC X or MPC Live is currently in Standalone Mode, press Menu to enter the Menu, and then tap the MPC chip icon in the upper-right corner.
Page 105: Modes
Modes The MPC hardware has a Menu page that lets you select any one of several modes. This chapter describes the various features and functions of each one. Click a button below to skip directly to that chapter. Note: The Menu above is available when the currently selected track is a MIDI track. When an audio track is selected, it will show an icon for Audio Edit Mode instead of Grid View.
Page 106: Main Mode
Main Mode Main Mode gives you an overview of the most-used functions. To enter Main Mode, do one of the following: • Press Main. • Press Menu, and then tap Main. The top of the screen shows the project name and timing information. The Project field shows the name of the current project.
Page 107 The In and Out boxes indicate your MPC hardware is receiving or sending (respectively) MIDI messages from or to your computer. The time counter at the top of the screen the current playhead position. This is shown in most of the modes. See General Features >...
Page 108 On the left edge of the screen, next to the five mode icons, there are two small icons that control the channel strip. To show or hide the channel strip, tap the eye icon. The icon below the eye icon indicates the type of channel strip (see next description). The channel strip contains some important settings for the current pad, program, track, or master output, depending on the currently selected icon: To view the pad channel strip, tap the single-pad icon.
Page 109 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) to cycle through its three states: When off, the program will ignore automation data. If you have already...
Page 110 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.
Page 111: Sequence Section
Sequence Section The Sequence section shows the current sequence and its information. Use Sequence field to select a sequence. To edit the name of the sequence, tap the cursor icon on the right edge of the section, and use the virtual keyboard that appears. Use the BPM field to adjust the tempo of the sequence.
Page 112 To edit the sequence, tap the pencil icon on the right edge of the section. The Sequence Edit/Copy window will open. You can use any of these functions as described below, though there are fewer options for audio tracks than for MIDI tracks.
Page 113 The Erase function erases all or part of a track in a specific sequence. To select the sequence you want to erase, use the Sequence field. To select the track you want to erase within the sequence, use the Track field. To set the time range of the sequence you want to erase, use the Bar, Beat, and Tick fields.
Page 114 The Transpose function transposes a range of events on a track in a sequence. The events within that range will shift accordingly in the Grid View. This option is available for MIDI tracks only. To select the sequence you want to transpose, use the Sequence field.
Page 115 The Delete Bars function removes a range of bars from a sequence. To select the sequence whose bars you want to delete, use the Sequence field. To set the range of bars you want to delete, use the First Bar and Last Bar fields. The bar in each field and all bars in between them will be deleted.
Page 116 The Copy Sequence function copies the contents of one sequence to another. To select the “source” sequence, use the Copy Contents of Sequence field. This is the sequence whose events you want to copy. To select the “destination” sequence, use the Over Contents of Sequence field.
Page 117 The Copy Events function copies a range of events or selected audio track regions from a sequence and adds them to another at a specified point. To select the “source” sequence, use the From Sequence field. This is the sequence whose content you want to copy.
Page 118 Documents folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
Page 119: Track Section
To select a CV program, tap the CV icon. To select a plugin program, tap the plug icon. For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software.
Page 120 While using an audio track: Tap the Record Arm button to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track. Tip: You can select multiple tracks in the Track View by pressing and holding Shift while tapping the Arm button to each track.
Page 121 The Clear function erases all events from the track and resets all of its settings. To confirm your choice, tap Clear. To return to the previous screen, tap Cancel. The Explode function immediately splits the current track into multiple tracks—one for each distinct pad or note (pitch, not event).
Page 122 Documents folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
Page 123 While using audio tracks, you can use any of these functions as described below. To return to Main Mode, tap Cancel or the left arrow ( ) in the upper-left corner of the screen. Alternatively, press Main. To edit the name of the track, tap the top of the screen and use the virtual keyboard that appears. The Delete function erases the entire audio track.
Page 124 Documents folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
Page 125: Program Section
Program Section The Program section shows the current program. This section will appear differently depending on the type of program selected in the Track section above it. For all program types while using MIDI tracks, you can do the following: To edit the name of the program, tap the cursor icon on the right edge of the section.
Page 126 While viewing plugin programs, the Plugin Program field shows the name of the program. Important: For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software. 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.
Page 127 To edit the program, tap the pencil icon on the right edge of the section. The Program Edit/Copy window will open. You can use any of these functions as described below. To return to Main Mode, tap Cancel or the left arrow ( ) in the upper-left corner of the screen. Alternatively, press Main.
Page 128 The Duplicate to Track function immediately creates an identical program on a new track. The duplicate program will use the same name but appended with a number (e.g., Program 002). The new track will be named Track and appended with a number (e.g., Track 06). The Bounce to Sample function immediately renders all tracks that use that program (for the current sequence only) as an audio sample and places it in the project’s sample pool.
Page 129 Documents folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
Page 130: Grid View
Grid View The Grid View lets you view and edit the note events of each track of a sequence in a project and their velocities. This mode has two different appearances: one for drum programs and one for keygroup programs, MIDI programs, and plugin programs. For drum programs, the left column shows you all available pads in a vertical view with their corresponding data.
Page 131 In the Grid View, these four tool icons enable you to use different functions in the grid. Tap one to select its mode: Pencil: Draw Mode: To enter a note in an empty grid square, tap the grid square. To select a note, tap it. To move a note, tap and drag it to another grid square.
Page 132 The Settings window lets you configure certain Grid View settings. To view the Settings, tap the gear icon. Use the Hitting Pad Selects All Events selector to turn the feature on or off. When on, pressing a pad will automatically select all note events for that pad in the sequence on that track. When off, pressing a pad will simply play its sound without selecting any note events.
