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MPC live Drum Machines & Samplers
Old 19th March 2017
  #2071
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steelyfan's Avatar
 

Quote:
Originally Posted by Jimmy Two Times View Post
I think you are thinking about Behringer Deepmind12 and their TC electronics effects.
Air FX.
Old 19th March 2017
  #2072
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Quote:
Originally Posted by rockreid View Post
Akai has said the new MPCs will ship with the AIR FX package that has been in Pro-Tools, so the FX should get a bump up in quality from the standard Akai FX.

Whether or not the AIR effects have been improved or include all of them is up in the air.
Well if Akai put air effects in it the effects will be dope.
Old 19th March 2017
  #2073
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Quote:
Originally Posted by Perplexo View Post
But are these effects supposed to be available in stand alone mode?
Yes.
Old 19th March 2017
  #2074
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lineofcontrol's Avatar
 

Silly MPC Questions...

Never used an MPC before. But am considering the X as my sequencing, drums and sampling centerpiece.

I have lots of modular eurorack and cv gate gear as well as midi synths and drum machines.

Would probably have to sell my Analog rytm, TR8 and Kilpatrick Carbon sequencer to afford it.

Does the MPC style of programming do xox style step recording? I really like working this way and am not much of a finger drummer at all.

I assume with its midi IN I can use a controller to play my midi synths and record them into the mpc?

I assume there is a song as well as loop mode.
Old 19th March 2017
  #2075
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On the contrary to what you said and understanding your point that wont happen. My drums will be on point from the live. I drag and drop them into Reason or S1v3. When play melodies over the drums my melodies will be on point because my drums is my metronome. Cut the QUANTIZING OFF in Reason and play in timing to my drums and bammmm! Im good. How l know this? Because l use to use that technique with the 2000XL with Reason like that. Another point l know it will work is because l use that technique now. I make my drums, they are off grid l fix them. Turn off the quantize and play piano and they fall into place. Studio One 3 has better midi timing. It goes beyond 1/64.

If you understood the Live better than me you wouldn't have talked about a controller and a laptop vs a Live/X. lol You would of understood the X/Live is a drum machine and laptop combined lol
Those machines eliminates the lappy and mouse!
Like l said to you if you're good with a controller and lappy don't buy either one of the machines. Which brings me to this point. Why are you here? To discourage people from getting the new machines?
Those that want the machines for various reasons don't t care about your point.

Lmao so now its not a true Music Production Center according to YOUR standards because it doesnt have 16 audio tracks and not 96khz? Lmao
Yo l use to do whole songs on the 2000XL with just 32mb. Theses machines are beast compared to that. Why in the world wuold it need 96 khz?
Let me break this down.

Theses machines has sample rate 44.1, bit Resolution 24 bit. My mix engineer Tim Sonnefeld never ever ever ever never ever ask for track stems in 96 khz! Most engineers today want 44.1/48 - 24 bit! Its a freakin beastly drum machine not Protools HDX system lol

Im already ITB l have no outside gear whatsoever. The Live will be an extension of that. I will still be ITB. I will do my drums or whatever on the Live then export my drums back to my PC and drop them in my DAW. I won't record from the Live into my DAW.

If you're so content why come here? If l could get my drums to do what l wanted l wouldn't get the Live and wouldn't be here.



Quote:
Originally Posted by Jimmy Two Times View Post
<removed by moderator> I know more about the Live than probably you do. How do you think you will record drums in the MPC live and have them perfectly synced up with your synth instruments in reason? They will be off, no matter what. Not off in relation to other durms on the MPC... that's not what I'm talking about. They are off in relation to Reason.

That's the whole reason you're getting the MPC isn't it? Just how hitting a note to record in Reason from an external MIDI controller produces a little latency, so does syncing a standalone MPC to Reason. Only difference is your entire drum sequence will be off by X amount of latency. Unless you do your production 100% OTB in the MPC, there will be latency.

I'm glad this product inspires you and excites you, but for me, it's not that special. If it truly was a Music Production Computer, it would have at least 16 audio tracks, run at at least 96 khz, have some powerful effects, etc.

