User Guide
EnglishManual Version 2.11.12

Table of Contents
Introduction ................................................................8

MPC One / MPC One+ ....................................... 26
Top Panel ........................................................ 26

System Requirements & Product Support .........8

Navigation & Data Entry Controls ........................ 26
Pad & Q-Link Controls........................................ 27

About This User Guide .........................................8

Mode & View Controls ........................................ 27
Transport & Recording Controls ......................... 28

Important Notes ....................................................9

Setup ......................................................................9
1. Connection ....................................................92. Installation....................................................10
3. Getting Started ............................................10

Features ....................................................................11
Touchscreens ......................................................11

Front Panel ...................................................... 29
Rear Panel ....................................................... 29

MPC Key 61 ......................................................... 30
Top Panel ........................................................ 30
Rear Panel ....................................................... 34

MPC Studio mk2 ................................................. 36
Top Panel ........................................................ 36
Navigation & Data Entry Controls ........................ 36

MPC X / MPC X Special Edition.........................12

Pad & Touch Strip Controls ................................ 36

Top Panel .........................................................12

Mode & View Controls ........................................ 37

Navigation & Data Entry Controls ........................ 12

Transport & Recording Controls ......................... 38

Pad & Q-Link Controls........................................ 13

Rear Panel ....................................................... 39

Mode & View Controls ........................................ 14
Transport & Recording Controls ......................... 15

MPC Touch .......................................................... 40

I/O & Level Controls ........................................... 16

Top Panel ........................................................ 40
Front Panel ......................................................17
Rear Panel ....................................................... 42
Rear Panel .......................................................18

MPC Live ..............................................................19

Basic Concepts ........................................................ 43

Top Panel .........................................................19
Rear Panel .......................................................21

MPC Live II ...........................................................22
Top Panel .........................................................22
Rear Panel .......................................................252

Tutorial ......................................................................44

Operation .................................................................. 70

Starting Up ...........................................................44

General Features ................................................ 71
Control Types .................................................. 71

Creating a Drum Kit ............................................44

Knobs ................................................................ 71
Parameter Values ............................................... 71

Creating a Drum Sequence................................46

Drop-Down Menus / Lists................................... 72
Selectors ............................................................ 72

Saving & Renaming .............................................47

Buttons .............................................................. 73
Checkboxes ....................................................... 73
Tabs .................................................................. 73

Editing Note Events ............................................49

Sliders ................................................................ 73
Envelopes .......................................................... 74

Making Basic Sound Edits .................................51

Grid View Tools .................................................. 75
Audio Edit Tools ................................................. 76

Creating a Bass Track ........................................53

Programs ......................................................... 77
About Programs ................................................. 77

Recording an Audio Track .................................56

Drum Programs.................................................. 78
Plugin Programs ................................................. 80

Creating a Song ..................................................57

Keygroup Programs ........................................... 81
Clip Programs .................................................... 82
MIDI Programs ................................................... 84

Exporting the Song .............................................58

Other Features Explained ..................................59

CV Programs ..................................................... 85

Menu................................................................ 86
Save .................................................................. 87

Step Sequencer ...............................................59
Drum Loops & Chop Mode..............................60
Pad Muting & Track Muting .............................62

Preferences ........................................................ 89
Info ................................................................ 89
Activate Plugins ............................................. 89
Wi-Fi .............................................................. 89
Ethernet ......................................................... 90

Sampling (Recording) ......................................64

Bluetooth ....................................................... 90
Audio Device.................................................. 90

Sample Editing.................................................66
Recording Automation with the XY Pad ..........68
Using MPC as a Controller ..............................69

MIDI / Sync .................................................... 90
Hardware ....................................................... 91
Sequencer ..................................................... 92
Project Defaults.............................................. 93
Project Load/Save ......................................... 93
Record/Export ............................................... 93
General .......................................................... 94
Splice ............................................................ 95
Sync .................................................................. 95
Undo History ...................................................... 95
Tuner ................................................................. 95
MIDI Monitor ...................................................... 96
Mode ................................................................. 96
System Resources ............................................. 973

Time Counter/Locate .......................................98

XYFX Mode ................................................... 177

Timing Correct (TC) .......................................100

Sample Edit Mode ......................................... 180
Settings............................................................ 182

Metronome (Click/Metro) ...............................102
Automation ....................................................103
Global .............................................................. 103
Programs & Audio Tracks ................................. 103

Trim Mode ....................................................... 183
Assigning Samples ....................................... 187
Processing Slices & Samples ....................... 189
Chop Mode ...................................................... 194
Converting or Assigning Slices ..................... 197

16 Level .........................................................104
Erase ..............................................................105
Effects ............................................................106
Overview .......................................................... 106
Insert Effects .................................................... 108
Pads ............................................................ 108
Keygroups ................................................... 110
Audio Tracks................................................ 112
Programs ..................................................... 113
Submixes ..................................................... 115
Main Outputs ............................................... 116
Send/Return Effects ......................................... 117
Pads ............................................................ 118
Keygroups ................................................... 119
Audio Tracks................................................ 120
Programs ..................................................... 120
Submixes ..................................................... 121

Audio Mixdown ..............................................122

Processing Slices ......................................... 200
Program Mode ................................................. 203
Assigning Samples ....................................... 206
Processing Slices ......................................... 207

Program Edit Mode ....................................... 210
Drum Programs................................................ 210
Global .......................................................... 213
Samples ...................................................... 215
Envelopes .................................................... 223
LFO ............................................................. 226
Modulations ................................................. 227
Effects ......................................................... 228
Keygroup Programs ......................................... 230
Global .......................................................... 231
Samples ...................................................... 234
Envelopes .................................................... 241
LFO ............................................................. 244
Porta / Mod ................................................. 245
Effects ......................................................... 246
Clip Programs .................................................. 248

Battery Usage ................................................123
Standalone vs. Controller Mode ....................124

Program ...................................................... 250
Pad .............................................................. 251
Plugin Programs ............................................... 254
MIDI Programs ................................................. 255

Modes.................................................................126

CV Programs ................................................... 256
Anatomy of an Envelope ................................... 257

Main Mode .....................................................127
Sequence Section ............................................ 132

List Edit Mode ............................................... 258

Track Section ................................................... 140

Browser ......................................................... 262

Program Section .............................................. 149

Browse ............................................................ 262

Grid View .......................................................155

Sample Assign ................................................. 265

Audio Edit Mode ............................................160

Sampler ......................................................... 266
Sample ............................................................ 269

Track View .....................................................169
MIDI Tracks ...................................................... 171
Audio Tracks .................................................... 172

Step Sequencer .............................................173

Slice ................................................................. 271
Pad Tap ........................................................... 272
Pad Hold .......................................................... 273
Auto Sampler ................................................... 273

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Looper............................................................274

Appendix ................................................................. 326

Pad Mixer.......................................................279
Levels .............................................................. 281

Effects & Parameters ....................................... 326

Panning............................................................ 281

Reverbs ......................................................... 326

Mute ................................................................ 282
Send Effects..................................................... 282
Insert Effects .................................................... 283
Routing ............................................................ 283

Channel Mixer ................................................284

Delays ............................................................ 328
Flangers ......................................................... 331
Chorus ........................................................... 332
Autopans ....................................................... 332

MIDI Tracks ...................................................... 287
Audio Tracks .................................................... 288

Tremolos........................................................ 333

Programs ......................................................... 290

Phasers.......................................................... 333

Returns ............................................................ 292
Submixes ......................................................... 293

HP (High-Pass) Filters ................................... 334

Main Outputs ................................................... 294

LP (Low-Pass) Filters .................................... 335

Pad Mute Mode .............................................295

Parametric EQs ............................................. 336

Pad Mute ......................................................... 296
Pad Group ....................................................... 297

Track Mute Mode ..........................................298
Track Mute ....................................................... 299
Track Group ..................................................... 300

Distortions ..................................................... 337
Compressors ................................................. 338
Bit Reducers .................................................. 339
Other.............................................................. 340

Next Sequence Mode ....................................301
Song Mode ....................................................303
Q-Link Edit Mode...........................................306

Glossary ............................................................. 341

SATA Drive Installation .................................... 346

Project ............................................................. 308
Program/Audio Track ....................................... 310
Pad Scene ....................................................... 313

MIDI Machine Control (MMC) .......................... 347

Pad Parameter ................................................. 314
Screen ............................................................. 315

Technical Specifications .................................. 348

Pad Color Mode ............................................316

MPC X / MPC X Special Edition.................... 348

MIDI Control Mode ........................................318

MPC Live ....................................................... 351

Pads ................................................................ 319

MPC Live II .................................................... 353

Buttons ............................................................ 320
Q-Link Knobs ................................................... 321
XY Pad ............................................................. 322
MIDI Learn ....................................................... 322

Keyboard Control ..........................................323

MPC One / MPC One+.................................. 355
MPC Key 61 .................................................. 357
MPC Studio mk2 ........................................... 360
MPC Touch ................................................... 361

Ableton Control Mode ...................................323
Pad Perform Mode ........................................323

Trademarks & Licenses ................................... 362

5

Addenda ..................................................................363
Updates in MPC 2.1 ..........................................363

Updates in MPC 2.5 .......................................... 409
New Features ................................................ 409
Splice Integration.............................................. 409

New Features .................................................363

Browser Audition Warp and Sync ..................... 410

Exporting Expansions ....................................... 363
Snap: Absolute & Relative ................................ 364
List Edit Settings: Auto-Advance ...................... 364
Pitch Quantization ............................................ 365

Updates in MPC 2.6 .......................................... 411
New Features ................................................ 411
Ableton Live Set Export .................................... 411

Step Sequencer: Velocity Adjustment via Q-Links..................................................................... 366

Erase Parameters ............................................. 411

Pad Perform Mode: User Progressions ............. 366

Grid Automation Lanes ..................................... 412

Faster Attack for Amp Envelopes...................... 366

Step Automation .............................................. 413
Submixes ......................................................... 414

Updates in MPC 2.2 ..........................................367
New Features .................................................367

Workflow Enhancements .................................. 414

Updates in MPC 2.7 .......................................... 415

MIDI Control Mode: MIDI Learn ........................ 367
Humanize ......................................................... 368

New Features ................................................ 415

Generate Random Events ................................ 370

Ableton Live Control ......................................... 415

Project Template .............................................. 372

Akai Network Driver ..................................... 415
Configuring Ableton Live .............................. 415

Updates in MPC 2.3 ..........................................373

Live Control Mode........................................ 416
Control Bar .................................................. 416

New Features .................................................373

Matrix View .................................................. 417

Arpeggiator ...................................................... 373

Mixer View ................................................... 418

Auto Sampler ................................................... 375
Crossfade Looping ........................................... 377
Mode Selection Shortcut .................................. 378
Pad Perform Mode: Chromatic Type ................ 378
Q-Link Navigation Enhancements ..................... 378

Device Control View ..................................... 418
Q-Links ........................................................ 418
MPC X Control Map ..................................... 419
MPC Live Control Map ................................. 421
Ethernet Adapter Support................................. 423
Improved Preferences Organization .................. 423

Split Events ...................................................... 379
AIR Instrument Plugins ..................................... 380

Updates in MPC 2.7.2 ....................................... 424

AIR Bassline................................................. 380
AIR Electric .................................................. 383

New Features ................................................ 424

AIR TubeSynth ............................................. 387

MPC One Support............................................ 424

Plugin Preset Support ...................................... 394

Updates in MPC 2.7.3 ....................................... 425
Updates in MPC 2.4 ..........................................395

New Features ................................................ 425

New Features .................................................395

MPC Live II Support ......................................... 425

AIR FX Bundle .................................................. 395

MPC Live II Ableton Live Control....................... 425

AIR Instrument Layouts .................................... 406

MPC Live II Control Map .............................. 425

Clip Program Improvements ............................. 407
FLAC and OGG Support .................................. 407
Mother Ducker ................................................. 407
Next Sequence Mode....................................... 408
Additional Transport Controls ........................... 408
6

Updates in MPC 2.8 ..........................................427

Updates in MPC 2.11 ........................................ 471

New Features .................................................427

New Features ................................................ 471

MIDI Improvements .......................................... 427

MPC Key 61 Support ....................................... 471

Copy Pads ....................................................... 428

Sounds and Favorites ....................................... 474

Custom Progressions ....................................... 429

New Plugin Instruments .................................... 476

Edit Pad MIDI Note Map ................................... 429

Insert Effect Updates ........................................ 478

Global Automation Button ................................ 430

Menu Editing and Shortcuts Panel .................... 480

Global Timing Correct On/Off ........................... 430

Built-In Tuner.................................................... 481

Main Button Track Select ................................. 430

Note Probability and Note Ratchet ................... 481

Expanded Pad Perform .................................... 430

Pad Perform and 16 Levels Enhancements ...... 482

Retrospective Record ....................................... 431

Track MIDI Perform Settings ............................. 483

Single or Multi Record Arm ............................... 431

MIDI Control Mode Updates ............................. 483

Q-Link Overlay ................................................. 431

Workflow Improvements and Enhancements .... 483

Updates in MPC 2.9 ..........................................432

Updates in MPC 2.11.6 ..................................... 485

New Features .................................................432

New Features ................................................ 485

AIR DrumSynth ................................................ 432

AIR Flavor Pro and Mini D ................................. 485
Workflow Improvements ................................... 485

Updates in MPC 2.10 ........................................436
New Features .................................................436

Updates in MPC 2.11.7 ..................................... 486

Four New Instrument Plugins ............................ 436

New Features ................................................ 486

AIR Hype ..................................................... 436
AIR Mellotron ............................................... 441

VST Preset Loading.......................................... 486

AIR Solina .................................................... 444
WayOutWare Odyssey ................................. 449

Updates in MPC 2.11.9 ..................................... 487

AIR FX Bundle .................................................. 454

New Features ................................................ 487

Standalone Audio Interface Support ................. 458

MPC X Special Edition Support ........................ 487

FX Racks.......................................................... 458
Drum and Keygroup Program Improvements .... 458

Updates in MPC 2.11.12 ................................... 488

File Browser Enhancements ............................. 460
Key Detection................................................... 460
Expanded CV Program Operation .................... 460

New Features ................................................ 488
MPC One+ Support ......................................... 488

MIDI Program Renaming .................................. 461
MIDI Monitor .................................................... 461
Undo History .................................................... 461

Updates in MPC 2.10.1 .....................................462
New Features .................................................462
MPC Studio mk2 Support ................................ 462
Touch Strip and Touch FX ................................ 462

7

Introduction
Thank you for purchasing your MPC. At Akai Professional, we know how serious music is to you. That’s why wedesign our equipment with only one thing in mind—to make your performance the best it can be.
This user guide explains how to create music using MPC X, MPC X Special Edition, MPC Live, MPC Live II, MPC One,MPC One+, MPC Key 61, MPC Studio mk2 and MPC Touch. There is similar documentation available for MPC
products that use an LCD and for the MPC software application. To view these user guides, click the Help menu in the
MPC software, select MPC Help, and select an option.
Note: The MPC Studio mk2 hardware acts primarily as a controller for the MPC software. Descriptions in this guide willassist MPC Studio mk2 users in using their hardware to access different features of the MPC software. To learn more
about how to use these software features, consult the MPC software User Guide.

Welcome to the MPC family.

Akai Professional

System Requirements & Product Support
For the latest information about this product (system requirements, compatibility information, etc.) and productregistration, visit akaipro.com.
For additional support, visit akaipro.com/support.

About This User Guide
This manual should help you get familiar with using your MPC X, MPC X Special Edition, MPC Live, MPC Live II,
MPC One, MPC One+, MPC Key 61, MPC Studio mk2 or MPC Touch (from here on, “MPC hardware” unlessotherwise noted). For consistency, the terminology throughout is based on the MPC nomenclature. We also used
specific formatting to indicate particular topics of significance:

Important/Note/Tip: Important or helpful information on a given topic.

Names of buttons, controls, parameters, settings, and other options are written in bold characters throughout the manual.
Examples: Press the Play Start button.
Turn Q-Link Knob 4.
Tap the Mute button.
The Velocity ranges from 0 to 127.
Set the Sample Play selector to One Shot.
Tap BPM, and then use the numeric keypad to enter 120 as the tempo.

Some parts of this manual refer to other relevant chapters or sections, which are cited in bold, italic blue characters.
Click the text to skip immediately to that section.
Examples: Read the Important Notes section before proceeding.
For more information about installing the necessary drivers and software, see Setup > 2. Installation.
To learn more about using send effects, see General Features > Effects > Send/Return Effects.

8

Important Notes
Read the included safety & warranty manual before using your MPC hardware.
Before getting started and connecting devices to your MPC hardware or turning the hardware on/off, make sure all
devices are switched off.
To use your MPC hardware in Controller Mode (to control the MPC software):
Before installing the MPC software, make sure your computer meets the system requirements described atakaipro.com. This applies whether you’ll use MPC software as your host software or as a plugin in another digitalaudio workstation (DAW).
Before connecting your MPC hardware to your computer, install the drivers and software. Visit akaipro.com todownload the latest versions. Refer to the 2. Installation section for more information.

Setup
1. Connection
Here is just an example of how to use MPC X in your setup. Items not listed under Introduction > Box Contents ofyour included Quickstart Guide are sold separately.
Headphones(to front-panel headphone output)

Footswitch(to front-panel FS1 input)

ComputerPowered Monitors

SD Card(to front-panel SD card slot)

USB
drive

Microphone

Turntable

Power

9

Remember to remove the protective film from your MPC hardware touchscreen!
To use your MPC hardware in Standalone Mode, just connect it to a power outlet using the included power
adapter, and power it on!
Note: We highly recommend checking akaipro.com for any available updates to the MPC software/firmware and/or
drivers.
To use your MPC hardware in Controller Mode, continue to Step 2. Installation.

2. Installation
To use your MPC hardware in Controller Mode (to control the MPC software), follow these steps to download
and install the required drivers & software:
1. Go to akaipro.com and register your product. If you don’t have an Akai Professional account yet, you will beprompted to create one.
2. In your Akai Professional account, download the MPC software package.
3. Open the file and double-click the installer application.
4. Follow the on-screen instructions to complete the installation.
Note: By default, the MPC software will be installed in [your hard drive]\Program Files\Akai Pro\MPC (Windows®)
or Applications (macOS®). You can also create a shortcut on your Desktop.

3. Getting Started
1. Power on your MPC hardware.
2. On your computer, open the MPC software.
3. Follow the on-screen instructions to authorize your version of MPC.
4. You will need an iLok account to complete this. You can create an account at ilok.com.
Make a note of the PACE code in your account, and enter it when asked for it during the authorization/unlock
process.
5. On your MPC hardware, check the upper-right corner of the touchscreen:•

If there is a monitor/cable icon, then your MPC hardware is already in Controller Mode.
Continue to Step 6.

•

If there is a chip icon, then your MPC hardware is in Standalone Mode. Follow these steps:i.

Press Menu to enter the Menu.

ii.

Tap the MPC chip icon in the upper-right corner.

iii.

In the Enter Controller Mode window that appears, tap Controller Mode. Looking
for computer may appear briefly on the screen before your MPC hardware recognizes
the USB connection as a controller.

6. In the MPC software, click the Edit menu, and select Preferences. Click the Audio tab and select the soundcard you want to use. Click OK when you are done.
Important:
We highly recommend using your MPC hardware’s sound card (Akai Pro MPC X/Live/Live II/One/Key
61/Touch ASIO). If you need to use the internal sound card on a Windows computer, we recommend
downloading the latest ASIO4ALL driver at asio4all.com.
To view the MPC software User Guide, click the Help menu in the MPC software, select MPC Help, and selectMPC User Manual.

10FeaturesThis chapter explains the features and functions of each MPC model with a touchscreen: MPC X, MPC Live, MPC
Live II, MPC One, MPC Key 61, and MPC Touch.
Note: If you are using the MPC Studio mk2, the display does not function as a touchscreen but can be used inconjunction with the software to select tracks, programs, and files, as well as edit samples or change project parameters.
To learn more about how to use the MPC software, consult the MPC software User Guide. This can be accessed byclicking the Help menu in the MPC software, selecting MPC Help, and selecting MPC User Manual.

Touchscreens
Here is some general information about how to use the touchscreen on your MPC:

Tap a button or option to select it. Use the data dial or–/+ buttons to change its setting or value.

Double-tap a button to access advanced editing options.
In some cases, this will show a numeric keypad that you
can use to enter a value (an alternative to the data dialor –/+ buttons). Tap the upper-left part of the screen to
return to the previous view.

Spread two fingers to zoom in (into a section of a
waveform, for example). Pinch two fingers to zoom out.

The top of the screen shows the toolbar, which contains
information about the current view (often the name of
the current track, sequence, audio pointer position,etc.). Tap an item to select it.
The bottom of the screen shows various buttons thatyou can use in the current view. Tap a button to press it.
To return to a previous view, either tap outside of thewindow currently on the screen or tap the left arrow ()in the upper-left part of the screen.
11

MPC X / MPC X Special Edition
Note: Mentions of the features and functions of MPC X hardware throughout this guide also apply to the MPC X
Special Edition unless otherwise noted.

Top Panel

155

11
13 14 32 33
28 29 30 31

55

47

48

44

44

45 46 45
51 52

16 17 18 19 20

53 54
21 23 24 25 26 27

42

49

50

6 12
3

8
43

4

5

22

9

10

2

7

15
39

41

40

37 38 36 34 35

Navigation & Data Entry Controls
1. Touchscreen: This full-color multi-touch display shows information relevant to MPC X’s current operation.
Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the previous
Touchscreens section to learn how to use some basic functions.
Tip: If you adjust the angle of the touchscreen, use the stand on its back panel to secure it in place.
2. Cursors: Press these buttons to navigate through the fields of menus and options shown on the screen. Press
and hold Shift and press these buttons to zoom in or out of the Grid View or Audio Edit Mode. Press and hold
Shift and press the up and down cursors simultaneously or the left and right cursors simultaneously to returnto the default zoom setting.

12

3. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of theselected field on the screen.
4. –/+: Press these buttons to increase or decrease the value of the selected field on the screen.
5. Numeric Keypad: If the selected field on the screen is a number, press these numbered buttons as you would
on a standard numeric keypad to enter a value. Press the keypad’s Enter to enter it. (A numeric keypad withadditional operations will appear on the screen, as well.)
6. Undo/Redo: Press this button to undo your last action.
Press and hold Shift and press this button to redo the last action you undid.
7. Shift: Press and hold this button to access some buttons’ secondary functions (indicated by red writing).
Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds.
8. F-Key: Press this button to activate or deactivate the F-Key feature. When active, the six buttons under the
touchscreen correspond to the options shown at the bottom edge of the screen. The F-Key button and those six
buttons will be lit red when active. When inactive, the six buttons under the touchscreen will access their normal
modes instead (Menu, Browser, Step Seq, Sampler, XYFX, and Looper).

Pad & Q-Link Controls
9. Q-Link Knobs: Turn these touch-sensitive knobs to adjust various parameters and settings. The display strip
above each knob indicates the parameter it is controlling. If the display strip shows a meter to indicate its value,
you can touch or turn its Q-Link knob to temporarily show its precise numerical value.
10. Pads: Press these pads to trigger drum hits or other samples in your software. The pads are velocity-sensitiveand pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different
colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest
velocity). You can also customize their colors.
11. Pad Bank: Press these buttons to access Pad Banks A–D.
Press and hold Shift while pressing these buttons to access Pad Banks E–H. Alternatively, double-press one ofthese buttons.
12. Copy/Delete: Press this button to copy one pad to another. When the From Pad field is selected, press the“source” pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the“destination” pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap
Do It to continue or Close to return to the previous screen.
Tip: To quickly copy a pad, press and hold Copy, press the source pad, press the destination pad, and thenrelease Copy.
Press and hold Shift and press this button to delete a pad’s sample assignment. When the Delete Pad window
is shown, press any pad/pads whose sample assignments you want to clear. Tap Delete to continue or Cancel
to return to the previous screen.
13. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads
will always trigger their samples at the maximum velocity (127), regardless of how much force you use.
Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated,
the pads will always trigger their samples at half-velocity (64).
14. 16 Level / Pad Perform: Press this button to activate/deactivate 16 Level. When activated, the last pad that was hit
will be temporarily copied to all 16 pads. The pads will now output the same note number as the initial pad, but aselectable parameter will be fixed at values that increase as the pad numbers increase (e.g., Pad 1 is the minimum,
Pad 16 is the maximum), regardless of how hard you press them. In the screen that appears, use the Type selector
to choose the parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation > General Features > 16
Level to learn more.
Press and hold Shift and press this button to enter Pad Perform mode for the pads. When activated, you canplay musical scales/modes, chords or progressions using the pads while in any mode. See Operation > Modes> Pad Perform Mode to learn more.

13

15. Note Repeat/Latch: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly.
The rate is based on the current tempo and Time Correct settings.
Press and hold Shift and then press this button to “latch” the Note Repeat feature. When latched, you do nothave to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.
16. Project: Press this button to use the Q-Link knobs to adjust parameters related to the current project. Press andhold Shift and then press this button to enter the Project Q-Link Edit Mode directly. See Operation > Modes >Q-Link Edit Mode > Project to learn about this.
17. Program: Press this button to use the Q-Link knobs to adjust parameters of the currently selected program oraudio track. Press and hold Shift and then press this button to enter the Program Q-Link Edit Mode directly. See
Operation > Modes > Q-Link Edit Mode > Program to learn about this.
18. Pad Scene: Press this button to use the Q-Link knobs to adjust parameters that you have assigned for thecurrently selected pad. Press and hold Shift and then press this button to enter the Pad Scene Q-Link Edit Mode
directly. See Operation > Modes > Q-Link Edit Mode > Pad Scene to learn about this.
19. Pad Param: Press this button to use the Q-Link knobs to adjust one parameter across all 16 pads. Each Q-Link
knob corresponds to the pad with the same number and position in the 4-by-4 layout. Press and hold Shift andthen press this button to enter the Pad Param Q-Link Edit Mode directly. See Operation > Modes > Q-Link Edit
Mode > Pad Parameter to learn about this.
20. Screen Control/Edit: Press this button to use the Q-Link knobs to adjust parameters in the currently selectedmode as shown on the screen. See Operation > Modes > Q-Link Edit Mode > Screen to learn about this.
Press and hold Shift and then press this button to enter Q-Link Edit Mode where you can assign other parameters
to the Q-Link knobs.

Mode & View Controls
Note: See Operation > Modes to learn about the different modes you can access with these controls.
21. Menu: Press this button to open the Menu. You can tap an option in the Menu to enter that mode, view, etc.
22. Main/Track: Press this button to enter Main Mode.
Press and hold Shift and then press this button to enter the Track View.
23. Browse/Save: Press this button to view the Browser. The Browser lets you navigate your computer’s internaland external hard disks to load samples, sequences, songs, etc. Using filter buttons and user-definable folders,
you can easily adapt it to your workflow. You can also preview samples before loading them.
Press and hold Shift and press this button to save the current project (including its samples, programs, sequences,and songs).
24. Step Seq/List Edit: Press this button to view the Step Sequencer where you can create or edit sequences byusing the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum machine.
Press and hold Shift and press this button to view your sequences using the List Edit View instead of the Grid View.
25. Sampler/Looper: Press this button to view the Sampler where you can record audio samples to use in yourprojects.
Press and hold Shift and press this button to view the Looper where you can record and overdub audio in real
time—a great tool for live performance as well as spontaneous moments in the studio. You can export the loop
as a sample to use in your project.
26. XYFX: Press this button to view XYFX Mode, which turns the touchscreen into an XY pad where each axis
represents the range of an effect parameter. As you move touch or move your finger on the screen, the current
position will determine the current value of the two parameters. You can use this mode to create interesting
effect automation on your tracks.
27. Pad Perform: Press this button to view Pad Perform Mode where you can assign musical scales/modes, chords,
or progressions to the pads for creative performance options.
28. Prog Edit: Press this button to view Program Edit Mode, which contains all parameters for editing your programs.
29. Sample Edit: Press this button to view Sample Edit Mode where you can edit your samples using various
functions and processes.
1430. Pad Mixer: Press this button to view the Pad Mixer where you can set a program’s levels, stereo panning,routing, and effects.
31. Ch. Mixer: Press this button to view the Channel Mixer where you can set levels, stereo panning, and othersettings for your tracks, programs, returns, submixes and main outputs.
32. Track Mute/Pad Mute: Press this button to view Track Mute Mode where you can easily mute tracks within asequence or set mute groups for each track.
Press and hold Shift and press this button to view Pad Mute Mode where you can easily mute pads within aprogram or set mute groups for each pad within a program.
33. Next Seq/Song: Press this button to view Next Sequence Mode where you can trigger different sequences simply
by playing the pads. This is useful for live performances, letting you change a song’s structure in real time.
Press and hold Shift and press this button to view Song Mode where you can arrange sequences in a specificorder and/or repetition to create songs. You can edit the structure of a song during playback for easy, on-the-fly
composing.

