How to Use the Sample Editor Mpc Live | Mpc One | Mpc X | Akai Force |

what's up YouTube this is cheap digger this is a complete beginners guide to the sample editor in the MPC live an MPC X if you'd like to support me and my channel so I can continue to give you free tutorials on YouTube there's a link down below that will direct you to PayPal and you can just contribute any amount of your choosing and that would be very much appreciated so I'll assume you know how to load samples into your MPC X and MPC live in standalone mode if you don't know how to please do check out my MPC X and MPC live tutorial playlist and there's plenty of videos in there showing how to do this and there's one specific video in there showing you how to load and assign samples so let's hypothetically say that you've already loaded some samples into your MPC X or MPC live so on my first drum program here I've got a number of samples we're just going to look at the first one which is a break beat that i've loaded onto my first pad [Music] so let's go to sample edit on the MPC exits here if we go to menu on the MPC live you'll see sample edit up at the top there so this is now showing the last selected pad which was pad AI 1 on my drum program now the pads will now behave in different ways I'm not going to go through each and every one of them but just as an example the first pad will just play it the sample in a one-shot mode the top pad here pad 13 will play this in a loop so if we select region 2 loop we can press a hold and loop that cycle for a comprehensive list of what all these different pads do because they do play the sample back in various different ways please do check out the MPC X or MPC live manual so first of all let's look at the process functions so if we want to actually add some destructive processing to this sample we click on process so the first one that we see is this card as you can see from this graphic display this basically says that anything outside the start point and end point is put in the bin or trashed so we've got a bin symbol either side and then in between that we've got this highlighted in blue and that's going to show us what we're going to retain so let's cancel that so let's just say we wanted to retain this section here just press process discard and now we've just got that and everything outside the start and end points has now been deleted so I'm just going to press undo so the next thing that we can do is delete that section so this is essentially the opposite of discard you will now see that the blue sections which are the sections outside of the region that we've selected with the start and end point and this little display will show us that the sections that are retained will now be joined together so if we press through it we've now got rid of that section that was in between our start on endpoints let's press undo again let's go to process the next function we have is silence so similar to discard the section that we've selected will now be silenced okay so if we press do it now we've silenced that section that's in between the start and end points let's undo its press process again the next function is extract so the section that we've selected in between the start and end points will be extracted and a new sample will be created it won't get rid of that it won't extract it and remove it from the original sample it will just copy that section to a new sample and we can rename it down the box here so let's press do it now we've got fifth dimension Rainmaker and we've got fifth dimension Rainmaker one this is the section that we just extracted from our source sample let's go back let's press process the next function we've got normalize normalize boosts the volume of any samples before it starts clipping or distorting in the digital domain so let's go and take a look at the sample as you can see we don't really need to normalize this sample because it's quite loud let's say we wanted to increase the actual volume of these hi-hats here that are lower than the rest of the other transients in this sample we wouldn't normally want to do this because it would be a bit inconsistent but just for the sake of this video I'll demonstrate so there's press process and normalize and now you can see the peaks of those high hats and now at their maximum value before this starts going into Distortion let's press undo again reverse pretty simple stuff if we just press do it that destructively reverses this section of the sample that's on do again process the next function is fade in so we can not only fade in we can choose a type of fade so linear fade is like a straight line logarithmic is like a steep curve and exponential is kind of the opposite to logarithmic and that's a smooth upward ramp so I've got this drawing sample in West sampler let's say we didn't want such a hard attack on the start portion of this sample we could just grab the endpoint drag it towards the start press process and then we can choose the three different fade types let's take a look at linear so there you go we've got a straight line from the start point up to where we've chosen the end of that fade to occur okay I'm not going to show you fade-out it's exactly the same thing you get the three different types of curve but obviously the most common use for this would be to fade out the end of Paul to get rid of any nasty click so we go process fade-out let's choose exponential again and there you go we've got a nice fade downwards with