MPC Renaissance & MPC Studio: Sampling Laid Bare (1.9 Edition)

360 Pages·2016·13.896 MB·English

by  Andy Avgousti (’MPC-Tutor’)

The MPC Renaissance & MPC Studio:
Sampling Laid Bare (7th Edition)

Written By Andy Avgousti
Copyright © Andy Avgousti 2013 - 2015

First edition published by MPC-Samples.com in 2013
Seventh edition published 2015

All rights reserved. No part of this book, nor any of its associated tutorial files
may be reproduced, resold, or transmitted in any form or by any means without
prior written permission of the Publisher.

The Author and Publisher have made every effort to ensure the accuracy of the
information herein. However, the information contained in this book is sold
without warranty, either express or implied. Neither the Author nor Publisher, nor
its dealers or distributors will be held liable for any damages to be caused either
directly or indirectly by the instructions contained in this book, or by the software
or hardware products described herein.

The Author and Publisher are not endorsed by, nor affiliated to ‘Akai Professional
LP’.

MPC-Samples.com is a trading name of Beat Box Digital LTD, a company

registered in England & Wales, Company No. 6810062.
MPC Renaissance & MPC Studio: Sampling Laid Bare: 7th Edition 2
Table of Contents
Foreword 9
000 How to Use This Book 10
001 Getting Started 12
The MPC in a Nutshell 12
The Sampler 12
Pads & Programs 12
The Sequencer 13
Your First Project 13
Loading & Assigning Sounds 14
The File Browser 15
Navigating The File Browser 16
Setting Folder Shortcuts 16
Loading Sounds 20
Sampling Audio into the MPC 27
Record Sample Settings 29
Signal to Noise Ratio 31
Using Q Links to Change Parameters 32
Sampling Direct From Other Applications 35
Sampling Your Sound 36
002 Sample Edit Mode 39
Introduction to Sample Edit Mode 39
Sample Editing: Hardware vs Software 39
Edit Points 42
Adjusting the Start Point 46
Scrubbing Audio 49
Zooming In For Accuracy 51
Fixing the End Point 55
Discarding Unwanted Sample Data 60
The History Panel 62
Normalizing 62
Saving Sounds 63
003 Introduction to DRUM Programs 65
Understanding DRUM Programs & Banks 65
MPC Renaissance & MPC Studio: Sampling Laid Bare: 7th Edition 3
Assigning Sounds to Pads in the Software 68
Loading Sounds From Expansion Packs 72
Assigning Via the Hardware 74
The Pad Assign Screen 75
Rearranging Pads 76
Pad Keys 76
Naming & Saving Programs 77
Saving Entire Projects 80
Auto Save 82
Loading Programs 84
Project Notes 85
004 PROG EDIT Mode 87
Creating Your Own Program 87
Discovering Program Parameters 88
Sample Layers 90
Level 94
Changing Layer Pitch 94
Adjusting Layer Panning 95
Shaping Sounds with Amp Envelope 96
Filters 98
005 Program-Based Sound Design 101
What is Drum Layering? 101
A Simple Drum Layer 101
Making Adjustments to Each Layer 102
Adding More Layers 104
Manipulating Stereo Width 105
Layer Panning vs Pad Panning 106
Layer Offsetting 106
Limitations of Pad Layers 109
Layering With Simultaneous Play 109
‘Painting’ With Sample Elements 111
AD and ADHS Envelopes 111
Layering with Pad Start & Pad End 115
Applying Filters to Individual Layers 118
Using Panning to Avoid Phasing 119
Combining Layers & Simultaneous Play 119
Experimenting With LFOs 120
Tremolo Effect 120
Emulating Vinyl Crackle 122
Wacky Bass 123
MPC Renaissance & MPC Studio: Sampling Laid Bare: 7th Edition 4
Bit Crushed Drums 123
Effects in Sound Design 130
How to Create Dirty Drums 131
Vintage Effects 135
Dynamics & Transient Shapers 136
EQ For Corrective & Creative Applications 140
Using Send Effects As Inserts 142
Resampling Your Sounds 144
Reducing Hot Signals While Sampling 146
006 Sample Processing 147
Emulating Vintage Sampler Crunch 147
Increasing Grit While Sampling 150
Sampling With Effects 151
Using Sample Tune to Add Grit 153
Emulating Scratching Sounds 153