Transport & Recording Controls
34. Play: Press this button to play the sequence from the audio pointer’s current position.
35. Play Start: Press this button to play the sequence from its start point.
36. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding
once a note stops playing. Quickly pressing this button three times will act as a “MIDI panic” and shut off all
voices and stop all audio processing.
37. Rec: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in thisway (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays throughonce while recording, Overdub will be enabled.
38. Overdub: Press this button to enable Overdub. When enabled, you can record events in a sequence without
overwriting any previously recorded events. You can enable Overdub before or during recording.
39. </> (Event |</>|): Use these buttons to move the audio pointer left or right, one step at a time.
Press and hold Locate and press one of these buttons to move the audio pointer to the previous/next event in
the sequence grid.
40. <</>> (Start/End): Use these buttons to move the audio pointer left or right, one bar at a time.
Press and hold Locate and press one of these buttons to move the audio pointer to the start or end of thesequence grid.
41. Locate: Press and hold this button to activate the secondary functions of the </> and <</>> buttons (i.e., Event|</>| and Start/End, respectively).
42. Erase: As a sequence is playing, press and hold this button and then press a pad to delete the note event forthat pad at the current playback position. This is a quick way to delete note events from your sequence without
having to stop playback. See Operation > General Features > Erase to learn more.
43. Tap/Master (Global): Press this button in time with the desired tempo to enter a new tempo (in BPM). You can
set how many taps are required in the Preferences (see Operation > General Features > Menu > Preferences
to learn how to do this).
Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo(the button will be lit red) or a global tempo (the button will be lit amber).

15

I/O & Level Controls
44. Gain 1/2: Use these knobs to adjust the gain of the incoming signal from Input 1/2 on the rear panel or Inst 1/2 on
the front panel. Use the Rear/Front switches below the knobs to determine the input. Use the level meter tocheck the recording level. Be careful when setting this knob at higher levels, which can cause the signal to distort.
45. Rear/Front: Use each switch to set whether the Gain 1/2 knob above it will control the gain of the input signal on
the rear panel (Input 1/2) or on the front panel (Inst 1/2).
46. Phantom Power (+48V): This switch activates and deactivates phantom power for Input 1/2. When activated,+48V of phantom power will be supplied to both inputs. Note that most dynamic microphones do not require
phantom power, while most condenser microphones do. Refer to your microphone’s documentation to check if itneeds phantom power.
47. 3/4 Rec Gain: Use this knob to adjust the gain of the incoming signal from Input 3/4 on the rear panel. Use thelevel meter to check the recording level. Be careful when setting this knob at higher levels, which can cause thesignal to distort.
48. Master (Main): Turn this knob to adjust the volume level of the Main L/R outputs.
49. Direct/Main: Turn this knob to adjust the balance between the input and output signals in the headphones.
Direct corresponds to the input signal—all devices connected to the inputs on the front and rear panels.
While recording, you can turn this knob all the way to Direct for zero-latency direct monitoring.
Main corresponds to the output signal—the signal sent from the Main L/R outputs on the rear panel. When
you are not recording, we recommend turning this knob all the way to the Main position to hear the fullvolume playback signal.
50. Stereo/Mono: Use this switch to set whether the signal in the headphones is binaural (Stereo) or monaural(Mono). When set to Stereo, the headphone signal will be split so that the input signal (Direct) is heard in the left
ear while the output signal (Main) is heard in the right ear. When set to Mono, the input and output signals are
blended into a single, summed mix, which is heard in both ears.
51. Rec Arm: Press this button to arm or disarm recording for the currently selected audio track, shown in thedisplay strip below the level meters (see Operation > General Features > Menu > Preferences to learn how to
set what is shown in the level meters).
52. Read/Write: Press this button to toggle the automation state for the program on the current track or for thecurrent audio track between Read (green R) and Write (red W). The display strip below the level meters mustshow a program or audio track (see Operation > General Features > Menu > Preferences to learn how to set
what is shown in the level meters).
Press and hold Shift and press this button to turn off global automation.
53. Mute: Press this button to mute the program, audio track, or main output shown in the display strip below thelevel meters (see Operation > General Features > Menu > Preferences to learn how to set what is shown in
the level meters).
54. Solo: Press this button to solo the currently selected program or audio track shown in the display strip below thelevel meters (see Operation > General Features > Menu > Preferences to learn how to set what is shown in thelevel meters).
55. Level Meters: These meters indicate the level of the audio signal shown in the display strip below them. See
Operation > General Features > Menu > Preferences to learn how to set what is shown in the level meters.

16

Front Panel

1

2

3

4

5

6

1. SD Card Slot: Insert a standard SD/SDHC card into this slot to access its files directly using MPC X.
2. Footswitch Inputs (FS 1/2) (1/4” / 6.35 mm): Connect optional 1/4” (6.35 mm) TS footswitches to these inputs.
3. Instrument Inputs (Inst 1/2) (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TS cables to connect these inputs toaudio sources (guitars, bass, etc.). To use each of these inputs, set the corresponding Rear/Front switch (below
the Gain 1/2 knob on the top panel) to Front.
4. Mix Knob: Turn this knob to adjust the balance between the Main and 3/4 signals in your headphones. Main is
the signal sent from the Main L/R outputs. 3/4 is the signal sent from the Outputs 3/4.
5. Headphone Outputs (1/8” or 1/4” / 3.5 mm or 6.35 mm): Connect your headphones (not included) to either orboth of these standard stereo outputs. Use the Mix Knob to determine what signal is heard in the headphones.
Turn the Headphone Volume knob to set the volume level.
6. Headphone Volume: Turn this knob to adjust the volume of the headphone outputs.

17

Rear Panel

9

14

2
6

7

8

11

10

13

12

5 4

1 3

1. Power Input: Use the included power adapter to connect MPC X to a power outlet. This must be connected to a
power outlet in order for MPC X to power on.
2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging.
3. Power Switch: Press this button to turn MPC X’s power on or off. While powered on, press and hold this button
for 5 seconds to force MPC X to power off (similar to a computer).
4. USB-B Port: Use the included USB cable to connect this USB 3.0 port to an available USB 3.0 port on yourcomputer. This connection allows MPC X to send/receive MIDI and audio data to/from the MPC software on yourcomputer. It also allows any connected USB drives, SD cards, and drives connected to the internal SATA port tomount on your computer if MPC X is in Controller Mode (i.e., your computer can access these storage devices
that are connected to your MPC X).
5. USB-A Ports: Connect USB flash drives to these USB ports to access their files directly using MPC X. MPC X
supports read and write capability for exFAT, FAT32, NTFS, and EXT4 file systems as well as read-only capability
for HFS+ file systems. (We recommend using an exFAT file system as it is the most robust one supported byboth Windows and macOS.) These USB ports supply power to connected USB devices and can also be used toreceive MIDI messages from external USB MIDI devices.
6. Inputs 1/2 (XLR or 1/4” / 6.35 mm): Use standard XLR or 1/4” (6.35 mm) TRS cables to connect these inputs toaudio sources (microphone, mixer, synthesizer, etc.). To use each of these inputs, set the corresponding
Rear/Front switch (below the Gain 1/2 knob on the top panel) to Rear. Turn the Gain 1/2 knobs to set the input
level of each one.
Note: When using the XLR connection, the mic pre-amp is automatically engaged. When using a 1/4" (6.35 mm)
TRS cable, the mic pre-amp is bypassed.
7. Inputs 3/4 (1/4” / 6.35 mm or RCA): Use standard 1/4” (6.35 mm) TRS cables or stereo RCA cables to connect
these inputs to audio sources (mixer, turntable, synthesizer, etc.). To use the 1/4” (6.35 mm) inputs, set the
Phono/Line switch to Line. To use the RCA inputs, set the Phono/Line switch to Phono. Turn the 3/4 Rec Gainknob to set their input levels.
8. Phono/Line Switch: Set this switch to the appropriate position, depending on which Input 3/4 connectors you
want to use. If you are using the 1/4” (6.35 mm) inputs, set this switch to Line. If you are using the RCA inputs,
set this switch to Phono to provide the additional amplification needed for phono-level signals.
9. Grounding Terminal: If you are sending a phono-level turntable signal to the Input 3/4 RCA connectors and arehearing a low hum or buzz, it could mean that the turntable is not grounded. If the turntable has a grounding
wire, connect it to this terminal.
Note: Some turntables have a grounding wire built into the RCA connection and, therefore, nothing needs to beconnected to the grounding terminal.
10. Main L/R Outputs (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to yourspeaker system. The signal sent out of these outputs is the main mix. Turn the Master knob to set their volume.
Tip: To route a program to these outputs, set its routing to Out 1,2 in the Channel Mixer when the Mixer field is
set to Programs. See Operation > Modes > Channel Mixer to learn more about this.
11. Outputs 3/4, 5/6, 7/8 (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to an
external mixer. The signal sent from these outputs is full-volume (0 dB).
Tip: To route a program to these outputs, set its routing to Out 1,2, Out 5,6, or Out 7,8 (respectively) in the
Channel Mixer when the Mixer field is set to Programs. See Operation > Modes > Channel Mixer to learn
more about this.
12. MIDI In: Use standard 5-pin MIDI cables to connect these inputs to the MIDI outputs of optional external MIDI
devices.
13. MIDI Out: Use standard 5-pin MIDI cables to connect these outputs to the MIDI inputs of optional external MIDI
devices.
14. CV/Gate Out: Use standard 1/8” (3.5 mm) TS cables to connect these outputs to optional external sequencers.
MPC X will send control voltage (CV) and/or Gate data over this connection.
18

MPC LiveTop Panel

6
7

6
8

6
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3
3
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5
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13 14 15 16

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22 20 21 19 17 18 16
1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Live’s current operation.
Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the previous
Touchscreens section to learn how to use some basic functions.
2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of theselected field on the screen. Pressing the dial also functions as an Enter button.
3. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs can control
one group of parameters at a time. The lights below the Q-Link button indicate the currently selected column of QLink knobs. Press the Q-Link button to change which parameter or group of parameters they currently control.
4. Q-Link Button: Press this button to change which parameter or group of parameters the Q-Link knobs currently
control (indicated by the lights above the Q-Link knobs). Each press will select the next column of Q-Link knobs.
Press and hold Shift and then press this button to select the previous column of Q-Link knobs instead.
Press and hold this button to show the QLink window over the touchscreen’s current contents. These are the same
parameters and settings as what is shown in Q-Link Edit Mode. You can tap Q-Link Edit at the bottom of thewindow to enter Q-Link Edit Mode immediately (see Operation > Modes > Q-Link Edit Mode to learn about this).
5. Pads: Press these pads to trigger drum hits or other samples in your software. The pads are velocity-sensitiveand pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different
colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest
velocity). You can also customize their colors.
6. Pad Bank: Press any of these buttons to access Pad Banks A–D.
Press and hold Shift while pressing any of these buttons to access Pad Banks E–H. Alternatively, double-press
one of these buttons.
7. Note Repeat/Latch: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly.
The rate is based on the current tempo and Time Correct settings.
Press and hold Shift and then press this button to “latch” the Note Repeat feature. When latched, you do nothave to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.

19

8. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads
will always trigger their samples at the maximum velocity (127), regardless of how much force you use.
Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated,
the pads will always trigger their samples at half-velocity (64).
9. 16 Level / Pad Perform: Press this button to activate/deactivate 16 Level. When activated, the last pad that was hit
will be temporarily copied to all 16 pads. The pads will now output the same note number as the initial pad, but aselectable parameter will be fixed at values that increase as the pad numbers increase (e.g., Pad 1 is the minimum,
Pad 16 is the maximum), regardless of how hard you press them. In the screen that appears, use the Type selector
to choose the parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation > General Features > 16
Level to learn more.
Press and hold Shift and press this button to enter Pad Perform mode for the pads. When activated, you canplay musical scales/modes, chords or progressions using the pads while in any mode. See Operation > Modes> Pad Perform Mode to learn more.
10. Erase: As a sequence is playing, press and hold this button and then press a pad to delete the note event forthat pad at the current playback position. This is a quick way to delete note events from your sequence without
having to stop playback. See Operation > General Features > Erase to learn more.
11. Shift: Press and hold this button to access some buttons’ secondary functions (indicated by gray writing).
Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds.
12. Menu/Browse: Press this button to open the Menu. You can tap an option in the Menu to enter that mode, view, etc.
Press and hold Shift and then press this button to view the Browser. You can use the Browser to locate andselect programs, samples, sequences, etc.
13. Main/Track: Press this button to enter Main Mode.
Press and hold Shift and then press this button to enter the Track View.
14. Undo/Redo: Press this button to undo your last action.
Press and hold Shift and press this button to redo the last action you undid.
15. Copy/Delete: Press this button to copy one pad to another. When the From Pad field is selected, press the“source” pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the“destination” pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap
Do It to continue or Close to return to the previous screen.
Tip: To quickly copy a pad, press and hold Copy, press the source pad, press the destination pad, and thenrelease Copy.
Press and hold Shift and press this button to delete a pad’s sample assignment. When the Delete Pad window
is shown, press any pad/pads whose sample assignments you want to clear. Tap Delete to continue or Cancel
to return to the previous screen.
16. –/+: Press these buttons to increase or decrease the value of the selected field on the screen.
17. Play: Press this button to play the sequence from the audio pointer’s current position.
18. Play Start: Press this button to play the sequence from its start point.
19. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding
once a note stops playing. Quickly pressing this button three times will act as a “MIDI panic” and shut off all
voices and stop all audio processing.
20. Rec: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in thisway (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays throughonce while recording, Overdub will be enabled.
21. Overdub: Press this button to enable Overdub. When enabled, you can record events in a sequence without
overwriting any previously recorded events. You can enable Overdub before or during recording.
22. Tap/Master: Press this button in time with the desired tempo to enter a new tempo (in BPM). You can set how
many taps are required in the Preferences (see Operation > General Features > Menu > Preferences to learn
how to do this).
Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo(the button will be lit red) or a global tempo (the button will be lit amber).
20

Rear Panel

6

17 12
13 13 13

8 14

10 9
7 11

16

3
15

5 4

1

2

1. Power Input: Use the included power adapter to connect MPC Live to a power outlet.
2. Power Switch: Turns MPC Live’s power on/off.
3. Charging Indicator: This light (behind the vent) will turn on when MPC Live’s internal battery is charging (whenthe power input is connected to a power outlet). When the battery is fully charged or when it is disconnectedfrom a power outlet, then this light will turn off.
4. USB-B Port: Use the included USB cable to connect this USB 3.0 port to an available USB 3.0 port on yourcomputer. This connection allows MPC Live to send/receive MIDI and audio data to/from the MPC software on
your computer. It also allows any connected USB drives, SD cards, and drives connected to the internal SATA
port to mount on your computer if MPC Live is in Controller Mode (i.e., your computer can access these storage
devices that are connected to your MPC Live).
5. USB-A Ports: Connect USB flash drives to these USB ports to access their files directly using MPC Live. MPC
Live supports read and write capability for exFAT, FAT32, NTFS, and EXT4 file systems as well as read-onlycapability for HFS+ file systems. (We recommend using an exFAT file system as it is the most robust one
supported by both Windows and macOS.) These USB ports supply power to connected USB devices and canalso be used to receive MIDI messages from external USB MIDI devices.
6. SD Card Slot: Insert a standard SD/SDHC card into this slot to access its files directly using MPC Live.
7. Rec Vol: Turn this knob to adjust the gain of the incoming signal from the 1/4” (6.35 mm) and RCA inputs. Be
careful when setting this knob at higher levels, which can cause the signal to distort.
8. Master Vol: Turn this knob to adjust the volume of Output 1/2 and the phones output.
9. Inputs (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these inputs to audio sources(microphone, mixer, synthesizer, etc.). To use these inputs, set the Line/Phono switch to Line. Turn the Rec Vol
knob to set their input levels.
10. Inputs (RCA): Use a standard RCA stereo cable to connect these inputs to a phono-level audio source like aturntable. To use these inputs, set the Line/Phono switch to Phono. Turn the Rec Vol knob to set their input levels.
11. Line/Phono Switch: Set this switch to the appropriate position, depending on which inputs you want to use. If
you are using the RCA inputs, set this switch to Phono to provide the additional amplification needed for phonolevel signals. If you are using the 1/4” (6.35 mm) inputs, such as a keyboard or a sampler, set this switch to Line.
12. Grounding Terminal: If using phono-level turntables with a grounding wire, connect the grounding wire to theseterminals. If you experience a low “hum” or “buzz”, this could mean that your turntables are not grounded.
Note: Some turntables have a grounding wire built into the RCA connection and, therefore, nothing needs to beconnected to the grounding terminal.
13. Outputs (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to your speakersystem, external mixer, etc. The signal sent out of the Master L/R outputs is the main mix. Turn the Master Vol
knob to set their volume. The signals sent from Outputs 3–6 are full-volume (0 dB).
Tip: To route a program to these outputs, set its routing to Out 1,2, Out 3,4, or Out 5,6 (respectively) in the
Channel Mixer when the Mixer field is set to Programs. See Operation > Modes > Channel Mixer to learn
more about this.
14. Phones (1/8” / 3.5 mm): Connect standard 1/8” (3.5 mm) stereo headphones to this output. Turn the Master Vol
knob to set the volume level.
15. MIDI In: Use standard 5-pin MIDI cables to connect these inputs to the MIDI outputs of optional external MIDI
devices.
16. MIDI Out: Use standard 5-pin MIDI cables to connect these outputs to the MIDI inputs of optional external MIDI
devices.
17. Kensington® Lock Slot: You can use this slot to secure your MPC Live to a table or other surface.
21

MPC Live II
Top Panel

6 6 6 6 11 124

7 8 9 10 13 14

3
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3

5
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29
1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Live II’s current operation.
Touch the display (and use the hardware controls) to control the MPC interface. See the previous Touchscreenssection to learn how to use some basic functions.
2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of theselected field in the display. Pressing the dial also functions as an Enter button.
3. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs cancontrol one column of parameters at a time. The lights above the Q-Link Knobs indicate the currently selectedcolumn. Press the Q-Link button above them to change which column of parameters they currently control.
4. Q-Link Button: Press this button to change which column of parameters the Q-Link Knobs currently control(indicated by the lights above the Q-Link Knobs). Each press will select the next column.
Press and hold Shift and then press this button to select the previous column instead.
Press and hold this button to show the QLink window over the touchscreen’s current contents. These are thesame parameters and settings as what is shown in Q-Link Edit Mode. You can tap Q-Link Edit at the bottom of thewindow to enter Q-Link Edit Mode immediately (see Operation > Modes > Q-Link Edit Mode to learn about this).
5. Pads: Use these pads to trigger drum hits or other samples. The pads are velocity-sensitive and pressuresensitive, which makes them very responsive and intuitive to play. The pads will light up different colors,
depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You
can also customize their colors.
6. Pad Bank Buttons: Press any of these buttons to access Pad Banks A–D. Press and hold Shift while pressing
any of these buttons to access Pad Banks E–H. Alternatively, double-press one of these buttons.
7. Note Repeat / Latch: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly.
The rate is based on the current tempo and Time Correct settings.
Press and hold Shift and then press this button to “latch” the Note Repeat feature. When latched, you do not haveto hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.

22

8. Full Level / Half Level: Press this button to activate/deactivate Full Level. When activated, the pads will always
trigger their samples at the maximum velocity (127), regardless of the amount of force you use.
Press and hold Shift and then press this button to activate/deactivate Half Level. When activated, the pads will
always trigger their samples at half-velocity (64).
9. 16 Level / Pad Perform: Press this button to activate/deactivate 16 Level. When activated, the last pad that was
hit will be temporarily copied to all 16 pads. The pads will now output the same note number as the initial pad,but a selectable parameter will be fixed at values that increase as the pad numbers increase (e.g., Pad 1 is theminimum, Pad 16 is the maximum), regardless of how hard you press them. In the screen that appears, use theType selector to choose the parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation >General Features > 16 Level to learn more.
Press and hold Shift and press this button to activate/deactivate Pad Perform mode for the pads. When
activated, you can play musical scales/modes, chords or progressions using the pads while in any mode. Use
the Pad Perform window to configure the settings for the pads.
10. Erase: As a Sequence is playing, press and hold this button and then press a pad to delete the note event forthat pad at the current playback position. This is a quick way to delete note events from your sequence without
having to stop playback. When playback is stopped, press this button to open the Erase window where notes,
automation and other sequence data can be erased from the sequence. See Operation > General Features >Erase to learn more.
11. Undo / Redo: Press this button to undo your last action. Hold down Shift and press this button to redo the lastaction you undid.
12. Copy / Delete: Press this button to copy one pad to another. When the From Pad field is selected, press the“source” pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the“destination” pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap
Do It to continue or Cancel to return to the previous screen.
Press and hold Shift and press this button to delete.
13. Step Seq/Automation: Press this button to view Step Sequencer Mode where you can create or edit sequencesby using the pads as "step buttons," simulating the experience of a traditional step-sequencer-style drum
machine.
Press and hold Shift and press this button to toggle the Global Automation state between Read and Write.
14. TC / On/Off: Press this button to open the Timing Correct window, which contains various settings to help
quantize the events in your sequence.
Press and hold Shift and press this button to turn Timing Correct on and off.
15. Shift: Press and hold this button to access some buttons’ secondary functions (indicated by gray writing).
Double-press this button to see which buttons have secondary functions—the buttons will flash for a few
seconds.
16. Menu / Browse: Press this button to open the Mode Menu. You can tap an option on the Menu screen to enter
that mode, view, etc.
Press and hold Shift and then press this button to view the Browser. You can use the Browser to locate andselect programs, samples, sequences, etc.
17. Main / Grid: Press this button to enter Main Mode.
Press and hold Shift and then press this button to enter Grid View Mode.
18. Mix / Sampler: Press this button to view the last used Mixer Mode, either Track Mixer (default) or Pad Mixer. In
Track Mixer Mode, you can set levels, stereo panning, and other settings for your tracks, programs, returns,
submixes, and main outputs. In Pad Mixer Mode, you can set a program’s levels, stereo panning, routing, andeffects. Pressing the button multiple times will toggle between the two Mixer Modes.
Press and hold Shift and then press this button to view the Sampler, where you can record audio samples to use
in your projects.
19. Mute / Sample Edit: Press this button to view the last used Mute Mode, either Track Mute (default) or Pad Mute.
In Track Mute Mode, you can mute tracks within a sequence or set mute groups for each track. In Pad Mute
Mode, you can mute pads within a program or set mute groups for each pad within a program. Pressing the
button multiple times will toggle between the two Mute Modes.
Press and hold Shift and then press this button to enter Sample Edit Mode where you can edit your samples
using various functions and processes.
2320. Next Seq / XYFX: Press this button to view Next Sequence Mode where you can trigger different sequences
simply by playing the pads. This is useful for live performances, letting you change a song’s structure in real time.
Press and hold Shift and press this button to view XYFX Mode, which turns the touchscreen into an XY pad
where each axis represents the range of an effect parameter. As you move touch or move your finger on thetouchscreen, the current position will determine the current value of the two parameters. You can use this mode
to create interesting effect automation on your tracks.
21. –/+: Press these buttons to decrease/increase the value of the selected field in the display.
22. Tap Tempo / Master: Press this button in time with the desired tempo to enter a new tempo (in BPM). You can
set how many taps are required in the Preferences (see Operation > General Features > Menu > Preferences
to learn how to do this).
Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo(the button will be lit amber) or a global tempo (the button will be lit red).
23. Rec: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in thisway (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays throughonce while recording, Overdub will be enabled.
24. Overdub: Press this button to enable Overdub. When enabled, you can record events in a Sequence without
overwriting any previously recorded events. You can enable Overdub before or during recording.
25. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding
once a note stops playing. Press and hold Shift and press this button to stop playback and return the playhead
to 1:1:0.
26. Play: Press this button to play the sequence from the playhead’s current position.
27. Play Start: Press this button to play the sequence from its start point.
28. Master Vol: Turn this knob to adjust the volume of the Master L/R outputs, phones output and speakers.
29. Speakers: When the Speaker switch on the rear panel is set to On, these speakers will play the current audio.
Use the Master Volume knob to control the volume of the speakers.

24

Rear Panel13
14 14 14
15 16

8

11 10
17
9 12

4

2 5
7 6

1

3

1. Power Input: Use the included power adapter to connect MPC Live II to a power outlet.
2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally
unplugging.
3. Power Switch: Turns MPC Live II’s power on/off.
4. Charging Indicator: This light (behind the vent) will turn on when MPC Live II’s internal battery is charging (whenthe power input is connected to a power outlet). When the battery is fully charged or when it is disconnectedfrom a power outlet, then this light will turn off.
5. Link: Connect a standard Ethernet cable to this port to use Ableton Link and other compatible devices with MPC
Live II. See Operation > General Features > Menu > Sync for more information.
Note: You can also use Ableton Link wirelessly over a Wi-Fi connection.
6. USB-B Port: Use the included USB cable to connect this high-retention-force USB port to an available USB port
on your computer. This connection allows MPC Live II to send/receive MIDI and audio data to/from the MPC
software on your computer.
7. USB-A Ports: Connect USB flash drives to these USB ports to access their files directly using MPC Live II. Whenconnected to a computer in Controller Mode, you can access drives connected to this port from your computer.
You can also connect standard MIDI controllers to these ports.
8. SD Card Slot: Insert a standard SD, SDHC or SDXC card into this slot to access its files directly using MPC Live II.
9. Rec Vol: Turn this knob to adjust the volume of the inputs.
10. Inputs (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these inputs to an audio source(mixer, synthesizer, drum machine, etc.). In Sample Record Mode, you can select whether you want to record
either channel or both channels in stereo or in mono. To use these inputs, set the Line/Phono switch to Line.
11. Inputs (RCA): Use a standard RCA stereo cable to connect these inputs to a phono-level audio source like aturntable. In Sample Record Mode, you can select whether you want to record either channel or both channels instereo or in mono. To use these inputs, set the Line/Phono switch to Phono.
12. Line/Phono Switch: Set this switch to the appropriate position, depending on which inputs you want to use. If
you are using the RCA inputs, set this switch to Phono to provide the additional amplification needed for phonolevel signals. If you are using the 1/4” (6.35 mm) inputs, such as a CD player or sampler, set this switch to Line.
13. Grounding Terminal: If using phono-level turntables with a grounding wire, connect the grounding wire to theseterminals. If you experience a low “hum” or “buzz”, this could mean that your turntables are not grounded.
Note: Some turntables have a grounding wire built into the RCA connection and, therefore, nothing needs to beconnected to the grounding terminal.
14. Outputs (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to your monitors,
mixer, etc.). The Master L/R outputs are the same as Outputs 1,2.
15. Phones (1/4” / 6.35 mm): Connect standard 1/4” (6.35 mm) stereo headphones to this output.
16. Speaker On/Off: Use this switch to turn the MPC Live II internal speakers on or off.
17. MIDI In: Use a standard 5-pin MIDI cable to connect these inputs to the MIDI output of an external MIDI device(synthesizer, drum machine, etc.).
18. MIDI Out: Use a standard 5-pin MIDI cable to connect these outputs to the MIDI input of an external MIDI device(synthesizer, drum machine, etc.).
19. CV/Gate Out: MPC Live II will send control voltage (CV) and/or Gate signals over these outputs to optional
external sequencers. Use standard 1/8” (3.5 mm) TS cables to send a single CV/Gate signal per output, or use astereo TRS-to-dual mono TSF breakout cable (such as a Hosa YMM-261) to send two CV/Gate signals per output.
20. Kensington® Lock Slot: You can use this slot to secure your MPC Live II to a table or other surface.