Page 133 Regardless of which tool is selected, you can do any of the following to move, lengthen, shorten, or transpose any selected note/notes. To automatically set the grid to view one pad bank and two bars, tap the grid-and-magnifying-glass icon in the lower-left corner.
Page 134 To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See General Features > Timing Correct (TC) to learn about this. To select a time division directly, double-tap the down arrow ( ) in the upper-left corner of the grid and select a time division.
Page 135: Audio Edit Mode
Audio Edit Mode Audio Edit Mode lets you view and edit the audio tracks of a sequence in a project. To enter Audio Edit Mode, press Menu, and then tap Audio Edit Mode. Note: The Audio Edit option is available when the currently selected track is an audio track. When a MIDI track is selected, it will show an icon for Grid View instead of Audio Edit Mode.
Page 136 When off, you will never hear any incoming audio. 6. Turn the 3/4 Rec Gain knob (MPC X) or Rec Vol knob (MPC Live, MPC Touch) 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”...
Page 137 The top of the screen shows the track name, sequence and timing information, and editing tools. Use the Track field to select which track of the current sequence you want to show in the grid. Use the Bars field to set the length of the sequence. The time counter at the top of the screen indicates the current playhead position.
Page 138 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.
Page 139 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).
Page 140 To record-enable the track, tap the Record Arm button or press Rec Arm (on MPC X when the track name is shown in the display strip below the level meters). When you begin audio recording, the audio signal will be recorded to this track.
Page 141 Copy or Cut. Turn the data dial to move the highlighted track region, and then press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch) to paste it at its current location. Alternatively, press and hold Shift, and then tap Paste (respectively).
Page 142 To reverse the selected track region, tap Reverse. To mute the selected track region, tap Mute. To lengthen or shorten the selected track region without changing its pitch, tap Warp, which will enable the Semi, Fine, and BPM fields next to it. Use the BPM field to change the tempo, which will change the length of the track region accordingly.
Page 143: Track View
Track View Track View gives you an overview of the tracks of each sequence. Use this mode to edit tracks and sequences simultaneously. To enter the Track View, do either of the following: • Press Shift+Main/Track. • Press Menu, and then tap Track View. Each horizontal strip represents a track in the current sequence.
Page 144 The Settings window lets you configure certain Track View settings. To view the Settings, tap the gear icon. Use the Show Unused Tracks selector to turn this feature on or off. When on, tracks with a sequence, program, etc. will still appear in the Track View. When off, only tracks with a sequence, program, etc. will appear. To open the Timing Correct settings, tap TC at the bottom of the screen.
Page 145: Midi Tracks
MIDI Tracks All MIDI tracks in the project are grouped together in the upper half of the Track View. To show or hide them, tap the arrow icon. Use the Program field to select the program that the track will use. Use the Length field to set how long the track is.
Page 146: Audio Tracks
Audio Tracks All audio tracks in the project are grouped together in the lower half of the Track View. To show or hide them, tap the arrow icon. Use the Input field to set the track’s input/inputs. Use the Arm button to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track.
Page 147: Step Sequencer
Press Menu, and then tap Step Sequencer. • Press Step Seq (MPC X). The top of the screen shows the track name and information as well as sequence and timing information. The Track field shows the name of the current track.
Page 148 Use the BPM field to adjust the tempo of the sequence. To set whether the sequence follows its own tempo (Seq) or a master tempo (Mst), tap the Seq/Mst button next to the BPM field. Alternatively, press Shift+Tap/Master. The time counter at the top of the screen indicates the current playhead position. This is shown in General Features >...
Page 149 To adjust the velocities of the steps, do either 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. Use the Nudge <...
Page 150 The third button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options: • Across the entire bar, the velocities will ascend to a peak and then descend from it. •...
Page 151: Xyfx Mode
• Press Menu, and then tap XYFX. • Press XYFX (MPC X). 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.
Page 152 Touch or move your finger on the gridded part of the screen. A marker will follow your finger to indicate the current position. The X axis is the horizontal axis, increasing in value as you move right. The Y axis is the vertical axis, increasing in value as you move up.
Page 153 XY Mode with a manually controlled effect. Use the Attack knob to set the length of the attack phase of the envelope, which is triggered when you touch the XY pad. In other words, this determines how long it takes the effect to fully respond to your touch. Use the Release knob to set the length of the release phase of the envelope, which is triggered when you release the XY pad.
Page 154: Sample Edit Mode
To enter Sample Edit Mode, do either of the following: • Press Menu, and then tap Sample Edit. • Press Sample Edit (MPC X). To select a sample to edit, do any of the following: • Use the Sample field at the top of the screen.
Page 155 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, MPC Touch). To scroll through the waveform, do either of the following: •...
Page 156: Settings
Settings The Settings window lets you configure certain Sample Edit Mode settings. To view the Settings, tap the gear icon. Use the Cue Play Mode selector to set how the cue playhead will play audio. One Shot: Tapping Play Cue will play the entire sample from the cue playhead. Toggle: Tapping Play Cue once will start playback from cue playhead.
Page 157: Trim Mode
Trim Mode We recommend using Trim Mode to crop the start and/or ends from a sample. To enter Trim Mode, tap the Trim/Chop button in the lower-left corner so it says Trim. 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.
Page 158 Use your MPC hardware pads to play certain parts of the selected sample: Play to Loop Play from Play Loop Play Loop Start Loop Start Continuous Play Sample Play Sample Play All No function (One Shot) (Note On) Play from Play to Play to Play from...
Page 159 Use the Tune field to transpose the sample up or down from its original pitch. Tap From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence. Use the Beats field to match the number of beats in the sequence. To tune the sample to the sequence, tap Match.
Page 160 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, MPC Touch). When Link Slices is enabled (after you have created slices in Chop Mode), changing the start point of a slice will also change the end point of the previous slice.
Page 161: Assigning Samples
