Complete Beginners Guide to Drum Programs AKAI MPC LIVE/X/One/Force

what's up YouTube this is - digger this video is a complete beginners guide to drum programs you might have seen my last video where I covered the interrelationship between sequences tracks and programs well this video is a complete beginners guide to just drum programs so if you've not seen that video on sequences tracks and programs I urge you to go and watch that first if not just stick around for this I'll also be doing additional videos where I'm going to cover key group programs and all the editing options for those as well as clip programs and MIDI programs I'm going to first take you through how to load your samples into a program and then that's a good starting point for me to then start editing those sounds so you've actually got something to reference so I'm going to press and hold my shift button and then press menu at the same time and that will give us access to our directories we first met with the internal directory of the MPC Live and we've got access to all these different programs we've got samples we've got instruments okay we've got a folder this is my files I don't use this I store all my own files on my SD card content is the internal content of the MPC live or MPC X and places are any additional external drives that you've got inserted or connected to the MPC live I'm going to be working in my SD card so the reason why I don't recommend you use the internal drive for storage it is good if you're lacking storage and you haven't got anything else to rely on but the problem with that is the internal drive of the MPC live an MPC X is not readable or accessible by your computer so when you boot it into controller mode to work on your computer or to transfer files you don't get access to the internal drive so don't save anything that you've made on the internal drive if you're hoping to access it on your computer it's best have an SD card inserted or USB stick or a USB external hard drive if you want to go super fancy and super advanced you can open up the back of your MPC live or MPC X and install a solid-state drive which would probably be the best option but I've had no problems whatsoever with my current SD card so I'm going to be working off of that so that's that out of the way so I'm going to go to samples and then I'm going to scroll down and I'm going to choose drums and perk so double tap on that and in this folder I've got a load of 808 sounds I'm going to load all the sounds from that folder in there to load all the sounds from a folder rather than double tapping that folder and selecting them ok which is good if you just want to be selective with all the sounds that you load in but this really isn't going to take up too much memory if I load all of these in because they're all short but I'm going to go up one level and I'm going to select that folder again I'm not going to go into it but I'm going to press and hold shift and as you can see we get these options we can format this Drive which I definitely don't want to do I can delete this file or this folder or if I go into the folder I could delete any files within it and it also give me info for that Drive and the last option is the one that I'm going to choose now I'm going to load all those samples so it's a really convenient way to load everything in and then you can just assign those samples to your drum pads so I'm going to press load all and there you go super quick so we know that we're not using a lot of data there anyway now we can go to the dedicated program editor and assign these samples but there's another way we can do it we can go to here sample a science so we can just press that it's right next to browse where we were looking at our directories and now we get the sample pool showing up of all these samples that we've loaded in and then it's just a simple case of making sure that you've got a pad highlighted and then you can just use your data wheel or your finger to go up and down and select the different samples and you can see that they're changing within the pad that we're currently selected okay so this is obviously an 808 bass drum 808 be d7 5-1 and as soon as any sample is now loaded on to that we'll be able to hear it if we just scroll through I'm not tapping the drum pad it's literally because I'm scrolling through and highlighting all those different sounds and I'm auditioning those now if we don't want to audition those we just click the audition button and we can switch Auto to off and now we can't hear those samples we can also switch it back on and set the level of that if it's a bit too loud for us anyway that's that let's close that now the other option we get to is to clear the pad so if I just press that that will just clear that if I move the data wheel again or touch on any of the samples it then loads it back in I'm gonna load some of these in so I'm just tapping on the pads you can also tap on the physical pads which I'm doing now most of these are kick drums these initial ones so it's probably pointless me loading all those in let's load some different samples there clap that will do that's basically how you can assign samples from this sample assign mode so let's now press menu and we go back to the menu page and now press program edit and this is our program editor for the drum program so now I'm going to take you through all the options in these six different tabs that you see at the bottom of the MPC live