25

MPC One / MPC One+
Note: Mentions of the features and functions of MPC One hardware throughout this guide also apply to the MPC
One+ unless otherwise noted.

Top Panel

12

13

1

7

6
8
9
10

15 16 17 18 19
30
14

5

2

3

4

31

20 21 22 23 24

11

25 26 27 28 29

Navigation & Data Entry Controls
1. Touchscreen: This full-color multi-touch display shows information relevant to MPC One’s current operation.
Touch the display (and use the hardware controls) to control the MPC interface. See the previous Touchscreenssection to learn how to use some basic functions.
2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of theselected field in the display. Pressing the dial also functions as an Enter button.
3. –/+: Press these buttons to increase or decrease the value of the selected field in the display.
4. Undo / Redo: Press this button to undo your last action.
Press and hold Shift and press this button to redo the last action you undid.
5. Shift: Press and hold this button to access some buttons’ secondary functions (indicated by red writing).
26

Pad & Q-Link Controls
6. Pads: Use these pads to trigger drum hits or other samples. The pads are velocity-sensitive and pressuresensitive, which makes them very responsive and intuitive to play. The pads will light up different colors,
depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You
can also customize their colors.
7. Pad Bank Buttons: Press any of these buttons to access Pad Banks A–D. Press and hold Shift while pressing
any of these buttons to access Pad Banks E–H. Alternatively, double-press one of these buttons.
8. Full Level / Half Level: Press this button to activate/deactivate Full Level. When activated, the pads will always
trigger their samples at the maximum velocity (127), regardless of the amount of force you use.
Press and hold Shift and then press this button to activate/deactivate Half Level. When activated, the pads will
always trigger their samples at half-velocity (64).
9. 16 Level / Pad Perform (Notes): Press this button to activate/deactivate 16 Level. When activated, the last padthat was hit will be temporarily copied to all 16 pads. The pads will now output the same note number as the initialpad, but a selectable parameter will be fixed at values that increase as the pad numbers increase (e.g., Pad 1 is theminimum, Pad 16 is the maximum), regardless of how hard you press them. In the screen that appears, use theType selector to choose the parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation > General
Features > 16 Level to learn more.
Press and hold Shift and press this button to enter Pad Perform (Notes) mode for the pads. When activated, you
can play musical scales/modes, chords or progressions using the pads while in any mode. See Operation >Modes > Pad Perform Mode to learn more.
10. Copy / Delete: Press this button to copy one pad to another. When the From Pad field is selected, press the“source” pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the “destination”
pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap Do It tocontinue or Cancel to return to the previous screen.
Press and hold Shift and press this button to delete.
11. Note Repeat / Latch: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly.
The rate is based on the current tempo and Time Correct settings.
Press and hold Shift and then press this button to “latch” the Note Repeat feature. When latched, you do nothave to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.
12. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs cancontrol one column of parameters at a time. The lights above the Q-Link Knobs indicate the currently selectedcolumn. Press the Q-Link button to change which column of parameters they currently control.
13. Q-Link Button: Press this button to change which column of parameters the Q-Link Knobs currently control(indicated by the lights above the Q-Link Knobs). Each press will select the next column.
Press and hold Shift and then press this button to select the previous column instead.

Mode & View Controls
14. Menu / Prefs: Press this button to open the Mode Menu. You can tap an option on the Menu screen to enter
that mode, view, etc.
Press and hold Shift and then press this button to open the Preferences page in the Menu.
15. Main / Grid: Press this button to enter Main Mode.
Press and hold Shift and then press this button to enter Grid View Mode.
16. Browse / Save: Press this button to view the Browser. You can use the Browser to locate and select programs,
samples, sequences, etc.
Press and hold Shift and then press this button to save the current project (including its samples, programs,
sequences, and songs).
17. Track Mix / Pad Mix: Press this button to view the Track Mixer where you can set levels, stereo panning, andother settings for your tracks, programs, returns, submixes, and main outputs.
Press and hold Shift and then press this button to view the Pad Mixer where you can set a program’s levels,
stereo panning, routing, and effects.
2718. Track Mute / Pad Mute: Press this button to view Track Mute Mode where you can easily mute tracks within asequence or set mute groups for each track.
Press and hold Shift and press this button to view Pad Mute Mode where you can easily mute pads within aprogram or set mute groups for each pad within a program.
19. Next Seq / XYFX: Press this button to view Next Sequence Mode where you can trigger different sequences
simply by playing the pads. This is useful for live performances, letting you change a song’s structure in real time.
Press and hold Shift and press this button to view XYFX Mode, which turns the touchscreen into an XY pad
where each axis represents the range of an effect parameter. As you move touch or move your finger on thetouchscreen, the current position will determine the current value of the two parameters. You can use this mode
to create interesting effect automation on your tracks.
20. Step Seq / Automation: Press this button to view Step Sequencer Mode where you can create or edit
sequences by using the pads as "step buttons," simulating the experience of a traditional step-sequencer-style
drum machine.
Press and hold Shift and press this button to toggle Global Automation between Read and Write.
21. TC / On/Off: Press this button to open the Timing Correct window, which contains various settings to help
quantize the events in your sequence.
Press and hold Shift and press this button to turn Timing Correct on and off.
22. Sampler / Looper: Press this button to view the Sampler where you can record audio samples to use in yourprojects.
Press and hold Shift and press this button to view the Looper where you can record and overdub audio in real
time—a great tool for live performance as well as spontaneous moments in the studio. You can export the loop
as a sample to use in your project.
23. Sample Edit / Q-Link Edit: Press this button to view Sample Edit Mode where you can edit your samples using
various functions and processes.
Press and hold Shift and press this button to view Q-Link Edit Mode where you can assign other parameters to
the Q-Link knobs.
24. Program Edit / MIDI Control: Press this button to view Program Edit Mode, which contains all parameters forediting your programs.
Press and hold Shift and press this button to view MIDI Control Mode where you can customize what MIDI
messages are sent from certain controls on your hardware.

Transport & Recording Controls
25. Rec: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in thisway (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays throughonce while recording, Overdub will be enabled.
26. Overdub: Press this button to enable Overdub. When enabled, you can record events in a Sequence without
overwriting any previously recorded events. You can enable Overdub before or during recording.
27. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding
once a note stops playing. Press and hold Shift and press this button to return the playhead to 1:1:0.
28. Play: Press this button to play the sequence from the playhead’s current position.
29. Play Start: Press this button to play the sequence from its start point.
30. Tap Tempo / Master (Global): Press this button in time with the desired tempo to enter a new tempo (in BPM).
Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo(the button will be lit amber) or a global tempo (the button will be lit red).
31. Erase: As a Sequence is playing, press and hold this button and then press a pad to delete the note event forthat pad at the current playback position. This is a quick way to delete note events from your sequence without
having to stop playback. When playback is stopped, press this button to open the Erase window where notes,
automation and other sequence data can be erased from the sequence.

28

Front Panel

1 2
1. SD Card Slot: Insert a standard SD, SDHC or SDXC card into this slot to access its files directly using MPC One.
2. Phones (1/8” / 3.5 mm): Connect standard 1/8” (3.5 mm) stereo headphones to this output.

Rear Panel

9 10

8
7 12 11

13
14

2
5

4
6

1

3

1. Power Input: Use the included power adapter to connect MPC One to a power outlet.
2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally
unplugging.
3. Power Switch: Turns MPC One’s power on/off.
4. Link: Connect a standard Ethernet cable to this port to use Ableton Link and other compatible devices with MPC
One. See Operation > General Features > Menu > Sync for more information.
Note: You can also use Ableton Link wirelessly over a Wi-Fi connection.
Note: Not available on MPC One+.
5. USB-B Port: Use the included USB cable to connect this high-retention-MPC One USB port to an available USB
port on your computer. This connection allows MPC One to send/receive MIDI and audio data to/from the MPC
software on your computer.
6. USB-A Port: Connect a USB flash drive to this USB port to access files directly using MPC One. You can also
connect a standard MIDI controller to this port.
7. Rec Vol: Turn this knob to adjust the volume of the inputs.
8. Inputs (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these inputs to an audio source(mixer, synthesizer, drum machine, etc.). In Sample Record Mode, you can select whether you want to record
either channel or both channels in stereo or in mono.
9. Master Vol: Turn this knob to adjust the volume of the outputs and phones output.
10. Outputs (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to your monitors,
mixer, etc.
11. MIDI In: Use a standard 5-pin MIDI cable to connect this input to the MIDI output of an external MIDI device(synthesizer, drum machine, etc.).
12. MIDI Out: Use a standard 5-pin MIDI cable to connect this output to the MIDI input of an external MIDI device(synthesizer, drum machine, etc.).
13. CV/Gate Outs: MPC One will send control voltage (CV) and/or Gate signals over these outputs to optional
external sequencers. Use standard 1/8” (3.5 mm) TS cables to send a single CV/Gate signal per output, or use astereo TRS-to-dual mono TSF breakout cable (such as a Hosa YMM-261) to send two CV/Gate signals per output.
14. Kensington® Lock Slot: You can use this slot to secure your MPC One to a table or other surface.
29

MPC Key 61
Top Panel

415

14 15 16 17 182

19 20 21 22 23

6
3

7

8

9 10 11 12 13

1. Display: This full-color multi-touch display shows information relevant to MPC Key 61’s current operation. Touchthe display (and use the hardware controls) to control the MPC interface. See the previous Touchscreenssection to learn how to use some basic functions.
2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of theselected field on the display. Pressing the dial also functions as an Enter button.
3. –/+: Press these buttons to increase or decrease the value of the selected field on the display.
4. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs cancontrol one column of parameters at a time. The lights above the Q-Link button indicate the currently selectedcolumn. Press the Q-Link button to change which column of parameters they currently control.
5. Q-Link Button: Press this button to change which column of parameters the Q-Link Knobs currently control(indicated by the lights above the button). Each press will select the next column.
Press and hold Shift and then press this button to view the Q-Link Configuration window. Press and hold Shiftand then press this button again to return to the Main page.
6. </> (Event |</>|): Use these buttons to move the audio pointer left/right, one step at a time.
Press and hold Locate and press one of these buttons to move the audio pointer to the previous/next event in
the sequence grid.
7. Locate: Press this button to open the Locate window, which allows you to quickly jump to specific points in yourproject.
Press and hold this button to activate the secondary functions of the </> and <</>> buttons (i.e., Event |</>| andStart/End, respectively).
8. <</>> (Start/End): Use these buttons to move the audio pointer left/right, one bar at a time.
Press and hold Locate and press one of these buttons to move the audio pointer to the start or end of thesequence grid.
9. Rec / Recall: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording
in this way (rather than using Overdub) erases the events of the current sequence. After the sequence plays
through once while recording, Overdub will be enabled.
Press and hold Shift and press this button to recall recently played MIDI note events when recording wasdisabled and insert them into the current sequence.
10. Overdub: Press this button to enable Overdub, which allows you to record note events in a sequence without
overwriting any previously recorded note events. You can enable Overdub either before or during recording.
11. Stop / Return: Press this button to stop playback. Double-press this button to immediately stop all sound.
Press and hold Shift and press this button to stop playback and return the playhead to the Loop Start value.
12. Play: Press this button to play the sequence from the audio pointer’s current position.
13. Play Start: Press this button to play the sequence from its start point.
14. Edit / XYFX: Press this button to view Program Edit Mode, which contains all parameters for editing your programs.
Press and hold Shift and press this button to view XYFX Mode, which turns the touchscreen into an XY pad
where each axis represents the range of an effect parameter. As you touch or move your finger on thetouchscreen, the current position will determine the current value of the two parameters. You can use this mode
to create interesting effect automation on your tracks.
30

15. Grid / Step Seq: Press this button to enter Grid View Mode, where you can view and edit the note events ofeach track of a sequence in a project and their velocities.
Press and hold Shift and press this button to view Step Sequencer Mode where you can create or edit
sequences by using the pads as "step buttons," simulating the experience of a traditional step-sequencer-style
drum machine.
16. Mix / Pad: Press this button to view the Track Mixer where you can set levels, stereo panning, and other settings
for your tracks, programs, returns, submixes, and main outputs.
Press and hold Shift and then press this button to view the Pad Mixer where you can set a program’s levels,
stereo panning, routing, and effects.
17. Mute / Pad: Press this button to view Track Mute Mode where you can easily mute tracks within a sequence or
set mute groups for each track.
Press and hold Shift and press this button to view Pad Mute Mode where you can easily mute pads within aprogram or set mute groups for each pad within a program.
18. Automation Read/Write / Off: Press this button to toggle the Global Automation state between Read andWrite.
Press and hold Shift and press this button to disable or enable Global Automation.
19. Keyboard Control / MIDI CTRL: Press this button to view the Keyboard Control menu, where you cancustomize the functions of the keyboard and wheels, including velocity response, routing, MIDI assignments,
ranges and more.
Press and hold Shift and press this button to view MIDI Control Mode, where you can use the device as a MIDI
controller and customize what MIDI messages are sent from the hardware controls.
20. Sample Edit / Sampler: Press this button to view Sample Edit Mode where you can edit your samples using
various functions and processes.
Press and hold Shift and press this button to view the Sampler where you can record audio samples to use in yourprojects.
21. Timing Correct / On/Off: Press this button to open the Timing Correct window, which contains various settingsto help quantize the events in your sequence.
Press and hold Shift and press this button to turn Timing Correct on and off.
22. Undo / Redo: Press this button to undo your last action.
Press and hold Shift and press this button to redo the last action you undid.
23. Shift: Press and hold this button to access some buttons’ secondary functions (indicated by white writing).

31

29 30
28
45
37
39

38
40
41

34
35
36

33

27

32 31
23 24
26 25

43 44
42

24. Menu / Browse: Press this button to open the Mode Menu. You can tap an option on the Menu screen to enter
that mode, view, etc.
Press and hold Shift and then press this button to view the Browser. You can use the Browser to locate andselect programs, samples, sequences, etc.
25. Main / Track: Press this button to view Main Mode.
Press and hold Shift and press this button to view Track View Mode, an overview of the tracks of each sequence.
You can also set key ranges in this mode.
26. Sounds / Favorites: Press this button to view Sounds Mode, where you can browse MPC Key 61's built-in
instruments and presets.
Press and hold Shift and press this button to view Favorites, where you can quickly select instruments andpresets that you have defined as your favorites.
27. Pads: Use these pads to trigger drum hits or other samples. The pads are velocity-sensitive and pressuresensitive, which makes them very responsive and intuitive to play. The pads will light up different colors,
depending on the current function. You can also customize their colors.
28. Pad Bank Buttons: Press any of these buttons to access Pad Banks A–D. Press and hold Shift while pressing
any of these buttons to access Pad Banks E–H. Alternatively, double-press one of these buttons.
29. Full Level / Half Level: Press this button to activate/deactivate Full Level. When activated, the pads will always
trigger their samples at the maximum velocity (127), regardless of the amount of force you use.
Press and hold Shift and press this button to activate/deactivate Half Level. When activated, the pads will always
trigger their samples at half-velocity (64).
30. 16 Level / Notes: Press this button to activate/deactivate 16 Level. When activated, the last pad that was hit will
be temporarily copied to all 16 pads. The pads will play the same sample as the original pad, but a selectableparameter will increase in value with each pad number, regardless of the amount of force you use. In the screenthat appears, use the Type selector to choose another parameter: Velocity, Tune, Filter, Layer, Attack or
Decay. See Operation > General Features > 16 Level to learn more.
Press and hold Shift and press this button to activate/deactivate Notes mode for the pads. When activated, you
can play musical scales/modes, chords or progressions using the pads while in any mode. Use the Pad Perform
window to configure the settings for the pads. See Operation > Modes > Pad Perform Mode to learn more.
31. Erase: As a Sequence is playing, press and hold this button and then press a pad or key to delete the note eventfor that pad or key at the current playback position. This is a quick way to delete note events from your sequence
without having to stop playback. When playback is stopped, press this button to open the Erase window where
notes, automation and other sequence data can be erased from the sequence.

3232. Copy / Delete: Press this button to copy one pad to another in Clip and Drum programs. When the From Pad
field is selected, press the “source” pad (the pad you want to copy). When the To Pad graphic (of all pads) is
selected, press the “destination” pad. You can select multiple destination pads, and you can select pads in
different pad banks. Tap Do It to continue or Cancel to return to the previous screen.
Press and hold Shift and press this button to delete.
33. Touch Strip: The touch strip can be used as an expressive control for playing and can be configured to control
Note Repeat, Pitch Bend, Modulation and more.
34. Touch Strip / Config: Press this button to cycle between control modes for the Touch Strip. Press and hold the
button to quickly select one of the control modes.
Press and hold Shift and press this button to view the Touch Strip Configuration window.
35. Touch FX / Config: Press this button to enable Touch FX control for the Touch Strip. This allows you to control
parameters from the Touch FX plugin using the Touch Strip. Press and hold this button to quickly select a Touch
FX preset.
Press and hold Shift and press this button to view the Touch FX Configuration window.
36. Note Repeat / Latch: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly.
The rate is based on the current tempo and Timing Correct settings.
Press and hold Shift and press this button to “latch” the Note Repeat feature. When latched, you do not have tohold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.
37. Tap Tempo / Global: Press this button in time with the desired tempo to enter a new tempo (in BPM). Press andhold this button to adjust the tempo manually using the data dial.
Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo (thebutton will be lit white) or a global tempo (the button will be lit red).
38. Metronome / Config: Press this button to enable or disable the metronome.
Press and hold Shift and press this button, or press and hold this button, to open the Metronome Configuration
window.
39. Arp / Config: Press this button to enable or disable the internal Arpeggiator, whose rate is based on the current
Tempo and Time Division settings.
Press and hold Shift and press this button, or press and hold this button, to configure the Arpeggiator's settings.
40. Latch: Press this button to enable or disable latch for the Arpeggiator. When latched, you do not have to holdthe keys for the arpeggiation to continue.
41. Oct - / Oct +: Press these buttons to transpose the keyboard down or up one octave at a time. The lights below
this button will indicate the current octave setting.
Press and hold Shift and press these buttons to transpose the keyboard down or up one semitone at a time.
Press and hold both buttons and press a key on the keybed to set the transposition to that value.
Press and hold both buttons and release to reset the transposition.
42. Keybed: Use this 61-key semi-weighted, velocity-sensitive keybed to input notes and aftertouch.
43. Pitch Wheel: The pitch bend wheel is primarily used to bend the notes played on the keyboard up or down. This
allows you to play phrases not normally associated with keyboard playing, such as guitar-style riffs.
44. Modulation Wheel: The modulation wheel is typically used to add variation for the sound you are playing. This
type of real-time controller was originally introduced on electronic keyboard instruments to give the performer
options such as adding vibrato, just like the players of acoustic instruments do.
45. Main Volume: Turn this knob to adjust the volume of the outputs and phones output.

33

Rear Panel

8

9
10

9
11

8

7

7

6

5 4

3

2

1

10

1. Power Input: Use the included power adapter to connect MPC Key 61 to a power outlet.
2. Power Switch: Turns MPC Key 61’s power on/off.
3. Network: Connect a standard Ethernet cable to this port to use Ableton Link and other compatible devices with
MPC Key 61. See Operation > General Features > Menu > Sync for more information.
Note: You can also use Ableton Link wirelessly over a Wi-Fi connection.
4. USB-B Port: Use the included USB cable to connect this high-retention-force USB port to an available USB port
on your computer. This connection allows MPC Key 61 to send/receive MIDI and audio data to/from the MPC
software on your computer.
5. USB-A Ports: Connect a USB flash drive to these USB ports to access its files directly using MPC Key 61. You
can also connect any class-compliant MIDI device to these ports.
6. Phones (1/4” / 6.35 mm): Connect standard stereo headphones to this output.
7. Outputs (1/4” / 6.35 mm): Use standard TRS cables to connect these outputs to your monitors, mixer, etc.). The
Main L/R outputs are the same as Outputs 1,2.
8. Gain: Use these knobs to adjust the gain of the incoming signal from Input 1/2 on the rear panel. Be carefulwhen setting this knob at higher levels, as this can cause the signal to distort.
9. Inputs 1/2 (XLR or 1/4” / 6.35 mm): Use standard XLR or TRS cables to connect these inputs to audio sources(microphone, mixer, synthesizer, etc.). When using a 1/4" cable, the Mic preamp is removed from the circuit, andthe Line/Inst switch can be used to set the impedance.
Turn the Gain knobs to set the input level of each one.
10. Line/Inst: Use these switches to set Inputs 1/2 to accept either a Line-level or Instrument-level sound source
when using a 1/4" connection.
11. Phantom Power (+48V): This switch activates and deactivates phantom power for Inputs 1/2 when using an
XLR connection. When activated, +48V of phantom power will be supplied to both inputs. Note that mostdynamic microphones do not require phantom power, while most condenser microphones do. Refer to yourmicrophone’s documentation to check if it needs phantom power.

34

12. CV/Gate Out (1/8" / 3.5 mm, TS): MPC Key 61 will send control voltage (CV) and/or Gate signals over these
outputs to optional external synths or sequencers. Use standard 1/8” (3.5 mm) TS cables to send a single
CV/Gate signal per output.
13. MIDI In: Use a standard 5-pin MIDI cable to connect these inputs to the MIDI output of an external MIDI device(additional MIDI keyboard, pad controller, etc.).
14. MIDI Out: Use a standard 5-pin MIDI cable to connect these outputs to the MIDI input of an external MIDI device(synthesizer, drum machine, etc.).
15. MIDI Thru: Use a standard 5-pin MIDI cable to connect this thru-port to the MIDI input of an external MIDI
device (synthesizer, drum machine, etc.). MIDI from the MIDI In will be sent through this output.
16. Sustain (1/4" / 6.35 mm, TRS): This input accepts an optional momentary-contact foot pedal. When pressed, thepedal will sustain the sound you are playing without having to keep your fingers pressed down on the keys.
17. FS2 (1/4" / 6.35 mm, TRS): Connect an optional 1/4" (6.35 mm) TRS footswitch or other foot pedal to this input.
18. Expression (1/4" / 6.35 mm, TRS): Connect an optional expression pedal to this input for adding expressivechanges during performances.

35

MPC Studio mk2
Note: This hardware differs from other MPC hardware in this manual in that it acts primarily as a controller for the MPC
software. To learn more about how to use the MPC software, consult the MPC software User Guide. This can beaccessed by opening the MPC software, and then navigating in the menu to Help > MPC Help > MPC Software Manual.

Top Panel

Navigation & Data Entry Controls
1. Display: This RGB LCD display shows information relevant to MPC Studio’s current operation. Much of thisinformation is also shown in the software. Use the Mode and Select buttons to change what is shown on thedisplay, and use the data dial or -/+ buttons to adjust the currently selected setting/parameter.
2. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of theselected field in the display. Pressing the dial also functions as an Enter button.
3. –/+: Press these buttons to increase or decrease the value of the selected field in the display.
4. Undo / Redo: Press this button to undo your last action.
Press and hold Shift and press this button to redo the last action you undid.
5. Shift: Press and hold this button to access some buttons’ secondary functions (indicated by white writing).

Pad & Touch Strip Controls
6. Pads: Use these pads to trigger drum hits or other samples. The pads are velocity-sensitive and pressuresensitive, which makes them very responsive and intuitive to play. The pads will light up different colors,
depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You
can also customize their colors.
Press and hold the Mode button and press each pad to quickly jump to the mode printed below the pad in orange.
7. Pad Bank Buttons: Press any of these buttons to access Pad Banks A–D. Press and hold Shift while pressing
any of these buttons to access Pad Banks E–H. Alternatively, double-press one of these buttons.
8. Full Level / Half Level: Press this button to activate/deactivate Full Level. When activated, the pads will always
trigger their samples at the maximum velocity (127), regardless of the amount of force you use.
Press and hold Shift and then press this button to activate/deactivate Half Level. When activated, the pads will
always trigger their samples at half-velocity (64).
36

9. Copy / Delete: Press this button to copy one pad to another. Use the Copy from pad field to select the “source”
pad (the pad you want to copy) and use the Copy to pad field to select the “destination” pad. You can selectmultiple destination pads, and you can select pads in different pad banks. Tap Do It to continue or Cancel toreturn to the previous screen.
Press and hold Shift and press this button to view the Delete Pad window, where you can delete the contents ofa selected pad.
10. 16 Level: Press this button to activate/deactivate 16 Level. When activated, the last pad that was hit will betemporarily copied to all 16 pads. The pads will play the same sample as the original pad, but a selectableparameter will increase in value with each pad number, regardless of the amount of force you use. Use the data
dial or -/+ buttons to select the 16 Level parameter.
Press and hold Shift and press this button to cycle through editing the Pad Perform Notes Type, Root Note, andstarting Octave. Use the data dial or -/+ buttons to adjust the parameter shown on the display.
11. Note Repeat / Latch: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly.
The rate is based on the current tempo and Time Correct settings.
Press and hold Shift and then press this button to “latch” the Note Repeat feature. When latched, you do nothave to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.
You can also change the note repeat rate using the Touch Strip.
12. Touch Strip: The touch strip can be used as an expressive control for playing and can be configured to control
Note Repeat, Pitch Bend, Modulation, Touch FX and more. See Appendix > Updates in MPC 2.10.1 > New
Features > Touch Strip and Touch FX for more information.
13. Touch Strip / Config: Press this button to enable Touch Strip mode selection. Press the button repeatedly or use
the data dial or -/+ buttons to cycle between the available modes. Press and hold this button to enter Q-Link mode
for the Touch Strip.
Press and hold Shift and press this button to view the Touch Strip Configuration window.

Mode & View Controls
14. Mode: Press and hold this button and then press a pad to quickly jump to the mode printed below the pad inorange:Pad 13:Sampler

Pad 14:
LooperPad 15:
Step Sequencer

Pad 16:
Save

Pad 9:
Next Sequence

Pad 10:Song Mode

Pad 11:
MIDI Control Mode

Pad 12:
Media/Browser ModePad 5:
Sample Edit ModePad 6:
Program Edit ModePad 7:
Pad Mixer

Pad 8:
Channel Mixer

Pad 1:
Track View

Pad 2:
Grid Editor

Pad 3:
Wave Editor

Pad 4:
List Editor

15. Main / Track View: Press this button to enter Main Mode.
Press and hold Shift and then press this button to enter Track View Mode.
16. Track Select / Seq Select: Press this button to toggle between viewing MIDI Tracks and Audio Tracks, andthen use the data dial or -/+ buttons to change the selected track.
Press and hold Shift, press this button and use the data dial or -/+ buttons to change the selected Sequence.

