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MPC 3000 vs. MPC 4000
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#61
12th December 2009
Old 12th December 2009
  #61
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Quote:
Originally Posted by kingofswing View Post
two different beasts.

The 3K is old skool and has that 90s swing / R&b feel (early R Kelly, Aaliyah, Brandy, Mary J). That music aint around no more, but it was great at the time and is still highly regarded today. I say the 3000 has a swing feel that reminds me of that kind of music. It also has more of a lo fi sound, the top end is not as extended as a 4000, hence a greater perception of low end.

The 4000 is a newer type of drum machine sampler / sequencer. It's a full powerhouse and has a very high resolution for off quantize drumming and feel. I don't think it has the low end of the early samplers as discussed above, but it has a tighter feel and cleaner / clearer sound overall - no doubt. The 4k is great for complex drum programming - drum & bass would be a good example. For hip hip and rnb alot of producers are using them now. Timbaland has alteast 2 4ks, not to mention Darkchild even uses one. I have seen many others too, including P Diddy.

At the end of the day, i think all the mpcs can do great things when used effectively.

Sometime from now, i can see people dropping the mpcs for Dave Smiths / Roger Linn's Boom Chick...just kiddin.
This MPC swing thing is so damn tired..I wonder if these people who go on about "legendary swing " have actually owed an MPC?
Has it ever occurred to anyone the reason that Dre and the like use an mpc3000 is cause thats what was available at the time!!
I guarantee that Dre could make an mpc4000 swing every bit as "legendary" as an mpc3000!

These post's are great for a quiet chuckle to myself, but there comes a time for the dis-illutioned nostalgia to stop.

By the way I have owen every MPC and have been using a MPC 4k for the last 5 years and believe me the swing comes from the operator, not the machine!

Peace
#62
12th December 2009
Old 12th December 2009
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The thing is... Most people using the MPC are using it with quantize turned on. If your are quantizing... The swing IS determined by the machine and now the operator. I just made groove templates of my mpc 60 to use in cubase and took a close look at how the mpc groove differed from the mpc. In cubase... If you quantize to the grid, every midi note will play back in the exact same position with robotic precision Unless you get into midi modifiers and randomize things slightly). The MPC60 has tight midi timing but there is still around 1ms of randomness to the placement of each note... And then if you are triggering stuff over a midi cable, since midi is serial and 2 notes can't be sent at once... There is around 1ms of additional delay between each stacked note. Also if you are triggering samples from within the MPC as opposed to triggering over midi... There is an even greater delay when playing back samples that all start in the same spot. It's about a 5ms delay on the MPC60. Roger Linn says that delay is about 3 times faster in the MPC3000 due to its faster CPU and converters. I imagine the delay and randomness is greatly reduced in the MPC4000 since it is so much newer. The brain recognizes those subtleties and that's what makes each box have a slightly different feel. More randomness stimulates the brain more as opposed to perfectly accurate repetition. There's a great book on this called "This is your brain on Music" by a very well respected neurologist/sound engineer.
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#63
12th December 2009
Old 12th December 2009
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Quote:
Originally Posted by creative69 View Post
This MPC swing thing is so damn tired..I wonder if these people who go on about "legendary swing " have actually owed an MPC?
Has it ever occurred to anyone the reason that Dre and the like use an mpc3000 is cause thats what was available at the time!!
I guarantee that Dre could make an mpc4000 swing every bit as "legendary" as an mpc3000!

These post's are great for a quiet chuckle to myself, but there comes a time for the dis-illutioned nostalgia to stop.

By the way I have owen every MPC and have been using a MPC 4k for the last 5 years and believe me the swing comes from the operator, not the machine!

