mpc 2000xl vs 2500?

[MAK G]

i didn't know yet which one i will be buy...

for the moment i'm looking for mpc 2500 or 2000xl...
and i add a s950 and sp 1200 turbo = 1700€

or a mpc 3000 = 1700€ too!...

i think the first option is the best...

mpc 2500 or mpc 2000xl (with s950 & sp12) ?
which one u think is the best?

[Rapslow]

2000xl + s950
or
mpc 3000 +s950

2500 sounds a little thin compared to 2000 or 3000 IMO
it's more clean and transparent but
thats not what you're looking for in hiphop

[lospat123]

if u put in crap u will get crap out. no matter what u use.

[CharlesD]

2000Xl for shure
2500 looks cheap

[Hossegor]

i sold my 2000xl to get me 2500...

let me just tell you this...one week later i gave the 2500 back and got me another xl. the sound, groove and built quality of the xl is definitly better.

[halfguard]

all this makes me laugh. the 2000 (xl) doesnt have a sound. its clean, what you put in is what you get out. you guys are talking like it has the sound of the 60/3000 wich is does not. ive owned a 60/2000/and now a 1000. the 2000 comes in last in my opinion. alot of people love the 2000 because its what they came up on and thats cool. but dont say that the 2000 (xl) has that sound, becasue it doesnt. funny thing is, when it came out, everyone was saying how thin and sterile it was. for the record, the 2500/1000 has a very clean and semi puchy sound. what you put in, is what you get out.

[kingofswing]

Originally Posted by halfguard

all this makes me laugh. the 2000 (xl) doesnt have a sound. its clean, what you put in is what you get out. you guys are talking like it has the sound of the 60/3000 wich is does not. ive owned a 60/2000/and now a 1000. the 2000 comes in last in my opinion. alot of people love the 2000 because its what they came up on and thats cool. but dont say that the 2000 (xl) has that sound, becasue it doesnt. funny thing is, when it came out, everyone was saying how thin and sterile it was. for the record, the 2500/1000 has a very clean and semi puchy sound. what you put in, is what you get out.

Actually you are so wrong about the XL sound

I don't know how much MPC experience you got, but I have now had over 16 different MPC units of varying models come into my studio over 6 years. I own a 4000, 2000 XL, and a 2500. The 2500 is the cheapest sounding unit of the lot (including the 1000, 500 and 5000). I like the 2500 for it's size and fast operation.

I have said this many times before, the 2000 XL definately has something about it in upper midrange (a little grainy and forward if you like), which the 4000, 1000, 2500, 500, and 5000 don't have. The 2000 XL can cut through a mix like a razor, especially on percussion. The 4000 has the cleanest and most neutral sound. The 1000/2500/500/5000 sound engine are all identicle, a very generic sound.


I have never got into a 3000, have heard many and used them quite a few times too. Some of my producer friends own them, but I would never buy it. I have been offered a swap for my XL (no kiddin), but that has not happened either.

[terrytee]

Akai stopped making, what some ppl say, professional sounding samplers around the same time as the 2000 came out. Ever since they sent there products to china as opposed to Japan for construction they became much cheaper build & thinner/brighter sound. If your only experience with Akai is from the new generation you may not be aware of this.

[halfguard]

Originally Posted by kingofswing

Actually you are so wrong about the XL sound

I don't know how much MPC experience you got, but I have now had over 16 different MPC units of varying models come into my studio over 6 years. I own a 4000, 2000 XL, and a 2500. The 2500 is the cheapest sounding unit of the lot (including the 1000, 500 and 5000). I like the 2500 for it's size and fast operation.

I have said this many times before, the 2000 XL definately has something about it in upper midrange (a little grainy and forward if you like), which the 4000, 1000, 2500, 500, and 5000 don't have. The 2000 XL can cut through a mix like a razor, especially on percussion. The 4000 has the cleanest and most neutral sound. The 1000/2500/500/5000 sound engine are all identicle, a very generic sound.