3717. Program Select / Track Type: Press this button and use the data dial or -/+ buttons to change the Program forthe selected track.
Press and hold Shift, press this button and use the data dial or -/+ buttons to change the track type for theselected track: Drum, Keygroup, Plugin, MIDI, Clip or CV.
18. Browse / Up: Press this button once to open the File Browser, and press it again to open the Media Browser.
You can use the Browsers to locate and select programs, samples, sequences, etc.
Press and hold Shift and then press this button to move up to the previous folder while using the Browser.
19. Sample Select: Press this button and use the data dial or -/+ buttons to change the selected sample for thecurrent pad. Press the button again to cycle between Layers 1–4 of the pad.
20. Sample Start / Loop Start: Press this button and use the data dial or -/+ buttons to change the sample startpoint for the sample on the selected pad. Press the button again to cycle through Layers 1–4 of the pad.
Press and hold Shift, press this button, and use the data dial or -/+ buttons to change the Loop Start point forthe sample on the selected pad. Press and hold Shift and press the button again to cycle through Layers 1–4 ofthe pad.
21. Sample End: Press this button and use the data dial or -/+ buttons to change the sample end point for the
sample on the selected pad. Press the button again to cycle through Layers 1–4 of the pad.
22. Tune / Fine: Press this button and use the data dial or -/+ buttons to change the Tuning for the sample on theselected pad. Press the button again to cycle through Layers 1–4 of the pad.
Press and hold Shift, press this button, and use the data dial or -/+ buttons to change the Fine Tuning for the
sample on the selected pad. Press and hold Shift and press the button again to cycle through Layers 1–4 of the pad.
23. Quantize: Press this button to quantize all note events so they fall on exact, even time intervals as determined by
the Timing Correct settings.
Press and hold Shift and press this button to quantize only the currently selected note events.
24. TC On/Off / Config: Press this button to turn Timing Correct on and off.
Press and hold Shift and press this button to toggle between viewing the Time Division and Swing settings for
Timing Correct in the display. Use the data dial or -/+ buttons to change the selected value.
25. Zoom / Vert Zoom: Press this button and use the data dial or -/+ buttons to change the horizontal zoom level.
Press and hold Shift, press this button and use the data dial or -/+ buttons to change the vertical zoom level.
26. Pad Mute / Track Mute: Press this button to view Pad Mute Mode where you can easily mute pads within aprogram or set mute groups for each pad within a program.
Press and hold Shift and press this button to view Track Mute Mode where you can easily mute tracks within asequence or set mute groups for each track.

Transport & Recording Controls
27. Record: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording inthis way (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays
through once while recording, Overdub will be enabled.
28. Overdub: Press this button to enable Overdub. When enabled, you can record events in a Sequence without
overwriting any previously recorded events. You can enable Overdub before or during recording.
29. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding
once a note stops playing. Press and hold Shift and press this button to return the playhead to 1:1:0.
30. Play: Press this button to play the sequence from the playhead’s current position.
31. Play Start: Press this button to play the sequence from its start point.
32. Step </> (Event |</>|): Use these buttons to move the playhead left or right, one step at a time.
Press and hold Locate and press one of these buttons to move the playhead to the previous/next event in thesequence grid.
33. Bar <</>> (Start/End): Use these buttons to move the playhead left or right, one bar at a time.
Press and hold Locate and press one of these buttons to move the playhead to the start or end of the sequence
grid.

38

34. Locate: Press this button and then use the pads to add and select locator markers in the timeline. When on, tap
Pads 9-14 to set up to six locators on the timeline, and tap Pads 1-6 to jump to each locator.
Additionally, the current playhead position will be shown on the display in Bars : Beats : Ticks when this buttonis activated. Use the data dial or -/+ buttons to move the playhead left or right one beat at a time or press andhold Shift and use the data dial or -/+ buttons to move the playhead left or right one tick at a time.
To deactivate Locate, enter another display mode (such as Track Select, Program Select, etc.).
35. Automation Read/Write: Press this button to toggle the Global Automation state between Read and Write.
Press and hold Shift and press this button to disable or enable Global Automation.
36. Tap Tempo / Master: Press this button in time with the desired tempo to enter a new tempo (in BPM).
Alternatively, press and hold this button and then use the data dial or -/+ buttons to coarsely adjust the tempo.
Press and hold both Shift and this button and then use the data dial or -/+ buttons to finely adjust the tempo.
Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo(the button will be lit white) or a global tempo (the button will be lit red).
37. Erase: As a Sequence is playing, press and hold this button and then press a pad to delete the note event forthat pad at the current playback position. This is a quick way to delete note events from your sequence without
having to stop playback. When playback is stopped, press this button to open the Erase window where notes,
automation and other sequence data can be erased from the sequence.

Rear Panel

1

2

3

1. USB-B Port: Use the included USB cable to connect this high-retention-force USB port to an available USB port
on your computer. This connection allows MPC Studio to send/receive MIDI data to/from the MPC software on
your computer.
2. MIDI Out: Use the included 1/8"-to-MIDI adapter and a standard 5-pin MIDI cable (not included) to connect this
output to the MIDI input of an external MIDI device (synthesizer, drum machine, etc.).
3. MIDI In: Use the included 1/8"-to-MIDI adapter and a standard 5-pin MIDI cable (not included) to connect this
input to the MIDI output of an external MIDI device (synthesizer, drum machine, etc.).

39

MPC Touch
Top Panel

7
8

7
9

7
10

7

5

11

4
1

4

2

4

6
12 13

14 15 16 1743

23 21 22 20 18 19 17
1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Touch’s current operation.
Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the previous
Touchscreens section to learn how to use some basic functions.
2. Display Brightness +/–: Use these buttons to increase/decrease the brightness of the touchscreen.
3. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of theselected field in the screen.
4. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs can control
one group of parameters at a time. The lights below the Q-Link button indicate the currently selected column of QLink knobs. Press the Q-Link button to change which parameter or group of parameters they currently control.
5. Q-Link Button: Press this button to change which parameter or group of parameters the Q-Link knobs currently
control (indicated by the lights above the Q-Link knobs). Each press will select the next column of Q-Link knobs.
Press and hold Shift and then press this button to select the previous column of Q-Link knobs instead.
Press and hold this button to show the QLink window over the touchscreen’s current contents. These are the same
parameters and settings as what is shown in Q-Link Edit Mode. You can tap Q-Link Edit at the bottom of thewindow to enter Q-Link Edit Mode immediately (see Operation > Modes > Q-Link Edit Mode to learn about this).
6. Pads: Press these pads to trigger drum hits or other samples in your software. The pads are velocity-sensitiveand pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different
colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest
velocity). You can also customize their colors.
7. Pad Bank: Press any of these buttons to access Pad Banks A–D.
Press and hold Shift while pressing any of these buttons to access Pad Banks E–H. Alternatively, double-press
one of these buttons.
8. Note Repeat/Latch: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly.
The rate is based on the current tempo and Time Correct settings.
Press and hold Shift and then press this button to “latch” the Note Repeat feature. When latched, you do nothave to hold the Note Repeat button for it to be activated. Press Note Repeat once more to unlatch it.

40

9. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads
will always trigger their samples at the maximum velocity (127), regardless of how much force you use.
Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated,
the pads will always trigger their samples at half-velocity (64).
10. 16 Level / Pad Perform: Press this button to activate/deactivate 16 Level. When activated, the last pad that was hit
will be temporarily copied to all 16 pads. The pads will now output the same note number as the initial pad, but aselectable parameter will be fixed at values that increase as the pad numbers increase (e.g., Pad 1 is the minimum,
Pad 16 is the maximum), regardless of how hard you press them. In the screen that appears, use the Type selector
to choose the parameter: Velocity, Tune, Filter, Layer, Attack or Decay. See Operation > General Features > 16
Level to learn more.
Press and hold Shift and press this button to enter Pad Perform mode for the pads. When activated, you canplay musical scales/modes, chords or progressions using the pads while in any mode. See Operation > Modes> Pad Perform Mode to learn more.
11. Erase: As a sequence is playing, press and hold this button and then press a pad to delete the note event forthat pad at the current playback position. This is a quick way to delete note events from your sequence without
having to stop playback. See Operation > General Features > Erase to learn more.
12. Shift: Press and hold this button to access some buttons’ secondary functions (indicated by gray writing).
Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds.
13. Menu/Browse: Press this button to open the Menu. You can tap an option in the Menu to enter that mode, view, etc.
Press and hold Shift and then press this button to view the Browser. You can use the Browser to locate andselect programs, samples, sequences, etc.
14. Main/Track: Press this button to enter Main Mode.
Press and hold Shift and then press this button to enter the Track View.
15. Undo/Redo: Press this button to undo your last action.
Press and hold Shift and press this button to redo the last action you undid.
16. Copy/Delete: Press this button to copy one pad to another. When the From Pad field is selected, press the“source” pad (the pad you want to copy). When the To Pad graphic (of all pads) is selected, press the“destination” pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap
Do It to continue or Close to return to the previous screen.
Tip: To quickly copy a pad, press and hold Copy, press the source pad, press the destination pad, and thenrelease Copy.
Press and hold Shift and press this button to delete a pad’s sample assignment. When the Delete Pad window
is shown, press any pad/pads whose sample assignments you want to clear. Tap Delete to continue or Cancel
to return to the previous screen.
17. –/+: Press these buttons to increase or decrease the value of the selected field in the screen.
18. Play: Press this button to play the sequence from the audio pointer’s current position.
19. Play Start: Press this button to play the sequence from its start point.
20. Stop: Press this button to stop playback. You can double-press this button to silence audio that is still sounding
once a note stops playing. Quickly pressing this button three times will act as a “MIDI panic” and shut off all
voices and stop all audio processing.
21. Rec: Press this button to record-arm the sequence. Press Play or Play Start to start recording. Recording in thisway (as opposed to using Overdub) erases the events of the current sequence. After the sequence plays throughonce while recording, Overdub will be enabled.
22. Overdub: Press this button to enable Overdub. When enabled, you can record events in a sequence without
overwriting any previously recorded events. You can enable Overdub before or during recording.
23. Tap/Master: Press this button in time with the desired tempo to enter a new tempo (in BPM). You can set how
many taps are required in the Preferences (see Operation > General Features > Menu > Preferences to learn
how to do this).
Press and hold Shift and press this button to set whether the currently selected sequence follows its own tempo(the button will be lit red) or a global tempo (the button will be lit amber).
41

Rear Panel

2 1 3 4

8
6

7

9
5

10

11

1. Power Input: Use the included power adapter to connect MPC Touch to a power outlet.
2. Power Switch: Turns MPC Touch’s power on/off.
3. USB Port: Use the included USB cable to connect this high-retention-force USB port to an available USB port onyour computer. This connection allows MPC Touch to send/receive MIDI and audio data to/from the MPC software.
You can power MPC Touch via the USB port only, but the touchscreen will be disabled.
4. Rec Vol: Turn this knob to adjust the gain of the incoming signal from the inputs. Be careful when setting thisknob at higher levels, which can cause the signal to distort.
5. Master Vol: Turn this knob to adjust the volume of the outputs and phones output.
6. Inputs (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these inputs to audio sources(microphone, mixer, synthesizer, etc.). Turn the Rec Vol knob to set their input levels.
7. Outputs (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to your speakersystem, external mixer, etc. The signal sent out of these outputs is the main mix. Turn the Master Vol knob to
set the volume level.
Tip: To route a program to these outputs, set its routing to Out 1,2 in the Channel Mixer when the Mixer field is
set to Programs. See Operation > Modes > Channel Mixer to learn more about this.
8. Phones (1/8” / 3.5 mm): Connect standard 1/8” (3.5 mm) stereo headphones to this output. Turn the Master Vol
knob to set the volume level.
9. MIDI Out (1/8” / 3.5 mm): Use the included 1/8”-to-5-pin adapter and a five-pin MIDI cable to connect this
output to the MIDI input of an optional external MIDI device.
Important: Do not connect audio devices (e.g., headphones, monitors, etc.) to the MIDI Out. Use the included
1/8”-to-5-pin adapters to connect MIDI devices only.
10. MIDI In (1/8” / 3.5 mm): Use the included 1/8”-to-5-pin adapter and a five-pin MIDI cable to connect this input tothe MIDI output of an optional external MIDI device.
Important: Do not connect audio devices (e.g., headphones, monitors, etc.) to the MIDI In. Use the included
1/8”-to-5-pin adapters to connect MIDI devices only.
11. Kensington® Lock Slot: You can use this slot to secure your MPC Touch to a table or other surface.

42

Basic Concepts
This chapter should help explain some fundamental aspects of the MPC universe.
The MPC workflow is quite different from traditional digital audio workstations (DAWs). In most typical DAWs, each trackuses an instance of each instrument, and all tracks are always playing even if they don’t contain any audio or MIDI
information. Furthermore, your entire project needs to be arranged just as the resulting song would be. This isn’t the casewith MPC, which offers much more flexibility within your project. It’s important to understand some basic terms, though:A sequence is a “building block” of a song. It contains multiple tracks that play at the same time like a normal
DAW. In a project, you might create one sequence for your verse and another sequence for your chorus, alternating
and/or repeating each one in a specific order to create the song. (A project can contain 128 sequences.)
A track is a layer in a sequence. There are two types of tracks:
MIDI tracks consist of MIDI data only, no audio data. These tracks produce sound by using programs,
described below. Unlike a normal DAW, each MIDI track exists only in its sequence. The advantage of this is
not having to manage empty or unwanted tracks across all of your sequences—each sequence contains only
the tracks you want to use in it. If you want to use the same track across multiple sequences, you can copy
the track from one sequence into another. (A sequence can contain 128 MIDI tracks.)
Audio tracks consist of a recorded audio signal, like a traditional DAW. These tracks do not use programs
because the audio is already contained in the track. Also, unlike MIDI tracks, audio tracks are present inevery sequence in the project, even if the tracks themselves are empty. (A sequence on your MPC hardware
can contain 8 audio tracks. A sequence in the MPC software can contain 128 audio tracks.)
A program is a preset through which MIDI tracks are routed. Programs may contain audio samples that are
triggered when tracks play through them, producing the sound you want on that track. Programs are
independent of tracks and sequences, so you can set multiple tracks to use the same program (unlike normal
DAWs where each track requires its own set of samples). Furthermore, you can use the same program/programs
across multiple sequences. (A project can contain 128 programs.)
Each program can be played using the 16 pads (across eight pad banks, which gives you access to 128 pads ineach program). Each pad plays a MIDI note when you press it, but that MIDI note will trigger something different
for each program. For instance, in drum programs, the pads are assigned to samples—one pad could trigger akick drum sound and another could trigger a snare drum sound—whereas in keygroup programs, each pad
triggers a MIDI note that plays the corresponding pitch of the sample assigned to its keygroup.
Here’s a diagram to illustrate an example of how these pieces could work together:

Sequence

Drum Program(Drums)Track (MIDI: Drums)
Keygroup Program
Track (MIDI: Bass)(Bass)

Track (MIDI: Keys 1)

Keygroup Program(Keys)

Track (MIDI: Keys 2)
Keygroup Program
Track (MIDI: Synth)(Synth Lead)

Track (Audio: Vocals)
MixingTrack (Audio: Vocals)
Track (Audio: Guitar)

Please take a look at the following Tutorial chapter, as well. It will walk you through the creation of a short song toshow you some of your MPC hardware’s most important features.
43

Tutorial
This chapter should familiarize you with some basic MPC features. We’ll create a short song to illustrate some of themost important features. To get the most out of this chapter, we recommend reproducing each of the described steps.

Starting Up
Make sure you have completed all of the steps described in Introduction > Setup. This includes:•

Installing the most current drivers and software.

•

Connecting your MPC hardware to a power source using the included power adapter (if required) andpowering it on.

•

Opening and authorizing your MPC software (if you are using your MPC hardware as a controller).

Creating a Drum Kit
Let’s start by making a simple drum kit.

Press Browse (MPC X, MPC One, MPC Live II) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Touch) toshow the Browser. Then, use the touchscreen to navigate to where your drum sounds are located:
To browse your files by location, tap Places on the left side of the screen.
Internal is the internal drive of MPC X/Live/Live II/One/Key 61.
MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X/Live/Live
II/One/Key 61.
If you have storage devices connected to USB ports or SD card slot of your MPC hardware, or your computer(with MPC Live II and MPC Touch), they will appear in this column, as well.
Important: MPC hardware supports read and write capability for exFAT, FAT32, NTFS, and EXT4 file systems
as well as read-only capability for HFS+ file systems. (We recommend using an exFAT file system as it is themost robust one supported by both Windows and macOS.)
To browse your files by type, tap Content and then tap the type of file: Drums, Instruments, Clips, Samples,
Demos, or My Files.
To browse your MPC Expansions (MPC X/Live/Live II/One/Key 61 only), tap Expansions (see Addenda >Updates in MPC 2.1 > New Features > Exporting Expansions to learn how to export MPC Expansions fromyour computer to your supported MPC hardware.
To move up one folder level, tap the folder/ icon in the upper-left corner.
To move through a list, swipe up or down, turn the data dial or use the –/+ buttons.
To select a file or folder, tap it once.
To enter a folder, double-tap it or tap Open in the lower-right corner. Alternatively, press the data dial, or press
the center cursor or Enter (MPC X), to enter a selected folder.
44

To load a selected file, double-tap it, tap Load, press the data dial, or press the center cursor or Enter (MPC
X). If the file is a sample, it will be loaded to the project’s sample pool. If the file is a project, it will be loaded in its
entirety (you will be asked if you want to close your current project).
To load all files in a folder, select the folder (so it is highlighted in the list), press and hold Shift, and then tap
Load All in the lower-right corner.
Important: Although you can load multiple files at once, any samples you load into a project will be automaticallyconverted to full-quality uncompressed audio files, so they may use more storage space than they do on yourexternal storage device. If you are unable to load multiple files at once due to this, select fewer files and try again.
To delete a selected file or folder, press and hold Shift and then tap Delete File at the bottom of the screen.
To preview a selected sound, tap and hold Play () at the bottom of the screen.
To enable or disable the audition function and set its volume level, tap Audition at the bottom of the screen.
In the screen that appears, tap Auto to enable or disable it, and tap and drag the level slider up or down to set
the volume level. Tap Audition once more to hide the window.
To show the information for the current drive (MPC X, MPC Live, MPC Live II, MPC One, MPC Key 61), press
and hold Shift and then tap Drive Info at the bottom of the screen. The drive’s information will appear in a new
window. Tap OK to return to the previous screen.

After loading samples for a drum kit into the sample pool,
use the Sample Assign tab to assign a kick drum sound toa pad:
1. Tap Sample Assign at the bottom of the screen. This
lets you view the pads and project’s sample pool.
2. Press Pad 1 or tap Pad 1 on the screen to select it. The
pad will be lit green.
3. Swipe the Sample Pool list up or down or use the data
dial or –/+ buttons to move through it.
4. To load a sample to the selected pad (Pad 1, in thiscase) tap it in the Sample Pool list, press the data dial,or press the center cursor or Enter (MPC X). Now, you
can press Pad 1 to play the kick drum sample.

To create a simple drum kit, repeat the above steps forother pads. We recommend loading a snare drum, a closed
hi-hat, and an open hi-hat.

45

Creating a Drum Sequence
Now that your drum kit is set up, let’s record a drum sequence.

1. Press Menu to enter the Menu, and then tap Grid View.
2. Press Tap repeatedly at the speed you want to record your sequence. Your MPC hardware will detect the rate
and adjust itself automatically.
3. Press the Rec button to record-arm the sequence.
4. Press the Play button to start the actual recording. You will hear the count-in for one measure before therecording starts. We recommend recording only one sound (pad) at a time, especially if you’re not familiar withplaying drums on the pads.
5. Play a simple kick drum pattern. The note events you just recorded will automatically be placed in the grid (in thiscase, on 16th notes). The initial measure length is two bars. After the two bars, the recording will automatically
activate Overdub; the sequence will play again from the beginning and keeps looping, allowing you to record
further notes. Don’t stop the recording!
6. Play the snare drum part, then a hi-hat part.
7. When you’re done recording, press the Stop button.

If you start recording again on this sequence, keep in mind that the pads you play in your new recording will replace
existing notes played with the same pads. To prevent this, press the Overdub button before recording instead of theRec button. Overdub lets you record additional note events over the existing sequence.
The Undo button functions differently while recording. Normally, pressing Undo will undo just the last event. When
there is an event to undo, the Undo button will be lit solid. While recording, the Undo button will flash. In this case,pressing Undo will erase all events from that recording (i.e., since Play or Play Start was pressed).

46

Saving & Renaming
We recommend doing some renaming of your programs and samples before going further.
The collection of drum samples you loaded earlier (and their respective pad assignments) are arranged into a
program. When you load this program in the future, you will be able to use all of the samples that belong to it.
Let’s rename the existing program as we’ll want to create more programs later on.

To rename a program:
1. Press Main to enter Main Mode.
2. In the Program section in the lower part of the screen, tap the cursor icon on the right edge.
3. Use the virtual keyboard that appears to enter a new name (e.g., Drums), and then tap Do It.

To rename your samples:
1. Press Menu to enter the Menu, and then tap Sample Edit to enter Sample Edit Mode.
2. The Sample field at the top of the screen will show the name of a sample. Select a sample in one of the following
ways:•

When the Sample field is selected, use the data dial or –/+ buttons to change it.

•

Double-tap the Sample field and tap one in the list that appears.

3. Tap the keyboard icon next to it to rename the current sample.
4. Use the virtual keyboard that appears to enter a new name (e.g., Kick, Snare, etc.), and then tap Do It.
Repeat Steps 2–4 to rename other samples.

47

Now would be a good time to save your project.

To save your project, press Menu to show the Menu, and tap the Save at the bottom of the screen to open the
Save window. Alternatively, press Shift+Browse/Save (MPC X, MPC One). In the Save window, do any of thefollowing:
To select the storage device you want to view, tap it in the Storage column on the left.
Internal is the internal drive of MPC X/Live/Live II/One/Key 61.
MPC Documents is a shortcut to the MPC Documents folder on the internal drive of your MPC hardware.
If you have storage devices connected to USB ports or SD card slot of your MPC hardware, or yourcomputer (with MPC Studio or MPC Touch), they will appear in this column, as well.
To enter a folder, double-tap it. Alternatively, turn the data dial or use the –/+ buttons to move through the list,
and press the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of thefive folder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Operation >Modes > Browser to learn how to do this).
To create a new folder, tap New Folder, use the virtual keyboard that appears to enter a name, and then tap
Do It. You will immediately enter the new folder.
To move up one folder level, tap the folder/ icon in the upper-left corner.
To name the file, tap the File Name field at the bottom of the screen, and use the virtual keyboard that appears.
To save the file, tap Save.
To cancel and return to the Menu, tap Cancel. Alternatively, tap the  icon in the upper-left corner.

48

Editing Note Events
In the grid, you can see your recorded notes (or note events) as a sequence.
To enter the Grid View, press Menu, and then tap Grid View.

In the Grid View, you can do any of the following:
To zoom in or out, tap the magnifying-glass icon in the upper-right corner. Then, in the grid, spread two
fingers apart or pinch two fingers together. You can do this for each axis, horizontal or vertical.
To automatically set the grid to view one pad bank and two bars, tap the grid-and-magnifying-glass icon in
the lower-left corner.
To undo your last action, press Undo.
To redo the last action you undid, press Shift+Undo/Redo.
To enter a note, tap the pencil icon in the upper-right corner. Then, in the grid, tap a square.
To delete a note, tap the eraser icon in the upper-right corner. Then, in the grid, tap a note.
To select a single note, tap the select box in the upper-right corner. Then, in the grid, tap the note.
To select all notes for a pad, press the desired pad.
To move the selected notes, tap Nudge at the bottom of the screen, and then use the data dial or –/+ buttons
to shift the notes left or right. By default, you can position notes only by quantization values defined by the Time
Correct value (learn about this feature in Operation > General Features > Timing Correct (TC)).
To move the selected notes without restricting (“snapping”) them to the quantization grid, tap and holdDon’t Snap in the lower-left corner of the screen, and then use the data dial or –/+ buttons to shift the notes. In
this case, each nudge is equivalent to four ticks.
To adjust the start point or end point of the selected notes (without changing their position), tap Edit Start orEdit End at the bottom of the screen, and then use the data dial or –/+ buttons.
To transpose the selected notes up or down, tap Transpose at the bottom of the screen, and then use thedata dial or –/+ buttons.
To switch to the previous or next track, tap the Track field in the upper-left corner, and then use the data dialor –/+ buttons.
To mute or solo the track, press and hold Shift, and then tap Mute or Solo (respectively) at the bottom of thescreen.

49

To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See
Operation > General Features > Timing Correct (TC) to learn about this.
To adjust the velocity of the selected notes, tap Velocity at the bottom of the screen, and then use the data
dial or –/+ buttons. The numeric value will appear on the screen.
To show or hide the velocity lane, tap the up arrow (∧) button in the lower-right corner of the screen to show
the velocity lane below the grid. Each note’s velocity is represented by a vertical bar. The higher and redder thebar is, the higher the velocity is.
Tap the up arrow (∧) button once more to show a taller version of the velocity lane after which it will turn into adown arrow (∨) button, which you can then tap to hide the velocity lane.

50

Making Basic Sound Edits
Let’s make sure the samples are properly tuned and have good levels.
Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X, MPCOne), or Edit (MPC Key 61).

Press a pad to show its parameters on the screen.
To adjust its volume, tap and drag the Level knob up or down. Alternatively, use the data dial or –/+ buttons.
To make finer adjustments, double-tap the knob and adjust the larger version that appears. Tap anywhere elseto return to the previous screen.
To adjust its stereo panning, tap and drag the Pan knob up or down. Alternatively, use the data dial or –/+buttons. To make finer adjustments, double-tap the knob and adjust the larger version that appears. Tap
anywhere else to return to the previous screen.
Adjust the level of each pad to suit your taste. We recommend spreading the panning of the bright sounds (e.g.,
cymbals, snare drum) a little. Additionally, you can tune the kick drum sound—tap the Samples tab so the second
square under it is lit, and then adjust the Semi and Fine knobs next to the sample name.

51

The snare drum may need some reverb to give it a more spatial sound.
Tap Effects at bottom of the screen so the first square under it is lit to view the Insert Effects tab. Press the padwith your snare drum sound to select it.

To add an effect:
1. Double-tap the desired slot. A list of effects will appear.
2. Swipe up or down to move through the list.
3. To load an effect, double-tap it. Alternatively, tap it once and then tap Select or push the data dial. Let’s try
Reverb Medium.
4. To close the list, tap Close.

To adjust the effect’s parameters, tap the pencil icon.
To empty the effect slot, tap the trash can icon. Switch the effect on or off by tapping the On/Off button for the slot.

52

Creating a Bass Track
Let’s try recording a bass line. Unlike a drum kit, it’s important to be able to play and record a bass soundchromatically, so this will be slightly different than setting up the drum kit.
Adding a bass line over the drum part means we need to work on a new track. A track is simply a layer of a sequence.
Each track uses a program within your project. You can work with multiple tracks in a single sequence (e.g., a drum
track, a bass track, a piano track, etc.). When you play the sequence, all of them will play simultaneously.
First, let’s make an empty track.

To select a new track:
1. Press Main to go back to Main Mode.
2. Double-tap the Track field in the center-left part of the screen, and then tap Track 2 (unused) in the list of tracks
that appears.
Alternatively, tap the Track + button at the bottom of the screen until (unused) appears in the Track field.
Let’s create a new program for this track to use.

To create a new program:
1. In the Track section in the middle of the screen, tap the piano-keys icon. This icon indicates a keygroupprogram, which is necessary to play the bass sound chromatically with the pads.
A name for the new keygroup program will appear in the Program field in the lower part of the screen.
2. In the Program section in the lower part of the screen, tap the cursor icon on the right edge.
3. Use the virtual keyboard that appears to enter a new name, and then tap Do It.
53

To load and edit a bass sound:
1. Press Browse (MPC X, MPC One, MPC Studio) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61,
MPC Touch) to show the Browser. Then, use the touchscreen to navigate to where your bass sounds are located,
and load one to the project’s sample pool. (You can look at this earlier section if you forgot how to do this!)
2. After loading a bass sample to the sample pool, don’t use the Sample Assign tab like you did when creating adrum program; keygroup programs are different.
Instead, press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X,
MPC One), or Edit (MPC Key 61).
3. In Program Edit Mode, tap the Samples tab at the bottom of the screen to show the four layers of samples in the
program.
4. Double-tap the first Layer field and then tap your bass sample in the list on the left. Because you’re working witha keygroup program instead of a drum program, this sample is now playable across all pads.
Tip: On your MPC hardware, disable Pad Perform and then press the Pad Bank D button to switch to Pad Bank
D and press Pad 13. You should hear the bass sample played back with its original pitch. You can use the otherpads to play your sample chromatically. Alternatively, you can play middle-C on an external MIDI device to hear
the sample at the original pitch.