My point is that doing your drums externally and then having to bring them all back in the DAW is redundant. But if it makes you feel better doing your drums OTB, have at it. I would rather stay ITB, and be perfectly in time with my soft synths and other recorded synths. And that is what I will do

Last edited by danoc; 19th March 2017 at 03:01 PM..
Old 19th March 2017
  #2076
Lives for gear
 

Yes sir it does step style recording.

Yes sir you use your controller to play midi synth notes and record them into the X.

Yes sir song mode and loop mode is available. I use to use song mode on 2000 & 2000XL. It was so easy to use it was ridiculous.

Quote:
Originally Posted by lineofcontrol View Post
Silly MPC Questions...

Never used an MPC before. But am considering the X as my sequencing, drums and sampling centerpiece.

I have lots of modular eurorack and cv gate gear as well as midi synths and drum machines.

Would probably have to sell my Analog rytm, TR8 and Kilpatrick Carbon sequencer to afford it.

Does the MPC style of programming do xox style step recording? I really like working this way and am not much of a finger drummer at all.

I assume with its midi IN I can use a controller to play my midi synths and record them into the mpc?

I assume there is a song as well as loop mode.
Old 19th March 2017
  #2077
Gear Addict
 
tmdea's Avatar
Saw 1 vendor moved their ship date to june
Old 19th March 2017
  #2078
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Praxisaxis's Avatar
 

Quote:
Originally Posted by Jimmy Two Times View Post
Excuse me for trying to talk some sense into people who might be confused as in what to get. I do programming for a living and am always on my computer, and I love making music on my computer. I never understood that "I work on a computer so I hate it" mentality. A computer is like a house - you choose what room you want to go in. Just because I have access to "Photoshop" doesn't mean I will have to use it. Have some self control. I don't know about Windows, but on Mac you can make any window full screen and ignore anything else on your computer. I know you said "superior system" facetiously but honestly, yes, you're right.

When I was just starting with music 10 years ago I bought an MPC 1000 thinking it would make my drums bang so much harder. It didn't do anything my then Reason 3 couldn't do. It's just another tool, another workaround. Have at it.
A lot of people make this point, but I think it misses the main issue. We're not saying that computers are somehow incabable of the results that a standalone can produce - that's not it.

Ableton, push, Maschine, MPC controllers, APC 40, etc, etc - all these things together or separately already do everything that is promised by this new unit. On paper.

In fact the majority of the market, let's face it, are probably going to prefer to stay with computer-linked systems, because as you say, they're "more capable."

However, for some people, standalone is preferable. It's a matter of preference. But that's important. I don't like using a laptop to perform. I have tried. I still don't. I've been waiting for something like the MPC Live to get invented, purely because I like the MPC 1000 but it's dated - there's no reason (apart from requiring a market) why something like the MPC Live shouldn't exist. Having a standalone unit provides an edge for someone like me. I like the focus. I like the limitations. I like the melding of production and performance. I like fewer cables. I like not having fragile USB connections. I like not being tethered to a fragile, expensive thing which I'm wholly reliant on (when I work with pure h/w I teach myself to have some redundancy). I like the idea of a seemless, tactile, integrated workflow - something I never find quite right in software (granted, it's not yet proven for the MPC).

Yes, my production and performance could all be done with a laptop and controller. But the point is for me personally, stand-alone is an edge. It doesn't need to be true for everyone. Just enough people so that they invent the damn thing so I can buy it .
Old 19th March 2017
  #2079
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Quote:
Originally Posted by Praxisaxis View Post

Yes, my production and performance could all be done with a laptop and controller. But the point is for me personally, stand-alone is an edge. It doesn't need to be true for everyone. Just enough people so that they invent the damn thing so I can buy it .
"It doesn't need to be true for everyone"

Profoundly said!
Old 19th March 2017
  #2080
mp3
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Quote:
Originally Posted by Jimmy Two Times View Post
Excuse me for trying to talk some sense into people
You're excused. Perhaps in the future you should try and be okay with people not conforming to your notions of sensibility? Or perhaps you enjoy your sense of intellectual superiority too much and are compelled to share it?