screen I'm just going to move my MPC live a little bit because it seems to shifted a bit so we've got our samples in this up here it says master this is the master settings for this entire program so we can set the polyphony to a certain amount so we've got 32 voices in total with the polyphony we can restrict it okay to you anything beneath that or we could simply just put it into monophonic mode and the very first option we get is polyphonic made okay so it's polyphonic monophonic or a specific policy setting or voice count saying right so you might assume that monophonic would be ideal for drums but not necessarily because if I'm playing six things on the hi-hat those high hats or rather the notes for those high hats are going to fall on the same steps as some of the kicks and snares so I wouldn't recommend using monophonic I'd set it to polyphonic and then I would use something called mute groups which are up here I've covered those in another video where I talk about mute groups don't worry I will return to this so we're going to leave that as polyphonic remember this is the settings for the entire program that we're looking at just at the moment so the next one over is semi Tunes ACK I refer to it as semi Tunes is basically semitones I'm gonna play all my drum pads and I'm gonna start moving that and you'll hear all of their sounds decline in pitch and the same goes for the fine-tuning obviously its fine-tuning you can't really hear a massive difference but anyway that changes the fine-tuning for the entire program next down we've got pad okay so this is for the particular pad that you're all focused on so I'm going to press the first pad so just keep an eye on what's happening there and that is showing you which pad on tapping on if you're a bit confused obviously you can't see my pad say it's a good way to reference that so on our first pad with our classic 808 kick so this is the main volume for the entire pad but I'm just going to go out of this page for a sec to the samples page as you'll notice we've got these three little dots underneath where it says samples and it's the only tab or page that we have that has got these additional sub pages so if we click on that again we get these other sub pages so on the second one we can adjust all the different layers so if we had additional sounds on here we can adjust the level for all those different samples but I'm going to go back to master that is the main volume for your pad then you've got the main panning for that actual pad but again if we go to this third page we've also got separate panning for all the layers okay so no matter what this is setup you can also adjust the panning beyond that master pad panning setting simultaneous play what is that okay so we're on pad io 1 we can select another pad or rather we can select another four pads to be simultaneously triggered by one pad so I'm just going to do it for one additional pad I'm gonna trigger the third pad which has got a hi-hat on it I'm not going to do the snare cuz a kick in the snare on top of each other doesn't really make sense so now I'm going to trigger my first pad and as you can hear it's triggering the hi-hat we turn it off just back to our kick drum so we could choose the hi-hat like I just did let's choose a different one let's choose I think some of these might be kicks I've forgotten now but let's just see what happens and there you go it's triggering a clap I think it's triggering the clave or maybe another kick drum so that's really handy if you have used all your layers up and you want to trigger an additional pad with even more layers okay so you could essentially be triggering up to 20 different samples because you've got the four samples that you're actually triggering and you've got these additional 16 other samples obviously their pads and they've all got four layers each four times four is 16 plus your additional four of the pad that you're triggering so that's 20 samples you could just trigger just from one pad anyway that's what simultaneous play does great stuff what's meat target I've just thought you remembered I have covered this in another video but it was part of a different video that covered other stuff but didn't specifically focus on programs like I'm doing in this video anyway meat target is similar to simultaneous play this is quite good if you want to do something like choke an open hat with a closed hat so I didn't load in on the open hat so I'm going to do that now so I'm going to press and hold shift press menu so oh that comes before s doesn't it I think so and it comes after M there you go that will do perfect no that one's even better let's go back to menu go back to program at it [Music] okay so on pad seven we've got that open hat on on pad three we've got the closed hat I can now select pad seven to be the mute target for pad three and as you can hear it gets choked when I trigger pad three there's another way that we can do this with mute groups but I will show you the difference between mute target and mute groups so that's what mute target does and as you can see we've got another three targets that we could set for that okay I'm not going to explain every scenario of why that's useful it's something that's good for you to think about yourself so I've taken you through all these here just a point to mention on this gold box that you see here this relates to the Q links so the default q link behavior if you just look up to the top right