AKAI MPC LIVE & X: BEGINNERS GUIDE TO CLIP PROGRAMS

what's up YouTube this is cheap digger this video is a complete beginners guide to clip programs I've already covered drum programs and key group programs if you haven't seen those videos please do go and check those out for this video we're going to look at clip programs the first thing that I want to mention about clip programs is the big issue that everyone has with them or seems to have with them is that if you trigger a sample and then switch to a different track the clips will cut off so I'll just do that now as a demonstration and your clip cuts off so that doesn't really make sense to me because clip programs have kind of being promoted as live performance programs and how are you supposed to trigger those samples let them run off in the background and then go to a drum program or a key group program and jam your other sounds over the top you can't do it unless you've got your clips being triggered by the actual sequencer which kind of defeats the object of it being a live playback program type oK you've either got to add them into the grid editor here or the step sequencer or just live record them in as you would any other notes in a drum program or a key group program but in typical tube digger style I'm not gonna let that hinder me and I do like clip programs it's forced me to think about the best way to use them you've got to think that clip programs have got a total of 128 possible samples that you can load into them you've got 8 banks of 16 pads that you can occupy with all different samples whether they be 1 shots or loops so the loops can be all in sync with each other or not but also you can just live jam pads that aren't set to a particular quantization launch mode and just jam those pads over the top of your loops in the same way that you would in a drum program so for anyone wanting to use clip programs in a live set scenario I recommend you just stay on one track and use your one-click program don't switch sequences don't switch tracks just use this one program and work hard set in that program up for that particular set that you're going to play okay it will work just as well as doing any other way in fact it might even work better because it will force you to think about all the samples be selective with those samples and how you've got them set up in this one program you won't have all these other programs and sounds to worry about you can just launch everything from this one program let's go and look at my actual clip program to show you how I've got it set up and how it can relate to your own projects so I'm going to press menu and go to program at it now the first thing I want to mention with the clip program is that if you press and hold shift you can select any of the different pads without triggering them this is really handy if you just want to edit any of these different pads and not start or stop any other of your pads okay or your clips so that's just a good little tip there press and hold shift and you can switch to any of the other pads now this section here allows you to control the entire pitching or the semitones of the entire program and the fine tuning and you've also got the global launch quantize settings here so you can have that set to OFF so that would be good if this entire clip program had all one shots and you didn't really want to trigger them a particular synced time-division you can have it set to eight bars four bars two bars one bar half a bar call bar one eight six think bar thaty bar 64 bars you can't launch Mars bars from the MPC live because that's a chocolate bar that's what that does up the top here it's pretty much the same as the other program types you've just got this identifier to show you what program you're using you can edit your current pad multiple pads or all pads so this up here just shows you the sample that's loaded to the current pad that you're focused on so I'm going to press and hold shift again and you'll see those samples jump and correspond to whatever pad they're loaded on up here is your read and write automation okay and this one's a bit of a strange one I don't know why we have got access to this here because auto scroll basically let's go back out and look at the grid editor that function is also available here and it allows you to follow the sequence so the the view of the sequence will just scroll along or it will just jump if you've got it set to page mode it will just jump when it's reached the end of this page and it will switch to a new load of bars that were currently off-screen or previously off-screen should I say so I'm not too sure why we've got that in the clip program because it doesn't work on samples if you've zoomed right in and your Clips playing back it won't scroll along like that I'm not going to spend too much time on this but I don't really know how that relates to clip programs and up here you've got your system resources as shown in my other videos you've got your battery usage CPU and RAM and you can purge your samples from there as well ok so first of all I'm going to show you how I've got mine set up so I've got mine put in two columns you can do it in rows or any which way you want okay but this is how I've got mine set up so in this first column I've got musical loops or at least the first three this saram clip jazz fox and this primitive owl clip these are all loops this top one is the only odd one out in the entire program and that's a one shot sample okay so I can just jam that sample over the top of any other loops that are playing at any point in my sequence it's not sync to anything and it is just a one-shot sample with an effect on it but these three here these are all set to the same mute group okay so these are all set to mute group one my second column are all bass sounds they're all set to mute group two so they will chop each other off because I don't want them playing over the top of each other so because these are different mute groups I can jam the musical sounds over any of the other bass sounds and vice versa okay the third column are all break beats they are all set to the same mute group but this fourth column are also other additional break beats and they're set to another mute group mute group four so I can jam break beats over the top of these other break beats whichever one's okay so they're all interchangeable because they're set to different moves but not in the column themselves so I'll just show you a demonstration of that [Music] so as you heard these will play over the top of these but these won't play over the top of each other and neither the bull these play over the top of each other that's how I've got mine set up now let's go to pad and now we can view each individual pad in the same way that we could view each individual pad in the drum program so again if I press and hold shift I can jump around all the different samples that I've got loaded in to these different pads now let's go