Peace

The PPQ is total different, a lot higher, so at the end of the day its a very different sequencer therefore a very different feel irrespective of swing. Just go on a DAW that will let you change the PPQ, i think fruity loops lets you do this, change it to a very low setting much below 96ppq like the old DMX or SP it will be very obvious how the strength of the notes are different. For me 96 is high enough. But yeah a dope beat can be made on anything even a pair of spoons, and if for you the 4k is great then fine it all about what works for the individual or even just what there used. Still different models of a machine in almost anything are not the same, even if the manual claims they are. Just look at hand built equipment like high end outboard.
Remember that the 60 was available to Dre at time and used then upgraded to the 3 but as with alot of other producers at the time they didn't feel the need to upgrade again, & am not saying it was the swing or PPQ it will simply be that they felt there machine had helped to defined there sound/stlye or the upgrage may be a down grade.
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#64
12th December 2009
Old 12th December 2009
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i am going to test the swing of the mpc 3k internal swing vs sequencing external modules. personally, i cannot understand how they would differ as the timing of both comes from the mpc. on the other hand, i am a newbie when it comes to midi. be back soon!
#65
13th December 2009
Old 13th December 2009
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Originally Posted by fooloof View Post
i am going to test the swing of the mpc 3k internal swing vs sequencing external modules. personally, i cannot understand how they would differ as the timing of both comes from the mpc. on the other hand, i am a newbie when it comes to midi. be back soon!
Okay, I tested it! If I understood the question correctly, there is a debate (that some feel is settled) about whether the MPCs' timing is the same for internal programming and external sequencing; and the answer could be discovered only by comparing audio files. The short answer is: YES! I have always felt this way since that's how I program everything, but I was as curious as the next guy. And, just for fun, I also tested the MPC against the SP-1200!!!

I have a 3K and used my Triton rack as the test module. Next, I sampled a snare drum from one of the Triton's kits and also triggered via the MPC. I tested them both in 16T, swing 52% (which is what I use for most "standard" hip hop beats) and 75%. I used the higher figure just to see if there was any variation with more swing added. I used the same kind of audio cables for both outputs (monster balanced). I recorded identical patterns for each time signature and lined up all the waveforms. They were identical in terms of where they fell into the beat. But each machine has its own audio signature, with the MPC being thicker, in my opinion (vs the Triton). Other than that, there was no perceptible difference between what was sequenced externally vs the internal programming.

The SP on 16T also was the same. But the swing was noticeable different. You could hear it and obviously see it once it was in PT. I had to test them on 54% because the SP only has certain swing presets (I don't even know if I had ever pressed that button before today).

I posted my "screen shot", which is ghetto: just a picture I took of the screen and uploaded. Working from top to bottom, the first two tracks are the internal and external MPC set to 16T; then it's the same two, but set to swing 52%. And the last two are the MPC and SP-1200 set to swing 84%.
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MPC 3000 vs. MPC 4000-mpc-test.jpg  
#66
23rd December 2009
Old 23rd December 2009
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Let's beat a horses skeleton into dust.

it is definetly atleast partially related to the "sound" of the samples, imo.

I've owned both the 3000 and the 2kxl.

The 3000 generates sound more smoothly it seems the samples are a bit longer sounding, slightly more solid and wide sound to it. This effects the way the sequencer sounds in action, it could also be an internal timing difference but my bet is on the sound generation itself.

I ended up selling my 3000, because the 2kxl has the best workflow, and here is the surprise that I found:

The 3000 definetly sounds better for slow to mid-slow-tempo beats, but the 2000xl definetly sounds better for up-tempo or mid-up-tempo beats, and the xl has it's own character as well, definetly doesn't thump quite as deeply as a 3000 or 60 (which sounds a little deeper) but I love the character of the 2000xl especially for certain types of snares it sounds better for sure then either the 3000 or 60.