of your MPC if you press and hold your Q link button you now get these options for the Q links okay it will just click out of it if you take your finger off the cooling button so you have to press and hold it it's just a quick access to the modes that you can put the Q links in and the default mode for Q links is screen that's to say whatever screen you're in you can edit certain parameters depending on whether you see this gold box I've actually done a video on all the link mode so I'm not going to go into those in this video I have done a completely separate video on that so please go and check that out after you've watched this if you want to get more in depth knowledge about the queue links all different modes but I just need to show you that we're currently in screen mode which is that they're full queue link mode right so I'm going to release that again and go back to the program editor now as you can see we've got this gold box and that will tell us that the first three knobs starting from the top in the first bank you might notice that your first LED underneath your queue link button is lit if you just press your key link button but don't hold it it will just jump through those LEDs and obviously this jumps down there and that's showing us all the things that we can select and modify with those four Q link knobs so I'm going to go back to the first one so the very top knob will change the polyfill II if we want to use the knob to do that rather than tapping on it or using the the data wheel so there's three different ways we can use the data wheel tap on it as I've shown you with other menus you can scroll through I find it easiest just to highlight it and use the data wheel okay but it might be more preferable for you to use the key links and just flick through them there so that's the top queue link if you now turn your second key link down that will adjust the semitones or the semi tuning for the master for the entire program and the fine and that's the third knob down the fourth knob down doesn't do anything because we have not got a parameter there to change now if we press the Q link button again we jump down to the second row and now we can use the middle two knobs so it's literally just corresponding to the knobs okay so it's now the second knob down we'll can control the volume and third knob down is the pan and again we'll press it here and then we can swap out our different or choose our different simultaneous play targets all with the cooling knobs okay you have to press you can't just like select this or tap on this you have to press your Q link button to make those highlighted with that gold bounding box or whatever you want to call it anyway that's what that does so these are just graphics to show you that it's a drum program that's the drum program icon and this is the program name we can't double tap on that and select another program we've only got one drum program but I guarantee if I added additional programs you wouldn't be able to select them from there here is flatten pad and this is shown in all the other menus you can flatten the pad from any of these other pages or menus so flatten pad is basically a way to resample in situ what that means is that I can add some effects to this pad or the sample that's on this pad I can change the pitch of it I can reverse it I can do all this crazy stuff to it then choose to flatten it and it will bake those changes into that sample and that sample will be put on that pad as a new sample it's non-destructive so you will retain the original sample so we've got this hi-hat sound okay so I'm going to make some changes to it I'm gonna go to the samples page I'm going to adjust the semi Tunes all the semitones I'm gonna go to effects double tap I'm gonna choose let's choose a reverb reverb large okay so now it sounds like that and go back to the master page let's press flatten again I've given it a long enough audio tail to capture that reverb we can edit the name let's edit so CH verb so we know it's a closed hat with reverb on it and just press do it and now make sure okay so what it does is it resets the semitones because now we don't need them we want to hear all those changes exactly what we wanted to bounce it to if you see what I mean and there you go that is now on that pad that is not the original one that's the original one they closed hat there and now we've got closed hat verb and it also gets rid of the effect which is handy so we don't double up on that reverb effect so that's really cool just a point to mention on that if you did change the semitones of the program it would actually still have that changed and you play that pad back and it wouldn't sound how you wanted it sound this doesn't get flattened or rather reset after you flatten the pad anyway that's what flatten pads does and as I said you can access it from any of these other additional pages in your program editor so what's this over here let's press on that this is edit zones so it says pad I owe you three there if we top double tap on that or just click it once rather it's the same thing I'm not too sure why they designed it this way I think that's a tiny little bit confusing it's the same function okay so whether you tap on that actual graphic there or this one here it will still take you to edit zones but it's just so you can see if we tap on another pad that will change this is the Edit designs icon and this is the pad identifier okay but yeah I mean