through each individual pad so my first pad io1 now obviously this is your sample view now this is a loop that I made in serum which is a like a wavetable synth VST plug-in that you might have heard of now I've currently got the pad play mode set to toggle we can set that to one shot or toggle when that's the same for all pads they're the only two options we get but they're the only two options we need so toggle we'll just play this back as a loop I can start it from the pad and then stop it so I'll just trigger it now and that will be triggered every one bar let's now set that to two bars I'll trigger it again I'm gonna press the pad you can't really see me doing that unfortunately but it will only trigger again every two bars I'll have to wait until it's you know playthrough it's a two bar loop as it is so it's one two three four one two three four and there you go there's that shows us the actual loop there so this is one bar of it basically and that's the entire sample which is two bars okay so if I now set that to let's say sixteenth bars I can toggle that on and off at a lot higher time Division in fact let's play in context over the top of a break beat so it's off time because it's set to sixteenth bars and obviously it will make it even more off time or I've got to be even more precise when I trigger it back the higher the pad quantization is set to so I've got mine currently set to one bar so I can trigger it exactly at the same time as one of these break beats [Music] okay so that's how you would trigger your samples to be in sync with one another so I'm gonna stay in this cell room clip now this is quite a good thing to do you can adjust the start and end points okay so I'm now going to half my sample okay you can pretty much get that dead-on if you zoom in okay now it's just going to plate half of this back so that's just going to be one bar of it's gonna be playback and it's going to loop over likewise if I shorten this to just pretty much an eighth of this it will loop over accordingly okay so that's another way that you can use your clips we can also go up to here which would be a quarter of this loop or you could have it in kind of odd playback position so that's kind of similar to what I described in one of my other videos with Polly rhythms and trap links so you can actually create Polly rhythms by adjusting the start and end points of your samples okay and obviously again it helps that the clips that you're using are actually pre-prepared to actually make sense with the other clips so things don't get too messy let's go up to my top pad so this is the one shot so I've not got that set to any quantization I could have it set to a quantization even though it's a one shot at the moment it's a one shot just so I can jam this pad over anything at any time so you can obviously live Jam your samples from different start points and adjust those on the fly when you've got it set to OFF that's what I really recommend if you just want to jam your pads in the same way that you would do in the drum program we can reverse the sample so down the bottom we've got the semi tuning for each individual sample now again I don't use this particularly but it would be good if you could take it down an octave so now that will still be in sync because it's just going to be double the length but obviously the pitch is going to be a lot lower I need to actually put the quantization back to one bar and of course you could go all the way up to + 12 semitones so you've got fine tuning for it there so if it was a one-shot song pull like this one up here and you just wanted to tune it you can use the semi tunes and the fine tuning this is all dependent on whether you've got it set to warp I will just show you one demonstration of warping so I'm going to play one of the break beats back so I'm going to choose this pad here with a funky version of the funky drummer break beat now let's put warp on and now you can hear it jumping slightly the reason for that is because it's calculated the BPM as one seven five point nine three I actually process this break be at 176 but I imagine where it's just been edited slightly incorrectly the MPC live is viewing it as one seventy five point nine one and it's got that jump I just need to find one that is perfectly well it's it's done it to all of them all these bright beats were actually bounced out of the sequencer so I've not actually edited them for some reason it's calculating them a slightly lower tempo but I found that even if this break beat was exactly 176 and the MPC live was viewing it as 176 BPM when you switch warp on it does do something a bit odd to the attack portion and you can slightly here just ever so slightly a textural change in it where it's put it into warp mode obviously what mode I'm just going to do it anyway I'll trigger this back and I'll change the pitch now as you can hear the higher pitch samples don't sound brilliant but the lower pitch ones sound pretty decent I quite like that being played at a lower pitch at the tempo that we're playing at so let's just trigger that again [Music] [Applause] [Music] [Applause] [Music] Roughness sharp scissors anyway there you go so that's warping kind of covered I'm not going to go heavily into it but you can get some nice effects particularly when pitching down but pitching up that's when things starts to sound a bit grainy and weird and wobbly and I'm not a massive fan of it down here is where you set you mute groups so I'm going to press and hold shift again and go through my different columns so this is pad IO one that's set to group one I'll go up through the pads pad a 5 9 13 apart from 13 as I said before this is a one shot like I want the jam over everything else so it's not set to a mute group my second column is all the even numbers 2 6 10 and 14 they're all set to the same mute group as are my third column new group 3 so I've just corresponding the columns column 1 2 3 and 4 to the mute groups and then we've got our fourth set of mute groups in our fourth column so I can jam these over you know everything else pretty much and they're separate as with drum programs you've got 32 different mute groups so let's just do that I'm going to trigger pad I'm going to trigger this one mover which is on pad 16 and I'm going to trigger this think brake which I've called Collins link Collins then I can switch one off and then jam another one from column three okay so I hope that gives you a good idea of what you can and can't do within a click program now I'm gonna have a little Jam on this so you can hear it all in context as said I'm only occupying my first Bank of 16 pads okay look these are all empty so you've got 128 possible samples that you can load into this and set them up to be one shots all loops all with different pad mute group settings obviously I'm only using four mute groups at the moment so that's all the options pretty much covered in clip group editing mode I would prefer you guys