But none of the MPC's really have a legendary sound in a league with the EMU SP1200, the MPC's is more about the total package of intuitive sequencing and quality drum sampling, teh sp1200 is the one that was known to be able to "transform" samples into perfect hiphop drums or phrase samples that have "that sound" of the late 80's early 90's golden era.

in my opinion you can sound as good or better on any of todays equipment if you know what you're doing (except for certain sounds off the sp1200) emu is legendary for their sound even later the e5000 which i owned briefly had a great sound though different from the sp1200, emu soundcards sound good (or so I've heard), funny thing is alot of those guys that pioneered that sound back then are going for a different sound today.

you also have to keep in mind alot of those records back then got mastered in high quality studio environments by professionals who were paid well by the labels, back when labels were actually signing quality artists for a moment in time there was a good amount of resources being dedicated to the engineering of great hiphop and it occurred during the golden ear, it was perfect timing in that sense that's why so many great records came out of it. Today, sound engineering resources of that magnitude are only put into pop records with a high-expectation of gigantic records sales. REcord sales have been declining so steadily that labels are investing less in the recording process of acts with lesser instant return potential.
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#67
24th December 2009
Old 24th December 2009
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Quote:
Originally Posted by caan't deciiide View Post
But none of the MPC's really have a legendary sound in a league with the EMU SP1200...
Some would argue that the 60 has a unique/"legendary" sound.

D
#68
24th December 2009
Old 24th December 2009
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Excuse me for keeping this going, I know it's getting old but...

As far as MPC's go I've only used a 1K but have always been curious about the whole "swing" thing myself particularly when it comes to the 3k. I've been reading about the 3k's 96 ppq (the reason why it swings the way it does, skill is probably more important though) and the 4k's 960 ppq; I did a little bit of searching and found this...

MIDI Production Center at AllExperts

According to these ppq specs (unless this site is incorrect), shouldn't all MPC's other than the 4k be capable of the exact same "swing" as long as the drum programing is the same?
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#69
4th January 2010
Old 4th January 2010
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Quote:
Originally Posted by B.A. View Post
According to these ppq specs (unless this site is incorrect), shouldn't all MPC's other than the 4k be capable of the exact same "swing" as long as the drum programing is the same?
As far as I know the MPC60 and the MPC3000 are the only MPC's that have Roger Linn's swing/timing correction algorithms. Mr Linn was only involved in those machines... The rest were designed by Akai's in house engineers.

As far as the sound goes for the MPC60 and 3000... The 60 uses analog filters to improve the sound of the 12 bit sampling engine. It's called Pre-emphasis. It boosts the treble before sampling and cuts it on playback. This helps give the extra warmth and punch of that machine.

Both machines also seem to really like it when you hit the sampling input hard! The pre-amps on those machines really soak up transients when over-driven in a very analog way. Kind of like tape.



Hugo
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#70
6th January 2010
Old 6th January 2010
  #70
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Quote:
Originally Posted by huggie View Post
As far as I know the MPC60 and the MPC3000 are the only MPC's that have Roger Linn's swing/timing correction algorithms. Mr Linn was only involved in those machines... The rest were designed by Akai's in house engineers.

As far as the sound goes for the MPC60 and 3000... The 60 uses analog filters to improve the sound of the 12 bit sampling engine. It's called Pre-emphasis. It boosts the treble before sampling and cuts it on playback. This helps give the extra warmth and punch of that machine.

Both machines also seem to really like it when you hit the sampling input hard! The pre-amps on those machines really soak up transients when over-driven in a very analog way. Kind of like tape.Hugo
That`s bullshit what u`re saying.
AD|DA of the MPC 60 are 16 bit (bit-depth has nothing to do with the frequency response being fallen in highs\lows), and why should AKAI change that """"" MAGIC""""" timing correction algorithm designed by Linn.
#71
6th January 2010
Old 6th January 2010
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Originally Posted by DAH View Post
That`s bullshit what u`re saying.
AD|DA of the MPC 60 are 16 bit (bit-depth has nothing to do with the frequency response being fallen in highs\lows), and why should AKAI change that """"" MAGIC""""" timing correction algorithm designed by Linn.
Hey DAH,

I am only going by what Roger Linn told me.

A couple of years ago I had an e-mail conversation with him about the MPC60. He is a nice guy and very approachable.

The 'Pre-emphasis' thing is a very simple yet effective trick used in the days of tape to reduce tape noise without using noise reduction. I have done it many times and and works really well.