it's it's not it's not that much of a problem but I think that could be designed better maybe a bounding box covering that so you know that that's the entire edit zones button to press so the default mode is current so whatever pad that we've tapped on we're currently editing that pad but we can also choose multiple pads so let's say we wanted to apply the same filter to multiple pads we'd select whatever pads you wanted so I've selected my first four pads there okay then we'd close that then we go to the filter and as you can see now it's showing this that I've selected those four pads and whatever I change within any of these pages will now be applied to all of those pads all except any effect if we now add an effect let's just add the first one Auto wah and press select okay let's go back to edit zones go back to current so we can just choose one of them and see what effect now it's showing us that we're Auto R is on pad four and that's because it was the last pad that we selected when we chose multiple zones but as you can see it hasn't put that effect so don't expect multiple pads or all pads which is the third option to apply your insert effects it won't do it it will only apply that effect to the last pad that you pressed so I'm going to delete that just thought I'd show you that it's quite important so that's what more people does also remember that it will remember the last four pads or the last however many pads you can choose all the pads if you want in where the bank okay make some pretty patterns at the same time in fact what do they want with a baby No I tried to do a smiley face something I find hard to do in real life okay so that's multiple and current and so you get that I mean you can choose any of your other banks you've got your pad bank buttons up the top of your MPC Live I can't remember where they are on MPC X probably somewhere similar but if you flick through the different pad banks okay I'm now on pad Bank C and there you go okay you can't double tap them on there okay it doesn't work it's not an interactive screen like that you have to use your physical pads to then choose the pads that you want to edit and all will do all now you can see they're all highlighted so every single pad or sample that you've got loaded into this program will be affected when you edit a parameter so the default one is current and that's the safest one to use it's something that trips me up quite often I'll be editing something and I'll go R now I've got it in all and then I've found that I've actually been editing that parameter for all the sounds you have got multiple states of undo so that is a good use of the undo because you can undo some really annoying changes again it's not a full of the MPC all the way it's designed it's just something that you as the user has to be aware of particularly if you're editing all zones or multiple zones and you do some kind of change to the sample that's loaded into that actual pad okay this from this second page we can load the sample in here but if we had our edit zones selected as all or even multiple and then we were to change that it would put the same sample on all those pads or the selection of multiple pads so you've got to be careful of that that's something that has tripped me up but again that is user error really it's something that you have to just make sure that you haven't done yourself now up here we've got our automation button automation applies to internal things within the MPC live you can't use the automation feature on something like a MIDI program and automate the parameters of a MIDI synth with this if you are going to all to my the parameters of an external midi synth that's being triggered by a midi program on the MPC live or MPC X you have to put it into record mode on this actual sequencer so I'll just do a quick demo for you let's go back to our first pad so I'm just going to tap in some notes in the sequencer and just create a really simple little sequence okay so we've got this little bass pattern going now now we're in the right Automation mode okay if I press my Q link knob then we've got our gold bounding box and I'm going to use the second key link not down to automate the semitones and then go into read mode and there you go again I've got other videos that have covered automation recording and the queue link setups so please just go and check out my entire playlist there's going to be something related to what I'm doing in this video in one of those other videos so on all 16 pads they're samples now so I'm gonna automate all these different simultaneous play targets so that's all the options in just the first page of the program editor the only other option that I've not shown on this page which is also shown on every other page is just your system resources it shows you how much battery you've got mine's 100% because I'm running off of AC power at the moment but if you were on battery that would decrease and show you how much battery you got left this is your CPU usage and this last one is the memory so that's the amount of RAM that you've got to play with in your entire system you can purge and you can choose unused samples or all samples so from here we obviously get access to the waveform everything up here is pretty much the same but you'll notice now we've got a COG symbol so let's press that that gives us settings to link any slices so if we've chopped up a program and we've got like a slice program and we can