Assigning Samples You can assign your new sample directly to a pad from Trim Mode. To assign a sample, tap Assign at the bottom of the screen to open the Assign Sample window. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample.
Page 162 If you set the Assign To field to Make new sample, this will create a new sample in your project. (The original sample will remain as it is.) Use the Pad field to select the desired pad. Alternatively, press the desired pad. Check the Crop Sample box to delete the unused parts from the sample when it’s created and assigned.
Page 163: Processing Slices & Samples
Processing Slices & Samples Tap the Process button to open the Process window, where you can select an editing option for the sample. Use the Function field to select an editing process. Double-tap it or tap Function at the bottom of the screen to open the Function window, which displays an overview of all available editing processes.
Page 164 The Delete process deletes the region between the start point and end point and closes the gap between them. The Silence process replaces the region between the start point and end point with silence. The Extract process deletes the regions before the start point and after the end point and saves it as a new sample in your current project.
Page 165 The Reverse process reverses the region between the start point and end point. The Fade In process sets a fade-in between the start point and end point. The following types are available: Linear fades the audio in with a linear curve—a straight line between the start and end.
Page 166 The Time Stretch process lengthens or shortens the sample without changing its pitch. This is useful for matching the durations of two samples with different pitches. You can enter the original tempo of the sample and the desired tempo after processing. Use the Beat field to set the desired value number of beats.
Page 167 The Bit Reduce process lowers the bit resolution of a sample, effectively reducing degree faithful reproduction. You can reduce it down to 1 bit. (The sound is similar to the Resampler effect, but Bit Reduce will permanently alter the sample.) Tip: Use this on drum loops to get a dirty, “old-school”...
Page 168: Chop Mode
X) or the third Q-Link knob in the third column (MPC Live, MPC 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, MPC Touch). The slice markers will be placed according...
Page 169 • 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, MPC Touch). • When the headphones icon (in the upper-right corner) is selected, tap a slice in the waveform.
Page 170 When Link Slices is enabled, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable Link Slices if you are trying to create slices that use non-contiguous parts of the sample.
Page 171: Converting Or Assigning Slices
Converting or Assigning Slices You can assign your new sample directly to a pad from Chop Mode. You can also convert it into a new program or patched phrase. To convert or assign a sample, press and hold Shift, and then tap Convert at the bottom of the screen to open the Convert or Assign Slices window.
Page 172 If you set the Convert To field to New clip program, this will create a new clip program and assign the sample’s slices to its pads as clips. The pads will simply refer to the slices in this sample instead of creating new samples. This is useful for reducing clutter in your project.
Page 173 If you set the Convert To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.
Page 174: Processing Slices
If you set the Convert To field to Patched phrase, this will create a new sample that will play based on the tempo of your Sequence, and places it in the current project. The patched phrase will have the same name as the original sample but appended with pp and will use a different icon when viewing your project information.
Page 175 The Silence process replaces the region between the start point and end point with silence. The Extract process deletes the regions before the start point and after the end point and saves it as a new sample (with a name you enter) in your current project. Tip: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc.
Page 176 The Fade In process sets a fade-in between the start point and end point. The following types are available: Linear fades the audio in with a linear curve—a straight line between the start and end. Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end.
Page 177: Program Mode
Program Mode Program Mode lets you edit a sample in the context of the program in which you’ll use it. You can adjust the pad parameters as though you were in Program Edit Mode, auditioning and hearing how it will sound in the program’s audio path.
Page 178 Tap each pad to hear its sample/samples. The sample on its first layer will automatically appear in the waveform display for editing. Use the Tune field to transpose the sample up or down from its original pitch. Tap From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence. Use the Number of Beats field to match the number of beats in the sequence.
Page 179 The Link Slices button does not have a function in Program Mode. 0 Snap forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This can help to avoid clicks and glitches when playing a sample. To enable or disable 0 Snap, press and hold Shift, and then tap 0 Snap at the bottom of the screen.
Page 180: Assigning Samples
Assigning Samples You can assign your new sample directly to a pad from Program Mode. To assign a sample, tap Assign at the bottom of the screen to open the Assign Sample window. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample.
Page 181: Processing Slices
Processing Slices Press and hold Shift, and then tap the Process button to open the Process window, where you can select an editing option for the currently selected slice. (This has fewer options than Trim Mode. Unavailable ones are darkened.) Use the Function field to select an editing process.
Page 182 The Silence process replaces the region between the start point and end point with silence. The Extract process deletes the regions before the start point and after the end point and saves it as a new sample (with a name you enter) in your current project. Tip: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc.
Page 183 The Fade In process sets a fade-in between the start point and end point. The following types are available: Linear fades the audio in with a linear curve—a straight line between the start and end. Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end.
Page 184: Program Edit Mode
Clip Programs section to learn more. For plugin programs, skip to Plugin Programs to learn more. For MPC X and MPC Live, these are available only while in Controller Mode. For MIDI programs and CV programs, skip to MIDI Programs CV Programs to learn more.
Page 185 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.
Page 186 Tap the down-arrow icon at the top of the screen (next to the Program field) to open the Flatten Pad window, which renders all samples on a pad as an audio sample and places it on the first layer of that pad. The resulting sample is the audio signal produced by that pad at full velocity (127) after the pad channel strip, which means that it includes any assigned pad insert effects and the results of warping the sample.
Page 187: Master
Master In the Master tab, you can set the playback mode and tuning for the overall Program. Polyphony sets the playback mode for the program’s pads. In Mono Mode, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute all other currently playing pads in that program.
Page 188: Samples