that exponential curve let's go to process again now the next thing we can do is pitch shift samples so I'm going to cancel out of that I'm going to go back to the breakbeat sample there you go let's actually choose the entire sample now the pitch shift algorithm is significantly better than warping your samples so this will keep the timing of this sample but it will pitch it depending on the amount of semitones you choose from this value control here so let's just listen back to the sample now we can pitch that up to a maximum of one octave or twelve semitones and we can pitch it down to minus twelve semitones or an octave so let's just choose somewhere in the middle now the further away you get from its root pitch you're gonna start noticing artifacts but this algorithm is a lot cleaner and smoother than the warp samples function found within the program editor for drum programs or clip programs let's press do it and now that has pitch shifted our sample [Music] so it's quite a decent algorithm you can hear some artifacts in there but it actually does retain the transients quite often when you pitch shift things in software or other hardware samplers it really does affect the transients and things start sounding a bit wobbly but I'm quite impressed with the pitch shift and the time stretch functions in the MPC live and MPC X sample editor so let's undo that the next function is time stretch basically at the top of this box we can time stretch it by an amount of beats we've also got the original tempo that you can input in there to get your calculations a bit more precise we've got the ratio control and we've got the new tempo so let us go back out I'm going to choose a region of this sample so we get an exact loop of it okay and then the MPC X will determine what the tempo of this new cropped sample will be okay to get these start and end points really accurate you can use your cue links on the MPC live or MPC X so I'm going to choose my third one down which is gonna adjust the start point times 10 and you can see it just very slowly moves up and then I'm just scrolling in using my fingers to magnify the sample we'll get right to the very start and then just jump to my second bank of cue links on here on the MPC live you'll have to press through your key link button to jump banks and I'm going to use the same x ten control for the end point okay and I'm going to move my endpoint all the way up to the very start point of this next kick drum which we don't want to select okay so now I'm gonna press process I'm gonna scroll all the way to the left press discard that will discard everything outside that start and end point so now we should have a perfect loop of this break beat if we press the top pad like I said earlier in the video [Music] it will now loop so the MPC X has calculated the BPM of this break B to ninety-nine point five five beats per minute if we want to try and get that a bit more accurate we press detect and then we can detect the BPM here so it's now showing a hundred point eight three so let's go to process and let's tell the time stretch algorithm how fast this sample is so it's a hundred point eight three beats per minute let's go back to process let's type that in original tempo so it's a hundred and then we need to press and hold shift and then we could just move the data wheel up to 83 let's press do it so we're telling time stretch that our original sample is a hundred point eight three beats per minute now let's try it and adjust the new tempo field to a hundred and twenty so double tap on that click 120 and do it this will now time stretch this break beat from a hundred beats per minute or 100 point eight three two one twenty let's press do it let's listen to the sample so let's now go back to program editor let's just adjust the start and end point so we know we've got the full break beat there and now we can record that into the sequencer and check that it's now at 120 [Music] and that's how you use the time stretch function so what's next after time stretch we've got Game Change so earlier I told you about normalize that boosts the volume of any samples up to the highest amount before they start clipping in the digital domain but sometimes we can actually get away with changing the gain without it distorting so let's just increase the gain of this sample to six decibels higher than it originally is and as I showed you earlier we've already normalized this sample so first of all I'm going to normalize the sample let's go back to normalize press do it now there's no change there because it's already at its maximum you can see this peak of this laugh snare here if it boosts anymore it might or might not start clipping so let's just take a listen to it again sounds fine and clean if we go to process go back to game change and now let's increase the amount by six decibels now you can clearly see that sample is a lot fatter it will be louder as to whether it's going to be distorted or not let's take a listen so as you can hear it still sounds pretty decent let's increase it by another six decibels now we can really clearly see that that's boosted the fatness and the actual volume of this sample and it's starting to sound a bit more fuzzy but you can increase the gain of samples that have been normalized to their maximum value a certain amount and it will actually improve the sound and make it sound a bit warm and fat and crunchy but you can of course also go a bit too ridiculous if you've