It's interesting they used this method to improve the sound coming from the MPC60's 12 bit sampler. It makes a lot of sense though.

Emu used a similar method for the SP12 and 1200... although they also used VCFs controlled by a fast envelope on various outputs. Listen to output 1 & 2 to hear that working... I love those outputs!!! SP1200 Overview


As for the swing algorithms changing on all the MPC's after Roger stopped working on them... I guess the Akai engineers thought they could improve on it.

I am not saying one MPC is better than another. I'm just stating they are different. They can still all make great beats depending on the talent of the operator.


Hugo
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#72
6th January 2010
Old 6th January 2010
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I can definitely vouch for what Hugo is saying about the MPC 60. Sometimes I put it into sample mode and run sound through it... WITHOUT sampling into so I can get that preamp saturation/compression effect without killing off the high frequencies by actually sampling it. I think that pre-emphisis has a lot to do with the way drums and stuff bang when they are sampled into the 60 and 3000.
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#73
7th January 2010
Old 7th January 2010
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Quote:
Originally Posted by huggie View Post
Hey DAH,

I am only going by what Roger Linn told me.

A couple of years ago I had an e-mail conversation with him about the MPC60. He is a nice guy and very approachable.

The 'Pre-emphasis' thing is a very simple yet effective trick used in the days of tape to reduce tape noise without using noise reduction. I have done it many times and and works really well.

It's interesting they used this method to improve the sound coming from the MPC60's 12 bit sampler. It makes a lot of sense though.

Emu used a similar method for the SP12 and 1200... although they also used VCFs controlled by a fast envelope on various outputs. Listen to output 1 & 2 to hear that working... I love those outputs!!! SP1200 Overview


As for the swing algorithms changing on all the MPC's after Roger stopped working on them... I guess the Akai engineers thought they could improve on it.

I am not saying one MPC is better than another. I'm just stating they are different. They can still all make great beats depending on the talent of the operator.


Hugo
Could you give us Linn`s exact quotes on that pre-emphasis and swing optimization topics, please?
Sorry for being harsh in my prev. post but there s many hear-says about MPCs flying around with no factual base under it so words from Mr. Linn himself are double worthy in this case.
Btw MPC 60 samples at 16 bit, it just converts 16 bit to nonlinear 12 bit for storage.
#74
7th January 2010
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my roland s-750 uses pre-emphasis in the same way, boosting the highs when you sample and cutting them on playback. some people have taken samples they made in an S-750 and put them into an S-760 and they sounded muffled. conversion programs to computer can't perfectly re-emphasize them either.

as for the swing issue. would someone do a darn test with one machine sequencing the other already? people only post two audio examples and speculate about the differences in timing but they should also post another two files with one machine sequencing the other to complete the test. i think i already said this on the mpc 60 vs mpc 2500 thread.
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8th January 2010
Old 8th January 2010
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Quote:
Originally Posted by DAH View Post
Could you give us Linn`s exact quotes on that pre-emphasis and swing optimization topics, please?
Sorry for being harsh in my prev. post but there s many hear-says about MPCs flying around with no factual base under it so words from Mr. Linn himself are double worthy in this case.
Btw MPC 60 samples at 16 bit, it just converts 16 bit to nonlinear 12 bit for storage.
I will have to ask Roger before I can quote his email. As it was a private e-mail. Can't promise anything but I'll contact him now...

To all intensive purposes the MPC60 is a 12 bit sampler. Even if it does have 16 bit converters it's storage is 12 bit. So it definitely has a bit more grit than the 3000. It's good grit though!

The Emu SP1200 is even gritter than the 60 but because of it's filters it is warm grit!

Regards
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#76
8th January 2010
Old 8th January 2010
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Roger Linn kindly agreed for me to quote him...

Here is the section of that email that discuses the 60 and 3000:

Hugo: How did you make a 12 bit sampler sound so warm!

