BEST way to RECORD SYNTHS into your MPC One Plus, Live, X, Key 61

welcome back to the channel today I want to talk about the best way to record synthesizers into your NPC now this can be an NBC one one plus live live two xxse doesn't matter all these modern NPCs will respond the exact same way the interface will be a little bit different in terms of the hardware but the actual software that you see in the screen will be the same so if you've been curious about how to record say like a pad and have a ring out and not get chopped off at the end this is the video for you so to demonstrate the problem that happens I have this little Loop right here from the juror plugin you know we'll just make it like two bars so we're just going to take a two bar example initially to start with so let's say I want to record a pad so if I play an A minor chord and then let go I have this nice ringing out sound right there [Music] now if I set the midi port to the mini freak and I play it so that's all fine right that's normally how the midi should work by the way if you don't know I have the USB connection from the midi freak right here plugged into the MPC one plus I also have the outputs of the mini freak sent into the inputs on the MPC one plus as well if I go over to sampler I'm monitoring the input on there so that's how I'm hearing the synth and it's just plugged directly into the NPC one obviously there's a lot of different ways you can route stuff you have multiple synths you can get a patch Bay to Jack things in and out let's not get sidetracked this video is about recording Hardware synthesizers into the npc1 so you don't have to have the hardware synth afterwards or you can get a different sound so traditionally what I would do is go into the Looper I would grab a two bar Loop of the midi that I recorded so it'd be like this oh and then what I have left is a cut off sound of this pad so if I go export into uh yeah let's say new Looper sample is what it sounds like [Music] no ring out no effects or anything like that how do we fix that problem it's actually pretty simple so I'm actually going to make a longer example for this we are going to have four bars so I can maybe have two chords here to show the difference let's just record this right now thank you so it's shifting between an A Minor and a D minor chord and having this nice Lush type of pulsing thing going on by the way I made this patch on the mini freak if you want to know how I did that I actually have a video on the channel so check that out if you're interested so we have a four bar Loop now of two chords and we are going to record that so we have the ring out so to make this happen essentially you need to give a couple measures past what you'd want to record that's typically what you would do in say Ableton Live or something like that in the arranger mode you'd actually record a few measures past of what you want to ring out so you have to do the same thing and the question is how do you do that in the NPC you go to your sequence and you just expand it a couple measures okay your Loop is going to be going four bars or 16 bars whatever it is that you have and you're going to get a couple measures past that Loop to then record audio all right now we'll use the Looper for this example but I'll show you in a bit that I think the audio track is technically better let's get a Looper for this so I'm going to go to Looper and now I'm going to set the bars to six to match so now if I clear this and hit record you'll see the ring out and very important to Let It Go the full two bars additional or however many bars you set to let it ring out because you'll see in a second why that's important so I'm going to export this for bar Loop keep and then we're going to go sample edit so we have the four bar Loop whoops delete those traps all right great now we are going to chop it into regions and before we do that there's something that's very important that we need to do we need to hold shift and we need to press zero snap zero snap means that the slice point will go to the next point that is zero on the wave and that helps reduce clicks and pops it doesn't always completely reduce them and you'll see that sometimes it's best to just let the sample play out completely but here's one way of doing this so I'm going to go to Regions I'm going to chop it into six regions because there's six bars right there and then I'm going to select the last bar I'm going to hold shift I'm going to delete the slice and then I'm going to delete that slice and so now I have four bars with the fourth bar bringing out two extra bars okay so if I play that foreign I'm going to hold shift and press convert and now I'm going to say I want a new drum program now this is very important you want to say create events because it'll give you the midi of the data and it'll be aligned correctly to the grid so you would say six bars because it's technically six bars and you say create events you say do it and now track five here is a four bar Loop it actually has the midi set up right there to play this back now obviously we don't want six bars in the sequence we put that back to four also I'm going to mute my midi my original midi one final thing that you have to do is you have to go into program edit of this new program that just made you want to change it from mono to poly so I just went over one like that you could actually do two if you want if for some reason you're having memory issues or CPU issues I usually just go to Poly on there and it's usually fine now if we play it it should ring out perfectly and not feel as if it's being cut off at the end and then starting a fresh loop back over so let's hear it [Music] foreign so that's the gist right there recording an extra bit to be able to have uh some play out right there now what I did was record this in a way where I can actually stop in the middle of the loop and then it'll stop the the actual playback like for instance it