choose the link the slices or set that to off what that does is if it's set to on it means any adjustments to the start or the end of a slice because it doesn't destructively slice a sample you can but if you choose a non-destructive slice type it means that it's just putting anchor points on that sample and if you link slices if you move the start point of one region it will affect the end point of the previous region and likewise if you move the end point of a region the region that comes after that in the sample over time that will also move in to correspond with the adjustments you made with the sample that's either before it or after it if that makes sense if you sell it to off then you can select a region of that sample independently if you want to go and check out my video on how to use the MPC live as a synthesizer I do actually cover all these settings loop lock allows you to set an independent loop point instead of it just looping between the start and end so at the moment it's set to on and you'll see it will just loop from the start to the end but if we press off now we get this additional loop anchor and we can set the actual loop start an end point okay it hasn't got its independent end point from the actual end it will still use the end point okay it doesn't have an additional loop end point as well as the main end point and zero snap is good if you set it to on basically it allows you to get a smoother loop point and it kind of reduces at any clicks and occasionally if you're lucky it will get rid of those clicks completely that's what zero snap is good for but if you set it to off then you can move that completely freely and find your own ideal point for the sample to end or loop that's what that does and all the other options are taking you through up there now you can see that we've also got this gold box around the sample field please don't get excited I've mentioned this before it also has a queue there which means it's a queue linkable parameter so if we click on our queue links or I need to click on it we can jump through there and you can see it's choosing the different options so as you can see we're now highlighting the start point but unfortunately you can't record automate or rights automate if I say the start and end point so I've put my MPC into write automation mode we've focused on the start point which is the second key link down I can move that with the Q link but let's press play and make some changes put it into well-read mode and there you go it's not making any changes to that and I believe that's because you've got access to so many layers so many pads so many samples it would probably really take up a ton of CPU for the NPC live to be processing all these different start and end points but you never know oh I might pull it out the bag in the near future and say now you can automate start and end points and that would be just the absolute game changer for a lot of people who like doing glitchy stuff people should I say I think I said people for a lot of people anyway so you can't automate start and end or loop points so forget about it alright just forget about it so these are your layers I said you've got four layers the default one is layer 1 and that's where we've loaded our first sample we can delete it from that the little Delete icon we can double tap on it and choose another sample from the menu we can use our data wheel to select the sample now slice I usually try and remember to set all my slices to pad because if you have the same sample loaded on to let's actually do it copy select the pads that you want to copy tap on the screen select the pad that you want to copy that pad to okay so I'm going to copy mine to pad 9 and then do it now we've got the same sample on pad 1 and pad line we're in all for the slice mode if I now move the start point of pad 9 if we go down to pad 1 it's done the same because it's looking at the same sample and adjusting its default start point let's also go to the sample editor and you'll notice that that is reflected there ok so that's like it's master start an endpoint setting so to speak if we sell it to PI it's now got its own independent start and em2 point so if we got it to pad nine it's still in that position there if we press pad 1 it's got its own independent okay so that's got to pad nine and change that to pad and now that's got its own independent start on endpoint settings okay go back to plug one and that's still there so that's what that does just be wary of that because you might have the same sample on multiple pads have slice sets at all make some nice adjustments you start at endpoints and then try and do it to the other person you'll be like oh they're all the same so just be wary of that that's the semitones obviously fine tuning we can reverse the sample okay that reverse is our sample simple enough at the bottom we've got warp I'm not a big fan of this because I think the algorithm needs a lot of work it does sound very jittery and glitchy I've only used it very subtly in a couple of tracks that I've made where I just needed a quick way of getting things timed up to a very short sample so it wasn't that noticeable but it really isn't my favorite algorithm and I think I could do a lot more to improve this it's certainly not comparable to the dedicated time stretching or picked shifting algorithms within the actual sample editor or the main sample editor but within the program I mean to be honest it probably