Samples Each pad can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters. Tap Samples to cycle through its three available tabs. On all three sections, you can access the Settings window, which lets you configure certain settings in the Samples tab. To view the Settings, tap the gear icon.
Page 189 The first Samples tab contains the sample waveform for each layer and controls for its pitch, timing, and playback. The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls.
Page 190 The green/S marker and red/E marker are the start point and end point (respectively). These two points define the region of the sample that will be played. To move the start point or end point, do any of the following: •...
Page 191 Use the Reverse button to select in which direction the sample will play. When on, the sample will play in reverse. When off, the sample will play in the normal forward direction. Use the Pad Loop button to cycle through the available Pad Loop modes. Important: For Pad Loop to work, you must (1) set the Sample Play field (in the LFO Modulation tab) to Note On instead of One Shot and (2) set the Slice field (in the first Samples tab) to Pad instead of All or a slice number.
Page 192 Tap Warp to enable or disable warping of the sample. When enabled, lengthening or shortening the sample (based on the BPM) will not change its pitch. When disabled, lengthening or shortening the sample will also change its pitch and vice versa. Use the Stretch field to set the “stretch factor,”...
Page 193 The second Samples tab contains controls for its pitch and volume level. Semi lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi field on the first Samples tab. Fine provides fine-tuning of each layer by cents.
Page 194 The third Samples tab contains the control for its offset. Use the Offset slider to determine a time offset for the sample’s playback. Positive values (right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value.
Page 195: Pan Velocity
Pan Velocity Use the pan knob to adjust the stereo placement of the respective layer. 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 respectve pad while, for example, a range from 100 to 127 lets the layer respond only to higher velocity levels.
Page 196: Filter Envelope
Filter Envelope Use the Type field to select a filter for the selected pad. See Appendix > Glossary > Filter for an explanation of the available filter types. Use the Cutoff knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency for band-pass and band-stop filter types.
Page 197: Lfo Modulation
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 Env knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.
Page 198 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.
Page 199: Effects
Effects Inserts General Features > You can select up to four insert effects for each pad. To learn how to use insert effects, please see Effects > Insert Effects. To add an effect: 1. Double-tap the desired Inserts slot. A list of effects will appear. 2.
Page 200 To adjust the effect’s parameters, tap the pencil icon. Use the sliders to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global. Sends The audio of the pad will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned master output at the designated return levels.
Page 201: Keygroup Programs
Keygroup Programs When using keygroup programs, Program Edit Mode lets you edit the parameters for each keygroup. To select a keygroup, press a pad within that keygroup. Its parameters will appear on the screen immediately. Alternatively, use the Keygroup field at the top of the screen. To view a specific tab of parameters, tap the Master, Samples, Pan Velocity, Filter Env, LFO Modulation, or Effects button at the bottom of the screen.
Page 202: Master
Master In the Master tab, you can set the playback mode and tuning for the overall program. Polyphony sets the playback mode for the program’s keygroups. In Mono Mode, only one keygroup will sound at a time. If a keygroup is played while another (or the same one) is still playing its sample/samples, the new keygroup will immediately mute all other currently playing keygroups in that program.
Page 203 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. Note Range lets you restrict the key range used for a sample’s playback. Only notes with a key number higher or equal (Lo) or lower and equal (Hi) to the selected value will trigger a sound.
Page 204 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. •...
Page 205: Samples
Samples Each keygroup can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters. Tap Samples to cycle through its three available tabs. On all three sections, you can access the Settings window, which lets you configure certain settings in the Samples tab. To view the Settings, tap the gear icon.
Page 206 The first Samples tab contains the sample waveform for each layer and controls for its pitch, timing, and playback. The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls.
Page 207 The green/S marker and red/E marker are the start point and end point (respectively). These two points define the region of the sample that will be played. To move the start point or end point, do any of the following: •...
Page 208 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 Master tab) to Note On instead of One Shot and (2) set the Slice field (in the first Samples tab) to Pad instead of All or a slice number.
Page 209 The second Samples tab contains controls for its pitch and volume level. Semi lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if Warp is off).This is the same as the Semi field on the first Samples tab. Fine provides fine-tuning of each layer by cents.
Page 210 The third Samples tab contains the control for its offset. Use the Offset slider to determine a time offset for the sample’s playback. Positive values (right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value.
Page 211: Pan Velocity
Pan Velocity Use the Pan knob to adjust the stereo placement of the respective layer. 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.
Page 212: Filter Envelope
Filter Envelope Use the Type field to select a filter for the selected pad. See Appendix > Glossary > Filter for an explanation of the available filter types. Use the Cutoff knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency for band-pass and band-stop filter types.
Page 213: Lfo Modulation
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 Env knob. See Anatomy of an Envelope to learn about the envelope parameters.
Page 214 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 .
Page 215: Effects
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.
Page 216 To adjust the effect’s parameters, tap the pencil icon. Use the sliders to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global. Sends The audio of the 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 master output at the designated return levels.
Page 217: Clip Programs
Clip Programs When using clip programs, Program Edit Mode lets you assign a sample (a loop called a clip) to each pad in a single bank. You can also edit various settings to determine how each pad launches its assigned clip. To select a pad, press it.
Page 218 General Features The automation button indicates the global automation state. This is shown in several modes. See > Automation to learn about this. The Settings window lets you configure certain Audio Edit Mode settings. To view the Settings, tap the gear icon. Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead while viewing the Pad tab.