Quote:
Originally Posted by Jimmy Two Times View Post
people who might be confused as in what to get.
I think almost everyone here, including you, has their preferences sorted out. And has had them sorted out for years if not decades. I also think everyone here, except you, has determined that these new boxes have the potential to meet some or all of those preferences. So that makes you stand out quite a bit. Your proselytizing deserves its own thread, my friend.

Quote:
Originally Posted by Jimmy Two Times View Post
When I was just starting with music 10 years ago I bought an MPC 1000 thinking it would make my drums bang so much harder. It didn't do anything my then Reason 3 couldn't do. It's just another tool, another workaround. Have at it.
I get where you're coming from, for the record, as I am also a results oriented person; except in the arts, where I opine its all about the process. The mistake you're making, however, is thinking everyone should process the world around them like you do.
Old 19th March 2017
  #2081
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Quote:
Originally Posted by mp3 View Post
You're excused. Perhaps in the future you should try and be okay with people not conforming to your notions of sensibility? Or perhaps you enjoy your sense of intellectual superiority too much and are compelled to share it?



I think almost everyone here, including you, has their preferences sorted out. And has had them sorted out for years if not decades. I also think everyone here, except you, has determined that these new boxes have the potential to meet some or all of those preferences. So that makes you stand out quite a bit. Your proselytizing deserves its own thread, my friend.



I get where you're coming from, for the record, as I am also a results oriented person; except in the arts, where I opine its all about the process. The mistake you're making, however, is thinking everyone should process the world around them like you do.
"The mistake you're making, however, is thinking everyone should process the world around them like you do"

Thank you MP3!
Old 19th March 2017
  #2082
Quote:
Originally Posted by Jimmy Two Times View Post
Excuse me for trying to talk some sense into people who might be confused as in what to get. I do programming for a living and am always on my computer, and I love making music on my computer. I never understood that "I work on a computer so I hate it" mentality. A computer is like a house - you choose what room you want to go in. Just because I have access to "Photoshop" doesn't mean I will have to use it. Have some self control. I don't know about Windows, but on Mac you can make any window full screen and ignore anything else on your computer. I know you said "superior system" facetiously but honestly, yes, you're right.

When I was just starting with music 10 years ago I bought an MPC 1000 thinking it would make my drums bang so much harder. It didn't do anything my then Reason 3 couldn't do. It's just another tool, another workaround. Have at it.
This is your experience. You don't understand a certain mentality, but can you accept that this mentality exists, and it may exist naturally, because all brains function differently?
Old 19th March 2017
  #2083
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Quote:
Originally Posted by tmdea View Post
Saw 1 vendor moved their ship date to june
Vendors are going to constantly do that. I'll wait for Akai to mention when it drops.
When l do get it lma hold on to it for a long time lol
Right now lm loving what those machinces are offering.
Old 21st March 2017
  #2084
Gear Maniac
 
GeorgeMichael's Avatar
 

Hey all-
Maybe someone with some MPC experience can help me understand if this is what I'm looking for, as this sounds as if it's structured the same way.

Ideally I want to perform completed tracks made elsewhere (would use a few audio stems) live with flexibility to extend sections, etc., all while sequencing a few synths. The song forms, sequences have some nuance, definitely not just 64 steps repeating. I'd want to roughly prearrange the song forms but having the options to repeat sections, loops a few bars or jump around is crucial. From what I understand the way in which you can arrange patterns on an MPC is a bit more flexible than what I'm currently using (octatrack). In addition to extending or looping sections on the fly I'm wanting some flexibility with transitions between songs, I'd assume they'd tie in together.
It seems as if it's very much capable of this. Can anyone share some insight on how it might work for the uses I've described? How are "songs" treated within an MPC and regarding transitions? How it might, in other ways, give a more flexible live approach. Any obvious limitations? I want to be as flexible as I can performing this music, that's what make a set "live" imo. I've just had trouble finding a live method somewhere between working with building simple loops and DJing a finished track.

Thus far I've been managing on an octatrack, on which I still haven't found an ideal approach. It's a great piece for all that it does but I feel as if it's really not designed for what I'm trying to do. I'm basically wanting an octatrack with a way more in depth arranger, longer step length within patterns (for external sequences) and a better time stretch algorithm. I've been strongly considering ableton/push 2 but loathe the idea of taking a laptop on stage.