Let’s add a second layer and set the layers’ velocity ranges so the bass will sound different when played at a higher
velocity (as a real bass would):
1. Press Browse (MPC X, MPC One, MPC Studio) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61,
MPC Touch) to show the Browser, select a different bass sample that sounds similar but a little bit brighter, andload it to the project’s sample pool.
2. Return to Program Edit Mode, and in the Layer tab, double-tap the second Layer field, and select the new bass
sample. Press a pad to hear both samples will sound at once. Maybe this new sound is interesting as it is, but
let’s make some quick edits to get as close as we can to a real-life bass sound.
3. Tap the Pan Velocity tab to show its parameters.
4. Tap Layer 1’s Vel End knob and turn the data dial to set it to 80. Do the same to set Layer 2’s Vel Start slider to 81.
Now when you press a pad, the lower velocities (0–80) will trigger the Layer 1 sample only, while higher velocities(81–127) will trigger the Layer 2 sample only.
54

Let’s record that bass line now. Prepare your recording as described earlier, and record some bass notes. You can
edit your recording just like we’ve done earlier.

Once you’ve recorded it, let’s tweak the sound a bit in the Filter section:
1. In Program Edit Mode, tap the Filter/Env tab to show its parameters.
2. Double-tap the Type drop-down menu, and select a filter. Let’s try working with Lowpass 2 Pole.
3. Tap the Cutoff or Reso (resonance) knob, and turn the data dial to adjust their settings until your bass sample
sounds good to you.
4. In the Amp Envelope section, tap the Attack or Release knob, and turn the data dial to adjust their settings.
These control the overall level characteristics of the sound.

Do you want to add an effect? Do this in the Effects tab:
1. Tap the Effects tab to show the insert effects.
2. Double-tap one of the Inserts slots to show a list of available effects.
3. Double-tap the effect you want to add to your bass line, or click Close to cancel.
To adjust the settings of the effect, click the pencil icon next to its slot to open a window that shows its
parameters.
To activate or deactivate all insert effects for that program, click the All On/All Off button in the upper-rightcorner.

So far, we’ve created a simple drum sequence and a bass line to go with it. Repeat this process to create a second
sequence.
55

Recording an Audio Track
We’ve already created some MIDI tracks, so let’s record some actual audio for our next track:

1. Press Main to go back to Main Mode.
2. Tap the Audio tab at the bottom of the screen. Audio 001 will appear in the Track field.
3. If the channel strip is not already shown on the left side of the screen, tap Input Config (in the lower part of thescreen) or the small eye icon (in the upper-left part of the screen) to show it.
4. Connect a synthesizer or other line-level audio source to the 1/4” (6.35 mm) input/inputs on your MPC
hardware’s rear panel, and set the Line/Phono selector to Line (MPC X, MPC Live, MPC Live II), or set the
Inst/Line selector to Line (MPC Key 61).
5. Double-tap the first field (Input __) and select Input 1 or Input 1,2 (depending on your audio source) as the input
source.
6. If the second field is not set to Out 1,2, double-tap it and select that option as the output.
7. Tap the Monitor button to cycle through its three states until it reads Auto (you will hear incoming audio while
the track is record-enabled only).
8. Turn the 3/4 Rec Gain (MPC X), Rec Vol (MPC Live, MPC Live II, MPC One, MPC Touch), or Gain (MPC Key 61)knob to set the input level while playing your audio source. You should now see the level in the meter. Make sureit does not exceed the maximum level (the meter should not be “peaking” constantly).
9. If Solo and Mute are on, tap or press them so they are off. Also, tap the automation button so it is off/gray (notgreen/Read [R] or red/Write [W]). Alternatively, press Read/Write (MPC X), or Shift+Automation Read/Write(MPC Key 61).
10. Tap the Record Arm button to record-enable the track. Alternatively, press Rec Arm (MPC X).
11. Press Rec to record-arm the sequence.
12. To start recording, press Play or Play Start—then play your audio source! You should hear your existing
sequence playing in the background.
To stop recording, press Stop.

Record another audio track for your other sequence: Select the other sequence in Main Mode, and create anotheraudio track (Audio 002) to go with that sequence.

56

Creating a SongThis section explains how to make a song out of your sequences. Before starting, make sure that you have recorded
some sequences (which we described earlier).
To enter Song Mode, make sure playback is stopped, and then press Menu, and then tap Song to enter Song Mode.
Alternatively, press Song (MPC X).

In Song Mode, each of the sequences you’ve created in this project assigned to a pad. The sequence playlist is tothe left of the pads, showing the song’s structure.
As a song plays, it moves through each step of the sequence playlist. Each step contains a sequence you assigned.
Each step can be repeated, determined by the value in the Repeat column (the repeat icon; a value of 1 means thesequence will play through only once). The Bars column on the right indicates the length of that sequence.
Each step can be set to play its sequence at an independent tempo, determined by the value in the BPM column.
Important: Each sequence has its own tempo, while the project itself may use a different global tempo. The BPM
value for each sequence may be different from the global tempo. As long as playback is set to follow the global
tempo, each sequence’s individual tempo will be ignored. By default, each project is set to use the sequence tempo,
which you set back in the Creating a Drum Sequence chapter. We recommend tapping the SEQ/GBL button at the
top of the screen (so the button displays GBL) and entering a global tempo to ensure all sequences use the same
tempo.

To insert a step at the current position, tap Insert.
To delete the currently selected step, tap Delete.
To set which sequence plays for a step, tap the step’s Sequence field, and then turn the data dial to select asequence.
To set how many times a sequence repeats, tap the step’s Repeat field (next to the sequence name), and thenturn the data dial to select a number.

57

Exporting the Song
Want to share your new song? Just export it first.

To export a song:
1. While in Song Mode, tap Export at the bottom of the screen.
2. In the Audio Mixdown screen that appears, do the following:•

Make sure the Start field is set to 1, and set the End field to the last bar of your song.

•

Tap the Audio Tail field and turn the data dial to set it to 2 seconds.

•

As you’ll likely share the song online, tap the mp3 file format option in the lower-left corner.

3. Tap Export. Choose where you want to save the song.
To name the song, tap the File Name field, and use the virtual keyboard that appears to enter a new name, andthen tap Save to start exporting.

58

Other Features ExplainedThis chapter describes various advanced features. For a fuller explanation of these features, please refer to theircorresponding sections in the Operation chapter.

Step Sequencer
You’ve already learned how to record note events on a track, but you can quickly enter note events in the Step
Sequencer by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum
machine.
To enter the Step Sequencer, press Menu, and then tap Step Sequencer. Alternatively, in some modes, you cantap the steps icon on the left edge of the screen. You can also press Step Seq (MPC X, MPC Live II, MPC One), or
Shift+Grid/Step Seq (MPC Key 61).

1. Let’s create a sequence on a new track. Tap the Track field in the upper-left corner, and then use the data dial or–/+ buttons to select an (unused) track. Alternatively, double-tap the Track field, and then tap a track to select it.
2. Tap the Track Length field at the top of the screen to set a length for the track, and then use the data dial or the–/+ buttons to select a length. If you select the minimum value, Sequence, the track will be however long yoursequence is.
Tip: This lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence
repeatedly under a 4-bar bass line.
3. Tap the Bar –/+ buttons at the bottom of the screen to select the bar whose steps you want to create or edit.
The bar number will appear in the Bar field in the upper-left corner.
4. Tap the Pad –/+ buttons at the bottom of the screen to select the pad whose steps want to create or edit. The
pad number will appear in the Pad field in the upper-left corner.
5. Press Play to start your sequence.
6. Each pad represents a step in the bar. If the pad already has note events on the selected track, the corresponding
pads (steps) will be lit with colors corresponding to their velocities.
To enter a note at a step, press an unlit pad. The pad will light up with a color corresponding to its velocity.
To delete the note from a step, press a lit pad. The pad will become unlit.
To delete all notes from the entire bar, press and hold Shift, and then tap Clear Bar in the lower-right corner.
See Operation > Modes > Step Sequencer to learn more about this feature.
59

Drum Loops & Chop Mode
Modern music producers often use drum loops to add grit and nuance to programmed beats. This section explains
how to use Sample Edit Mode to work with drum loops.
Use the Browser to locate a drum loop, and then double-tap it to add it to the current program. The loop does nothave to match the tempo of anything in the project.

To enter Sample Edit Mode, press Menu, and then tap Sample Edit to enter Sample Edit Mode. Alternatively,
press Sample Edit (MPC X, MPC One, MPC Key 61), or Shift+Mute/Sample Edit (MPC Live II).

1. Tap the Sample field at the top of the screen, and then use the data dial or –/+ buttons to select the loaded
drum loop. You can scroll through all loaded samples in the project. Alternatively, double-tap the Sample field,
and then tap a sample to select it.
2. Tap the Trim/Chop tab in the lower-left corner to switch between Trim Mode and Chop Mode. Select Chop
Mode, which will let us cut the drum loop into slices.
3. Tap Threshold, and then tap the Threshold field to the right of it. Use the data dial, –/+ buttons, or numeric
keypad (MPC X) to select a value. Alternatively, double-tap the Threshold field and use the numeric keypad on
the screen. The lower the threshold, the more slices will be created. Be sure to select a value so that everytransient peak of the drum loop has a corresponding a slice marker.
Tip: Each slice will be automatically assigned to a pad: Pad A01 plays Slice 1, Pad A02 plays Slice 2, etc. Presseach pad to play the slice with the same number.

60

Let’s use this chopped sample to create a new program in which each of these slices is an individual sample. We
can also automatically create corresponding note events to play back these slices sequentially.

1. Press and hold Shift and then tap Convert at the bottom of the screen to enter the Convert or Assign Slices
window.
2. Tap the Convert To field, and then use the data dial or –/+ buttons to select New Program with New Samples.
3. Make sure Crop Samples is checked. If it is not, tap it.
4. Make sure Create New Program is checked. If it is not, tap it.
5. Make sure Create Events is checked. If it is not, tap it.
6. Tap the Bars field, and then use the data dial or –/+ buttons to select how many bars the entire sample should
use in your program.
7. Tap Do It to proceed. Each slice will be assigned to a pad, and each pad will have a recorded note event in the
track. When you play that track, it will play each pad (each slice) in the original order. Press Menu and then tap
Grid View to see how the sample appears in your sequence.
8. Press Play and listen to how the drum loop matches your song tempo now.

You can also edit the note events of the drum loop slices—enter Main Mode to do this. A new track with the note
events playing their corresponding slices has been automatically created. Tap the TC/clock icon at the top of thescreen to use the Timing Correct window to quantize the note events so they fall on exact, even time intervals.
You can also rearrange the note events, thus creating a new playback order for the slices. You can also edit eachslice or sample in Program Edit Mode. You can add effects for slices or use the filter function to change thefrequency range of a selected slice. There are almost no limits to what you can do.

See Operation > Modes > Sample Edit Mode > Chop Mode to learn more about this feature.

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Pad Muting & Track Muting
Pad Mute Mode and Track Mute Mode let you silence different pads and tracks to see what the sequence sounds
like without those samples or parts.
To enter Pad Mute Mode, press Menu, and then tap Pad Mute to enter Pad Mute Mode. Alternatively, press
Shift+Track Mute/Pad Mute (MPC X, MPC One), or Shift+Mute/Pad (MPC Key 61).

1. Press Play to play the sequence.
2. Tap the Program field at the top of the screen, and then use the data dial or –/+ buttons to select your drum
program. Alternatively, double-tap the Program field, and then tap a program to select it.
3. Mute a pad by pressing it once or tapping it on the screen. The muted pad will be lit red. You can mute multiple
pads at the same time.

See Operation > Modes > Pad Mute Mode to learn more about track mutes.

62

You can also mute entire tracks by using the similar Track Mute function.
To enter Track Mute Mode, press Menu, and then tap Track Mute to enter Track Mute Mode. Alternatively, press
Track Mute (MPC X, MPC One), or Mute (MPC Key 61).

1. Press Play to play the sequence.
2. Tap the Sequence field at the top of the screen, and then use the data dial or –/+ buttons to select the desiredsequence. Alternatively, double-tap the Sequence field, and then tap a sequence to select it.
3. Each pad is assigned to a track. Mute a track by pressing the corresponding pad or tapping it on the screen. The
pad will be lit red. You can mute multiple tracks at the same time.

Tip: To mute a track only at precise note intervals (“quantizing” your mutes, essentially), tap Time Division to set
a musical timing value. Tap the desired musical value (e.g., 1 Bar). Alternatively, use the data dial or –/+ buttons. Tap
Close to close the page. Now, when you press a pad in Track Mute Mode, the mute will occur precisely at the
beginning of the following time division (in this example, one bar). This lets you test musical combinations ofpatterns—the preliminary stage to building a song structure.

See Operation > Modes > Track Mute Mode to learn more about track mutes.

63Sampling (Recording)This section describes recording new samples of your own, which you can use in your projects.
Important: To record any audio, you need to connect an audio source to your MPC hardware or to your computer’saudio interface.

To open the Sampler, press Menu, and then tap Sampler to enter Sampler Mode. Alternatively, press Sampler(MPC X, MPC One), press Shift+Mix/Sampler (MPC Live II), or press Shift+Sample Edit/Sampler (MPC Key 61).

1. Connect an audio source to the input/inputs of your MPC hardware.
2. The Input ___ menu in the upper-left corner should be set to Input 1,2 (the inputs of your MPC hardware). If it isnot, then select Input 1,2.
3. Turn the 3/4 Rec Gain (MPC X), Rec Vol (MPC Live, MPC Live II, MPC One, MPC Touch), or Gain (MPC Key 61)knob to set the input level while playing your audio source. You should now see the level in the meter. Make sureit does not exceed the maximum level (the meter should not be “peaking” constantly).
4. Tap and drag threshold slider to set the threshold. Alternatively, use the data dial or –/+ buttons. Set it to afairly low level (e.g., -50 dB).
5. Tap Arm to record-arm the Sampler.
6. Play your audio source. The Sampler will start recording immediately when the input level reaches the thresholdvalue. Alternatively, tap the round Record button to manually start recording.
7. To stop recording, tap the round Stop button. The Keep or Discard Sample window will appear.

64

In the Keep or Discard Sample window:
To name the new sample, tap the Edit Name field and use the virtual keyboard to enter a name.
To assign the new sample to a program, tap the Program field, and then use the data dial or –/+ buttons to
select the desired program. Alternatively, double-tap the Program field, and then tap a program to select it.
To assign the sample to a pad in the program, tap the Assign to Pad field, and then press the desired pad.
Alternatively, use the data dial or –/+ buttons to select the desired pad number, or double-tap the Pad field, andthen tap a pad number.
To set the Root Note for the sample, tap the Root Note field, and then then use the data dial or –/+ buttons to
select the desired note.
To save the sample, tap the Save button at the bottom of the screen.
To play the recording, tap the Play button at the bottom of the screen.
To discard the recording and return to the previous screen, tap the Discard button at the bottom of thescreen.
To confirm your selections, tap Keep at the bottom of the screen.
To edit the sample in Sample Edit Mode, tap the Edit button at the bottom of the screen.

See Operation > Modes > Sampler to learn more about this feature.

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Sample Editing
You may need to edit your newly recorded samples using Sample Edit Mode.

To enter Sample Edit Mode, press Menu, and then tap Sample Edit to enter Sample Edit Mode. Alternatively,
press Sample Edit (MPC X, MPC One, MPC Key 61), or press Shift+Mute/Sample Edit (MPC Live II).

In Sample Edit Mode:
To switch between Trim Mode and Chop Mode, tap the Trim/Chop tab at the bottom of the screen. In thisexample, use Trim Mode.
To set the sample’s start point, use the first column of Q-Link knobs (when in the Screen Q-Link Edit Mode)to adjust the start point with varying degrees of resolution. Alternatively, tap and drag the S marker in the
waveform. You can also double-tap the Start field and use the numeric keypad on the screen to enter a value (ortap the Start field and use the numeric keypad).
To set the sample’s end point, use the second column of Q-Link knobs (when in the Screen Q-Link Edit
Mode) to adjust the end point with varying degrees of resolution. Alternatively, tap and drag the E marker in the
waveform. You can also double-tap the Start field and use the numeric keypad on the screen to enter a value (ortap the Start field and use the numeric keypad).
To hear your edits, press Pad 10 to play the sample from the start point to the end point.

66

Let’s apply some processing to the sample.

To open the Process Sample window, tap Process at the bottom of the screen.

1. Use the data dial or –/+ buttons to select the desired process in the Function field. Alternatively, tap Function
or double-tap the Function field, and then tap the desired process. Let’s select Pitch Shift to change the overallpitch of your sample. This will transpose the sample without affecting its length.
2. To set the pitch shift amount, tap and drag the knob in the center of the window up or down. Alternatively, use
the data dial or –/+ buttons.
To make finer adjustments, double-tap the knob and adjust the larger version that appears. Tap anywhere elseto return to the previous screen.
3. To confirm your selections, tap Do It.
To cancel the process, tap Cancel.

See Operation > Modes > Sample Edit Mode to learn more.

67

Recording Automation with the XY Pad
Automating various parameters is a good way to add some motion and dynamism to your sequences.

1. Press Menu, and then tap XYFX to enter XYFX Mode. Alternatively, press XYFX (MPC X), press Shift+Next
Seq/XYFX (MPC Live II, MPC One), or press Shift+Edit/XYFX (MPC Key 61).
2. Double-tap the XYFX Location field, and select Program.
3. When you first enter this mode in a project, you will be prompted to “load” XYFX to the program. Tap Insert
XYFX to do this.
4. Tap Setup to show the Setup panel, which controls how the XY pad behaves.
5. Double-tap the Preset field, and tap an effect to select it. (These are just the effects available in XYFX Mode, not
all MPC effects.) Swipe up or down to view the entire list.
6. Tap and drag any of the knobs (Attack, Release, or Wet/Dry) up or down to set their values as desired. Below
them, you can see what parameter the X axis and Y axis control.
Note: XYFX uses an envelope to control how quickly the effect crossfades between the dry signal and wet signal.
The Attack knob determines how long it takes the completely dry signal to reach the wet signal (determined by
the Wet/Dry knob) after you touch the XY pad. The Release knob determines how long it takes the wet signal(determined by the Wet/Dry knob) to return to the completely dry signal after you touch the XY pad.
7. Tap the automation button or press Read/Write (MPC X, MPC Key 61) to cycle through the available
automation modes. Make sure the button is red (the Write (W) option).
8. Press Play Start to start recording.
9. As you record, move your finger over the XY pad on the screen. The changes in the sound are being recorded as
automation of both the X axis and Y axis parameters.
Tip: While touching the XY pad, tap Latch in the lower-left corner to keep the marker on the XY pad even after
you release it. The marker will remain there until you touch another part of the XY pad or until you tap Latch again.
10. When you are done recording, press Stop.
11. Tap the automation button or press Read/Write (MPC X, MPC Key 61) to select the green Read (R) option.
This ensures your track uses the automation you just recorded when you play it back.

See Operation > Modes > XYFX Mode to learn more about using this feature.

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Using MPC as a Controller
If you are using the MPC software on your computer, you can switch MPC X/Live/Live II/One/Key 61 into Controller
Mode, allowing you to use it to control the software. MPC Studio and MPC Touch already operate as a controller
only.
The MPC software offers the same features and functionality as the MPC hardware in Standalone Mode but with somenotable differences, which are discussed in Operation > General Features > Standalone vs. Controller Mode.

69

Operation
This chapter explains the complete features and functions of your MPC hardware.
Important:•

When accessing the secondary functions of buttons on your MPC hardware, you can do this one of
two ways: (1) pressing and holding Shift and then pressing the desired button or (2) double-pressing
the desired button. This manual describes these operations using only the first option, but both areacceptable.

•

When the left-most button at the bottom of the screen shows an upward arrow (), it means there are
additional buttons you can use when you press and hold Shift. Press and hold Shift to show thesecondary buttons, and any of them, if desired. Release Shift to return to the previous buttons.

•

Almost every mode shown on the screen has 1–6 buttons at the bottom. Each of these buttons selecta different tab in that mode or perform a specific function in that mode.

•

MPC X: You can press the F-Key button to activate or deactivate the F-Key feature. When active, thesix buttons under the touchscreen correspond to the options shown at its bottom edge. The F-Key
button and those six buttons will be lit red when active. When inactive, the six buttons under the
touchscreen will access their normal modes instead (Menu, Browser, Step Seq, Sampler, XYFX,and Looper).

•

MPC X: As an alternative to tapping a control on the screen to select it, you can use the cursors tonavigate through the controls on the screen. The center cursor acts as an Enter key.

•

MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch: As an alternative to double-tapping
an item on the screen to “enter” it, you can press the data dial.

•

When a parameter is highlighted and has a red outline, this means that it is selected. You can thenchange it by turning the hardware’s data dial or using the –/+ buttons. If the parameter is a number,double-tap it to show a numeric keypad on the screen to enter a specific value, or use the numeric
keypad (MPC X).

•

MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch: When the touchscreen shows aparameter or group of parameters with a gold outline (and sometimes a Q in the corner), this meansthat the current bank of Q-Link knobs will control those parameters or settings. Turn a Q-Link knob
to adjust its corresponding parameter value or setting in that group. When the value has decimal
places, you can sometimes press and hold Shift and then turn the Q-Link knob to adjust the value
by smaller increments. You can also press the Q-Link button to select another group of fourparameters.

•

Press and hold the any of the Q-Link buttons (Project, Program, Pad Scene, Pad Param, or Screen
Control/Edit: MPC X) or the Q-Link button (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC
Touch) to see an overview of all 16 Q-Link knobs and their parameters in the QLinks window thatappears. You can then tap a column or row of knobs to select those four Q-Link knobs, and thenrelease the Q-Link button. See Modes > Q-Link Edit Mode to learn more about using the Q-Link
knobs throughout your project.

•

MPC Studio mk2: This hardware functions as a controller for the MPC software. The controls aredesigned to give you quick access to important software functions such as: track/program/sequence
select, track type, file browsing, sample editing, project parameters (Quantize, Timing Correct,
Automation Read/Write) and more. As such, descriptions in this manual for touchscreen operation do
not apply to MPC Studio. For more information on using the MPC software, consult the MPC software
User Guide by going to Help > MPC Help > MPC Software Manual.

•

MPC X Special Edition: Mentions of the features and functions of MPC X hardware throughout thisguide also apply to the MPC X Special Edition unless otherwise noted.

•

MPC One+: Mentions of the features and functions of MPC One hardware throughout this guide also
apply to the MPC One+ unless otherwise noted.

70General Features
Control Types
The MPC touchscreen uses the following types of control elements:

Knobs
To set the value for a knob, do any of the following:•

Tap and drag the knob up or down.

•

Tap the knob to select it, and then use the data dial or –/+buttons to adjust the value.

•

Double-tap the knob to show it in a larger screen. Alternatively,
press the data dial, or the center cursor or Enter (MPC X),
when the knob is selected.
Tap and drag the larger version that appears, or use the data dialor –/+ buttons to adjust the value.
If the knob is bipolar (has positive and negative values with thecenter as the default position), double-tap the larger version toreset it to the center/0 position.
Tap anywhere else to return to the previous screen.

•

Press and hold Shift while turning the data dial to adjust a value
by smaller increments.

Parameter Values
To set the value for a parameter, do either of the following:•

Tap the field to select it, and then use the data dial or –/+ buttons
to adjust the value.
When the value has decimal places, you can sometimes press
and hold Shift and then use the data dial or –/+ buttons to adjust
the value by smaller increments.

•

Double-tap the field or hold your finger on it for a second. In thescreen that appears, use the numeric keypad, the data dial, orthe –/+ buttons to adjust the value. Alternatively, tap and dragthe value up or down.
You can also tap /2 to halve the value or x2 to double it.
To confirm the value and remain on this screen, tap Apply.
To confirm the value and return to the previous screen, tap Do
It.
To return to the previous screen without changing anything,tap the gray area in the upper-left corner of the screen.

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Drop-Down Menus / Lists
To select an option for a drop-down menu, do any of the following:•

Tap the field to select it, and then use the data dial or –/+ buttons to select an option.

•

Double-tap the field. In the list that appears (examples below), tap the desired option. Alternatively, use thedata dial or the –/+ buttons to select an option.
In some windows, tap the relevant button at the bottom of the screen to confirm your selection or to cancel
without changing anything.

Selectors
Selectors show all available options. One of them is always selected. The
selected option is highlighted while the others are dark.
To select an option, tap it.

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Buttons
Buttons usually have two states: selected and deselected (active or inactive, respectively).
Some may have more than two states.
To switch between or cycle through a button’s states, do either of the following:•

Tap it.

•If it is outlined in red (and is not a mute button), use the data dial or –/+ buttons.

Checkboxes
Checkboxes have two states: checked and unchecked (enabled or disabled, respectively).
To check or uncheck a checkbox, tap it.

Tabs
Some modes have buttons at the bottom of the screen that let you cycle through several
similar tabs. For instance, you could view the send level that is routed to each of four
returns—each level is shown on a separate tab. With each tap, you will move to the nexttab, indicated by the squares below it.
To select a tab, tap it. Each time you tap it, it will select the next tab.

Sliders
To adjust the position of a slider, do any of the following:•

Tap and drag the slider to the desired position.

•

Tap the desired position (this works only on some sliders).

•

Tap the slider to select it, and then use the data dial or –/+ buttons to adjust the position (this works only onsome sliders).

•

Double-tap the slider, and then tap and drag the larger version that appears, or use the data dial or –/+ buttons
to adjust the value. If the slider controls a volume level, double-tap the larger version to reset it to 0 dB. Tap
anywhere else to return to the previous screen.

73

Envelopes
To set the stages of an envelope, do either of the following:
Tip: Tap the expand-rectangle icon above the envelope to show a close-up view.
•Tap and drag a “handle” of an envelope stage in the desired direction.

•

Set the numeric value of an envelope stage by adjusting or entering it as a parameter value(described earlier).

The Envelope tab in Program Edit Mode.

Close-up of an AD-type filter envelope.

Close-up of an AHDS-type amp envelope.

74

Grid View Tools
In the Grid View, these four icons enable you to use different functions in the grid.

Tap one to select its mode:

Pencil: Draw Mode:
To enter a note in an empty grid square, tap the grid square.
To select a note, tap it.
To move a note, tap and drag it to another grid square.
To erase a note, double-tap it.

Eraser: Erase Mode:To erase a note, tap it.

Select Box: Select Mode:
Note: Notes will remain selected if you switch to another mode. The selection will change, however, if youpress a pad while Hitting Pad Selects All Events is set to On.
To select a note, tap it.
To select multiple notes, tap and drag across the grid to create a box around them.
To move a note, tap and drag it to another grid square.
To move multiple notes, select them as described above, and tap and drag them.
To erase multiple notes, select them as described above, and then select the eraser tool and tap anyof the selected notes.

Magnifying Glass: Navigation Mode:
To move to another part of the grid, tap and drag it.
To zoom in or out, spread or pinch your fingers (respectively) on the grid. You can do this vertically,horizontally, or both at the same time.

75

Audio Edit Tools
In Audio Edit Mode, these six tool icons enable you to use different functions in the waveform.

Tap one to select its mode:

Marquee: Marquee Mode:
To select a track region, tap the upper third of it.
To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.
To split the track at two specific points (creating a track region on either side and between them), tap anddrag across the middle third of it to create a translucent white box, and then tap the upper third of that box.
To shorten or lengthen a track region (or multiple selected track regions), tap and drag the lower thirdof it left or right.

Arrow: Selection Mode:
To select a track region, tap it.
To select multiple track regions, tap and drag across the grid to create a box that highlights them.
Double-tap the selected track regions to deselect them.
To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.
To shorten or lengthen a track region (or multiple selected track regions), tap its edge and drag it.