Page 219: Program
Program This tab is where you can assign clips to each pad and adjust the program’s overall tuning and quantization. To assign a sample to a pad, press or tap a pad to select it (it will play its assigned samples, if any). Tap the Sample field, and then use the data dial or –/+ buttons to select a clip.
Page 220: Pad
The upper half of the screen shows the clip waveform. The lower half shows the editing controls. The waveform display shows the “active” section of the clip waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in bars, beats, and ticks. The green marker and red marker are the start point and end point (respectively).
Page 221 Below is a brief step-by-step process so you can get familiar with setting up a clip. Continue reading the rest of this chapter to learn how to use the parameters in this window. To assign and edit a clip: 1. Assign a sample to a pad using the Program tab (described earlier).
Page 222 Tap Warp to lengthen or shorten the clip without changing its pitch, and use the BPM field to change the tempo. Use the Coarse and Fine sliders if you want to change the pitch. Use the Pad Play field to determine how the clip is played. One Shot: When you press the pad, the entire clip will play from start to end and then stop.
Page 223: Plugin Programs
For plugin programs, you will see an overview of all available plugin parameters with a slider for each. Important: For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software.
Page 224: Midi Programs
MIDI Programs For MIDI programs, you will see an overview of all available MIDI CCs with a slider for each. Use the sliders to set the value of each parameter. Use the six tabs at the bottom of the screen to access the available parameters. To assign a parameter to one of the sliders, use the MPC software.
Page 225: Cv Programs
CV Programs For CV programs, you will see an overview of all available CV outputs with a slider for each. General Features > The automation button indicates the global automation state. This is shown in several modes. See Automation to learn about this. Use the sliders to set the value of each parameter.
Page 226: Anatomy Of An Envelope
Anatomy of an Envelope An envelope creates a variable control signal. It can be used, for instance, to modulate the filter settings of a sound over a given period of time. For drum programs, use the AD/AHDS selector to select an AD or AHDS envelope. When Sample Play is set to Note-On, it will use an ADSR envelope.
Page 227: List Edit Mode
List Edit Mode List Edit Mode has some of the features of the Grid View—as well as some additional ones—but with a different interface/workflow. The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes.
Page 228 The Settings window lets you configure certain List Edit Mode settings. To view the Settings, tap the gear icon. Use the Hitting Pad Selects All Events selector to turn the feature on or off. When on, pressing a pad will automatically select all note events for that pad in the sequence on that track.
Page 229 The red arrow ( ) on the left side of the list represents the audio playhead’s current position. If your sequence is playing, the arrow will move accordingly. The following icons indicate the corresponding types of events: Note Track Mixer Automation (Volume, Pan, Mute, Solo) Track MIDI CC Automation (0–127) Track Parameter Automation (Aftertouch, Pitchbend, Channel Pressure, or Program Change) Program Mixer Automation (Volume, Pan, Mute, Solo, or Send 1–4)
Page 230 To select an event, tap it. To select multiple events, press and hold Shift and tap each event. To insert a note event, press Rec or Overdub so the button is lit, and then press a pad. A note event will be created at the current location using the pad you pressed.
Page 231: Browser
MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
Page 232 To enter a folder, double-tap it or tap Open in the lower-right corner. Alternatively, press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch) 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...
Page 233: Sample Assign
Alternatively, use the data dial or –/+ buttons to select a sample, and press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch) to assign it. 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...
Page 234: Sampler
2. Connect a synthesizer or other line-level audio source to the input/inputs of your MPC hardware. 3. Turn the 3/4 Rec Gain (MPC X) or Rec Vol (MPC Live, MPC Touch) knob to set the input level while playing your audio source.
Page 235 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 Touch). When the Sampler is record-armed, it automatically starts recording when the level of the incoming source exceeds this setting.
Page 236 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 Touch): Minutes and Seconds.
Page 237: Sample
Sample Using this method, you can insert slice markers directly in your sample as you record it. Slice markers divide the sample into multiple regions called slices, which you can adjust in the Chop Mode of Sample Edit Mode (see Sample Edit Mode >...
Page 238 After you stop your recording, the Keep or Discard Sample window will appear. Use the Edit Name field to name the new sample. Tap it and use the virtual keyboard that appears. Use the Program field to assign the new sample to a program. Select <none> if you want to save it to the project without assigning it to a program.
Page 239: Slice
Slice Using this method, the pads correspond to slices of the currently recorded sample. Slice markers divide the sample into multiple regions called slices, which you can adjust in the Chop Mode of Sample Edit Mode (see Sample Edit Mode > Chop Mode for more information).
Page 240: Pad Tap
Use the Create New Program field to assign the new sample to a new program: Off: No program will be created. The slices will still be added to your project’s sample pool. With Non-Destructive Slices: In the new program, each pad’s Slice setting will be set to the corresponding Sample Edit slice number.
Page 241: Pad Hold
Pad Hold Important: This mode works for drum programs only; you must select a drum program before using this mode. Otherwise, this feature will not do anything, even though it may appear to work. With this method, pressing and holding a pad immediately starts or continues recording directly to that pad (make sure you are using the desired program before you start recording).
Page 242: Looper
2. Connect a synthesizer, audio player, etc. to the input/inputs of your MPC hardware. 3. Turn the 3/4 Rec Gain (MPC X) or Rec Vol (MPC Live, 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”...
Page 243 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 Touch). The threshold slider will work only when Sync is off (see below).
Page 244 Use the Bars field to define the length of your loop. Regardless of how much or how little audio you record, this is how long your loop will be. Use the Sync button to sync or un-sync the looper with sequence playback.
Page 245 To record with the Looper: Important: To record without erasing any audio you’ve already recorded in the loop, use the Overdub button. To overwrite the audio you’ve already recorded, use the Replace button. If Record To is set to Play: To start recording, tap the Replace or Overdub button as the loop is playing.