Beyond my primary needs this looks like an awesome set of features. I could see using this in lots of ways I'm not even considering. If it's capable of what I'm thinking it'll be a no brainer for me.
thanks.
Old 21st March 2017
  #2085
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El-Burrito's Avatar
Quote:
Originally Posted by danoc View Post
Well if Akai put air effects in it the effects will be dope.
Those might be Air Plugins so they would not work standalone. 2.0 comes with Air softsynth that is plugin and will not work on standalones.

I really hope for FX update as 1.8 FX ain't that good. MPC's are not known for great filters, but still 1.8 filter was quite bad. In demos the Kaos pad filter have sounded ok.
Old 21st March 2017
  #2086
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El-Burrito's Avatar
Quote:
Originally Posted by Jimmy Two Times View Post
Excuse me for trying to talk some sense into people who might be confused as in what to get. When I was just starting with music 10 years ago I bought an MPC 1000 thinking it would make my drums bang so much harder. It didn't do anything my then Reason 3 couldn't do.
As said, different strokes for different folks. We don't need to understand why ppl like to do what they do, but we still don't need to 'talk sense' for them :D

I have played live with Ableton Live since 2005. I really want something else. MPC Live is first box that could replace Live on stage for me. Maybe. I cancelled my preorder as next gigs are before the damn thing is out!
Old 21st March 2017
  #2087
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Quote:
Originally Posted by El-Burrito View Post
Those might be Air Plugins so they would not work standalone. 2.0 comes with Air softsynth that is plugin and will not work on standalones.

I really hope for FX update as 1.8 FX ain't that good. MPC's are not known for great filters, but still 1.8 filter was quite bad. In demos the Kaos pad filter have sounded ok.
Hey how are you El Burrito? Hope you and your fam is well.

You're right about the synth because in the X nor Live support synth plugins. But effects is a different story Akai could have the Air effects for both the stand alone and when connected to the computer. Because the 2.0 is on the standalone as well. Ima ask around to see if thats true. From what l heard on videos the effects sound good.
Old 21st March 2017
  #2088
Lives for gear
 

Quote:
Originally Posted by GeorgeMichael View Post
Hey all-
Maybe someone with some MPC experience can help me understand if this is what I'm looking for, as this sounds as if it's structured the same way.

Ideally I want to perform completed tracks made elsewhere (would use a few audio stems) live with flexibility to extend sections, etc., all while sequencing a few synths. The song forms, sequences have some nuance, definitely not just 64 steps repeating. I'd want to roughly prearrange the song forms but having the options to repeat sections, loops a few bars or jump around is crucial. From what I understand the way in which you can arrange patterns on an MPC is a bit more flexible than what I'm currently using (octatrack). In addition to extending or looping sections on the fly I'm wanting some flexibility with transitions between songs, I'd assume they'd tie in together.
It seems as if it's very much capable of this. Can anyone share some insight on how it might work for the uses I've described? How are "songs" treated within an MPC and regarding transitions? How it might, in other ways, give a more flexible live approach. Any obvious limitations? I want to be as flexible as I can performing this music, that's what make a set "live" imo. I've just had trouble finding a live method somewhere between working with building simple loops and DJing a finished track.

Thus far I've been managing on an octatrack, on which I still haven't found an ideal approach. It's a great piece for all that it does but I feel as if it's really not designed for what I'm trying to do. I'm basically wanting an octatrack with a way more in depth arranger, longer step length within patterns (for external sequences) and a better time stretch algorithm. I've been strongly considering ableton/push 2 but loathe the idea of taking a laptop on stage.