stops like that and the reason why I did that is sometimes you do want to be able to mute things in the middle of a track so let's say for this it's kind of interesting to do that it sounds abrupt still so it doesn't quite achieve the goal of having like you know a ring out because you technically have to sample each note if you want them to have them ring out like that but it is a way to be able to have a bit more control over a recorded Loop when you do mute the the individual pads and depending on the synth that you play you could actually have more finer control and we'll get to that in a second but you could actually add a bit of effects to this to help mask that immediate cut off even more so for instance [Music] kind of helps yeah so adding a delay that's one way of doing it now you could just play the sample completely on the four bar Loop and not even worry about chopping that up and that is totally possible so if you want to do that you could for the sake of an example just go to let's say a new drum program say right here I'll go program edit and we're on the first pad right here I'm going to go sample uh four bar Loop is what we have [Music] so you got that and then you go Global and then for the pad right here where it says poly you want this to be poly essentially so now you can keep on tapping this and it keeps making more right there so when you have uh it Loop it'll naturally Loop over itself so what we do is just go into the step sequencer real quick drop a pad right there and then you should have the exact same thing happen foreign [Music] so that's two ways of doing that right now with a pad and both of those ways achieve the nice overlap that's obviously what you want you don't want that that nice Lush pad sound to get cut off or let's say you just have a regular synth that's just ringing out when it's doing arpeggios and you don't want that to get chopped like that's a great way of having that if you're enjoying this content and want to support the channel Beyond a like And subscribe consider using our affiliate links our affiliate of choice at Zounds we've been using them for years and if you use our links through them then it helps out the channel so thank you very much now on to another example we are going to let's go back to the midi track here and I'm going to switch the sound over to the bass sound I made made this patch in that video so check it out if you're interested so we're going to record a little bass thing I'm going to take off time and correction so I can have a little flavor in there [Music] okay so we got a little base Loop here now we're going to do the same process but I'm going to double the length and I'm going to do a little performance on there so I have some texture that happens but still have it ring out let's double this sequence so we have eight bars total and we're just going to expand this one measure so instead of the two measures I did on the previous example I'm just increasing it by one measure because the ring out is pretty short on this now for this I'm going to use an audio track I'm going to use it because I just want to give the example the Looper would still work because it's still within 16 bars but let's say you had something that was over 16 bars or exactly 16 bars and you wanted to record that ring out you'd have to use the audio tracks so I'm just going to go over to audio track right here and I'm gonna I'm gonna rename this real quick and say bass so it names the file base when I record it and everything should be good right here it's already input one I'm going to go to edit audio Yeah nine bars already so yeah edit audio let's shrink this up so you can see the full nine bars right here so now if I play this or if I record it I can capture the performance [Music] foreign so we're going to mute the original midi track right there and then we're going to go back to nine or eight bars right here so if we play this it's still going to chop off at the very end for instance like we just played right here yeah it goes a quick cut off to get rid of that that texture that was in there and obviously we want that stuff so what we're going to do is we're actually going to get rid of this so I'm going to hit the arrow button right here I'm going to tap on the audio and then I'm going to hold shift and I'm going to hit cut now the audio is out of the audio track so if I hit play don't hear anything which is what we want now let's go back to MIDI I want to go sample edit and we're going to go to the new base recording right there so here's the bass recording also once again make sure zero snap is on great so we're going to do this a little bit different this time around we're actually going to use the threshold so if you go threshold there's a lot right here [Music] seems like it did a pretty good job [Music] some of these got caught we're starting the next one [Music] for the sake of this example I'm gonna let that fly but you'd probably want to go in and do some fine tweaking if you want to get this a bit tighter okay so same type of thing we're gonna go shift we're gonna go convert and we want to create the events and we're going to say nine bars because that is what it is so you go create now track seven you have the space [Music] oh I forgot to make a poly oops gotta go over the program at it make that poly easy to forget that so you got to make sure you do that in fact let's go back to uh bar eight ish [Music] hear that ring out Okay now what's really cool about this method that's different from the pad method is that you can actually mute this anytime while it's playing [Music] maybe that's not the best example but the idea behind it is that because the notes are chopped like that you can actually mute them briefly for a moment and then bring it back in and then if you do want that trail off chop at the very end to go with the beginning it still does it and it feels like a loop that hasn't been just snipped out of audio and that's