Eraser: Erase Mode:
To select multiple track regions, tap and drag across the grid to create a box that highlights them.
To erase a track region (or multiple selected track regions), tap it.

Scissors: Split Mode:To split the track at a specific point (creating a track region on either side), tap that point in the track.
To select a track region, tap its left-most edge.
To select multiple track regions, tap and drag across the grid to create a box that highlights them.
Double-tap the selected track regions to deselect them.

Mute: Mute Mode:
To select multiple track regions, tap and drag across the grid to create a box that highlights them.
Double-tap the selected track regions to deselect them.
To mute or unmute a track region (or multiple selected track regions), tap it.

Magnifying Glass: Navigation Mode:
To move to another part of the track, tap and drag it.
To zoom in or out, spread or pinch your fingers (respectively) on the grid. You can do this vertically,horizontally, or both at the same time.
76

Programs
About Programs
Each track you create within a sequence is routed through a program. There are six
types of programs, each of which determines how the track sounds or what it is used
for. A single project can hold up to 128 programs.
This chapter covers how to create each program type.
To learn about editing your programs to your preference, see the Modes > Program
Edit Mode chapter.

A drum program uses one or more samples as its sound source. It contains (1) a list of samples and (2)the settings for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.). Drum
programs are used mostly for creating drum parts and quickly and easily assigning samples to pads. See
Drum Programs for more information.

A plugin program contains an instance of a plugin through which you can send your track’s MIDI data.
See Plugin Programs for more information.

A keygroup program uses one or more samples as its sound source. It contains (1) a list of samples and(2) the settings for each sample (i.e., pitch tuning, effects, etc.). Keygroup programs are used to playsamples chromatically with a MIDI keyboard or the MPC pads. See Keygroup Programs for more
information.

A clip program uses several samples that can be looped (clips). Each clip can be assigned to a pad,which you can press to trigger the clip according to a quantization setting. This lets you create intriguing,layered performances by launching different combinations of clips together. See Clip Programs for more
information.

A MIDI program lets you send your track’s MIDI data to an external MIDI device like a synth or drum
machine. See MIDI Programs for more information.

A CV program lets you send your track’s MIDI data to an external MIDI device that uses control voltage(CV), like a synth. See CV Programs for more information.

77

Drum Programs
A drum program uses one or more samples as its sound source. It contains (1) a list of samples and (2) the settingsfor each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.). Drum programs are used mostly forcreating drum parts and quickly and easily assigning samples to pads.

To create a drum program:
1. Press Main to enter Main Mode.
2. Next to the Track field, tap the four-squares icon, which indicates a drum
program.
3. If the project does not contain a drum program yet, a new drum program(named Program, appended with a number) will be added automatically tothe project and appear in the Program field below.
If the project already contains a drum program, the first one will be selected
automatically and appear in the Program field below.
To create another drum program, tap the + icon above the Program field.
A new drum program will be created and appended with a number (e.g.,
Program 002).
To rename the program, tap the cursor icon on the right edge of the Program
section. Use the virtual keyboard that appears to enter a new name, and thentap Do It to confirm or the gray bar at the top of the screen to cancel.

To load a sample into a drum program:
1. Press Browse (MPC X, MPC One, MPC Studio) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61,
MPC Touch) to show the Browser. Find and select a sample, and then tap Load to load it to the program.
Repeat this for any other samples you want to load into the project. (See Modes > Browser to learn more about
using the Browser specifically.)
2. Tap Sample Assign to view the pads and project’s sample pool.
3. Press or tap a pad to select it. The pad will be lit green.
4. In the Sample Pool list, tap a sample to assign it to the pad. Alternatively, use the data dial or –/+ buttons to
assign a sample and/or change the assigned sample.
To clear the assigned sample from a selected pad, tap Clear Pad.
To assign samples to additional pads, repeat Steps 3–4.
Tip: Remember that a drum program has 128 pads total—16 pads across eight banks.

78

Alternatively, assign samples in a drum program in Program Edit Mode in one of these two ways:

1. Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X,
MPC One), or press Edit (MPC Key 61).
2. Tap the Samples to view any of the last three pages. These lets you view the samples assigned to all four layersof the current pad as well as other parameters such as tuning, level, panning, or offset for each layer.
3. Tap a pad to select it (and play its assigned samples, if any). The pad will be lit green.
4. Tap one of the Layer fields under the sample waveform to select a layer. Tap the Sample field, and then use thedata dial or –/+ buttons to select a sample. Alternatively, double-tap the field for a layer, and then tap a sample
to select it.

79

Plugin Programs
A plugin program contains an instance of a plugin through which
you can send your track’s MIDI data. This lets you use the same
instance of a plugin with multiple tracks (rather than load an
instance of a plugin on every track, which can be cumbersome andCPU-intensive).

To create a plugin program:
1. Press Main to enter Main Mode.
2. Next to the Track field, tap the plug icon, which indicates a plugin program.
3. If the project does not contain a plugin program yet, a new plugin program (named Plugin, appended with anumber) will be added automatically to the project and appear in the Program field below.
If the project already contains a plugin program, the first one will be selected automatically and appear in the
Program field below.
To create another plugin program, tap the + icon above the Program field. A new plugin program will becreated and appended with a number (e.g., Plugin 002).
4. Double-tap the Plugin field. In the list that appears, tap the desired plugin. Alternatively, use the data dial or the–/+ buttons to select a plugin.
To sort your plugins by type or maker, tap Type or Manufacturer.
5. Tap Select to select the plugin, or tap Close to cancel.
To select a preset in your plugin (if any), double-tap the Preset field. In the list that appears, tap the desiredpreset. Alternatively, use the data dial or the –/+ buttons to select a preset.
To rename the program, tap the cursor icon on the right edge of the Program section. Use the virtual keyboard thatappears to enter a new name, and then tap Do It to confirm or the gray bar at the top of the screen to cancel.

You can also use the Sounds menu to browse plugins and presets or the Favorites menu to add and select yourmost-used sounds. See Addenda > Updates in MPC 2.11 > New Features > Sounds and Favorites for more
information.

To adjust the volume and panning of a track using the plugin program:
1. Press Menu, and then tap Channel Mixer to enter the Channel Mixer. Alternatively, press Ch. Mixer (MPC X),
Track Mix (MPC One), or Mix (MPC Key 61).
2. Double-tap the Mixer field in the upper-left corner, and then tap Midi Tracks.
3. Tap the square that represents the track with the plugin program to select it.
4. Tap and drag the volume slider or pan knob up or down to adjust it. After you do this once, you can adjust thevolume and panning of the plugin program normally.
Important:
If you copy a sequence, the volume and pan values will be copied with that sequence. This is also true if you move toa new sequence and put the same plugin program on a new track.
By default, some plugins do not support MIDI volume and pan. In this case, adjust volume levels and panning on theplugin program.

80

Keygroup Programs
A keygroup program uses one or more samples as its sound source. It contains (1) a list of samples and (2) thesettings for each sample (i.e., pitch tuning, effects, etc.). Keygroup programs are used to play samples chromaticallywith a MIDI keyboard or the MPC pads.

To create a keygroup program:
1. Press Main to enter Main Mode.
2. Next to the Track field, tap the piano-keys icon, whichindicates a keygroup program.
3. If the project does not contain a keygroup program yet, a
new keygroup program (named Program, appended witha number) will be added automatically to the project andappear in the Program field below.
If the project already contains a keygroup program, the first one will be selected
automatically and appear in the Program field below.
To create another keygroup program, tap the + icon above the Program
field. A new keygroup program will be created and appended with a number(e.g., Program 002).
To rename the program, tap the cursor icon on the right edge of the Program
section. Use the virtual keyboard that appears to enter a new name, and then tap
Do It to confirm or the gray bar at the top of the screen to cancel.
To assign samples in a keygroup program:
1. Press Menu, and then tap Program Edit to enter Program
Edit Mode. Alternatively, press Prog Edit (MPC X, MPCOne), or press Edit (MPC Key 61).
2. Tap Samples to view any of the last three pages. Theselets you view the samples assigned to all four layers of
the current keygroup as well as other parameters suchas tuning, level, panning, or offset for each layer.
3. Tap the Number of KG field, and then use the data dialor –/+ buttons to set the number of keygroups in the
program (1–128). Alternatively, tap the Number of KG
field, and then use the numeric keypad to enter a value (ordouble-tap the Number of KG field, and then use thenumeric keypad on the screen).
4. Tap the Keygroup field, and then use the data dial or –/+buttons to select a keygroup. Alternatively, double-tap the
Keygroup field, and then tap a keygroup to select it.
5. Tap a pad to play the sample in the keygroup. The pad will be lit green.
Tip: On your MPC hardware, disable Pad Perform and then press the Pad Bank D button to switch to Pad Bank
D and press Pad 13. You should hear the bass sample played back with its original pitch. You can use the otherpads to play your sample chromatically. Alternatively, you can play middle-C on an external MIDI device to hear
the sample at the original pitch.
6. Tap the field for a layer, and then use the data dial or –/+ buttons to select a sample. Alternatively, double-tap
the field for a layer, and then tap a sample to select it.

To create complex keygroup programs, you can add more keygroups (up to 128). This is useful when working withmulti-samples (e.g., when programming a real piano).
Tip: Remember that a keygroup program offers up to 128 keygroups, and each keygroup can hold up to four
samples (Layers 1–4). This is a total of 512 samples.
81

Clip Programs
A clip program uses several samples that can be looped(clips). Each clip can be assigned to a pad, which you canpress to trigger the clip according to a quantization setting.
This lets you create intriguing, layered performances bylaunching different combinations of clips together.
By default, the 16 pads are divided into four columns of four
pads. Each column represents a mute group; when a pad is
playing a clip, all other pads in that same mute group areturned off. This enables you to launch a clip without having
to manually stop other clips that are similar. For instance,pressing Pad 2 may launch a bass clip. You could thenpress Pad 6, which launches another bass clip and stops
the clip on Pad 2. This way, you’ll never be playing two bass
clips simultaneously.
The four-columns pad configuration described above is justa default to make things easy (e.g., you could use the firstcolumn for drum clips, the second for bass clips, the thirdfor keyboard clips, and the fourth for vocal clips). You can
use Program Edit Mode to assign pads to any combinationof mute groups you want.

To create a clip program:
1. Press Main to enter Main Mode.
2. Next to the Track field, tap the play-button icon, which indicates a clip program.
3. If the project does not contain a clip program yet, a new clip program (named Clip, appended with a number) will
be added automatically to the project and appear in the Program field below.
If the project already contains a clip program, it will be selected automatically and appear in the Program field
below.
To create another clip program, tap the + icon above the Program field. A new clip program will be created
and appended with a number (e.g., Clip 002).
To rename the program, tap the cursor icon on the right edge of the Program section. Use the virtual keyboard thatappears to enter a new name, and then tap Do It to confirm or the gray bar at the top of the screen to cancel.

82

To load a clip into a clip program:
1. Press Main to enter Main Mode.
2. Tap Edit Clips to view the pads and clip settings.
3. Press or tap a pad to select it (and play its assigned samples, if any). The pad on the screen will be lit red, and its
number will appear in the Pad field.
4. Tap the Sample field, and then use the data dial or –/+ buttons to select a clip. Alternatively, double-tap the
Sample field, and then tap a clip to select it.
To clear the assigned clip from a selected pad, repeat Step 4, but select None.
To assign clips to additional pads, repeat Steps 3–4.

Alternatively, assign clips in a clip program this way:
1. Press Browse (MPC X, MPC One, MPC Studio) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61,
MPC Touch) to show the Browser. Find and select a clip, and then tap Load to load it to the program. Repeat
this for any other clips you want to load into the project. (See Modes > Browser to learn more about using theBrowser specifically.)
2. Tap Sample Assign to view the pads and project’s sample pool.
3. Tap Assign Mode so it is selected (tapping an item in the sample pool will now assign it automatically to thecurrent pad).
4. In the Sample Pool list, tap a clip to assign it to the pad. Alternatively, use the data dial or –/+ buttons to assign
a clip and/or change the assigned clip.
To clear the assigned clip from a selected pad, tap Clear Pad.
To assign clips to additional pads, repeat Steps 4–5.
83

MIDI Programs
A MIDI program lets you send your track’s MIDI data to an
external MIDI device like a synth or drum machine.

To create a MIDI program:
1. Press Main to enter Main Mode.
2. Next to the Track field, tap the MIDI-jack icon, which indicates a MIDI program.
3. If the project does not contain a MIDI program yet, a new MIDI program (named Midi, appended with a number)will be added automatically to the project and appear in the Program field below.
If the project already contains a MIDI program, it will be selected automatically and appear in the Program field
below.
To create another MIDI program, tap the + icon above the Program field. A new MIDI program will be created
and appended with a number (e.g., Midi 002).
4. There are five additional settings to configure for a MIDI program: the MIDI Port, program change message(Program Ch), MIDI channel (MIDI Ch), Most Significant Byte (Bank MSB), and Least Significant Byte (BankLSB). See this section to learn more.
To configure each setting, double-tap its field. In the list that appears, tap the desired option. Alternatively, use
the data dial or the –/+ buttons to select an option.
Note: You also have to configure the MIDI ports in the software’s Preferences (in the Edit Menu). See the user
guide in the MPC software to learn more: click the Help menu, select MPC Help, and select MPC User Manual.
To rename the program, tap the cursor icon on the right edge of the Program section. Use the virtual keyboard thatappears to enter a new name, and then tap Do It to confirm or the gray bar at the top of the screen to cancel.

To adjust the volume and panning of a track using the MIDI program:
1. Press Menu, and then tap Channel Mixer to enter the Channel Mixer. Alternatively, press Ch. Mixer (MPC X),
Track Mix (MPC One), or Mix (MPC Key 61).
2. Double-tap the Mixer field in the upper-left corner, and then tap Midi Tracks.
3. Tap the square that represents the track with the MIDI program to select it.
4. Tap and drag the volume slider or pan knob up or down to adjust it. After you do this once, you can adjust thevolume and panning of the MIDI program normally.
Important: If you copy a sequence, the volume and pan values will be copied with that sequence. This is also true if
you move to a new sequence and put the same MIDI program on a new track.

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CV Programs
A CV program lets you send your control voltage (CV) signals
to an external MIDI device like a synth or drum machine thatuses CV.

To create a CV program:
1. Press Main to enter Main Mode.
2. Next to the Track field, tap the CV icon, whichindicates a CV program.
3. If the project does not contain a CV program yet, a
new CV program (named CV, appended with anumber) will be added automatically to the project andappear in the Program field below.
If the project already contains a CV program, it will beselected automatically and appear in the Program field
below.
To create another CV program, tap the + icon above
the Program field. A new CV program will be created
and appended with a number (e.g., CV 002).
4. Tap the keys icon to select a Melodic operation. Thisis the same as the traditional CV program operation.
There are five additional settings to configure for a
Melodic CV program: the note tracking (Note), the CV
Port, the Gate Port, the modulation wheel (Mod
Wheel), and Velocity Port.
Tap the pads icon to select a Drum operation. In thismode, tap the four squares with note icon to assign
each pad to a specific CV port and set its data type.
To rename the program, tap the cursor icon on theright edge of the Program section. Use the virtual
keyboard that appears to enter a new name, and thentap Do It to confirm or the gray bar at the top of thescreen to cancel.

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Menu
The Menu lets you select any of the 21 modes, save or start a new project, set your preferences, switch between
Standalone Mode and Controller Mode (except MPC Studio and MPC Touch), or view your system resources.

To open the Menu, press Menu, or tap the icon in the upper-left corner of the screen while on the normal page ofyour current mode.
When viewing the Menu, do any of the following:
To enter a mode, tap it.
Important: If a sequence is currently playing, you will not be able to enter Song Mode. Stop playback before
entering Song Mode.
To return to the previous mode, tap the gray area in the upper-left corner, or press Menu again.
To start a new project, tap New Project at the bottom of the screen.

You can also press and hold the Menu button and press a pad to select a menu mode. The pads follow the 4x4
layout of the main body of the Mode Menu.

Note: The Menu above is available when the currently selected track is a MIDI track. When an
audio track is selected, it will show an icon for Audio Edit Mode instead of Grid View.

Click a part of the screen above to skip directly to that part of this user guide.

You can also edit the Menu layout by tapping the Edit button. Once enabled, tap and drag the menu icons to yourpreferred location, and then tap Edit again to save your changes. This is useful for putting your most-used modes in
the left-most column so that they are easily accessed in any mode by swiping to the right from the left edge of thetouchscreen. See Addenda > Updates in MPC 2.11 > New Features > Menu Editing and Shortcuts Panel for
more information.

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Save
To open the save selector window, tap the Save button at the bottom of the screen.

To save a project, tap Project or Project As. If a project has not been saved before, both options will open the
save path window, described below. If a project has been saved before, tapping Project will automaticallyoverwrite the most recently saved version.
To save the current drum program, tap Drum Program when a Drum program is selected.
To save the current plugin program, tap Plugin Program when a Plugin program is selected.
To save the current keygroup, tap Keygroup when a Keygroup program is selected.
To save the current MIDI program, tap MIDI Program when a MIDI program is selected.
To save the current clip program, tap Clip Program when a clip program is selected.
To save the current CV program, tap CV Program when a CV program is selected.
To save the current program inserts, tap Program FX Rack.
To save the currently selected sample, tap Sample when the sample’s pad is selected. If a pad has multiple
layers, the sample currently selected for the pad in Sample Edit mode will be saved.
To save the current sequence, tap Sequence.
To save the project as an audio mixdown, tap Audio Mixdown.
Use the Start Bar and End Bar fields under Audio Length to set the time range that you want to mix down.
You can add a number of seconds to the end of the mixdown to capture any ringing notes or effects (such asa reverb tail) by adjusting the Audio Tail field.
Use the fields under Render Source and Render Options to set the parameters for the audio mixdown.
Check the Separate Tracks box to render each track of the arrangement as stems.
Use the fields at the bottom of the screen to configure the audio mixdown settings. You can set the File
Format, Bit Depth, and Sample Rate.
To save the project as an Ableton Live set, tap Ableton Live Set.
Use the Export MIDI As settings to choose how MIDI tracks and clips are exported, either as Audio files or
MIDI files. When using Plugin, Drum or Keygroup programs, you can render clips as Audio to preserve thesound of the instruments, or render clips as MIDI data.
Check the Include Program Volume/Pan Settings box to include these settings in the export. Whendisabled, the volume and pan settings will be set to 0 dB and center (C), respectively.
Check the Bypass Program Effects Plugins box to deactivate any third-party effect plugins used with theprogram for the export. When disabled, those effects will be activated.
Use the Audio Tail field to set the amount, in seconds, of extra time added to the end of the resulting audio
files.
Use the Bit Depth field to set the bit depth to 8, 16 or 24.
Use the Sample Rate field to set the sample rate to 44.1, 48, 88.2 or 96 kHz.
To close the window and return to the menu, tap Close or anywhere outside the window.
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After selecting the save type, use the following to select a save location:

To select the storage device you want to view, tap it in the Storage column on the left.
Internal is the internal drive of MPC X/Live/Live II/One/Key 61.
MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X/Live/Live
II/One/Key 61.
If you have storage devices connected to a USB port or SD card slot of MPC X/Live/Live II/One/Key 61, or yourcomputer (with MPC Studio or MPC Touch), they will also appear in this column.
To enter a folder, double-tap it. Alternatively, turn the data dial or use the –/+ buttons to move through the list, andpress the data dial, or the center cursor or Enter (MPC X), to enter a folder. You can also tap one of the fivefolder buttons in the upper-right to jump immediately to those pre-assigned file paths (see Modes > Browser tolearn how to do this).
To create a new folder, tap New Folder, use the virtual keyboard that appears to enter a name, and then tap Do It.
You will immediately enter the new folder.
To move up one folder level, tap the folder/ icon in the upper-left corner.
To name the file, tap the File Name field at the bottom of the screen, and use the virtual keyboard that appears.
To save the file, tap Save.
To save the file as a project template file, tap the Save as Template checkbox to check it before tapping Save.
(This file will be shown in the Template File field in the Preferences’ Project Load/Save tab.)
To cancel and return to the Menu, tap Cancel. Alternatively, tap the  icon in the upper-left corner.

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Preferences
To open the Preferences, tap the Preferences button at the bottom of the screen.
To return to the Menu, tap the  icon in the upper-left corner. Changes to the Preferences are saved
automatically except for Vintage Mode (in the General tab) and Start Time (in the Sync tab).
To restore your MPC hardware’s default settings, tap Reset Preferences. In the screen that appears, tap OK tocontinue or Cancel to return to the Preferences. In the next window, tap Save to save your current project before
restoring the default settings; tap Cancel to return to the Preferences; or tap Don’t Save to restore the default
settings without saving your current project.
Important: For MPC X, MPC Live, MPC Live II, MPC One, and MPC Key 61, the Preferences will appear differently inController Mode than in Standalone Mode. Some of the options described in this section may be available in only oneof these modes or in a different order. For MPC Studio, consult the MPC Software User Guide by going to Help > MPC
Help > MPC Software Manual for more information on the software preferences.

Info
This screen shows current information about your MPC hardware: its current firmware version, which includes its
standalone operating system (MPC Firmware); its hardware Serial Number; and its current firmware for the Control
Surface.
To enter Update Mode, tap Update. In the screen that appears, tap Save to save your current project before
entering Update Mode; tap Cancel to return to the Preferences; or tap Don’t Save to enter Update Mode without
saving your current project.
To view legal information relevant to MPC, press and hold Shift and tap Legal Info. For complete legal information,
visit akaipro.com/product-legal.
To view detailed version information, press and hold Shift and tap Version Info.

Activate Plugins
The settings on this screen allow you to sign in to your inMusic Profile to activate purchased plugin licenses. See
Addenda > Updates in MPC 2.11 > New Features > New Plugin Instruments for more information.

Wi-Fi
The settings on this screen will determine how your MPC hardware's wireless connection works, so you can use
Ableton Link, a new technology that synchronizes beat, phase and tempo of Ableton Live and Ableton Link-enabledapplications over a wireless or wired network. These settings are available only for MPC X, MPC Live, MPC Live II,
MPC One+, and MPC Key 61 when used in Standalone Mode.
To activate or deactivate wireless connectivity on your MPC hardware, tap the On/Off selector. The
available wireless networks will appear in the panel below it.
To select a wireless network, tap it.
To connect to a selected wireless network, tap Connect. If the Wi-Fi network is password-protected, use thevirtual keyboard that appears to enter the correct password to connect to it.
To view the information of a selected wireless network, press and hold Shift and tap Info. The Network
Information window that appears will show the network name, IPv4/IPv6 address (including the subnet mask
and gateway), type of security, and signal strength (as a percentage).
To disconnect from a connected wireless network, tap Disconnect.
To clear the connection information (e.g., the password) from a selected wireless network, tap Forget.

89Ethernet
The settings on this screen will determine how your MPC hardware connects to a wired network using a USB-toEthernet adapter or Ethernet cable (MPC One, MPC Live II, MPC Key 61 only). This allows you to maintain a tighter
network connection when using Ableton Link or the Akai Network Driver. These settings are available only for MPC X,
MPC Live, MPC Live II, MPC One, MPC One+, and MPC Key 61 when used in Standalone Mode.
To activate or deactivate Ethernet connectivity on your MPC hardware, tap the Enabled box.
To determine how your MPC hardware connects to the network, use the Address Method dropdown. SelectAutomatic to have your MPC hardware set the Ethernet connection, or Manual to set it yourself.
When setting the Ethernet connection manually, tap the IP Address, Subnet Mask, Gateway, and DNS fields to
input the values.

BluetoothThe settings on this screen will determine how your MPC hardware’s Bluetooth connection works, so you can use
Bluetooth MIDI controllers (e.g., LPD8 Wireless or LPK25 Wireless) or a Bluetooth computer keyboard with it. Thesesettings are available only for MPC X, MPC Live, MPC Live II, MPC One+, and MPC Key 61 when used in StandaloneMode.
To activate or deactivate Bluetooth connectivity on your MPC hardware, tap the On/Off selector. The
available Bluetooth devices will appear in the panel below it under Available Devices. The Bluetooth devices
that have already paired to your MPC hardware will appear under Paired Devices.
To select a Bluetooth device, tap it.
To pair a selected Bluetooth device (in the Available Devices section), tap Pair.
To connect to a selected Bluetooth device (in the Paired Devices section), tap Connect.
To disconnect from a connected Bluetooth device (in the Paired Devices section), tap Disconnect.
To return an available Bluetooth device to its original state, tap Remove.

Audio Device
The settings on this screen allow you to set up an external USB and Linux class-compliant audio interface for use
with your MPC hardware. See Addenda > Updates in MPC 2.10 > New Features > Standalone Audio Interface
Support to learn more.
Note: If you are unsure of your audio interface’s compatibility, check with the original equipment manufacturer for
more information.

MIDI / Sync
The settings on this screen determine how your MPC hardware uses and synchronizes with connected USB and
MIDI devices.
Input Ports: This displays all available MIDI input ports in a list. Double-tap the keyboard icon to rename a port
to a custom name. When Global is enabled, MIDI data from this port will always go to the current track. WhenControl is enabled, MIDI data from this port will be sent to MIDI Learn. When Track is enabled, this MIDI port willappear in the list of available MIDI Inputs. Click the reset arrow to reset the MDI Port settings.
Output Ports: This displays all available MIDI output ports in a list. Double-tap the keyboard icon to rename a port
to a custom name. When Sync is enabled, the MIDI output port will send MIDI sync messages according to thetype set under Sync Send, below. When Track is enabled, this MIDI port will appear in the list of available track
MIDI outputs. Click the reset arrow to reset the MDI Port settings.
Enable MIDI Ports When Discovered: When enabled, any time a MIDI device is plugged in the Track option is
automatically enabled so the ports can be selected as an available MIDI input or output.
MIDI Control Mode Output: This determines which MIDI port the MPC hardware is using to send MIDI
messages to external MIDI devices.
Receive: This determines whether your MPC hardware receives MIDI Clock information (MIDI Clock), MIDI Time
Code information (MIDI Time Code (MTC)), communication from Ableton Link (Ableton Link), or none of these (Off).
Important: Audio recording is disabled when receiving MIDI Clock sync. Use MIDI Time Code to record audio
while receiving MIDI sync.
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Receive MMC: When enabled, your MPC hardware will be able to receive MIDI Machine Control (MMC)
information. When disabled, your MPC hardware will not receive this information. See Appendix > MIDI Machine
Control (MMC) to learn about this.
Send: This determines whether your MPC hardware sends MIDI Clock information (MIDI Clock), MIDI Time
Code information (MIDI Time Code (MTC)), or neither (Off).
Send MMC: When enabled, your MPC hardware will be able to send MIDI Machine Control (MMC) information.
When disabled, your MPC hardware will not send this information. See Appendix > MIDI Machine Control (MMC)
to learn about this.
MTC Frame Rate: This determines the frame rate used by MIDI Time Code (MTC), which is important for correct
timing, especially when working on film scoring projects. In most cases, you should select 25.
Start Time: This is the starting time that will be sent when Send MIDI is set to anything other than Off. The time
is formatted in hours:minutes:seconds:frames.
Filter ‘All Notes Off’ CC: When enabled, “All Notes Off” (“MIDI panic”) messages will be ignored. This is useful if
you are using an external MIDI device that can send these types of messages but you want to filter them out.
When disabled, “All Notes Off” messages will be received normally.
Program Change: This determines what an incoming MID I program change message will change: a Program,
Sequence, or Track.