I have never got into a 3000, have heard many and used them quite a few times too. Some of my producer friends own them, but I would never buy it. I have been offered a swap for my XL (no kiddin), but that has not happened either.

like i said, ive had a 60/2000/1000 still have the 1000.......if you think that the 2000xl has "that sound" then good for you, your happy, im happy. imo, it doesnt. and for the record, i do have a 1000 and only use it for drums. does it sound great like a 3000/60?? no it doesnt, but it sounds honest, as good or as bad as my sample. it still sounds better than battery/ultrabeat etc......

[kingofswing]

Originally Posted by halfguard

like i said, ive had a 60/2000/1000 still have the 1000.......if you think that the 2000xl has "that sound" then good for you, your happy, im happy. imo, it doesnt. and for the record, i do have a 1000 and only use it for drums. does it sound great like a 3000/60?? no it doesnt, but it sounds honest, as good or as bad as my sample. it still sounds better than battery/ultrabeat etc......

I bought one of the first MPC 1000s in the UK in december 2003, had to swap it 3 times and ended up giving it back. I really wanted to like it, but it had too many bugs at that point.

I do agree that it's a capable machine, and works much better now. Kills the software IMO. But one thing I could never get past is the scooped sound of these new mpcs since the 1000. The midrange is lacking, and this is the same on my 2500 too. Compare these newer mpcs (now made by Numark) to a 2000 XL or a classic 2000 or a 4k, you should instanty be able hear the difference.

It is about preference at the end of the day, so each to their own.

[kingofswing]

Originally Posted by terrytee

Akai stopped making, what some ppl say, professional sounding samplers around the same time as the 2000 came out. Ever since they sent there products to china as opposed to Japan for construction they became much cheaper build & thinner/brighter sound. If your only experience with Akai is from the new generation you may not be aware of this.

Well the 4000 was Akai's last design, before Numark took over.

FWIW I have used both the 3000 and 60. The 60 has a sound, but not something I would use today.

[MAK G]

thx for all your advices..!
like he said i think the mpc 2000xl got a typical sound even if it's not huge like a 3000 or a 60...
i've buy a s950 yesterday... that's really good! i heard that sound like a 60.. 12bit!!
and now i'm in this case.. what i buy? 2000xl or 2500!?
2500 is more punchy and the sound is clean, very easy to use! (sorry for my english!) and good for new generation beat i suppose
on 2000xl the sound is best for works more old school...
somebody use the 2000xl with s950...? what that done? or maybe with 2500....
i want to be sure for my choice...

[halfguard]

if i were you, id get the 1000 with jj os and call it a day.....

[computa]

had mpc's since 1994.

biggest difference r the d/a converters.

Newer akai designed mpc's "may" sound thinner because, the converters r too clear. Just do a -5 on the filters overall and u will be closer to the roger linn designed thicker/warmer mpc3000 sound.

homies like pete rock, scram jones use 2500's and their beats dont sound thin at all.

95% of the time it's the driver and not the car.

[kingofswing]

Originally Posted by computa

had mpc's since 1994.

biggest difference r the d/a converters.

Newer akai designed mpc's "may" sound thinner because, the converters r too clear. Just do a -5 on the filters overall and u will be closer to the roger linn designed thicker/warmer mpc3000 sound.

homies like pete rock, scram jones use 2500's and their beats dont sound thin at all.

95% of the time it's the driver and not the car.

People like Pete Rock are also using lots of other toys to process their sounds - SSL comes to mind. Not to mention he probably got a free 2500 too.

[computa]

Originally Posted by kingofswing

People like Pete Rock are also using lots of other toys to process their sounds - SSL comes to mind. Not to mention he probably got a free 2500 too.

u missed the point homie.

[terrytee]

This is what the big homie Pete Rock has to say about the 2500.

“When I started putting this record together, I found myself listening to [hip-hop] radio a lot more. I wanted to get a better sense of today's sound so I could hopefully mix that with my own. It's important, especially when you're associated with a certain era, to update your sound.” Chief among Rock's observations about today's hip-hop is the attention it pays to the higher frequencies. For Rock, this resulted in the music's newfound presence. “Hip-hop today sounds bright, like it's right in your ear. It's clean.” Rock sees the change as, in part, attributable to the Akai MPC's predominance in the world of bits and bytes.