already got a sample that's already distorted and really loud changing the gain into a - value won't take away that Distortion it will just reduce the volume okay so you can't clean distorted samples up with gain change it will just literally increase or decrease the entire volume of a given sample so let's undo that let's go back to our processes the next one is copy really simple you just literally copy the entire sample to a new sample and you can rename it the next one is bit reduction so this kind of emulates the old 12 bit samples as you can see it defaults the 12 bit we've got 16 bits so if you have the 24 bit sample you could produce it down to 16 bit which is the highest bit value in here but we can go all the way down to 1 let's go to 8 bit which would be similar to old computer game music and computer game sound effects so let's press do it now it doesn't give that classic computer game sound even with the 8 bit let's now reduce it to 4 bits so it's clearly distorted and corrupted at 4 bits okay so that's just one of those effects that you can use at your own discretion and try out all these different bit reduction settings there the next one is stereo to mono this is a really really super handy function to have particularly if you've sampled some old vinyl records where the music has been recorded in stereo but you've got drums hard pan to one channel and instruments hard pan to another you can actually separate them so it's not going to be too apparent on this sample so I've got this new breakbeat in here called Swamp fever by Mel Brown and you'll notice that on the left hand side we've got some percussion and a faint bit of the drum break but the main drums are coming from the right channel so let's press process now I'm going to just extract where the drums are most prominent which is in the right channel so we can choose right now we can actually change the name of this new channel so I'm going to call this swamp right just so I know that that is the right hand channel for this actual sample so just press do it now it goes back to the original sample so you have to use your data will to scroll up to that new sample them because we called it Swamp fever we know where it is there you go Swamp right so now we've just got the right channel where the drums were and you'll hear that out of both speakers okay let's go back to Mel Brown again let's press process and let's choose the left channel and let's rename it to swamp left do it let's go up to swamp left and here's our new sample and as you can hear in the background the drums are really distant because they were obviously recorded on the right hand channel as a Josh og and the last option we get in stereo to mono is we can sum the two channels together so this will create a new mono sample but mix and blend the left and right channel it will just be bang in the middle but you'll get all the content in one file so I've not renamed that one but there you go this is both channels mixed so let's delete that and that's it for all the process functions now down the bottom here we can just view the start on the endpoint of our samples which of course we can adjust with our Q links or with our finger on the screen and you'll see the values change to correspond with that we can change the loop point here so if we press and hold our top pad here pad 13 this is now playing from the loop point we can also tune the sample from here away from its root pitch I don't usually use that I usually adjust the tuning once this sample is in a program from here we can choose a loop type so we can have a forward loop a ping-pong loop or reverse loop so let's try it the forward loop and we can have a ping-pong loop loop lock will lock the loop to the start and end points but if we've got that unchecked as you can see we've now got an extra anchor point for the actual loop itself and we can move it independently away from the start point okay but if it's set to loop lock on it defaults to the start point of the loop we can also assign samples from here so if you press assign we can just click on a pad this field here will jump to the actual pad and we can sign that slice or that sample to a pad now if we want to chop a sample we can go to chop by pressing the trim okay so that just literally flicks between the two modes we're now in shop mode we can chop manually so if we now press on this first pad and then press additional pads it will place chop points in manually okay so let's undo that we can also chop by threshold so now it's looking at the peaks of this sample so as you can see that it's pretty accurate we've now got a chop on every one of the main transients in this breakbeat so this works best on drum brakes or samples that have got very distinctive high transients so it can actually put them in exactly where you want them we can also choose to chop by regions so this is looking at this break beat in terms of bars and beats now so we can chop it from anything from one region all the way up to 128 regions I've got other videos where I show you how to chop up break beats that will give you more in-depth knowledge on how best to use this but just as an example let's choose 8 regions and you can see the pads reflecting what you're gonna get on the other end when you export this okay so let's say we were happy with those chops we press and hold shift and now we get the option to convert so we can convert that we can convert this in a number of different ways a new john program