Beyond my primary needs this looks like an awesome set of features. I could see using this in lots of ways I'm not even considering. If it's capable of what I'm thinking it'll be a no brainer for me.
thanks.
Song mode, extending sections, looping etc it can be done with these new machines. I did that with the MPC 2000XL. If l were you and you could afford the X get that. Big screen for you to do all that magic and more. You wouldn't need a laptop just the X. Plus ypu will have fun and that's what it boils down to.
Old 21st March 2017
  #2089
mp3
Lives for gear
 

@GeorgeMichael I'll start by saying I haven't used these new MPCs or their immediate predecessors, but assuming they carry over most of the basic MPC performance features (if I get anything wrong, please don't jump down my throat kay folks?), they'll work something like this:

In Akai speak, a pattern is called a Sequence. You can have up to 128 Sequences, each with up to 999 bars and 128 independent tracks, in a Project (which is the highest level in the MPC memory architecture). A sequence can itself be a whole song, or it can be (and is usually) a section of a song (chorus, verse 1, etc.).

MPCs have a function called Next Sequence mode, where each of the 128 sequences is assigned to a pad (in banks of 16 obviously), and you can switch between sequences by hitting the corresponding pad. The sequences can pick up bar/beat position, switch at the end of the current sequence, or start from the beginning of the selected sequence immediately.

Similarly, there is a 'Track Mute' function, where each of the 128 tracks can be muted from the pads. (Note, you cannot have both 'Next Sequence' and 'Track Mute' active at the same time.) Its important to note that each sequence has its own independent set of 128 tracks (as well as tempo and other settings), so having 128 sequences means you can, if you wish, have 128 separate songs in one project (sample memory permitting)

So having high counts of sequences and tracks (and Programs - which house the samples) lends itself to a copy-modify paradigm. In my experience, the best way to have reliable and repeatable variation is to make copies of a sequence and vary each one (add a fill, a roll, make the pattern more sparse, vary the melody or chord progression, mute a track or record some track mutes/unmutes, add some q-link automation, etc.)

Going on, Q-Link automation obviously gives you a great deal of tonal variation over individual pads/samples or even entire programs, but that's self explanatory. You can stutter the transport with the 'Play Start' button. You can also dig deeper into the sampler engine and adjust e.g. sample start/end points in realtime (they update on sample retrigger). And of course, you can trigger samples (on the selected track and its associated program) or MIDI notes (on the selected track and its associated MIDI output) in realtime from the pads or from a connected controller keyboard. (Note, like above, you cannot both trigger samples and switch sequences or mute tracks from the pads at the same time).

The Live and X (and the Touch before that) have the XYFX which are basically kaoss pad style effects that are strapped across the whole mix. They also have what they call 'Clip Tracks' which purport to provide Ableton style clip launching of prefabbed loops, but info is a bit thin on the ground right now as far as what they can do and how they work.

I think the biggest difference for most people who use step sequencers (X0X or analog style) live is the lack of control over individual notes or step-based automation (P-Locking). The MPC is designed as a realtime sequencer, so things like step automation aren't its strong suit. Having said that, it offers excellent grid editing which is very well suited to production, but I have no idea how useful that is in a live context. The touchscreen does give some hope...

Anyway I think I hit on the major points, but I'm sure I left out a thing or ten (edit: like live recording into audio tracks). Hope this helps!
Old 21st March 2017
  #2090
Lives for gear
 
ILL GREEN's Avatar
Timestretching is awesome on the MPC Live/X, but not "elastic" like Octatrack. So if you can live with that I guess you be alright.
Old 21st March 2017
  #2091
mp3
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Quote:
Originally Posted by El-Burrito View Post
but still 1.8 filter was quite bad.
I never used MPC SW, but according to Akai reps, they ported the filter from the 5000 (which originally comes from the Alesis ION/Micron) over to the MPC SW. I very much liked the filter in the 5000 but like I said I have not used the SW version. What didn't/don't you like about it?
Old 21st March 2017
  #2092
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Quote:
Originally Posted by mp3 View Post
@GeorgeMichael I'll start by saying I haven't used these new MPCs or their immediate predecessors, but assuming they carry over most of the basic MPC performance features (if I get anything wrong, please don't jump down my throat kay folks?), they'll work something like this:

In Akai speak, a pattern is called a Sequence. You can have up to 128 Sequences, each with up to 999 bars and 128 independent tracks, in a Project (which is the highest level in the MPC memory architecture). A sequence can itself be a whole song, or it can be (and is usually) a section of a song (chorus, verse 1, etc.).