to play about with yourself to see how the pad quantization behaves with different lengths of samples so I'm just going to jam these pads back and show you how it all behaves I'll go back to this screen so you can see those pads being triggered [Music] [Music] [Music] okay so not the best set in the world some of these breaks because they are not following exactly the same pattern so if you listen to this Sesame Street break it's pretty much the same pattern as this mover break it's got that second snare on the offbeat so let's play them together so they play back quite well together if you listen to the Lynn Collins think break down the bottom here it's a slightly different arrangement to these two breaks and some of the others even this New Orleans break okay that one jumps back towards the end with the snare offset so these two together on the best options to play together they're not too bad but obviously you get a bit of a clash and that would be the same if you programmed your breaks in any other way within drum programs but I just thought I'd mention that because it did start to sound a bit messy towards the end there make sure you set up your loops and you know which ones you want to play over the top of each other and the ones that you want to cut the other ones off with because it will make all the difference when you go to play your live set and you know obviously you want things to sound as precise and as cool as possible now another thing that I think's worth mentioning is of course we've only got access to these two tabs here for the editing of this clip group program and individual pads if you want to add filters you will have to do that by using insert effects so you go to menu go to your pad mixer and this is just showing us exactly the same pad layout but if you wanted to add a high-pass filter you would have to do that via an actual insert effect of course you can still route the outputs of all the individual pads so if you wanted to route all your bass sounds you could have them coming out of your auxilary outputs three and four or five and six from the MPC live or the additional ones on the MPC X and of course you can send an amount of an effect from one of the returns so let's go out to menu again go to channel mixer and on my returns I've got this delay analog sync which is one of my favorite delays to use that's being sent from return-1 okay let's go back to the pad mixer and then I'm just making sure I'm in sin mode we're on the first return you can flick between the different returns but I'm just using the first one and I'm sending quite a lot of that plus one point six six DB of that to this pad so even though you're going to be using up a bit more CPU because you haven't got the filters that you would have in the drum program you can still add effects and filter stuff and do all that lovely stuff just by using your inserts let's go back to the program editor I didn't cover fade actually fade just adds a short fade in and fade out to eliminate any potential clicks I'm not going to show you an example of it because I tried it earlier and it didn't seem to take much of an effect but I do think it's dependent on the content of the sample that you've loaded into a particular pad so like I said at the start of the video you can of course launch these just from the sequence so you can either record live record them or actually put them into here in the grid editor or in the step sequencer I'm going to press and hold shift I'm going to select the pads okay so now you can see it's not triggering the pads back because I don't want to really hear them over the top of me speaking so I'm going to select my first breakbeat which is that think brake I'll put that on bar one step one now let's press the hold shift again I'm going to select pad IO seven which is in that other third column which is another sample in the third column and I'll put that on step five press the hold shift again pad eleven again in that third column so these are all set to the same mute group as I showed you before put that on step nine press an old shift again select pad fifteen which is the very top break beat the Sesame Street brake let's put that on step 13 and now let's go out to the main page let's just loop round bar once so we can just hear that so now it's cycling through those clips so the step sequencer doesn't allow you to adjust the note length let's go now to the grid editor and as you can see we've still got those same notes and that's why it's just playing that first beat of these individual clips okay so if I grab those all of them and then choose edit end and then term a beta wheel it will elongate all of those notes and now they will play back for as long as the next clip is launched because they're set to the same mute group so this is another creative way that you could use your clips is because you know all these break beats are in sync with each other you could mix and match and put all kinds of different notes different lengths and really chop between your breaks just by playing around with the step sequencer and the grid editor and adjusting all the note start and end points and things like that you can also transpose those so you can do that on the fly so it's going to trigger back some of the different samples now this might get a bit messy but let's just take a look let's select all of them again and play back [Music] so hope you get the idea you could do some quite interesting stuff with that if you really thought about where those loops fall in this sequence and how all they're set up with the mute groups and how they chop each other off etc so I hope you've enjoyed this video guys and it gives you a thorough idea of how you can use clip programs in your own live sets or in your own projects please like subscribe and share any comments or questions please put them down below please do try and support me on patreon to help me to continue do these videos for you guys on YouTube you can just contribute two dollars a month which is less than the average price of a coffee that will make all the difference in fact if every one of my 1100 subscribers gave me two dollars a month how much money would I have per month to help me not have to do any other jobs and provide these videos and make them even better a few guys quite a lot of money actually but of course you don't have to do that and you can continue to access these videos for free so that's it guys stay tuned for midi programs I will be uploading that soon I will see you on the other side this is tube digger and I'm out you

Channel: Tubedigga

Views: 33,315

Keywords: mpc live tutorial, mpc one, mpc one lesson, mpc one tricks, mpc one tutorial, mpc tricks, mpc tutorial, mpc x, akai force, akai force tutorial, akai mpc, akai mpc live, akai mpc one, akai mpcx, mpc, mpc 1, mpc lesson, mpc live, mpc live lesson, mpc live tricks, mpcx tutorial

Id: etwbR8D5jNM

Length: 30min 42sec (1842 seconds)

Published: Thu Feb 01 2018