Hardware
The settings on this screen determine the behavior of your MPC hardware’s pads and touchscreen.
Pad Threshold: This determines how much force is required to strike the pads for them to trigger.
Pad Sensitivity: This determines how the pads respond to touch. At lower values, you need to use more force togenerate a high-velocity note. At higher values, it is easier to generate high-velocity notes, even if you do not use
much force while pressing a pad.
Pad Curve: This determines how striking the pads translates into velocity values. The A MIDI
curve is essentially linear, while the B, C, and D curves are exponential (see graphic here). Velocity
Velocity & Aftertouch: View these meters when striking and pressing the pads to help
gauge the force and pressure you are applying to them. These meters are useful when
adjusting the Pad Threshold and Pad Sensitivity parameters (above).
Footswitch 1 & Footswitch 2 (MPC X only): These determine how connectedfootswitches will work.
AppliedForce
Screen Dimming: This determines how much time must pass before your MPC
hardware automatically dims its touchscreen (if it uses a battery, this can help preserve
battery life).
Screen Brightness: This determines the brightness of the screen during normal operation: normal brightness(Day) or dimmed (Night).
Power On Screen (MPC Live, MPC Live II only): This determines if/when a special screen will appear when you
power on your MPC Live. On this screen, you must tap and hold a button for a moment to begin using MPC Liveor it will automatically power off. This feature prevents it from powering on accidentally and wasting battery life.
You can set it to the following options:
Never: The screen will never appear.
When On Battery: The screen will appear only if you power on MPC Live while using battery power.
Always: The screen will always appear.
Tap Tempo: This determines how many times you have to press the Tap button before the new tempo isrecognized.
Flash Tap Tempo Light: When enabled, the Tap button’s light will flash in time with the tempo. When disabled,
the Tap button’s light will be off.
Bank Button Press: This determines how the Pad Bank buttons work.
Select A-D: Pressing a Pad Bank button once will select the corresponding bank from Pad Banks A–D.
Pressing and holding Shift while pressing a Pad Bank button will select the corresponding bank from Pad
Banks E–H.
Select/toggle bank: Pressing a Pad Bank button will alternate between the corresponding bank from Pad
Bank A–D and Pad Bank E–H. In other words, you do not need to hold Shift to select one of Pad Banks E–H.

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Shift + Q-Link Press: This setting determines whether pressing Shift and the Q-Link button opens Q-Link Edit orCycles Backwards between the Q-Link columns.
Global Pitch Bend: Enable this option to override the pitch bend settings of all programs, so that those with pitch
bend disabled or set to different ranges will only use the Global Range instead. When disabled, all programs may
use their individual pitch bend settings.
Range Down / Range Up: Use these fields to determine the range of pitch bend in semitones.
VU Meter Source (MPC X only): This determines what audio signal level is shown in the level meters (on the right sideof the screen). When set to Main, the level meters show the audio signal sent out of Outputs 1/2 (the Main L/Routputs on the rear panel). When set to Current Program, the level meters show the audio signal of the currently
selected program (i.e., the program used by the currently selected track and any other tracks that also use it).
Date (not available for MPC Studio and MPC Touch): This is the current date, formatted as Month / Day / Year.
When saving files on MPC in Standalone Mode, the file will include the current date in its metadata. If you use
MPC in Controller Mode, this setting will be overwritten with the current date of the host computer.
Time (not available for MPC Studio and MPC Touch): This is the current time, formatted as Hour : Minute. Whensaving files on MPC in Standalone Mode, the file will include the current time in its metadata. If you use MPC in
Controller Mode, this setting will be overwritten with the current time of the host computer.
Time Zone (not available for MPC Studio and MPC Touch): This is the current time zone, formatted as Continent/ City, which you can change here.

Sequencer
The settings on this screen determine how sequencing works in the Grid View and in the Step Sequencer.
Instant Track Mute: When disabled, if you mute a track, its Note On messages will be ignored, and samples andnotes that are playing will finish playing their entire length (this is how legacy MPCs’ track-muting worked). This isuseful if you are using loops and want a loop to play to the end of a bar but not play the next time the sequence
loops. When enabled, if you mute a track, the MIDI track volume (0) will be sent. The loop will continue to play
but at zero volume, allowing the loop to continue playing when the track is unmuted. This is useful when you
want to have the track muted immediately.
Play Track Mute and Solo Events: When enabled, track mute and solo events are played back when you are inTrack Mute Mode. When disabled, track mute and solo events will not be played back while in Track Mute Mode.
Rec Arm: This determines the behavior of the Record Arm buttons. When set to Single, selecting a different
track will automatically arm that track and disarm all other tracks. This is the default mode and is the same asprevious MPC releases. When set to Multi, you can tap any track's record button to add it to the group of armed
tracks. See Addenda > Updates in MPC 2.8 > New Features > Single or Multi Record Arm to learn more.
Record Track Mute and Solo Events: When enabled, track mute and solo events are recorded when you are inTrack Mute Mode (timing correct settings will affect the recorded position events). When disabled, track muteand solo events will not be recorded while in Track Mute Mode. This feature is useful if you want to use Track
Mute Mode to record track mutes or solos into your sequences as opposed to using Track Mute Mode for
performance or listening purposes only.
Record Pad Aftertouch Events: When enabled, pad aftertouch data (from the MPC hardware’s pressuresensitive pads) will be recorded. When disabled, pad aftertouch data will be ignored.
Place Events Recorded During Count-In at Start Point: When enabled, pressing a pad during the recording’s
pre-count will record that note event at the start of the recording (this is how the MPC3000 worked). Whendisabled, no notes will be recorded until the pre-count is finished and recording has begun.
Note: This setting is ignored when recording with the Arpeggiator active.
Truncate Duration: This determines if/how events are cropped if they exceed the length of the current Sequence:
To Sequence Length: If the length of an event exceeds the length of the sequence, it will be truncated. This
ensures that the event will not overlap itself when the sequence loops.
To Sequence End: If an event exceeds the length of the sequence, it will be truncated to the end of thecurrent sequence. In other words, the event will stop playing when the sequence ends or loops.
As Played: Events will play back exactly as they were recorded, even if they overlap themselves when thesequence loops.
Bar 1

For example, if you record a note starting on the second bar of a 4-bar loop
and hold it for 5 bars, the note would end: at bar 7 (As Played), at bar 6 (ToSequence Length), or bar 4 (To Sequence End). See image for details.

2

3

4

5

6

7

8

As played
To Sequence Length
To Sequence End

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Q-Link Swing Control Applies TC Settings on Release: When enabled, turning the Q-Link knob assigned to
Swing and then releasing it will immediately apply that Swing setting. When disabled, you must use the Timing
Correct window to apply the Swing setting.
Display Resolution: This is the display resolution (in PPQN—pulses per quarter note) of pulse values in certain
areas of the operating system. Please note that this setting affects the display resolution, not the timing.

Project Defaults
The settings on this screen determine various default values for any new project that you create.
New Project Dialog: This determines what options you see when you start a new project. When set to Off, a
new project will be empty with no preconfigured settings except for the project defaults shown here. When set toDemo, you can choose to load a demo project (from several different genres) as a starting point or an empty
project. When set to Demo/Template/Recent, you can choose to load a demo project, a project template file, oran empty project. You must have a project in the Template File field of the Project Load/Save tab to select a
template in this window.
Default Tempo: This is the default tempo in BPM.
Default Global Tempo: When enabled, the default tempo value will be used for the global tempo. Whendisabled, the default tempo will be used for sequences.
Default Sequence Bars: This determines the default number of bars of a new sequence.
Default Time Signature Numerator: This determines the number of beats per bar of a new sequence (the top
number of a time signature).
Default Time Signature Denominator: This determines the value of each beat of a new sequence (the bottom
number of a time signature).
Default Pad Slice: This determines how new samples will play when you load them or record them into a
project. When set to Pad, the Slice menu in Program Edit Mode will be set to Pad, which lets you set the startpoint, end point, etc. for the layer. When set to All, the Slice menu in Program Edit Mode will be set to All, in
which the entire sample plays.
Default Drum/Keygroup Filter: This determines the default type of filter that drum and keygroup programs willuse. See Appendix > Glossary > Filter to learn about this.
Default Plugin Synth: This determines the default instrument plugin that a new plugin program will use. Use thewindow that appears to select it.

Project Load/Save
The settings on this screen determine if (and how) projects are automatically saved. If you are using MPC hardware
as a controller, you can also define files to load automatically.
Auto Load File: Use this field to select a project (.xpj) or program (.xpm) to load automatically anytime you open
the MPC software. (For MPC X, MPC Live, MPC Live II, MPC One, and MPC Key 61, this option is available only
when using your MPC hardware in Controller Mode.)
Enabled: When enabled, your project will automatically save after each Timeout interval. When disabled, yourproject will not be automatically saved; you may save only manually.
Timeout: Use this field to select how often your project will automatically save.
Template File: Use this field to select a project template that will load automatically when you select User
Template in the New Project Dialog window. (If you select the Save as Template box when saving a file, it will
be shown in this field.) In order for the User Template option to be available, New Project Dialog (in the Project
Defaults tab) must be set to Demo or Demo/Template/Recent.

Record/Export
The settings on this screen determine the settings for recording and exporting.
Recording Bit Depth: This determines the bit depth of recorded audio.
Include Program Volume/Pan Settings: When enabled, the exported audio or MIDI file will include its volume
and pan settings. When disabled, the volume and pan settings will be set to 0 dB and center (C), respectively.

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Bypass Program Effects Plugins: When enabled, the exported audio or MIDI file will include any third-party
effect plugins that are used with it, but those effects will be bypassed (deactivated). When disabled, those effects
will be activated.
Audio Tail Length: This determines the length of an audio tail (silence) that will be applied to the exported audio
file. When set to 0, the audio file will not have any additional audio tail.
Audio Export: This determines what part of the sequence is exported when you click the Export Audio icon.
Track: When this is selected, Export Audio will export the currently shown track in the current sequence.
Program: When this is selected, Export Audio will export all tracks in that sequence that use the currently
shown program.
Main: When this is selected, Export Audio will export all tracks in that sequence that use programs routed tomain outputs.
MIDI Export: This determines what part of the sequence is exported when you click the Export MIDI icon.
Track: When this is selected, Export MIDI will export the currently shown track in the current sequence.
Sequence: When this is selected, Export MIDI will export all tracks in the current sequence.
Bounce Bit Depth: This determines bit depth of the audio file that is exported when you click the Export Audio
icon: 16-bit or 24-bit.

GeneralThe settings on this screen determine how other features work in the hardware and operating system.
Vintage Mode: This determines the type of emulation applied to the audio output. You can apply the particularsonic qualities of, for example, the MPC3000 or MPC60, or of course no emulation (None).
Audition Auto Play: This determines how long a sample will sound when auto-previewing it.
Audition Outputs: This determines which pair of outputs will play any auditioned sounds (Out 1,2–7,8 in Standalone
Mode, Out 1,2–31,32 in Controller Mode; MPC Live/Live II do not use Out 7,8 and MPC One/Key 61 do not use Out
3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does use them). Thesesounds include: samples, programs, and projects in the Browser; sample playback, Cue Preview, and SlicePreview in Sample Edit Mode; and sample playback in the Keep or Discard Sample window in the Sampler.
Cue Preview: This determines if/how audio is played as you move the cue playhead. As you move the cue
playhead through a sample waveform, you can set it to play the small part of the sample before the cue playhead(Before), play the small part of the sample after the cue playhead (After), or not play at all (Off). You can also set
this in Sample Edit Mode (see Modes > Sample Edit Mode > Settings).
Slice Preview: This determines if/how audio is played as you move a slice marker. As you move the slice marker
through a sample waveform, you can set it to play the small part of the sample before the slice marker (Before),play the small part of the sample after the slice marker (After), or not play at all (Off). You can also set this in
Sample Edit Mode (see Modes > Sample Edit Mode > Settings).
Threads: This determines how many cores of your computer’s processor will be used to render audio. The
available range depends on your processor. (For MPC X/Live/Live II/One/Key 61, this option is available only
when using your MPC hardware in Controller Mode.)
Audio Warp Algorithm: This determines how a sample is “warped” when you adjust the length of a sample
without changing its pitch (e.g., the Warp function in Audio Edit Mode for audio tracks or in Program Edit Modefor clip programs). (For MPC X/Live/Live II/One/Key 61, this option is available only when using your MPC
hardware in Controller Mode.)
Note: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too
freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources requiredby using a Warp algorithm other than Elastique Pro, which is very CPU-intensive.
Audio Track Auto Warp: This determines how recorded audio track regions are warped. When set to On, any
audio track region that you record will be warped automatically to match the current sequence tempo. You canthen adjust the sequence tempo while the audio track region remains in time.
Note: When you record an audio file, the current sequence tempo will be embedded with it. This information isstored within the sample file when you save the project. When you warp an audio track region, the warping
algorithm uses this sequence tempo and the current value in the BPM field to generate the “stretch factor.”
BPM Detection Range: This defines the range of detectable BPM values when you use any automatic BPM
detection function in the software or when you press the Tap button to enter a new tempo.
94Show Q-Link Status When Touched (MPC Live/Live II/One/Key 61/Touch only): When enabled, touching the QLink knobs opens a pop-up showing the current Q-Link assignments and values.
Desktop Screensaver Disable: This determines if/when your computer’s screensaver is disabled while using
the MPC software (i.e., using your MPC hardware in Controller Mode):
Never: Your computer’s screensaver will function normally.
When hardware used: As long as your MPC hardware is connected to your computer and being used, yourcomputer’s screensaver will be disabled.
When hardware attached: As long as your MPC hardware is connected to your computer and powered on,
your computer’s screensaver will be disabled. It will function normally again if you power off or disconnect
your MPC hardware from your computer.
Always: Your computer’s screensaver will be disabled as long as the MPC software is open (whether or not
your MPC hardware is connected or powered on).
(For MPC X/Live/Live II/One/Key 61, this option is available only when using your MPC hardware in Controller
Mode.)
Collect Usage Statistics: This determines whether or not your usage statistics will be sent occasionally to us,
enabling us to improve the MPC experience. (For MPC X/Live/Live II/One/Key 61, this option is available only
when using your MPC hardware in Controller Mode.)

SpliceThe settings on this screen control integration with the Splice platform. See Addenda > Updates in MPC 2.5 > New
Features > Splice Integration for more information.

Sync
Tap the Sync field (in the center of the top of the screen) and then turn the data dial or use the –/+buttons to set whether your MPC hardware receives MIDI Clock information (MIDI Clock), MIDITime Code information (MTC), communication from Ableton Link, or none of these (Off).
Alternatively, double-tap Sync and tap the desired option to select it.
This is the same setting as the Receive menu in Sync tab of your Preferences. See Preferences> MIDI / Sync for more information.
Important: Audio recording is disabled when receiving MIDI Clock sync. Use MIDI Time Code torecord audio while receiving MIDI sync.
Note: Ableton Link is a new technology that synchronizes beat, phase and tempo of Ableton Liveand Ableton Link-enabled applications over a wireless or wired network. Your MPC hardware
must be connected to a wireless network to receive this information. See Preferences > Wi-Fi tolearn how to connect to a wireless network.

Undo History
Tap the clock icon to open the Undo History window. See Addenda > Updates in MPC 2.10 >New Features > Undo History for more information.

Tuner
Tap the tuning fork icon to open the Tuner window. See Addenda > Updates in MPC 2.11 >New Features > Built-In Tuner for more information.

95

MIDI Monitor
Tap the I/O icons to open the MIDI Monitor window. See Addenda > Updates in MPC 2.10 >New Features > MIDI Monitor for more information.

Mode
Tap this icon to switch MPC X/Live/Live II/One/Key 61 between Standalone Mode andController Mode (MPC Studio and MPC Touch already operate as a controller only). In thescreen that appears, select whether you want to save your current project before
switching (Save), switch without saving your project (Don’t Save), or stay in the current
mode and project (Cancel). You cannot freely switch between Standalone and Controller
Modes without also closing your current project.
See Standalone vs. Controller Mode to learn more.

96

System Resources
Tap one of these icons to show the System Resources window for
MPC X/Live/Live II/One/Key 61.
The indicators in this window show current usage statistics:
Battery: If you are using MPC Live powered by its internal
battery, the first indicator shows the current battery life as apercentage. (See Battery Usage to learn more about MPC
Live and MPC Live II’s internal battery.)
CPU: The CPU indicator shows the current CPU as apercentage.
RAM Usage: The Mem indicator shows your MPC hardware’s
current RAM usage.
Important: If you encounter a warning that there is not enough memory to complete an action while using yourMPC hardware, do the following to make more memory available:
Make sure all audio tracks in your project are not record-armed.
Delete samples from your project’s sample pool that were there before the warning appeared.
If you are still seeing the warning, do the following:
1. Manually undo the last action you performed before seeing the warning (you may not be able to use theUndo button for this due to how the undo history is stored in RAM).
2. Save your project.
3. Do one of the following, and then load your saved project again.
• In Main Mode, tap the folder icon at the top of the screen, and then tap New at the bottom of the screen.
• Power your MPC hardware off and then on again.
• Press Menu and then tap the gear icon to open the Preferences. In the Preferences, tap Reset at thebottom of the screen, tap OK, and then tap Restart to reset the Preferences.
• Enter Controller Mode and then reenter Standalone Mode.
Important: Although you can load multiple files at once, any samples you load into a project will be automaticallyconverted to full-quality uncompressed audio files, so they may use more storage space than they do on yourexternal storage device. If you are unable to load multiple files at once due to this, select fewer files and try again.
Drives: The Drives indicator shows the available storage space on any detected external storage devices or theinternal drive of MPC X/Live/Live II/One/Key 61.
To delete samples from the project (to create more free RAM space for sampling time, audio recording, etc.), tap
Purge. In the screen that appears, tap Unused Samples to delete all unused samples from the project, tap All
Samples to delete all samples from the project (from all programs, sequences, and audio or MIDI tracks), or tap
Cancel to return to the previous screen.
To close the System Resources window, tap OK, the X in the upper-right corner, or anywhere outside the window.

97

Time Counter/Locate
In most of the available modes, there is a time counter at the top of the screen. This indicatesthe current playhead position.

To adjust the position, tap it, and then use the use the data dial or the –/+ buttons.

To open the Locate screen and adjust its settings, double-tap the time counter.
To close the Locate screen, tap the X in the upper-right corner or anywhere outside thewindow.

To move forward or backward a step, tap the Step < or Step > button, respectively.

To move forward or backward a bar, tap the Bar << or Bar >> button, respectively.

To configure your auto record settings, use the Auto Record selector and adjacent fields:
Auto Record selector: Tap the desired option to select it:
Off: Auto recording is disabled.
Punch In: You can auto record using punch-in and punch-out markers, enabling you to record over a
specified length of time in the track. While recording, the entire sequence will play, but you will record over
only the area between the Punch In and Punch Out markers. Any part of the sequence before the Punch In
marker or after the Punch Out marker will remain untouched, even if you perform over it during recording.
Record Start: After you record-arm the track and start playback, you will start recording once the sequence
loops back to its start. This is essentially a punch-in feature for the entire track, enabling you to start playing arecord-armed track while allowing more time than the usual count-in to prepare for the actual recording to start.
Punch In: Use these fields to set the location of the Punch In marker, which is where recording will start (whenthe Auto Record selector is set to Punch In).
Punch Out: Use these fields to set the location of the Punch Out marker, which is where recording will stop
(when the Auto Record selector is set to Punch In).

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You can use this screen to set time markers, allowing you to jump automatically to precise locations in a sequence.
You can set up to six time markers.
To set a time marker, tap the time counter at the top of the screen, find the desired time, and then tap Set next tothe desired time marker. The time will appear next to that marker.
To jump to a time marker, tap the number next to it (1–6).

99

Timing Correct (TC)The Timing Correct window contains various settings to help quantize the events in your sequence. You canquantize note events on MIDI tracks or track regions on audio tracks (though you cannot apply all types ofquantization to audio tracks).
To open the Timing Correct settings:
In Main Mode or List Edit Mode: Tap the TC field at the top of the screen.
In the Grid View: Press and hold Shift and tap TC at the bottom of the screen.
In the Track View or the Step Sequencer: Tap TC at the bottom of the screen.
Note: The TC button in Pad Mute Mode and Track Mute Mode contain Timing Correct settings, but they do
not open this window. See Modes > Pad Mute Mode and Track Mute Mode to learn about those settings.
Press the TC / On/Off button (MPC Live II/One/Key 61/Studio only).
To enable or disable Global Timing Correct, tap the Global Timing Correct button. Alternatively, press andhold Shift and tap the TC field at the top of the screen in Main Mode or List Edit Mode.
To apply the settings you selected to the current track, tap Do It.
To apply the settings you selected to all tracks, tap All Tracks.
To cancel and return to the previous screen, tap Close.

Use the Type selector to set how timing corrections are applied.
Start: The entire note event or audio track region will be nudged forward or backward so the start point aligns
with the closest time division marker in the grid. You can apply this to MIDI tracks or audio tracks.
End: The end points of note events will be extended or shortened to align with the closest time division marker inthe grid. The start points will remain untouched. You can apply this to MIDI tracks only.
Length: The end points of note events will be extended or shortened so that each event’s length is a multiple ofthe time division, regardless of where it is in the grid. The start points will remain untouched. You can apply thisto MIDI tracks only.
Legato: The end points of note events will be extended or shortened to create a long, unbroken phrase from thefirst note event’s start point to the last note event’s end point. Each note event will sustain until another note event
starts. If multiple note events start at the same time (and are not the last note events), their lengths will become
identical. Selecting Legato disables all other options in this window. You can apply this to MIDI tracks only.

Without legato applied.

With legato applied.
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Use the Time Division selector to set the quantization value. Events will “snap” to these time divisions on the grid.
The T indicates a triplet-based value.
Alternatively, press and hold Note Repeat while in Main Mode, and then use the six buttons at the bottom of the screen.

Use the Swing field to set the amount of swing from 50% to 75%. Swing lets you “shuffle” your beats—from subtle
to extreme.

Use the Shift Timing field to shift all events by clock ticks.

Use the Window field to set how many events around a quantize value will be quantized. Any events outside thisrange will not be quantized; events inside will.

Use the Strength field to set how strictly events will be quantized (i.e., shifted toward the quantize value). Lower
values move events a little bit towards the closest quantize value, resulting in a less mechanical feel than a strict
quantization (a higher value).

Use the Events selector to set the target range for the timecorrection. You can apply the time correction to All note
events or to just the Selected ones.
To select note events to which to apply time correction,either use the various tools in Grid View or press the padwith the desired events (while Hitting Pad Selects All
Events is set to On). You must do this before opening theTiming Correct window.
When Range is selected, you can define the locations(From and To) as well as the pads or keys that will bequantized.

101

Metronome (Click/Metro)
The Click/Metro window contains all settings regarding the metronome (click track).
To open the metronome settings:
In Main Mode or List Edit Mode: Tap the Metro/metronome icon at the top of the screen.
In the Grid View: Press and hold Shift and tap Click at the bottom of the screen.
In the Track View: Tap Click at the bottom of the screen.
Tap the Metro/metronome icon at the top of the screen.

Use the Count-In field to set if/when the metronome counts before recording.
Off disables the metronome pre-count.
Record enables the pre-count during recording only.
Record + Play enables pre-count in both Record and Playback Modes.
Use the Enable field to set if/when the metronome is enabled.
Off disables the metronome.
Play enables the metronome sound during playback only.
Record enables the metronome sound during recording only.
Record + Play enables the metronome to happen in both Record and Playback Modes.
Use the Rate field to select the metronome click’s time division: 1/4, 1/4T, 1/8, 1/8T, 1/16, 1/16T, 1/32 or 1/32T.
T indicates a triplet-based time division.
Use the Sound field to select the sound that you want to hear for the metronome: Sidestick 1, Sidestick 2, Clap,
Metroclick, Shake, Tambourine, or MPC Click.
Use the Volume knob to set the volume of your metronome click.
Tap the On/Off button to enable or disable the metronome.
Use the Output field to set which pair of outputs will play the metronome click: Out 1,2–7,8 in Standalone Mode, Out
1,2–31,32 in Controller Mode (MPC Live/Live II do not use Out 7,8, and MPC One/Key 61 do not use Out 3,4–7,8 inStandalone Mode, but displays them to maintain compatibility with MPC X, which does use them).
102Automation
You can set the automation for programs and audio tracks to be “written,” “read,” or disabled entirely. You can dothis globally or for individual programs and audio tracks.

GlobalIn several modes, there is a button in the upper-right corner that controls the global automation. When you tap thisbutton to change its state, it will change the automation state for all programs in the project.
This is available in Main Mode, XYFX Mode, Pad Mute Mode, the Pad Mixer, the Channel Mixer, and Q-Link Edit Mode.

Tap the global automation button or press Automation Read/Write (MPC Studio) to cycle throughits two states:
When set to Read (R), automation data will be read but not recorded. (Think of this as a protective
feature to prevent accidental changes to your automation while recording.)
When set to Write (W), automation can be recorded and will overwrite any existing automation. (Makesure not to touch the XY pad accidentally while you are recording.)
Press and hold Shift and tap the global automation button or press and hold Shift and press
Automation Read/Write (MPC Studio) to disable global automation. When off, automation data will beignored. Tap the global automation button again to enable global automation.
Important: If you have already recorded automation and turn it off, the track will still use the effect and its
parameter values at the point where you turned it off.

Programs & Audio Tracks
You can also set the automation for each program or audio track by using the program automation button in thechannel strip on the left side of the screen in Main Mode and the Channel Mixer. Program automation is available forall program types except MIDI programs.
Note: Remember that tapping the global automation button will change the automation state for all programs in the
project; if they were originally different, all of them will then match the global automation state.
In Main Mode, if the channel strip is not already shown, tap the small eye icon below the Project field to show it.
In the Channel Mixer, if you do not see a program automation button in the channel strip, make sure the Mixer field
is set to Audio Tracks or Programs.

Tap the program automation button or press Read/Write (MPC X, MPC Key 61) to cycle through its twostates:When set to Read (R), the program will read automation data but will not record any additional
automation over it. (Think of this as a protective feature to prevent accidental changes to yourautomation while recording.)
When set to Write (W), the program can record automation. (If you have any Q-Link knobs assigned
to automatable parameters, make sure not to touch any accidentally while you are recording.)
Press and hold Shift and tap the program automation button or press Read/Write (MPC X, MPC
Key 61) to disable program automation. When off, the program will ignore automation data. tap the
program automation button or press Read/Write (MPC X, MPC Key 61) to enable programautomation again.
Important: If you have already recorded automation and turn it off, the track will still use the effect andits parameter values at the point where you turned it off.

103

16 Level
Press the 16 Level button on your MPC hardware to activate or deactivate 16 Level.

When first activated, the selected pad (Pad A01 by default) will be temporarily copied to all 16 pads. The pads will now
output the same note number as the initial pad, but a selectable parameter will be fixed at values that increase as thepad numbers increase (e.g., Pad 1 is the minimum, Pad 16 is the maximum), regardless of how hard you press them.

In the 16 Levels screen that appears, use the Type selector to choose the parameter: Velocity, Tune, Filter, Layer,
Attack, Decay, Probability, or Ratchet.

To select a pad, do any of the following (while the 16 Levels window is open):•

Press and hold 16 Level, and then press the desired pad.

•Tap the 16 Levels checkbox to uncheck it (temporarily disabling the feature), press the desired pad, andthen tap the 16 Levels checkbox again to check it.

•

Tap the Pad field, and use the data dial or –/+ buttons.

•

Double-tap the Pad field, and tap the desired pad in the list that appears.

If Type is set to Tune, use the Original Pad field to select which you pad you want to use the original pitch of thesample/samples. Alternatively, hold Shift and press the desired pad.

If Type is set to Layer, pads with multiple samples will play back each layer according to the Velocity Start and
Velocity End settings for each layer.

See Addenda > Updates in MPC 2.11 > New Features > Note Probability and Note Ratchet to learn more about
these types of 16 Level control.

104

EraseThe Erase function erases all or part of a track in a specific sequence.

To open the Erase window, press the Erase button. Alternatively, while in Main Mode, tap the pencil icon on theright edge of the section, and then tap Erase in the screen that appears.