RL: Pre-emphasis. We boosted the treble before sampling and cut it on playback.

Hugo: Also why is the timing correction (swing) on the 60 and 3000 different than the rest of the MPC's.

RL: Honestly, I haven’t used the MPC models after my 60 and 3000 designs so I don’t know much about them. Having met some of the engineers that worked on those later models, I don’t think they understood music well or the concept of a groove and its importance as the fundamental component of rhythmic music. There are a lot of little things to watch for that add up.



By the way I hope Roger Linn's drum machine finds the light of day! LinnDrum 2

Hugo
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9th January 2010
Old 9th January 2010
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Quote:
Originally Posted by huggie View Post
Roger Linn kindly agreed for me to quote him...

Here is the section of that email that discuses the 60 and 3000:

Hugo: How did you make a 12 bit sampler sound so warm!

RL: Pre-emphasis. We boosted the treble before sampling and cut it on playback.

Hugo: Also why is the timing correction (swing) on the 60 and 3000 different than the rest of the MPC's.

RL: Honestly, I haven’t used the MPC models after my 60 and 3000 designs so I don’t know much about them. Having met some of the engineers that worked on those later models, I don’t think they understood music well or the concept of a groove and its importance as the fundamental component of rhythmic music. There are a lot of little things to watch for that add up.



By the way I hope Roger Linn's drum machine finds the light of day! LinnDrum 2

Hugo
Hmm, thanks for the quotes. A very interesting thing on pre-emphasis thing. Would like to know more about it. (BTW, I remember analyzing the impulse responses of the MPC60 posted at your site, there was really a little peak on the highs, which might be the result of the pre-emphasis).
About the swing, however, i think that the groove concept is the same in the new modles, just the priority of it (with all the new features) might have been gone, so the new models might "time-jit" more (like the 2kxl i had).
Thanks, man! thumbsup
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11th January 2010
Old 11th January 2010
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Originally Posted by Azriel_7 View Post
The 4k WILL swing just like the 3k or 60, you just have to remember to decrease the resolution.
The 4k allows you choose if you want to use a resolution like the older units or have it set to the max.
even with the ppq lowered to 96 i thought the mpc60 had a bit of a slower processor and this made it somewhat unaccurate like the sp12/1200
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#79
11th January 2010
Old 11th January 2010
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Originally Posted by Azriel_7 View Post
The 4k WILL swing just like the 3k or 60, you just have to remember to decrease the resolution.
The 4k allows you choose if you want to use a resolution like the older units or have it set to the max.
I think there are other factors involed such as the processor but ultimatly i belive its the PPQ resolition the defines the feel.

I have searched all the way though the manual before to find a option to decrease the resolution ppq but was unable to find anything? This has really put me off the 4k as a option but if i knew for a fact i could change the pluse per quarter rate i would definitely be interested in buying one. Are you able to confirm that this is possible by showing screen shoots or better yet posting a link to the part of the manual that allows this, i must have missed it or have been looking at a earlier OS in which this was not a option.
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24th February 2010
Old 24th February 2010
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personally, i must say i like the feel of the MPC 3K more than the 4k. However i should say i use my MPC as only a starting point for songs and then move everything into ableton live. I can't get the groove pool function to work as intuitively as the MPCs timing functions. Maybe its familiarity but i just fly on the 3k. So pretty much i use the 3k as a scratch bad to build the rhythm track of a song and it works perfectly for that.... i took it off the desk for one day and missed it. its now home again.

I almost think its just that the MPC click that is slightly off... like there is some blank space before the click hits. like a funny attack or something. I always thought it made the MPC click sound funky as hell.
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#81
8th July 2010
Old 8th July 2010
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I truly enjoyed this thread...Im wondering if I should switch from the 3000 to the 4000...I enjoy my 3000, but I seen Just Blaze and Havoc on the 4000 and that bitch just excites me...
#82
28th October 2010
Old 28th October 2010
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What I don't like about the MPC-4000 (and I owned the 3000) is that each new sample loaded by default is made to play only the duration you hold the key. If you want it to play till the end, even for just a tap, which was the default for the 3000, then you have to dig into the menu's to find the setting and change it for every new sound you load. It is not in a very convenient place to change it.