using slices a new clip program based on the current tempo or a new tempo that we can choose we can choose a new program with new samples so it won't just export this program with those slice points it will actually create new samples we can crop those samples we can create a new program and we can actually create events over a certain amount of bars we can assign slices to pads okay so we can assign any one of these slices to a particular pad okay and again we can choose it to be a non-destructive slice or pad parameters and we can make a new sample and we can crop that sample or we can convert to a patch phrase now a patch phrase is a sample that has kind of got anchor points based on the transience or however you've chopped it in the way that I've shown you and it kind of has those embedded within that sample so that sample won't have individual chops it will appear as one sample but you will now be able to play that back at different tempos without changing the pitch it's kind of like a fake time stretch in some regards so let's cancel that so I'll let you guys experiment with that you can also chop by BPM I very rarely use that feature so we can also view the program here and see what is actually happening with this sample so as you can see our start and end points are here let's go back to the program editor that will be reflected here let's actually adjust them back to the default start and end points go back to the sample editor now you can see that it's reflected in there and this is where you can actually set up how this sample behaves in your program I very rarely use this view I just threw all my program editing in the program editor itself but it's just a convenient way so you can see what's happening and it reflects what's happening in your actual program so let's just put it into Chop mode now you can see we've got this play cue function here so let's just press play so this play cue is referring to this arrow here okay so we can play from wherever that arrow is at the moment is in toggle mode so anytime I press it will press it again it will just start and stop if we go to the gear symbol we can change the behavior of that to one shot so now it will play everything after there anytime I press it now we've got cue preview before or after and we've also got slice preview before or after so let's select cue preview before before and after I can't really work out what the difference is with that let's set it to before so now if we move this arrow you can preview all the sort of micro or macro scopic samples within this actual sample we've got here so if you've got your MPC connected to a mixing desk or you can actually sample into your computer this is quite a nice way to get some granular effects weird samples just by setting that to cue preview before I said if we set it to after I'm not too sure what the difference is there thank you behaves the same let's set it before pretty much the same we can also use our data we'll if we've got the cue selected there and we can scroll through and listen to the song that way let's go up to the gear symbol again slice preview pretty much the same I set it to before and then we can move our data wheel and we can scroll through the sample like that let's go back to regions doesn't matter what mode you're in you can still roll through let's actually change these to after so no real change there so I'll let you guys play about with that yourselves autoscroll is how we view the actual sample as it plays so at the moment is set to OFF so I'm just going to clear all my chops and I go back to trim mode see our sample there let's go back to the settings now I'm going to turn auto scroll to follow and you'll see that we will now follow that sample so that won't take any effect because we're fully zoomed out let's zoom in press play back on the sample now it follows and Scrolls let's go back page we'll just literally flick to a new page okay so now it's not following smoothly it's actually jumping along that sample we can also set the timeline units to be over time samples or beats so let's take a look at time now up the top here it says time and it's actually showing us time value okay so we've got two point three zero four seconds basically let's go back to the settings let's change that to samples and now it's showing that we've got around 10,000 samples you can't see that as too small guys but that's what it is if we change it to beats now you probably won't be able to see this I'm just going to try and stretch the sample again so we need to tell it that the original tempo is a hundred beats per minute which it is now okay so do it and I'm going to change the new tempo again like I did earlier to 120 which will match the sequence tempo but now this sample is pretty much matching up with the beat divisions which I've switched the view to here so we've got the downbeat here obviously 1.2 is where this snare is 1.3 is where this next kick is and 1.4 is where the last snare is so that's pretty much it guys that is the sample editor for the MPC live and MPC X and comments or questions please put them down below please subscribe to my channel if you haven't done so already I've got tons and tons of tutorials on both the MPC live MPC X and MPC software I'll see you on the next one guys this is cheap digger and amount

Channel: Tubedigga

Views: 58,121

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: 6dFEygeiWms

Length: 28min 11sec (1691 seconds)

Published: Wed Mar 28 2018