Time Stretching 155
Looping Samples 157
Understanding Loop Points 157
Looping Drum Breaks 158
Setting Loop Start Point 164
Creating Loops With the Looper 166
Using Loops in a Program 167
Extending the Length of Instrument Notes 169
Differences Between Drum Break & Instrument Looping 169
Setting the ‘Looping Region’ 171
007 Chopping Part 1 180
Chopping Using Extract 180
Using the Dedicated Chop Mode 181
Threshold Chopping 183
Controlling Preview Playback 186
Adding Slices From the Hardware 190
Cue Play Mode 192
Split/Combine 194
End Point Dilemma 194
Converting Slices ‘Destructively’ 195
Crop Samples or Not? 196
Fixing the End Clicks 199
Working With Events 201
Editing Note Events to Change Existing Drum Hits 204
Overdubbing Additional Drum Hits 205
MPC Renaissance & MPC Studio: Sampling Laid Bare: 7th Edition 5
Dealing with MONO Playback Issues 206
Applying a Quantize Template to Change Groove 208
Creating a Completely New Break 210
008 Chopping Part 2 214
Fine Editing Chop Points 214
The Shared Edit Point 217
The Speed Chopping Workflow 217
Unlinking Slices 218
Applying Processes to Slices 221
Patched Phrase 222
Tuning a Patched Phrase 224
Changing Musical Pitch of Notes in a Bass Loop 224
009 Building Advanced Drum Kits 227
Timbre Variation Using Multisampled Drums 227
Velocity Switching Pad Layers 228
Loading Using Shift & Drag 229
Performing Velocity Switches 233
Layer Switching 235
Muting the Open Hat 236
Mute Groups 237
Mute Targets 237
Program Mixer 238
Emulating Timbre Changes 243
Utilising Amp Envelope 245
Adding Random Play Emulations 246
Creating a Dedicated Soft Kick 246
Velocity Sensitive Timbre Emulations 246
Utilizing the LFO 248
Time Stretching The Open Hats 249
Dealing with Pad Sensitivity 250
Program Specific Pad Sensitivity 252
A Practical Kit Set Up 253
Setting Custom Pad Colours 253
010 Musical DRUM Programs & 16 Levels 260
Using DRUM Programs to Emulate Real Instruments 260
Amp Envelope & Sample Play Settings 260
Tuning a Sample Across the Pads 262
Monophonic Playback For Bass Programs 264
MPC Renaissance & MPC Studio: Sampling Laid Bare: 7th Edition 6
Using 16 Levels For Instrument Performances 265
Understanding the Sequence Modifier Lane 268
011 Multisampling & Keygroup Programs 270
What is a Multisampled Instrument Program? 270
Creating Keygroup Programs 271
Musical Notes & Keygroup Pads 274
Creating a Piano Keygroup Program 276
Sourcing Multisamples 277
Setting Up Your First Keygroup 280
Adding Keygroups 283
MIDI Keyboard & MIDI Keys 286
Applying ADSR 287
Timbre Emulation Within a Keygroup 289
Utilising The Root Note 290
Tuning & Transposing Keygroup Programs 292
Using Filters & Effects 292
The Filter Envelope 297
Applying LFO 299
Pad Perform Mode 300
Playing Chords 302
Chord Progressions 303
012 Non Destructive Chopping Techniques 306
Introduction to Non-Destructive Chopping 306
Assign Slice to Pad 307
PROGRAM Chop Mode 311
NDC Over Multiple Layers 316
Chopping Musical Pieces 318
Lazy Chopping 321
Chopping By BPM 322
Chopping Using Pad Parameters 324
Experimenting With Your Initial Chops 326
Tightening Your Chops 328
Converting Non Destructive Chops 331

MPC Renaissance & MPC Studio: Sampling Laid Bare: 7th Edition 7
013 Final Words 331
Appendix A: Setting Up Your MPC 333
Appendix B: Sequencing 101 345
Appendix C: MPC Resources 360

MPC Renaissance & MPC Studio: Sampling Laid Bare: 7th Edition 8
Foreword
The late 1990’s was a period when I found myself drawn to the exciting world of
sample based music production. At the time I was unconvinced about the
reliability of a computer so was looking to build a hardware based studio, but was
struggling – so many options available, but they all seemed too complex for my
needs at that time; I just wanted to switch on and make music, I didn’t want
anything getting in the way of my creativity.