it I guess that's the ultimate goal here is to not feel like it's just a loop of an audio that is just repeated one after the other feels like a little more organic than that so that's the gist of this again I want to reiterate the fact that if you use the audio track what that does is it allows you to do sequences or Loops that are longer than 16 bars because the Looper while it's great it is limited it only goes up to 16. so if you have a 16 Bar pattern or a 16 Bar like ambient texture then it's not going to be able to get the trail off and you usually need about a measure to two measures sometimes more depending on the type of sound that you're using I would recommend to actually get in the habit of using the audio track and then when you're done you just delete the um the audio out of there basically audio track one can kind of be this temporary holder of whatever sequence you need to capture for your synth can just drop into there real fast you rename it whatever you want you know like you could say arp like so record the loop of the arp and then delete it out of the audio and then go into sample edit and then convert it into a program that's my recommendation because the other benefit of this is whenever you adjust the sequence length like say 9 or 10 from eight bar Loop then the audio track is also the same length so you don't have to fuss with that quick caveat though make sure you record the entire Loop or the entire extra measures on there it's very important because when you do chop it up and if you do chop it up into regions then you need to know exactly how long that is because if you go in the sample edit if you chop a random length into regions then they're not going to line up now that doesn't matter if you're just triggering it once and letting it play out the entire length then none of that matters you can do whatever you want in terms of where the actual sample gets chopped or end or where the sample ends when you record it but if you do want to have things timelined and also the ability to use warp then you do need to have things set up in a way where it makes sense for the BPM and the measures that you're using so that's why using the audio track you know you bump up the uh the measures record it all the way through and then you have the exact Loop link that you know that you need you can warp it you can have the right BPM already on there and then it'll work and just to give an example here's what I'll do I will select all of these yes I'm going to say Warp are we 120 yeah we're 120. [Music] let's slow this down all right Let's Build It Up [Music] oh yeah let's go back to a bars here that's the idea right there one final thing that I forgot to mention about the base is that we have this level of chops you can actually do some interesting randomization type of stuff as well to kind of add some more character for each time each each Revolution that it gets for instance I have it currently let's actually bring the the tempo back down to 120. so I have it solid right now so if we go to program edits I actually have on the fourth page already the samples now again it's important make sure everything's selected so if you go current it only selects the first chop if you go all it selects all the chops and you start editing all this stuff with that out of the way again if you go first page of sample you can see all the different chops second page some more adjustments third page even more adjustments and then the fourth page is this randomization thing which is actually really freaking cool what you can do is you can randomize the pitch the level the pan offset I think is where the chop starts I think and then you can also do attack Decay cut off and resin resonance and how much depth they actually give really cool stuff so just to illustrate the point let's play Let's max out the pitch too much obviously right but it's showing that it's applying some variance to each note that's being played [Music] let's do its level now how about pan foreign [Music] because it's like chopped up into an eight bar Loop or actually 10 bars or nine bars whatever it was I did it's going through the whole file right there so not exactly usable but you know what is really usable is the cutoff right here so let's max out the cutoff also the attack let's bring this up to say 32. so the cutoff is too much let's bring that down [Music] and now let's introduce some Pitch horrible Maybe 20. also the level let's go 20 in the level maybe a little bit of pan Which just a little bit [Music] now let's speed it up again [Music] all right foreign [Music] really appreciate it hopefully the tips will actually help you in your sample recording Journey for the NPC I think it's a really powerful platform and I've really been enjoying it especially since I've learned how to do this level of sampling in there with the synthesizers because I'm a huge fan of using Hardware synths with the NPC and now being able to record it to this level is a is kind of taking the next level for me so hopefully it does that for you as well if you enjoyed this content a like And subscribe would be tremendously appreciated and if you want to take it beyond that using our affiliate links we also have a patreon and also have sample packs on our website any of those options Beyond a like And subscribe is also greatly appreciated so if you do do that thank you very much really appreciate it that's it for this I'll see you next time for another one peace

Channel: Tefty Music Tech

Views: 12,257

Keywords: AkaiMPCOne, MusicProduction, BeatMaking, ElectronicMusic, Sampling, DrumMachine, MPCOneReview, SoundDesign, AkaiPro, MusicTechnology, AudioGearReview, StudioEquipment, HipHopProduction, MusicProducer, HomeStudio, MusicHardware, DJEquipment, AkaiMPC, MIDIController, MusicCreation, MusicProductionTips, SoundEditing, MusicSoftware, DigitalMusic, AudioEngineering

Id: twWlirkZ0X8

Length: 20min 37sec (1237 seconds)

Published: Wed Jun 21 2023