is because it would also take up an awful lot of CPU because this is a live effect so to speak it's just putting it on top of this sample temporarily if you see what I mean so at the moment okay you can hear that it's doing some weird thing now that we've walked it if we take the BPM sync off it will sound the same but now if we stretch it we can stretch it to a given value but we've only got to move it a few sort of percent forward or back we get these weird artifacts now they could be totally usable if you're doing some glitchy music or you want to do some sound effects but if you want it to sound natural it's not going to happen with warp okay but that's what walk does and it's affected by the stretch parameter and the BPMS okay so that's just calculated the BPM of this kick drum to 160 for some reason okay and we've got BPM sync so have a play about with those but that's what they do I'm not going to go heavily into all the different variables that you could get by changing those okay now pad loop is grayed out because that will only be activated if you change the playback mode of the actual pad which is found in the LFO modulation page and that is either one shot or note on it's currently set to the default which is one shot which will just play the sample in its entirety you know obviously depending on where you've got the start and end points but it'll basically just trigger that pad okay and play it back as it is supposed to be heard note on you'll notice I'm going to tap it now and it will just get cut off short okay that means we now have to go to the envelope and then adjust the release time and we're back to normal okay so my process is if I want to loop a sample I go first of all to LFO modulation okay let's set that to one-shot again so I go to LFO modulation I choose note on I know that now it's going to be cut off I know or rather the default would be like this and then I increase the release time go back to the samples page and now we can see that this is not grayed out we can now select the type of loop we want so this is a forward loop [Music] sorry I'm going to shorten that so that's now looping for us [Music] you might think we've finished on this but we've got these two additional sub menus for samples so let's go and take a look about I'm going to go through these really quickly so again we get access to our layers okay it's no different from the first sample page option here okay it just gives us a different layout but now we get access to all this semitones here the fine-tuning and the levels okay for each additional sample so this page is handy if you want to balance out the different layers that are on this particular pad and then the next sub page or the final sub page is the offset so the offset will kind of start the sample from an offset position either positively or negatively so if we just tap on the kick drum here and that's literally moving not the actual initial start point here it isn't affecting this it's separate from that it's more like a playback head but it's not shifting the start point of the sample it's shifting the playback point of that sample if you know I mean so we're kind of getting rid of the attack portion there and if we move it into a negative value you can hear there's like quite a big gap from where I'm actually hitting the pad and it's sounding you could probably hear my finger tap in there so you can get some nice effects with that and one thing I found you can do with it is you can create sort of a million different variations of a kick drum basically by just moving through all these different start points because you get all these different textures so offset don't knock it it can help you time things up but it could also do other things if you sort of think about how you could use it in a sort of creative way anyway that's the samples page covered pan and velocity again we get the access to our different layers we can pan those velocity start and velocity end in a nutshell if you take off your full level button which is just above pad 14 on your pad grid if you press the full level button and so it's off and the light goes dim the pads will now respond to the amount of pressure that you put on them when you actually touch them or hit them so if we had additional samples on the different layers of this first pad and we play about all these different start and end points different samples will be triggered back ok it will sort of play the layers in kind of more of an organic fashion this is good for getting kind of a live feel to drums but also to musical instrument samples that you've got multiple copies of and you kind of want to do sort of tambul changes you know in textual changes so please do look into that further in the manual I'm not going to explain it because I would admit it is not my strongest point it's one of the things that I use the least in the MPC ok so I'm going to go to the filter envelope page now again we've got all the same options up here now we've got access to loads of different filter types ok I'm not going to explain what every one of those does but I'll tell you which ones they are we've got low one low to low for low 6 low 8 high one high to high for high six high - bigger high eight band-to-band for band six band camp band aids band stop - Pole and stop for pole band stop six pole band stop eight pole band Bieber to pass band bolshevik for passed band boogie on down eight pass model one model to model three