MPCs have a function called Next Sequence mode, where each of the 128 sequences is assigned to a pad (in banks of 16 obviously), and you can switch between sequences by hitting the corresponding pad. The sequences can pick up bar/beat position, switch at the end of the current sequence, or start from the beginning of the selected sequence immediately.

Similarly, there is a 'Track Mute' function, where each of the 128 tracks can be muted from the pads. (Note, you cannot have both 'Next Sequence' and 'Track Mute' active at the same time.) Its important to note that each sequence has its own independent set of 128 tracks (as well as tempo and other settings), so having 128 sequences means you can, if you wish, have 128 separate songs in one project (sample memory permitting)

So having high counts of sequences and tracks (and Programs - which house the samples) lends itself to a copy-modify paradigm. In my experience, the best way to have reliable and repeatable variation is to make copies of a sequence and vary each one (add a fill, a roll, make the pattern more sparse, vary the melody or chord progression, mute a track or record some track mutes/unmutes, add some q-link automation, etc.)

Going on, Q-Link automation obviously gives you a great deal of tonal variation over individual pads/samples or even entire programs, but that's self explanatory. You can stutter the transport with the 'Play Start' button. You can also dig deeper into the sampler engine and adjust e.g. sample start/end points in realtime (they update on sample retrigger). And of course, you can trigger samples (on the selected track and its associated program) or MIDI notes (on the selected track and its associated MIDI output) in realtime from the pads or from a connected controller keyboard. (Note, like above, you cannot both trigger samples and switch sequences or mute tracks from the pads at the same time).

The Live and X (and the Touch before that) have the XYFX which are basically kaoss pad style effects that are strapped across the whole mix. They also have what they call 'Clip Tracks' which purport to provide Ableton style clip launching of prefabbed loops, but info is a bit thin on the ground right now as far as what they can do and how they work.

I think the biggest difference for most people who use step sequencers (X0X or analog style) live is the lack of control over individual notes or step-based automation (P-Locking). The MPC is designed as a realtime sequencer, so things like step automation aren't its strong suit. Having said that, it offers excellent grid editing which is very well suited to production, but I have no idea how useful that is in a live context. The touchscreen does give some hope...

Anyway I think I hit on the major points, but I'm sure I left out a thing or ten (edit: like live recording into audio tracks). Hope this helps!
Dam you bought me back to the 2000XL lil l enjoyed reading that.
Old 21st March 2017
  #2093
Lives for gear
 

Quote:
Originally Posted by mp3 View Post
I never used MPC SW, but according to Akai reps, they ported the filter from the 5000 (which originally comes from the Alesis ION/Micron) over to the MPC SW. I very much liked the filter in the 5000 but like I said I have not used the SW version. What didn't/don't you like about it?
From watching various videos l seen the guy use one finger going up and with the filter in standalone and it sounded dope.
Old 21st March 2017
  #2094
Gear Maniac
 
GeorgeMichael's Avatar
 

Many thanks for the info! Seems like the mpc workflow would def suit my live needs much better than the octatrack is currently.
Old 21st March 2017
  #2095
Quote:
Originally Posted by GeorgeMichael View Post
Many thanks for the info! Seems like the mpc workflow would def suit my live needs much better than the octatrack is currently.
It's somewhere buried in this long thread, please check this video we made of Andy demonstrating the workflow on the MPC X.
Old 21st March 2017
  #2096
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Smack Dammit's Avatar
 

Quote:
Originally Posted by danoc View Post
Hey how are you El Burrito? Hope you and your fam is well.

You're right about the synth because in the X nor Live support synth plugins. But effects is a different story Akai could have the Air effects for both the stand alone and when connected to the computer. Because the 2.0 is on the standalone as well. Ima ask around to see if thats true. From what l heard on videos the effects sound good.