“The main difference I noticed when I switched from the SP to MPC was the MPC has a thin, clean sound. The SP's gonna give you that raw, gritty hip-hop feel. The SP just makes your sound fat.” For the erudite E-mu scholar, one who admits to once downgrading sampling rates for the sake of increasing sample time, adapting to Akai's model was a mixed blessing. While it gave the producer a superfluous three minutes of high-rate sample time, it also meant parting from his signature bandpass filters that yielded famous horn lines like the opener for “T.R.O.Y.” “It's a tradeoff; you gotta give up some of that boom-bap-buh-boom-buh-boom-bap,” Rock says as he breaks into a deep-voiced beatbox pattern. But, in response to the MPC's less warm, slightly dead sound, the producer implemented two strategies that preserved the boom in his boom-bap.

“Before I sample anything into the MPC, I always EQ my sounds first,” Rock says. “I just use an old GLI Pro mixer that I got hooked up to the sampler. It's not a great mixer, but it has three basic bands that I can equalize on. If you want your sound to be heavy on the MPC, you need to EQ. For kicks, I have [tape] markers that I leave on the EQ knobs. The markers give me a range that are gonna make the kick boom. I have the same type of markers for the hi-hat and the snare. Every time I sample anything, I use those markers as a reference.”
Pete Rock

Pete Rock on NY’s Finest | Remix interviews hip-hop producer Pete Rock on engineering and mixing NY’s Finest

[computa]

exactly

95% of the time it's the driver and not the car.

Pete is my neighbor back in nyc. We've worked together a few times. Got a joint w/ Red Cafe & Talib Kweli coming soon.

[terrytee]

Originally Posted by MAK G

i didn't know yet which one i will be buy...

for the moment i'm looking for mpc 2500 or 2000xl...
and i add a s950 and sp 1200 turbo = 1700€

or a mpc 3000 = 1700€ too!...

i think the first option is the best...

mpc 2500 or mpc 2000xl (with s950 & sp12) ?
which one u think is the best?

driver type metaphors But it's an intreating point that Pete EQ's his samples before taking them into the MPC. The New generation MPC are definitely more in-tuned to days sound IMO And totally agree with the point on todays hip-hop & higher frequencies. I see you have now bought a 950, if your also wanting to deliver a more current sound a newer mpc is the way to go IMO.

[phoketztight]

roland mv now close this thread

[halfguard]

Originally Posted by terrytee

This is what the big homie Pete Rock has to say about the 2500.

“When I started putting this record together, I found myself listening to [hip-hop] radio a lot more. I wanted to get a better sense of today's sound so I could hopefully mix that with my own. It's important, especially when you're associated with a certain era, to update your sound.” Chief among Rock's observations about today's hip-hop is the attention it pays to the higher frequencies. For Rock, this resulted in the music's newfound presence. “Hip-hop today sounds bright, like it's right in your ear. It's clean.” Rock sees the change as, in part, attributable to the Akai MPC's predominance in the world of bits and bytes.

“The main difference I noticed when I switched from the SP to MPC was the MPC has a thin, clean sound. The SP's gonna give you that raw, gritty hip-hop feel. The SP just makes your sound fat.” For the erudite E-mu scholar, one who admits to once downgrading sampling rates for the sake of increasing sample time, adapting to Akai's model was a mixed blessing. While it gave the producer a superfluous three minutes of high-rate sample time, it also meant parting from his signature bandpass filters that yielded famous horn lines like the opener for “T.R.O.Y.” “It's a tradeoff; you gotta give up some of that boom-bap-buh-boom-buh-boom-bap,” Rock says as he breaks into a deep-voiced beatbox pattern. But, in response to the MPC's less warm, slightly dead sound, the producer implemented two strategies that preserved the boom in his boom-bap.

“Before I sample anything into the MPC, I always EQ my sounds first,” Rock says. “I just use an old GLI Pro mixer that I got hooked up to the sampler. It's not a great mixer, but it has three basic bands that I can equalize on. If you want your sound to be heavy on the MPC, you need to EQ. For kicks, I have [tape] markers that I leave on the EQ knobs. The markers give me a range that are gonna make the kick boom. I have the same type of markers for the hi-hat and the snare. Every time I sample anything, I use those markers as a reference.”
Pete Rock

Pete Rock on NY’s Finest | Remix interviews hip-hop producer Pete Rock on engineering and mixing NY’s Finest

terrytee, thats makes alot of sense. since you already have the 950, you have"that sound" id get the 1000/2500 w/ jj os and you will have both sounds.....