nine McCampbell for vocal one vocal two vocal three MPC look at me I'm TD tube digger yeah boy don't know where I was going on that I need it donut or something to smooth me out anyway so you've got loads of different filter types and they are obviously gonna be you know best use on different samples okay I'm not going to go into those it's kind of basic stuff filters but you know how you use them is down to you now the filters I've forgot to mention this this is a ploy to all layers on that pad or the entire pad you can't set an individual filter type for the different layers now don't think that that's a major restriction that is another thing where you might have to think a bit smarter about the layers you've got you might have to actually go well I really like the sample on my second layer but I need to filter it so then you would use simultaneous play then you could trigger that pad and that second layer sample and put it on a different pad and then you'd have access to a secondary filter okay sorry I jumped between those it's getting late I'm tired and I'm too digger and I'm out no I'm not out yet I'm not finished do you see what I mean so you only get one filter / pad okay so you might see that as a restriction but it's not there is a workaround for it and that simultaneous play or doing something else I don't know maybe I don't know shaving your cat or eating your socks I don't care do something else don't worry about that anyway you've got your cutoff your residents and your envelope amount so if you increase that that will now apply an amount of the envelope that you set for that filter okay I'm also not going to go into that heavily I'm just showing you the options you've got modulation sources so the velocity can actually affect the start point of your sample so I'm gonna get a snare drum because we can't really hear that kick drum too much let's get rid of that second layer let's get actually it's quicker just to tap on there I'm speeding things up now because I've been on this video for ages there's a snare drum it's not very good one it's actually really bad there you go a spare right so if we now increase I'm in the run page velocity to start I can't really hear it too much let's put the note repeats on [Music] the velocity isn't actually affecting the start point which would be really cool because then we could kind of modulate the start point it's basically doing what the offset does but it's using the velocity to affect that and that's good for drum rolls really so let's just try that again now I'm going to sort of through it a kind of hard philosophy take this off so you can hear even though it's quieter we've still got the attack portion of that sample but if we it gives us more of a smooth kind of roll to that note repeat okay that's what that does we've also got the same thing for velocity to attack which would kind of have a similar effect we've got velocity to envelope okay so the amount of velocity all sort of apply the amount of the envelope the filter envelope that is and we've actually got velocity to filter itself so let's take that off and let's have a listen to that so I've not got any filter applied at the moment let's take the cut-off down okay so I'm the less pressure it's actually playing back at this value here 53 it's lowest value and as I increase the pressure it's basically opening up the filter like that which gives really nice effect actually with used with the note repeat so let's actually go back to our main page I'm going to press my note repeat button then we get access to the different note repeat time divisions and the twos are really high 164 and I think that'll be quite interesting with the velocity to filter so you can get some really nice effects with that potentially filter envelope we've got two different types we've got a simple attack decay envelope which it's in at the moment so we've got attack and decay we can adjust it from here we can double tap on this screen and give us a larger view for fine adjustments okay so we can manipulate that all on the big screen we can choose to decay it from the start pull it out from there or we can decay it from the end give us more of an exponential kind of ramp there I think that's the right term exponential there yeah we can also switch the filter type from up here once we're in this larger screen now we've got an attack hold decay sustain envelope so we've got a lot more adjustments that we can use though okay not a lot more two extra ones but you know so that's that okay and of course that's reflected here in the smaller screen and the same for your amp envelope you've got the two different modes there that's all good that's all the filter envelope page covered now let's go to LFO modulation in the top half we've got the modes so this is group so I'm going to quickly rush through this say we wanted a kick of the snare to cut one another off so they never clutched we would select the kick change the mute group to one change the snare group to mute Group one and now they will not play on top of each other I've also covered this in another video so go and check that out I think it was called I think it was called new groups I can't remember I've done so many now but I've definitely got a video that covers this I apologize I can't think which video but this is also good for choking high hats so if you've got an open hat you would let's say you had already used that mute group one for the kick and the