Anyone know how to change the defaults so every sample will play to it's end?
#83
28th November 2010
Old 28th November 2010
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Originally Posted by noraKat View Post
What I don't like about the MPC-4000 (and I owned the 3000) is that each new sample loaded by default is made to play only the duration you hold the key. If you want it to play till the end, even for just a tap, which was the default for the 3000, then you have to dig into the menu's to find the setting and change it for every new sound you load. It is not in a very convenient place to change it.

Anyone know how to change the defaults so every sample will play to it's end?
I don't think there is a default. unless the setting of the last sample is taken for the next sample.

you would be better to set up the programs zones to over-ride the samples own settings. then when you load that sample into a programs zone the program will be doing what you want. you have to have the samples in program zones anyhow so, no real issue there. it's far easier to do this in AkSys for every zone of every keymap. having a few generic sampler programs is just as useful as having DAW templates. in fact more so.

here are the settings you could use.

.......... Cases for these Zone settings.

In the Zones (set) Pitch & Playback to
CONT - ONE SHOT.
Result.
1: The samples Pitch will be read directly from the samples Root Pitch setting.
2: The Sample will be played from start to end.

see post #31 on this thread for a more in depth description of these kinds of modes.

AKAI Z8 or MPC4000 Tricks & Tips ?

Also, you can convert a normal pitched instrument or what's usually termed a (keymap) to a (drum-map) in the MPC4K / Z8 Engine. that might make all the zones sample playback become (one shot).

........

I'm surprised that the MPC1K and 2500 are 96ppqn.
the only way to obtain the swing resolutions a 96ppqn produces, I can see, would have to be done by swinging the mid clock.
That's possibly why these units are often reported as loosing swing under certain external clocking conditions.

........

lots of Roland equipment still uses pre-emphasis because their D to As are de-emphasizing by default.
which would be ok if all the equipment had a gain change algorithm so you didn't destroy samples with
hi frequency content when applying the (necessary) pre-emphasis curve. sadly I don't think many of them do.
The MV series certainly don't. it's their most serious design flaw. make sure you reduce the sample peak to
-13db before you transfer & load them in. it's the only logical way to do it.
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#84
13th February 2011
Old 13th February 2011
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Quote:
Originally Posted by creative69 View Post
This MPC swing thing is so damn tired..I wonder if these people who go on about "legendary swing " have actually owed an MPC?
Has it ever occurred to anyone the reason that Dre and the like use an mpc3000 is cause thats what was available at the time!!
I guarantee that Dre could make an mpc4000 swing every bit as "legendary" as an mpc3000!

These post's are great for a quiet chuckle to myself, but there comes a time for the dis-illutioned nostalgia to stop.

By the way I have owen every MPC and have been using a MPC 4k for the last 5 years and believe me the swing comes from the operator, not the machine!

Peace
Well put, having owned the MPC 2500, 3000, 5000, and now the 4000...I am in love with the 4000, I loved the 3000's "Legendary" swing and sequencing, that technology is too old to use in todays applications, I mean who wants to cut up samples without the use of seeing the waveform on the screen, I want more ram, I want a CD drive, the 4000 is the 3000 just updated, I think people need to research the PPI of each sequencer and see actually where the numbers lie, I had the 5000 and I couldnt get that to swing like the 3000 because of the high resolution sequencer, although I would have kept my 5000 for the Compact Flash option, I now have my 4000 swinging like the 5000, and 3000...The 3000 is clean, dont get me wrong but for people who own 1 MPC and lets say you watch a MPC 3000 video on YouTube, youre gonna think the 3000 is the best MPC, well I like the slow jams and the R&B beats right now, and the 4000 has just that type of swing, I mean its the best MPC as far as MPC especially it not being a famed Roger Linn Sequencer...the technology on it alone makes it a better choice for me, it just so happened to stay in tune with today by having a CD-RW drive. BLESS
#85
13th February 2011
Old 13th February 2011
  #85
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Resolution