This all changed in 1999 when I stumbled upon a review of an MPC2000XL in
Sound on Sound. It looked like the ideal solution – a single, portable unit that
combined a sampler and a powerful sequencer, with built in pads to let me
perform everything without the need for a separate controller. And the rest, as
they say, is history.

So how does the MPC Renaissance and MPC Studio change all this? Well
fundamentally those features are all there with one massive difference. The
‘MPC’ is now split between a separate ‘controller’ (The MPC Renaissance/Studio
hardware), and the ‘MPC’ itself – a software application installed in your
computer (the ‘MPC Software’). In essence, much of the ‘guts’ of the original
standalone hardware MPC has been yanked out and shoved inside your
computer where it is no longer constrained by the small and ‘fixed’ processing
power found inside a traditional hardware MPC.

In this first book dedicated to the new generation of MPCs, I wanted to focus
specifically on the sample-based aspects of the MPC Software, so we’ll be
learning all there is to know about sound design, DRUM and KEYGROUP
programs, sample editing, looping, chopping and along the way discovering the
many practical uses of all these fantastic features including building velocity
sensitive drum kits, drum layering, sound design, chopping breaks, instrument
multisampling and a whole bunch of essential shortcuts, tips and thorough
explanations of all the features that the official manual tends to quickly skim over.

I also want to help strike that balance between the classic ‘hardware’ MPC mind-
set and the modern computer–focused world, explaining how long term legacy
MPC users can adapt their workflow to this different environment, while
unravelling the fundamental mysteries of core MPC workflow to complete MPC
newbies.

Don’t worry, it’s going to be easy. And most importantly lots of fun!

MPC Renaissance & MPC Studio: Sampling Laid Bare: 7th Edition 9
000 How to Use this Book
Which MPCs are compatible with this book?
This book has been written to be compatible with both the MPC Renaissance and
MPC Studio. They both run the sample MPC Software, so most differences are
simply in the controller hardware – whenever these differences become relevant
to a particular tutorial, I will highlight them and carefully explain how your
approach may differ in the Studio compared to the Ren (e.g. Q-Link operation).
Which version of the MPC Software should I be
using?
The minimum version you should be using with this book is MPC Software 1.9.
To check which version you have, go to ‘Help > About MPC’ (in a PC) or ‘MPC >
About MPC’ in a Mac. From the Help/MPC menu, you can also ‘Check For
Updates’ to download any new updates to the software. Updating to 1.9 is
completely free.
LCD or Computer Screen?
When working in legacy MPCs, the workflow always involved immersing yourself
in the hardware screen, using the pads, dials and buttons in front of you –
everything you needed was there in front of you, the ultimate ‘standalone’ music
production ‘box’.

At the time of publication, this ‘standalone’ workflow is not yet 100% possible with
the Ren nor Studio as some functionality of the MPC is still only available in the
MPC Software environment only. So there will be times when you are required to
use your mouse and look at your computer screen. That said, the more I used
the new MPCs, the more I began to realise that while that ‘legacy-MPC’ mentality
works incredibly well for many operations, there are some situations where it
simply makes more sense to head over to your computer and take advantage of
the benefits the computer environment can offer.

Within this book I will present tutorials primarily from the perspective of the
hardware and hardware screen, except in the following situations:

1) Where the functionality I am discussing is not available in the hardware
(e.g. naming files, setting number of keygroups)
2) where the functionality is clearly easier to utilize and understand in the
MPC Software environment.
MPC Renaissance & MPC Studio: Sampling Laid Bare: 7th Edition 10