snare but you wanted high hats over the top you would then choose another mute group for that sorry mute group too and then you choose me Group two for the open hat and they would Moo each other independently of the kick and the snare that was set to meet Group one okay but I've definitely covered that in another video if you've got any questions on mute groups please do ask but that's pretty much the basic functionality of mute groups so layers the layers that I've shown you in the samples page that you've got access to if we now set them to cycle so I'm going to put some of different layers on layer two or different samples on the layers should I say just make sure I've got some very prominent pitch changes and they're different samples so we can hear those changes I'm gonna go back to my other phone modulation page now the default is set to velocity okay as I showed you if you want to do something fancy with the velocity to change the different layer levels that's what you would use velocity start and velocity end for but in the LFO modulation page the default layer behavior is set to velocity that is a separate thing that just means your pad will play back as it would normally just with one sample in it you will hear the other samples lay it up but let's now set that cycle so it's cycling through those four different samples let's put a note repeat on I'm going to change the value of it to something slower let's go back to program a bit now I'm going to trigger my pad with no repeat activated okay I hope that makes sense it's just cycling through those four samples that we've gotten that one pad if we now press random it will randomly choose one of those layers okay and that might also sound nice with a higher time division on the no-repeat so it's really good for you know kind of weird percussive stuff anyway that's what the different layer types are sample play I've covered that now we've got velocity sensitivity so we can change the pitch based on the velocity so I'm going to take my full level setting off of my pads so I'm going to do this on the snare drum so you can hear it I'm going to increase the pitch as you can hear it's increasing in pitch the harder I press my pad which can give some nice effects you can also do that with the attack so I'm going to take the pitch off it's a smoother attack now based on the velocity the amp it's already set to one to seven but if I take that down to zero I'm going to take the attack off so we can just hear that so now it's not having any effect okay so the default for the velocity sensitivity is what it would be anyway if you didn't have your full level button switched on so that's the default value of that was one to seven because that and then you can Pan the sample with the velocity as well so it is panned hard left or you know towards the left if you kind of touch it lightly anyway that's what that does I'm nearly done so that's the second row down the third row down is the LFO so we've got a number of LFO wave shapes so we've got sine triangle sample-and-hold sawtooth sawtooth down square wave noise and - alot okay and we can set the rate and we can so that's like a non synced rate which is handy if you just want to kind of fine tune stuff to your own taste or you can sync it to different time divisions so now I'm going to apply LFO it's a sine wave the rate is 16 and I'm gonna add some pitch modulation to this snare now you can't hear it at lower values it's too slow and let's change the different waveforms opes obviously because this is a sine wave we're not really hearing a big effect at this could current rate setting but a triangle is obviously a lot steeper curve and we've got a sample and hold so it doesn't take effect at a low rates but if we increase the rate [Music] okay let's put a note repeat on that [Music] filter we can add some filter modulation to that snare now and the amp pool just affects the volume okay so you can apply modulation to the actual amp amount and the pan right so that is LFO modulation covered now let's go to effect so you can select to have them all on or all off we've got an unloaded at the moment but if we double tap on any of these we can select from a big list of all these different types of effects so we can select there some different effects but we can't swap these around we can't sort of hold and drag those that would be quite nice if we could but we can't do that okay we can edit them so that gives us the Edit settings for those plugins all those insert effects and we've got those for every single one depending on what the effect is you've got a different amount of edit selections that you can make and then we can just set them to be on or off independently or we can choose to switch them all off the send effects here are sending the amount of an effect that you would have loaded onto what's known as a return track so again please go and check out my sends and returns video and that will show you what sends and returns are and how they can be best utilized in the MPC live so I hope you've enjoyed the video guys please put any comments or questions you've got down below please support me on patreon if you would be much appreciated and I will see you in the next one where I shall be covering key group programs this is - bigger and I'm out you

Channel: Tubedigga

Views: 69,070

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: Vkf8jofGyY8

Length: 54min 16sec (3256 seconds)

Published: Sun Jan 28 2018