Quote:
Originally Posted by Azriel_7 View Post
The 4k WILL swing just like the 3k or 60, you just have to remember to decrease the resolution.
The 4k allows you choose if you want to use a resolution like the older units or have it set to the max.
How do you change the resolution? I would like to know this feature...
#86
11th March 2011
Old 11th March 2011
  #86
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Quote:
Originally Posted by huggie View Post
Roger Linn kindly agreed for me to quote him...

Here is the section of that email that discuses the 60 and 3000:

Hugo: How did you make a 12 bit sampler sound so warm!

RL: Pre-emphasis. We boosted the treble before sampling and cut it on playback.

Hugo: Also why is the timing correction (swing) on the 60 and 3000 different than the rest of the MPC's.

RL: Honestly, I haven’t used the MPC models after my 60 and 3000 designs so I don’t know much about them. Having met some of the engineers that worked on those later models, I don’t think they understood music well or the concept of a groove and its importance as the fundamental component of rhythmic music. There are a lot of little things to watch for that add up.



By the way I hope Roger Linn's drum machine finds the light of day! LinnDrum 2

Hugo

I know I'm waking one from the dead here, but Roger didn't say the swing was different. You asked him a loaded question and he said he hasn't used the later models
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#87
12th March 2011
Old 12th March 2011
  #87
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Quote:
Originally Posted by IM WHO YOU THINK View Post
I know I'm waking one from the dead here, but Roger didn't say the swing was different. You asked him a loaded question and he said he hasn't used the later models
Hey,man,
The swing may or may be not different on different models, for example, see this thread:
Akai MPC Forums - MPC swing range is of 25 values but MPC is 96 PPQ - 24 ticks : Popular Questions & Essential Info
here`s the different swing values and their respective note time positions on 2000xl:
50% = 001.01.24 (wow surprize )
51% = 001.01.24
52% = 001.01.24
53% = 25
54% = 25
55% = 26
56% = 26
57% = 27
58% = 27
59% = 28
60% = 28
61% = 29
62% = 29
63% = 30
64% = 30
65% = 31
66% = 31
67% = 32
68% = 32
69% = 33
70% = 33
71% = 34
72% = 34
73% = 35
74% = 35
75% = 36
On my 3k, shifting begins at 52% (001.01.25), and 74 and 75% both give 001.01.36, so unless the 2000xl`s owner specified EARLIER shift of 1 tick in TC window, there`s already 1 tick difference in swing timing between 2000xl an 3k. Plus 2000`s midi jitter is a way higher, than a 3k (Remember those engineers of the newer models that not "understood music well or the concept of a groove and its importance as the fundamental component of rhythmic music. ")
#88
12th March 2011
Old 12th March 2011
  #88
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Quote:
Originally Posted by IM WHO YOU THINK View Post
I know I'm waking one from the dead here, but Roger didn't say the swing was different. You asked him a loaded question and he said he hasn't used the later models
Probably...

I wasn't conducting an investigation... I was just asking Roger a couple of questions about his creations. To satisfy my own curiosity...

The observations I made about the difference between the 60/3000 and the other MPC's were purely subjective and completely un-scientific. However I am fairly confidant that Roger Linn is actually an alien Wizard who sprinkles funky magic space dust on all his instruments...

These days I'm more interested in what Roger is up to now with Dave Smith (another Alien Wizard I suspect): Dave Smith Instruments. Tempest Analog Drum Machine.


- Hugo
#89
16th March 2011
Old 16th March 2011
  #89
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MPC 3000 vs. MPC 4000

Dave smith gear sucks. Big virtual synths. Garbage.
#90
16th March 2011
Old 16th March 2011
  #90
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Quote:
Originally Posted by mike dean View Post
Dave smith gear sucks. Big virtual synths. Garbage.
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