Page 246 To export the loop as a sample: 1. Tap Export to open the Export Loop as a Sample window. 2. Tap the Edit Name field and use the virtual keyboard that appears to enter a new name. 3. Optional: Use the Program field to assign it directly to a program. To ignore this feature, select <none>. 4.
Page 247: Pad Mixer
Press Menu, and then tap Pad Mixer. • Press Pad Mixer (MPC X). 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.
Page 248 Use the Program field in the upper-left corner to select the program whose pads you want to view. Remember that only drum programs, keygroup programs, or clip programs will display properly in the Pad Mixer. Use the Track field at the top of the screen to select the desired track. The time counter in the upper-right corner the current playhead position.
Page 249: Levels
Levels When the Level tab is selected, use the data dial or –/+ buttons to adjust the level of the currently selected pad. The level sliders and meters in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the level slider and meter.
Page 250: Mute
Mute When the Mute tab is selected, mute the currently selected pad by doing any of the following: • Turn the data dial. • Use the –/+ buttons. • Tap the pad on the screen. When a pad is muted, its M button will light red. Send Effects When the Send tab is selected, use the data dial or –/+ buttons to adjust the send level of the currently selected pad.
Page 251: Insert Effects
Insert Effects When the Insert tab is selected, use the data dial or –/+ buttons to open a window where you can select an effect for the currently selected pad. Instead of level sliders, there are fields that display 0–4 boxes to indicate which insert slots have a loaded effect. The level meters in each pad show a visual representation of the level.
Page 252: Channel Mixer
Press Menu, and then tap Channel Mixer. • Press Ch. Mixer (MPC X). 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.
Page 253 When Mute is selected, mute tracks, programs, returns, submixes, or masters by doing any of the following: • Turn or press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch). • Use the –/+ buttons.
Page 254 Send Levels (audio tracks, programs, and submixes only) When the Send tab is selected, use the data dial or –/+ buttons to adjust the send level of audio tracks, programs, or submixes. The level sliders in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the level slider.
Page 255: Midi Tracks
MIDI Tracks The MIDI Track Mixer shows levels, panning, and mute states for all used tracks. To view a specific setting on all tracks, tap Level, Pan, or Mute at the bottom of the screen. Tap Mute/Solo to switch between them. When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.
Page 256: Audio Tracks
Audio Tracks The Audio Track Mixer shows levels, mute/solo/record-arm states, send and insert effects, and routing for all used tracks. To view a specific setting on all tracks, tap Level, Pan, Mute/Solo/Rec Arm, Send, Insert, or Route at the bottom of the screen. Tap Mute/Solo/Rec Arm to cycle through them. When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.
Page 257 Adjust the pan knob or level slider to change the panning or level of the track. Tap the Record Arm button or press Rec Arm (MPC X) to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track.
Page 258: Programs
Programs The Program Mixer shows levels, panning, mute states, send and insert effects, and routing for all programs. To view a specific setting on all programs, tap Level, Pan, Mute/Solo, Send, Insert, or Route at the bottom of the screen. Tap Mute/Solo to switch between them. Tap Send or Insert to cycle through the four available slots for each. When a program is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.
Page 259 Tap the program automation button to change the program’s automation. Tapping it will cycle through its three states: When off, the program will ignore automation data. If you have already recorded or entered automation, tapping this will switch between Read (R) and Write (W) only, but you can override this and turn it off by pressing and holding Shift while tapping the button.
Page 260: Returns
Mode; Out 1,2–31,32 or Out 1–32 in Controller Mode (MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them). Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded.
Page 261: Submixes
Submixes The Submixer shows levels, panning, mute states, send and insert effects, and routing for the eight available submixes. Important: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software. To view a specific setting on all submixes, tap Level, Pan, Mute, Send, Insert, or Route at the bottom of the screen.
Page 262: Masters
7,8 in Standalone Mode, Out 1,2–31,32 in Controller Mode; MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them). To view a specific setting on all outputs, tap Level, Pan, Mute, or Insert at the bottom of the screen. You can tap Insert multiple times to cycle through the four available slots.
Page 263: Pad Mute Mode
Press Menu, and then tap Pad Mute. • Press Shift+Track Mute/Pad Mute (MPC X). 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...
Page 264: Pad Mute
Pad Mute You can mute or unmute individual sounds (on a single track) in real time by pressing the pads. This is useful if you want to hear a track without a particular sound or if you want to isolate specific sounds or combinations of sounds. Tip: This function is similar to muting pads one at a time in the grid—but more convenient.
Page 265: Pad Group
Pad Group The pad group feature extends the concept of pad mutes: you can mute or unmute multiple pads (on a single track) by pressing one pad that you have assigned to a mute group. This is useful if you want to hear a track without a particular group of sounds or if you want to isolate specific sounds in various combinations.
Page 266: Track Mute Mode
• Press Menu, and then tap Track Mute. • Press Track Mute (MPC X). There are two tabs you can view in this mode: Track Mute or Track Group. Tap each button in the lower-left corner Track Mute Track Group to select it.
Page 267: Track Mute
Track Mute This is useful if you want to hear a sequence without a particular track (e.g., muting your keyboard track to focus on the bass) or if you want to isolate specific sounds or combinations of sounds that are separated by track. Tip: This function is similar to, but more convenient than, muting tracks one at a time in the Track View.
Page 268: Track Group
Track Group The track group feature extends the concept of track mutes: you can mute or unmute multiple tracks (in a single sequence) by pressing one pad that you have assigned to a track group. This is useful if you want to hear a track without a particular group of sounds or if you want to isolate specific sounds in various combinations.
Page 269: Next Sequence Mode
• Press Menu, and then tap Next Sequence. • Press Next Seq (MPC X). 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.
Page 270 In Next Sequence Mode, every pad is assigned to a sequence, starting from Pad A01 with Sequence 1 and ascending from there. The pads will show the names of their corresponding sequences. Empty pads correspond to unused sequences. The currently selected pad will flash green. During playback, change the next sequence that will play by pressing the corresponding pad or tapping it on the screen.
Page 271: Song Mode
• Press Menu, and then tap Song Mode. • Press Shift+Next Seq/Song (MPC X). Important: If a sequence is currently playing, stop playback before entering Song Mode. You cannot enter Song Mode during playback. Use the Song field to select the song you want to show.