[kingofswing]

Originally Posted by terrytee

This is what the big homie Pete Rock has to say about the 2500.

“When I started putting this record together, I found myself listening to [hip-hop] radio a lot more. I wanted to get a better sense of today's sound so I could hopefully mix that with my own. It's important, especially when you're associated with a certain era, to update your sound.” Chief among Rock's observations about today's hip-hop is the attention it pays to the higher frequencies. For Rock, this resulted in the music's newfound presence. “Hip-hop today sounds bright, like it's right in your ear. It's clean.” Rock sees the change as, in part, attributable to the Akai MPC's predominance in the world of bits and bytes.

“The main difference I noticed when I switched from the SP to MPC was the MPC has a thin, clean sound. The SP's gonna give you that raw, gritty hip-hop feel. The SP just makes your sound fat.” For the erudite E-mu scholar, one who admits to once downgrading sampling rates for the sake of increasing sample time, adapting to Akai's model was a mixed blessing. While it gave the producer a superfluous three minutes of high-rate sample time, it also meant parting from his signature bandpass filters that yielded famous horn lines like the opener for “T.R.O.Y.” “It's a tradeoff; you gotta give up some of that boom-bap-buh-boom-buh-boom-bap,” Rock says as he breaks into a deep-voiced beatbox pattern. But, in response to the MPC's less warm, slightly dead sound, the producer implemented two strategies that preserved the boom in his boom-bap.

“Before I sample anything into the MPC, I always EQ my sounds first,” Rock says. “I just use an old GLI Pro mixer that I got hooked up to the sampler. It's not a great mixer, but it has three basic bands that I can equalize on. If you want your sound to be heavy on the MPC, you need to EQ. For kicks, I have [tape] markers that I leave on the EQ knobs. The markers give me a range that are gonna make the kick boom. I have the same type of markers for the hi-hat and the snare. Every time I sample anything, I use those markers as a reference.”
Pete Rock

Pete Rock on NY’s Finest | Remix interviews hip-hop producer Pete Rock on engineering and mixing NY’s Finest

This is an article...don't believe everything you read in these things.

ps: where does he refer to a using a 2500?

[terrytee]

Originally Posted by kingofswing

This is an article...don't believe everything you read in these things.

ps: where does he refer to a using a 2500?

Is the 2500 not the machine he uses now? guess he's referring to the model.
I use a 3000 and often a s950. I original got a 2000 when they first came out & was very disappointed with the sound but IMO i have noticed that over the years that type of sound has become more & more popular. I think EQ'ing the sample before hand would make sense if i had the 2000 again, i imagine the 2500 isn't that different.

[AON]

Originally Posted by terrytee

Is the 2500 not the machine he uses now? guess he's referring to the model.
I use a 3000 and often a s950. I original got a 2000 when they first came out & was very disappointed with the sound but IMO i have noticed that over the years that type of sound has become more & more popular. I think EQ'ing the sample before hand would make sense if i had the 2000 again, i imagine the 2500 isn't that different.

I think he´s talking about the 2000XL. Check the end of the article:
FINEST GEAR

Akai MPC2000XL sampling workstation
Alesis Monitor One MK2 monitors
API 2500 stereo compressor
Apple Power Mac G5 computer
Digidesign Pro Tools 7, Digi 002 interface
E-mu SP-1200 sampler
Empirical Labs Distressor compressor/limiter
Fender Rhodes keyboard
Focusrite Octo Pre preamp
Genelec 1031 monitors
JBL LSR325P monitors
Neve VR console
Røde NT1000 condenser mic
Sony C-800G mic
Technics SL-1200 turntable

[mdjice]

mpc 2500 can transfer files via USB
mpc 200xl CAn't ..BIG difference in the workflow.
I sold my xl and got me a 2500 and i;m very happy with it, I however do NOT use the converters and only use if for it's timing (quantize) and pads layout.
Record midi played notes or drums into mpc then sync it with reaper/miko and re record the midi files into the computer, this way I get a flexibale modifiable midi session but with the oh so important MPC midi timing