The Mpc doesn't support plugins in stand alone period, instrument or effects... Yes they are Air effects and owned by them not Akai and one would think that they would have mentioned that by now, if they did port them over to stand alone as that would be a significant boost/upgrade to what they had.... Had the studio black for a few months and as of 1.9.x the effects was weak, used the filter only but that was the cool part about the software is that I could pull up better effects like Soundtoys, Fabfilter,etc...
Old 21st March 2017
  #2097
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Acidizer's Avatar
The only thing I want to know is... does MPC live have Turbo Duck? (serious)
Old 21st March 2017
  #2098
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Quote:
Originally Posted by Smack Dammit View Post
The Mpc doesn't support plugins in stand alone period, instrument or effects... Yes they are Air effects and owned by them not Akai and one would think that they would have mentioned that by now, if they did port them over to stand alone as that would be a significant boost/upgrade to what they had.... Had the studio black for a few months and as of 1.9.x the effects was weak, used the filter only but that was the cool part about the software is that I could pull up better effects like Soundtoys, Fabfilter,etc...
Ok cool. They should at least been able to put the Air effects in it, do Akai know how much of a boost that would of been? I am still going to ask around see what's up. Cause they should at least do that.

What type of effects were you working with in your Studio Black 1.9 software? Was there a name to them or just Akai's made effects? I don't know how Akai can't make dope effects. Even Propellerhead make dope effects I use them all the time. Their Echo, based off the hardware Space Echo is dope as F***! and RV7000 MKII, man that reverb is all you need and the settings is freakin dope! And they don't kill your computer.

LOL did you say Soundtoys? Man look, Akai effects ain't no competition with those, I use to have them, that phase mistress, delay and that filter joint is off the chain! But I can't stand how they tried to make me upgrade with a full price, I left them alone. I use the STA Delay free joint and it works, you can dial in the tempo and it has five settings, dope!
Old 21st March 2017
  #2099
Lives for gear
 

Masada Trent just told me no Air EFX in the stand alone guys, but I am good I will just use the effects from my Reason 9 and S1. No sweat.
Old 22nd March 2017
  #2100
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I've been watching videos for the Touch to try and get an idea of what the Akai 2.0 software might resemble. I know it's supposed to get a complete new makeover, but I'm sure certain aspects of the workflow are still pretty similiar. I guess. Up to this point, I'm kinda in the dark about what these machines can really do. The Touch demo's are actually pretty cool, it looks like the software and the Touch hardware itself seems pretty competent as a sampler and arrangement scene launcher. What were the limits in the last OS that people didn't like? It's hard to still at this point get an idea of how the X or Live will perform or what they can even do. In every new video shows a couple new things different from the one before, but not much. I like the idea of the X, I think standalone machines are awesome, but I'm wondering if the X can even get close to the abilities of Abelton Suite w/ Push2. In one of the Abelton videos I saw the instructor sample from 5 different records, with 5 different tempos, in 5 different keys (I think). The work flow looked fantastically intuitive, with the operator applying some nice compression and getting the track to sound quite nice. He did all this on camera, in pretty much real time. That's showing a workflow. All this done in about 20 minutes.

Akia's promotional videos so far show Andy looping and launching a pre-recorded loop from loop masters.... For 10 minutes. The same four bars, with a couple added (almost inaudible) drum overdubs. And a vocal loop. No compression on the drums, not a delay on a synth track, no chorus on a piano loop, I mean nothing. Only a Kaoss pad filter effect with a finger swipe....������ Either they don't have the machine's ready or these machines might not be all that, because if they were, they should know that plenty of people will use software and controllers to get the tools they need to get wanted results. If they are trying to get some potential or even preset Push customers to jump on board, they seem clueless on how to impress with their machines. I mean, dude... This is an MPC! Show me the glory, the heritage. I'm starting to think these might end up being more toy than not. I can't see how a hip hop guy could get excited by not hearing any old school crushed beats coming out this thing yet. All I've heard is fruity loops sounding samples and a cheesy Korg filter. Hmmmm..... The ancient Roland SP-404 @ $400 has awesome sounding effects.

I don't know, maybe I'm just marketing clueless. Maybe they need more time, and once the product drops they'll start showing what the X is all about. Maybe then they'll be ready. ****, these machines could be legendary, and i hope they are because I want one if it can get down. But at this price point, getting a new computer, interface, and Push2 for @ the same price sounds a bit more luxurious. Just thinking out loud here...

Last edited by steelyfan; 22nd March 2017 at 12:39 AM.. Reason: Finger swipe
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