Page 272 The sequence playlist on the left lists of the “steps” of a song. Each step has (in columns, left to right): • the step number (each song can contain up to 999 steps) • a sequence number and name • how many times the sequence plays (each step can play up to 999 times;...
Page 273 To change a step’s sequence: 1. In the desired step, tap the sequence name. 2. Use the data dial or –/+ buttons to select another sequence. To delete a step, tap it, and then tap Delete in the lower-right corner of the screen. To clear the entire sequence playlist (delete all steps), tap Clear.
Page 274: Q-Link Edit Mode
To select an edit mode for the Q-Link knobs, tap one of the five buttons at the bottom of the screen. If you are using MPC X, you can also press one of the five Q-Link buttons above the Q-Link knobs (Project, Program, Pad Scene, Pad Param, or Screen Control/Edit): Project: In this edit mode, the Q-Link knobs can control 16 parameters within the current project overall.
Page 275 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.
Page 276: Project
Mode or Outputs 1/2–31/32 in Controller Mode (MPC Live does not use Out 7/8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them). Next to the second row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you...
Page 277 Use the Parameter field to select the parameter you want to control with the currently selected Q-Link knob. When the MIDI Track tab is selected: Mixer: Off, Volume, Pan, Mute, Solo When the Audio Track tab is selected: Mixer: Off, Volume, Pan, Mute, Solo, Send 1–4 Insert 1–4: Off, other available parameters depend on the effect When the Program tab is selected and Type is set to Program: Mixer: Off, Volume, Pan, Mute, Solo, Send 1–4...
Page 278: Program/Audio Track
Program/Audio Track In the Program/Audio Track Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the currently selected program or audio track. When a MIDI track is selected: Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs: Mixer: general mixer parameters Program: program parameters...
Page 279 When Type is set to Pad: Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4 Program: Amp Env Hold Layer Sample Pan (1–4) LFO to Filter Velocity to Amp Tuning Amp Env Sustain Layer Semi Tune (1–4) LFO to Amp Velocity to Pan Filter Cutoff Filter Env Attack...
Page 280: Pad Scene
Pad Scene In the Pad Scene Q-Link Edit Mode, the Q-Link knobs control your favorite 16 parameters for the currently selected pad. You can select another pad simply by pressing it, allowing you to adjust the same 16 parameters for that new pad. (These assignments are automatically saved with other user settings.
Page 281: Pad Parameter
Pad Parameter In the Pad Parameter Q-Link Edit Mode, the Q-Link knobs control the same pad parameter for the each of the 16 pads in the current pad bank. For example, if the Parameter is set to Level, the 16 Q-Link knobs will adjust the 16 independent Level settings for each pad in the current pad bank.
Page 282: Screen
Screen In the Screen Q-Link Edit Mode, the Q-Link knobs will control only the parameter or group of parameters in your currently selected mode (e.g., Main Mode, Sample Edit Mode, etc.).
Page 283: Pad Color Mode
Pad Color Mode Pad Color Mode lets you assign specific colors to your pads in each program. To enter Pad Color Mode, make sure you have first selected a track that uses the desired program, and then press Menu, and tap Pad Color. Important: If you are already in Pad Color Mode and want to assign pad colors for another program, exit Pad Color Mode first, and then select a track that uses the desired program in another mode.
Page 284 Use the Single Pad/All Pads select to determine whether you are setting the color for a Single Pad or All Pads. Tip: To quickly assign that color to all pads in the program, press and hold Shift while tapping a color button. Use the color buttons to select which color you are assigning.
Page 285: Midi Control Mode
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 X or MPC Live to control external MIDI devices connected to its MIDI out.
Page 286: Pads
Pads These are the MIDI parameters you can edit for each pad: Control: This is the hardware control you are currently editing (Pad 1–Pad 16). Bank: This is the pad bank the pad belongs to. If you check the Set All box, the pad’s messages and parameters will be identical across all eight banks.
Page 287: Buttons
Buttons These are the MIDI parameters you can edit for each button. You can edit the Erase, Tap, Undo/Redo, or Copy/Delete buttons: Control: This is the hardware control you are currently editing (Erase, Tap, Undo, or Copy). Light LED: This determines how the button’s LED (or multiple LEDs) will behave. When set to Never, the LEDs will always be off.
Page 288: Q-Link Knobs
Q-Link Knobs These are the MIDI parameters you can edit for each Q-Link knob: Control: This is the hardware control you are currently editing (QLink 1–4). Light LED: Although you can edit this parameter, it does not actually have a function on your MPC hardware. When set to Never, the LEDs will always be off.
Page 289: Xy Pad
XY Pad These are the MIDI parameters you can edit for each axis of the XY pad: Control: This is the axis you are currently editing (XYFX X-Axis or XYFX Y-Axis). This field will be hidden if you tapped the XY tab to show the XY pad’s parameters. You can tap the Hardware tab to show this field. Mute: This button determines whether the axis is muted or not.
Page 290: Pad Perform Mode
• Press Menu, and then tap Pad Perform. • Press Pad Perform (MPC X). Although you can enter Pad Perform Mode while using a drum program or clip program, it does not work with these programs. The touchscreen will show the current pad bank’s mapping of notes or chords.
Page 291 Use the Type selector to determine what will be mapped over the pads: Notes: Each pad is assigned a note, ascending by one scale degree with each pad. Chords: Each pad is assigned a chord, the root note ascending by one scale degree with each pad. All available chords will play in the key determined by the Scale.
Page 292 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)
Page 293: Appendix
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.
Page 294 Reverb Large This is a spatial effect, designed to emulate the sound of a Parameter Value Range Default Value large hall. Dry/Wet 0–100 (dry–wet) Pre-Delay 1–100 Early Reflection 0–100 Density 0–100 Diffuse 0–100 Decay 0–100 Lo-Cut 0–100 Hi-Cut 0–100 Reverb Large 2 This is a less CPU-intensive spatial effect, emulating the Parameter Value Range...
Page 295: Delays
Reverb Out Gate This is a hall reverb that has an additional control. The reverb Parameter Value Range Default Value effect is cut off when the output drops below the level set in Dry/Wet 0–100 (dry–wet) the Gate Out parameter. Pre-Delay 1–100 Early Reflection...
Page 296 Delay Stereo Stereo Delay operates similarly to Mono Delay but in true Parameter Value Range Default Value stereo. Dry/Wet 0–100 (dry–wet) Time 2–2000 ms Feedback 0–100 Damping 0–100 Delay Sync (Stereo) Stereo Delay operates similarly to Mono Delay but in true Parameter Value Range Default Value...
Page 297 Delay Analog Analog Delay is similar to the Mono Delay, except that it’s Parameter Value Range Default Value designed to emulate an analog “Bucket Brigade”-style delay. Dry/Wet 0–100 (dry–wet) This delay has a unique character to it that gives a warmer sound by adding subtle inaccuracies in phase and timing.
Page 298: Flangers
Delay Multi-Tap This delay is a mono delay which has three delay generators Parameter Value Range Default Value with independently adjustable delay times and stereo Dry/Wet 0–100 (dry–wet) position. Time 1 2–2000 ms Time 2 2–2000 ms Time 3 2–2000 ms Feedback 0–100 Pan 1...
Page 299: Chorus
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”...
Page 300: Tremolos
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 Value Range...
Page 301: Hp (High-Pass) Filters
HP (High-Pass) Filters Options: Filter, HP Filter Sweep, HP Filter Sync, HP Shelving Filter HP Filter This effect is a static filter without modulation. Parameter Value Range Default Value Frequency 10–19999 Hz 1500 Resonance 0–100 HP Filter Sweep This effect is a high-pass filter with its cutoff frequency Parameter Value Range Default Value...
Page 302: Lp (Low-Pass) Filters
LP (Low-Pass) Filters Options: 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 Frequency 10–19999 Hz 1500 Resonance 0–100 LP Filter Sweep This effect is a low-pass filter with its cutoff frequency Parameter Value Range Default Value...
Page 303: Parametric Eqs
Parametric EQs Options: 2-Band, 2-Shelf, PEQ 4-Band PEQ 2-Band, 2-Shelf This effect is a combination of one two-band parametric Parameter Value Range Default Value equalizer and two shelving filters. Low Frequency 22–1000 Hz Frequency 1 82–3900 Hz Frequency 2 220–10000 Hz 2200 High Frequency 560–19999 Hz...
Page 304: Distortions
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 Parameter Value Range Default Value amplifier at high volumes. Dry/Wet 0–100 (dry–wet) Drive 0–100 Tone 0–100 Dynamics 0–100...
Page 305: Compressors
Distortion Custom This effect is a highly customized distortion, capable of a Parameter Value Range Default Value wide range of useable sounds. Dry/Wet 0–100 (dry–wet) Drive 0–100 +Soft 5–75 +Clip 5–50 –Soft 5–75 –Clip 5–50 -18.0 – 18.0 dB -18.0 – 18.0 dB High -18.0 –...
Page 306: Bit Reducers
Compressor VCA This compressor is more modern-sounding, with a slightly Parameter Value Range Default Value more transparent sound. A VCA Compressor tends to have Dry/Wet 0–100 (dry–wet) quicker attack and release times than an Opto Compressor. Input -6 – 18 dB Attack 0–100 Release...
Page 307: Other
Other Options: Auto Wah, Frequency Shifter, Transient Shaper Auto Wah This effect is a low-pass filter modulated by an envelope that Parameter Value Range Default Value yields a classic funky “wah-wah”- like sound. The envelope Dry/Wet 0–100 (dry–wet) is triggered by the incoming signal’s amplitude. The amount of the envelope on the cutoff frequency is user-definable.
Page 308: Glossary
Glossary This glossary briefly defines and explains many of the technical terms used throughout this manual. Aftertouch The majority of contemporary keyboards are capable of generating aftertouch messages. On this type of keyboard, when you press harder on a key you are already holding down, a MIDI aftertouch message is generated.
Page 309 CV stands for control voltage, an analog method of sending control messages to external Gate synthesizers, drum machines, etc. CV messages are typically used in conjunction with messages (CV messages determine the pitch of notes while Gate messages determine note activation and length).
Page 310 LFO is an acronym for low-frequency oscillator. The LFO generates a periodic oscillation at a low frequency and features variable waveshapes. Similar to an envelope, an LFO can be used to modulate a sound-shaping component. MIDI MIDI stands for musical instrument digital interface. Developed in the early 1980s, MIDI enables interaction between various types of electronic music instruments from different manufacturers.
Page 311 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 >...
Page 312 Stretch Factor The stretch factor is a value generated by the Warp algorithm in the software. When you record an audio file, the current sequence tempo will be embedded with it. This information is stored within the sample file when you save the project. When you warp an audio track region, the warping algorithm uses this sequence tempo and the current value in the BPM field to generate the stretch factor.
Page 313: Sata Drive Installation
Your MPC X or MPC Live can support nearly any standard 2.5” SATA drive on the market—either a solid-state drive (SSD) or hard-disk drive (HDD). Make sure it uses a 2.5” (63.5 mm) form factor and uses (or can use) one of these file systems: exFAT, FAT32, NTFS, or EXT4 (for read and write capability) or HFS+ (for read-only capability).
Page 314: Midi Machine Control (Mmc)
MIDI Machine Control (MMC) Your MPC hardware can send and receive MIDI Machine Control (MMC) messages, a standard protocol for transport controls. The MPC hardware can send these messages: MPC Button MMC Command Sent MMC Record Strobe , then MMC Record Exit (when recording starts) Overdub MMC Record Strobe...
Page 315: Technical Specifications
Technical Specifications Specifications are subject to change without notice. MPC X Digital Audio System ADCs 24-bit @ 44.1, 48, or 96 kHz DACs 24-bit @ 44.1, 48, or 96 kHz Digital Signal Processing 32-bit floating point Mic Inputs 1–2 Dynamic Range...
Page 316 Phono Inputs Dynamic Range 108 dB (A-weighted, 63 mVrms @ 1kHz, -1 dBFS, 20 Ω source) (2) unbalanced RCA 86 dB (A-weighted, 4 mVrms @ 1kHz, 20 Ω source) THD+N 0.005% (1 kHz, -46 dBu, -1 dBFS) Maximum Input Level 63 mVrms (1 kHz) Sensitivity...
Page 317 Mechanical Pads (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 Display 10.1”...
Page 318: Mpc Live
MPC Live Digital Audio System ADCs 24-bit @ 44.1, 48, or 96 kHz DACs 24-bit @ 44.1, 48, or 96 kHz Digital Signal Processing 32-bit floating point Line Inputs Dynamic Range 113.5 dB (A-weighted) (2) balanced 108 dB (1 kHz, +4 dBu, A-weighted) 1/4”...
Page 319 Mechanical Pads (16) velocity- and pressure-sensitive pads, RGB-backlit (8) banks accessible via Pad Bank buttons Knobs (4) 360° touch-sensitive Q-Link knobs (4) Q-Link knob columns accessible via Q-Link button (1) 360° encoder for value/data adjustment and selection via push Display 7”...
Page 320: Mpc Touch
MPC Touch Line Inputs Dynamic Range 102 dB (A-weighted) (2) balanced 99 dB (1 kHz, +4 dBu, A-weighted) 1/4” (6.35 mm) TRS 0.002% THD+N (1 kHz, +4 dBu, -1 dBFS) Frequency Response 20 Hz – 20 kHz (+0.1 / -0.1 dB) Maximum Input Level +15 dBu 12 KΩ...
Page 321: Trademarks & Licenses
Trademarks & Licenses Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries. Ableton is a trademark of Ableton AG. ASIO and VST are trademarks of Steinberg Media Technologies GmbH. The Bluetooth word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Akai Professional is under license.

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Akai MPC X User Manual

Introduction

System Requirements & Product Support

About this User Guide

Important Notes

Setup

1 Connection

2 Installation

3 Getting Started

Features

Mpc X

MPC Live

MPC Touch

Basic Concepts

Tutorial

Starting up

Creating a Drum Kit

Creating a Drum Sequence

Saving & Renaming

Editing Note Events

Making Basic Sound Edits

Creating a Bass Track

Recording an Audio Track

Creating a Song

Exporting the Song

Other Features Explained

Operation

General Features

Modes

Appendix

Effects & Parameters

Glossary

SATA Drive Installation

MIDI Machine Control (MMC)

Technical Specifications

Trademarks & Licenses

Quick Links

Need help?

Questions and answers

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Summary of Contents for Akai MPC X