To select the sequence you want to erase, use the Sequence field.
To select the track you want to erase within the sequence, use the Track field.
To set the time range of the sequence you want to erase, use the Bar, Beat, and Tick fields. The left fields set
the start of the time range, and the right fields set the end of the time range.
To select what types of events you erase, select one of the Erase options:
All erases all pad events from the designated time range and reset all of its settings.
Automation erases only automation from the designated time range. Use the Parameter field to select what
type of automation is erased.
Note erases only specific pad events from the designated time range. In the diagram of the eight pad banks thatappears, press each pad in each bank to select or deselect its notes.
Except Note erases everything except pad events from the designated time range.

To confirm your choice, tap Do It.
To cancel and return to the previous screen, tap the X, Cancel, or anywhere outside the window.

105Effects
You can apply various effects to the pads, keygroups, audio tracks, programs, submixes, and main outputs, using
insert and send/return effects. This chapter can help you get a good overall understanding of how the effects work.

See Appendix > Effects & Parameters for a list of all available effects (with a brief description of each) and theireditable parameters.

Overview
In a program, each pad or keygroup can have up to four insert effects applied to it. See Insert Effects > Pads orKeygroups to learn more about this.

An entire program or audio track can also have up to four insert effects applied to it, as well. See Insert Effects >Programs or Audio Tracks to learn more about this.

For even further flexibility, each submix can have up to four insert effects applied to it. You can route pads,
keygroups, audio tracks, or programs to a submix, which is then routed to a main output. See Insert Effects >Submixes to learn more about this.

Additionally, each pad, keygroup, audio track, program, and submix can each be sent to (up to) four returnchannels, each of which can have up to four insert effects of their own. Their audio will be routed through the insert
effects on those returns, and the processed audio will be sent to a main output. See Send/Return Effects to learn
more about this.

Finally, you can apply up to four insert effects to each main output (a stereo pair of channels: Outputs 1/2, Outputs
3/4, etc.). See Insert Effects > Main Outputs to learn more about this.

When you create an audio mixdown of a sequence or song, you can choose whether or not main insert effects areincluded or send/return effects are included, depending on what you are mixing down:
If you are creating an audio mixdown of a pair of main outputs, you can choose whether or not main insert
effects will be included in the mixdown.
If you are creating an audio mixdown of separate programs or exploded tracks, you can choose whether or
not send/return effects will be included in the mixdown.
See Audio Mixdown to learn about these options.

There are three other modes that handle effects differently:•

The Sampler can use up to four insert effects, which are applied to the audio as you record it. This meansthat the effects cannot be “removed” from the sound later. Learn more about the Sampler in the Modes >Sampler chapter.

•

Similarly, the Looper can use up to four insert effects, which are applied to the audio as you record it. Thismeans that the effects cannot be “removed” from the sound later. Learn more about the Looper in theModes > Looper chapter.

•

In XYFX Mode, the effects act like a single insert effect on that program. In fact, XYFX is the name of theinsert effect you have to load to the program before you can use this mode. Learn more about XYFX Mode in
the Modes > XYFX Mode chapter.

106

To view, load, edit, or clear effects, tap the area underthe Inserts field. This usually appears in a channel strip(next to a level slider and pan knob).

When viewing loaded effects, you will see this window:
To select an effect, use the field for each insert slot. A
window (described below) will appear.
To edit the parameters of a loaded effect, tap the
pencil icon next to the insert slot.
To clear the insert slot, tap the trash can icon next to it.
To enable or disable an effect slot, tap the On/Off
button next to it.
To disable all four effect slots, tap the All On/All Off
button in the upper-right corner. Tap it again toreactivate the previously active effects.
When selecting an effect, you will see this window:
To move through the list, swipe up or down. Alternatively,
use the data dial or –/+ buttons.
To sort or unsort the effects by type or manufacturer,
tap Type or Manufacturer in the lower-left corner.
To load an effect, double-tap it. Alternatively, tap
Select, press the data dial, or press the center cursor
or Enter (MPC X).
To cancel, tap Close or anywhere outside the list.

When you edit an effect, you will see this window:
To adjust a parameter, tap and drag its slider.
Alternatively, use the data dial or –/+ buttons. To
make finer adjustments, double-tap the pad andadjust the larger version of the slider that appears.
Tip: Turn the Q-Link knobs to quickly adjust thecorresponding four parameters.
To select an effect preset, use the dropdown menu at
the top of the screen.
To load a saved preset, tap the folder icon at the topof the screen.
To save a preset, tap the disk icon at the top of thescreen.
To select another page of parameters, tap theParameters –/+ buttons at the top of the screen.
To enable or disable the effect, tap the On/Off
button in the upper-right corner.
To edit parameters for another insert effect on thesame pad, program, etc., tap a different Insert tab at
the bottom of the screen to select it.
To close the window, tap Close or the upper part ofthe screen.
107

Insert Effects
Pads
You can load up to four insert effects to each pad. You can do this in Main Mode, the Pad Mixer, or Program Edit Mode.
Tip: When using pad insert effects, they will be applied to the selected pad only. This means that you could apply
unique combinations of effects to each pad within a program. If you want to apply the same effect to all pads, do thiswith a program insert effect (see Insert Effects > Programs).

To load a pad insert effect in Main Mode:
1. When the MIDI tab is selected (in the lower-left corner), use the Track field to select the track that uses the
program with the desired pad—the program it uses will be selected automatically.
2. If the channel strip is not already shown, tap the small eye icon below the Project field to show it.
3. Tap the single-pad icon at the top of the channel strip. The channel strip will now show settings for the current pad.
4. Press the desired pad to select it. Alternatively, use the Pad field at the top of the channel strip.
5. Tap the area under Inserts, and then use the screen that appears to load or edit effects.

108

To load a pad insert effect in the Pad Mixer:
1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at
the top of the screen to select the desired track—the program it uses will be selected automatically.
2. Press the desired pad to select it, or tap it on the screen. Alternatively, double-tap the Pad field below theProgram field.
3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad on the screen. You could also use the data dial or –/+ buttons to select an effect immediately.

To load a pad insert effect in Program Edit Mode:
1. While using the desired program, press the desired pad to select it.
2. Tap the Effects tab in the lower-right corner, and use it to load or edit effects.

109

Keygroups
You can load up to four insert effects to each keygroup. You can do this in Main Mode, the Pad Mixer, or Program
Edit Mode.
Important: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you
load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.

To load a keygroup insert effect in Main Mode:
1. When the MIDI tab is selected (in the lower-left corner), use the Track field to select the track that uses the
program with the desired pad—the program it uses will be selected automatically.
2. If the channel strip is not already shown, tap the small eye icon below the Project field to show it.
3. Tap the single-pad icon at the top of the channel strip. The channel strip will now show settings for the current
keygroup.
4. Press a pad to select its corresponding keygroup, or tap it on the screen. Alternatively, use the Keygroup field at
the top of the channel strip.
Important: Remember that the effect will be applied to that keygroup only.
5. Tap the area under Inserts, and then use the screen that appears to load or edit effects.

110

To load a keygroup insert effect in the Pad Mixer:
1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at
the top of the screen to select the desired track—the program it uses will be selected automatically.
2. Press a pad to select its corresponding keygroup, or tap it on the screen. Alternatively, use the Keygroup field
below the Program field.
Important: Remember that the effect will be applied to that keygroup only.
3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, double-tap
the desired pad on the screen. You could also select one of the four Insert tabs at the bottom of the screen, andthen use the data dial or –/+ buttons to select an effect immediately.

To load a keygroup insert effect in Program Edit Mode:
1. While using the desired program, press the desired pad to select its keygroup. Alternatively, use the Keygroupfield at the top of the screen.
2. Tap the Effects tab in the lower-right corner, and use it to load or edit effects.
111

Audio Tracks
You can load up to four insert effects to each audio track. You can do this in Main Mode and the Channel Mixer.

To load an audio track insert effect in Main Mode:
1. When the Audio tab is selected (in the lower-left corner), use the Track field to select the audio track.
2. If the channel strip is not already shown, tap the small eye icon below the Project field to show it.
3. Tap the waveform icon at the top of the channel strip. The channel strip will now show settings for the current
audio track.
4. Tap the area under Inserts, and then use the screen that appears to load or edit effects.

To load an audio track insert effect in the Channel Mixer:
1. Use the Mixer field in the upper-left corner to select Audio Tracks.
2. In the touchscreen, tap the pad that corresponds to the desired audio track.
3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad on the screen. You could also use the data dial or –/+ buttons to select an effect immediately.
112

Programs
You can load up to four insert effects to each program. You can do this in Main Mode, XYFX Mode, and the Channel
Mixer.
Note: In XYFX Mode, the effects act like a single insert effect on that program. In fact, XYFX is the name of the insert
effect that is loaded when use this mode.

To load a program insert effect in Main Mode:
1. When the MIDI tab is selected (in the lower-left corner), use the Track field to select the track that uses the
program with the desired pad—the program it uses will be selected automatically.
2. If the channel strip is not already shown, tap the small eye icon below the Project field to show it.
3. Tap the four-pads icon at the top of the channel strip. The channel strip will now show settings for the current
program.
4. Tap the area under Inserts, and then use the screen that appears to load or edit effects.

113

To load XYFX for a program in XYFX Mode:
1. Select the desired program in another mode, and then enter XYFX Mode.
2. If you have not yet used XYFX Mode for this program, tap Insert XYFX on the screen to load it and show the XY
pad.
Note: If you already have four insert effects loaded, you will need to clear one of the insert effect slots before
doing this.
If you have already used XYFX Mode for this program, the XY pad will appear.
3. Tap XYFX Location in the upper-left corner, and select Program.
4. If the Setup panel is not shown, tap Setup in the lower-right corner to show it.
5. Use the Preset field to load an effect. Use the controls below the Preset field to edit the effect.

To load a program insert effect in the Channel Mixer:
1. Use the Mixer field in the upper-left corner to select Programs.
2. In the touchscreen, tap the pad that corresponds to the desired program. Alternatively, double-tap the Program
field below the Mixer field and tap the desired program.
3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad on the screen. You could also use the data dial or –/+ buttons to select an effect immediately.
114

Submixes
You can load up to four insert effects to each submix. You can do this in the Channel Mixer only.

To load a submix insert effect:
1. Use the Mixer field in the upper-left corner to select Submixes.
2. In the touchscreen, tap the pad that corresponds to the desired program. Alternatively, double-tap the Submix
field below the Mixer field and tap the desired program.
3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad on the screen. You could also use the data dial or –/+ buttons to select an effect immediately.

115

Main Outputs
You can load up to four insert effects to each main output (a stereo pair of channels: Outputs 1/2, Outputs 3/4, etc.).
You can do this in Main Mode or the Channel Mixer.

To load a main output insert effect in Main Mode:
1. If the channel strip is not already shown, tap the small eye icon below the Project field to show it.
2. Tap the crown icon at the top of the channel strip. The channel strip will now show settings for the current main
output.
3. Use the Outputs field at the top of the channel strip to select the desired main output (Outputs 1/2, Outputs
3/4, etc.).
4. Tap the area under Inserts, and then use the screen that appears to load or edit effects.

To load a main output insert effect in the Channel Mixer:
1. Use the Mixer field in the upper-left corner to select Main Outputs.
2. In the touchscreen, tap the pad that corresponds to the desired main output (Outputs 1/2, Outputs 3/4, etc.).
Alternatively, double-tap the Outputs field below the Mixer field.
3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad on the screen. You could also use the data dial or –/+ buttons to select an effect immediately.
116

Send/Return Effects
Send/return effects work in the following way:
1. A pad, keygroup, audio track, program, or submix sends its audio to a return at a designated send level.
2. That audio is processed by the effects on the return. Each return can have up to four insert effects loaded andactivated.
3. The processed audio is sent to a pair of main outputs (stereo) or a single main output (mono).
You can load send/return effects and set return levels only in the Channel Mixer, described below. The rest of thissection describes the different ways to set the desired send levels for pads, keygroups, programs, or submixes.

To load a send/return effect to a return:
1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Returns.
2. In the touchscreen, tap the pad that corresponds to the desired return. Alternatively, double-tap the Return field
below the Mixer field.
3. Tap the area under Inserts, and then use the screen that appears to load or edit effects. Alternatively, tap the Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad on the screen. You could also use the data dial or –/+ buttons to select an effect immediately.

To set the return level:
1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Returns.
2. Tap the Level tab in the lower-left corner.
3. In the touchscreen, tap the pad that corresponds to the desired return. Alternatively, double-tap the Return field
below the Mixer field.
4. To adjust the level of the currently selected return, use the data dial or –/+ buttons. Alternatively, use thelevel slider in the channel strip, or turn the corresponding Q-Link knob. To make finer adjustments, doubletap the pad on the screen and adjust the larger version of the slider that appears.
117

Pads
You can set the send levels for pads in Program Edit Mode or the Pad Mixer.

To set the send levels for a pad in Program Edit Mode:
1. While editing the desired program in Program Edit Mode, press the desired pad to select it.
2. Tap the Effects tab in the lower-right corner.
3. Use the Send knobs to set the send level for each return.

To set the send levels for a pad in the Pad Mixer:
1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at
the top of the screen to select the desired track—the program it uses will be selected automatically.
2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level).
3. Press the desired pad to select it, or tap it on the screen. Alternatively, double-tap the Pad field below theProgram field.
4. To set the send level, use the data dial or –/+ buttons. To make finer adjustments, double-tap the pad on thescreen and adjust the larger version of the slider that appears.
118

Keygroups
You can set the send levels for keygroups in Program Edit Mode or the Pad Mixer.

To set the send levels for a keygroup in Program Edit Mode:
1. While using the desired program, press the desired pad to select its keygroup. Alternatively, use the Keygroupfield at the top of the screen.
2. Tap the Effects tab in the lower-right corner.
3. Use the Send knobs to set the send level for each return.

To set the send levels for a keygroup in the Pad Mixer:
1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at
the top of the screen to select the desired track—the program it uses will be selected automatically.
2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level).
3. Press the desired pad to select its corresponding keygroup, or tap it on the screen. Alternatively, double-tap the
Keygroup field below the Program field.
4. To set the send level, use the data dial or –/+ buttons. To make finer adjustments, double-tap the pad on thescreen and adjust the larger version of the slider that appears.
119Audio Tracks
You can set the send levels for audio tracks in the Channel Mixer only.

To set the send levels for an audio track:
1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Audio Tracks.
2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level).
3. In the touchscreen, tap the pad that corresponds to the desired audio track. Alternatively, double-tap the Audio
Track field below the Mixer field.
4. To set the send level, use the data dial or –/+ buttons. To make finer adjustments, double-tap the pad on thescreen and adjust the larger version of the slider that appears.
Programs
You can set the send levels for programs in the Channel Mixer only.

To set the send levels for a program:
1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Programs.
2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level).
3. In the touchscreen, tap the pad that corresponds to the desired program. Alternatively, double-tap the Program
field below the Mixer field.
4. To set the send level, use the data dial or –/+ buttons. To make finer adjustments, double-tap the pad on thescreen and adjust the larger version of the slider that appears.
120Submixes
You can set the send levels for submixes in the Channel Mixer only.

To set the send levels for a submix:
1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Submixes.
2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level).
3. In the touchscreen, tap the pad that corresponds to the desired submix. Alternatively, double-tap the Submix
field below the Mixer field.
4. To set the send level, use the data dial or –/+ buttons. To make finer adjustments, double-tap the pad on thescreen and adjust the larger version of the slider that appears.

121

Audio Mixdown
The Audio Mixdown screen lets you render and export either the current sequence or song as an audio file. In SongMode, this will export the entire song. In Main Mode, this will export the current sequence only.
To open the Audio Mixdown screen in Song Mode, tap Export at the bottom edge of the screen.
To open the Audio Mixdown screen in Main Mode, tap the Project field in the upper-left corner of the screen, andthen tap Export.

Audio Length
Use the Start Bar and End Bar fields to define where the resulting audio file will start and end, respectively.
Use the Audio Tail field to add extra seconds to the end of the resulting audio file. This is useful if you are using
effects or samples whose sounds exceed the defined audio length (e.g., long reverb or delay, one-shot samples withlong decays, etc.). We recommend using an audio tail of at least a couple of seconds.

Render Source
Check Stereo Output and use the adjacent field to select a pair of outputs (Out 1,2–7,8 and Submix 1–8 inStandalone Mode, or Out 1,2–31,32 in Controller Mode; MPC Live/MPC Live II do not use Out 7,8 and MPC One/
MPC Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X,
which does use them). The mixdown will be taken from these outputs.
Check Separate Programs to create a mixdown of each program used in the sequence or song.
Check Explode Tracks to create a mixdown of each track used in the sequence (you cannot use this option for an
entire song).
Important: Each pad or keygroup must have their output routed to Program to be included in the mixdown. This is
the typical (and default) setting. See Modes > Pad Mixer > Routing to learn about this.

Render Options
If your Render Source is set to Stereo Output, check Main Inserts to include main insert effects in the mixdown.
If your Render Source is set to Separate Programs or Explode Tracks, check Export Returns to export the returnchannel signals as separate files.
If your Render Source is set to Stereo Output, tap Save as Project Preview to save the sequence or song as aproject preview file (which you can play for reference in the Browser). If you check this box, Stereo Output willautomatically be checked, as well.
122File Formats
Tap WAV, AIFF, MP3, FLAC or OGG to select thefile format of the mixdown.
For WAV and AIFF files, use the Bit Depth field toselect a bit depth of 8, 16, or 24 bits, or 32 bits,
floating point (32 F). For FLAC files, you can selecta bit depth of 16 or 24 bits. For MP3 and OGG
files, you can select a Bitrate of 128, 160, 192, or
320 kbps.
Use the Sample Rate field to select a sample rateof 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz. In mostcases, we recommend selecting 44.1 kHz.

Tap Export to enter the Save screen where you can select a name and location to save your audio mixdown.
Tap Cancel or the  icon in the upper-left corner to return to the previous screen.

Battery Usage
Important: Only MPC Live and MPC Live II may use battery power. MPC X, MPC One, MPC Key 61, and MPC
Touch must be connected to a power outlet. MPC Studio operates on USB power only.
Although you can power MPC Live and MPC Live II from a power outlet (using the included power adapter),you can use its internal battery, which typically has four hours of life, depending on CPU and how you’reusing MPC Live or MPC Live II.
While powering MPC Live from its internal battery, the battery icon in upper-right corner of the touchscreen
will show its current battery life. (The icon below it indicates whether MPC Live or MPC Live II is inStandalone Mode or Controller Mode.)

To view MPC Live’s system resources (battery life, CPU,and RAM usage), tap the battery icon in upper-rightcorner of the touchscreen. The System Resources window
will appear, showing percentages to indicate the current
battery life, CPU, RAM usage (Mem), and storage device
space usage.
See System Resources to learn more about the information
shown in this window.

To charge MPC Live or MPC Live II’s internal battery,connect its power input to a power outlet using theincluded power adapter. The charging indicator light(behind the vent on the rear panel) will turn on whilecharging. When the battery is fully charged or when it is
disconnected from a power outlet, then this light will turn
off.

123

Standalone vs. Controller Mode
MPC X, MPC Live, MPC Live II, MPC One, and MPC Key 61 can function in two ways: Standalone Mode andController Mode. (MPC Studio and MPC Touch already operate as a controller only.)

To enter Standalone Mode, do one of the following:•

If MPC X/Live/Live II/One/Key 61 is not connected
to a computer, simply press the power switch to
power it on.

•

If MPC X/Live/Live II/One/Key 61 is connected toyour computer and you want to keep your MPC
software open, press Menu to enter the Menu, andthen tap the monitor/cable icon in the upper-rightcorner. When the Switch to Standalone Modewindow appears, tap Standalone to continue. Your
project will remain open on your computer, and you
can continue to work on it independently from the
project shown on the screen. (If you tap Cancel,
you can continue using your MPC hardware inController Mode.)•

If MPC X/Live/Live II/One/Key 61 is connected toyour computer and you want to close the MPC
software, simply close the MPC software on yourcomputer. When Looking for computer appears
on your MPC hardware’s touchscreen, tap
Standalone. If the Restart as Standalone window
appears, tap Yes to continue. (If you tap Cancel,
you can reopen your MPC software and continue
using your MPC hardware in Controller Mode.)

In Standalone Mode:•

An MPC chip icon will appear in the upper-rightcorner.

•

The MPC hardware is not communicating with acomputer over a USB connection.

•

Any files (projects, samples, etc.) that you save or
load are in the internal hard drive on your MPC
X/Live/Live II/One/Key 61, or a connected USB
drive or SD card.

•

Plugin programs are disabled.

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To enter Controller Mode:
1. Make sure the USB-B Port on your MPC X/Live/Live
II/One/Key 61 is connected to your computer.
2. On your computer, open the MPC software.
3. If MPC X/Live/Live II/One/Key 61 is powered off, press
the power switch to power it on.
4. If MPC X/Live/Live II/One/Key 61 is currently inStandalone Mode, press Menu to enter the Menu, andthen tap the MPC chip icon in the upper-right corner.
When the Enter Controller Mode window appears, tap
Controller Mode to continue. (If you tap Cancel, you
can continue using your MPC hardware in Standalone
Mode.) Looking for computer may appear briefly on
the screen before the MPC hardware recognizes theUSB connection as a controller.

In Controller Mode:•

A monitor/cable icon will appear in the upperright corner.

•

The MPC hardware is communicating with acomputer over a USB connection.

•

You can save or load files (projects, samples, etc.)
to or from your computer as well as the internal
hard drive on your MPC X/Live/Live II/One/Key 61
or a connected USB drive or SD card.

•

Plugin programs are enabled. Remember to specify
the disk directory where your plugins are located.
This can be done in the software’s Preferences (inthe Edit Menu). See the user guide in the MPC
software to learn more: click the Help menu, selectMPC Help, and select MPC User Manual.

•

The touchscreen on your MPC hardware reflects
what it is controlling in the software, but due tospace and character limitations, the layout on thescreen is different (e.g., parameter names may be
abbreviated, the layout may be different or spread
across multiple tabs, etc.).

125ModesThe MPC hardware has a Menu page that lets you select any one of several modes. This chapter describes thevarious features and functions of each one.
Click a button below to skip directly to that chapter.

Note: The Menu above is available when the currently selected track is a MIDI track. When an
audio track is selected, it will show an icon for Audio Edit Mode instead of Grid View.

While in Main Mode, the Grid View, Audio Edit Mode, the Track View, the Step Sequencer,
or XYFX Mode, the left edge contains icons to quickly enter one of five modes. Using this stripof icons, you can easily jump between them:
To enter Main Mode, tap the house icon.
To enter the Grid View, tap the grid icon. The MIDI tab in the lower-left corner of thescreen in Main Mode must be selected for this icon to be shown.
To enter Audio Edit Mode, tap the waveform-and-box icon. This Audio tab in thelower-left corner of the screen in Main Mode must be selected for this icon to be shown.
To enter the Track View, tap the bars-and-magnifying-glass icon.
To enter the Step Sequencer, tap the vertical-bars icon.
To enter XYFX Mode, tap the XY icon.

You can also edit the Menu layout by tapping the Edit button. Once enabled, tap and drag the menu icons to yourpreferred location, and then tap Edit again to save your changes. This is useful for putting your most-used modes in
the left-most column so that they are easily accessed in any mode by swiping to the right from the left edge of thetouchscreen. See Addenda > Updates in MPC 2.11 > New Features > Menu Editing and Shortcuts Panel for
more information.

126

Main Mode
Main Mode gives you an overview of the most-used functions.

To enter Main Mode, do one of the following:•

Press Main.

•

Press Menu, and then tap Main.

The top of the screen shows the project name and timing information.

The Project field shows the name of the current project.

To view the Project window, tap the Project field. The Project window will appear, showing a list of available
programs, sequences, and samples in the project.
In the Project window, in additional to typical functions you can perform in lists, you can do any of the following:
To move through a list, swipe up or down.
To expand or collapse the list of programs or sequences, tap the arrow (∨ or >) to its left.
To select a program, sequence, or sample, tap it.
To immediately select a sample and enter Sample Edit Mode, double-tap it.
To save the project, tap Save.
To save the project with another name, tap Save As. Use the Save window that appears to save the project.
To return to the previous screen, tap the X in the upper-right corner or anywhere outside the window.
To delete samples from the project (to create more free RAM space for sampling time, audio recording, etc.),
tap Purge. In the screen that appears, tap Unused Samples to delete all unused samples from the project, tap
All Samples to delete all samples from the project (from all programs, sequences, and audio or MIDI tracks), or
tap Cancel to return to the previous screen.
To export the current sequence, tap Export. Use the Audio Mixdown screen that appears to export a song(see General Features > Audio Mixdown to learn about the settings in this window). To export the song
instead, see the Song Mode chapter.
To export the current sequence as an Ableton Live Set, tap ALS Export. See Addenda > Updates in MPC
2.6 > New Features > Ableton Live Set Export for more information.
127

The In and Out boxes indicate your MPC hardware is receiving or sending (respectively) MIDI messages from or toyour computer. Tap here to open the MIDI Monitor and view the latest incoming or outgoing MIDI messages. See
Addenda > Updates in MPC 2.10 > New Features > MIDI Monitor for more information.

The time counter at the top of the screen the current playhead position. This is shown in most of the modes. See
General Features > Time Counter/Locate to learn about this.

The TC icon opens the Timing Correct window, which contains various settings to help quantize the note events inyour sequence. See General Features > Timing Correct (TC) to learn about this.
Press and hold Shift and tap the TC icon to enable or disable global timing correct.

The Metro/metronome icon opens the Click/Metro menu, which contains all settings regarding the metronome(click track). See General Features > Metronome (Click/Metro) to learn about this.
Press and hold Shift and tap the Metro/metronome icon to enable or disable the metronome.

The automation button indicates the global automation state. This is shown in several modes. See General Features> Automation to learn about this.

In Main Mode, these are the buttons at the bottom of the screen:
MIDI: Tap this button to view only MIDI tracks in the Track section.
Audio: Tap this button to view only audio tracks in the Track section.
Track –/+: Tap one of these buttons to switch to the previous or next track, respectively.
Mute: Tap this button to mute the current track.
Solo: Tap this button to solo the current track.

128

On the left edge of the screen, next to the five mode icons, there are two small icons
that control the channel strip.
To show or hide the channel strip, tap the eye icon.
The icon below the eye icon indicates the type of channel strip (see next description).

The channel strip contains some important settings for the current pad, program,track, or main output, depending on the currently selected icon:
To view the pad channel strip, tap the single-pad icon.
To view the program channel strip, tap the four-squares icon.
To view the track channel strip, tap the bars icon (when the MIDI tab isselected) or the waveform icon (when the Audio tab is selected).
To view the main channel strip, tap the crown icon.

When viewing the pad channel strip while using a drum program, keygroup program,or clip program:
The first field shows the current pad number. Press a pad or tap the field to selecta different pad.
Tip: This is useful for mixing your pads without having to enter the Pad Mixer.
The second field shows where the pad is routed, which you can change: Program(the usual setting); Out 1,2–7,8, Out 1–8 or Sub 1–8 in Standalone Mode; and Out
1,2–31,32 or Out 1–32 in Controller Mode.
Note: When set to a mono channel, the left and right channels are summed postpan knob. If the pan knob is set to the center position, the left and right channels
will be summed and padded. If the pan knob is set to the maximum left or rightpositions, only the respective channel will be sent to the output.
The Inserts field shows any enabled or disabled effects for that pad. Tap the area
under Inserts to open a window where you can load, change, and enable ordisable the effects.
Tap Solo or Mute to solo or mute the pad (respectively).
Adjust the pan knob or level slider to change the panning or level of the pad. The
green level meter next to the slider shows the pad’s current volume level in dB.

129

When viewing the program channel strip while using a drum program, keygroupprogram, clip program, or plugin program:
The first field shows the current program number and name (which you canchange).
The second field shows where the program is routed, which you can change:
Out 1,2–7,8, Out 1–8 or Sub 1–8 in Standalone Mode (depending on the
hardware used); and Out 1,2–31,32 or Out 1–32 in Controller Mode.
Note: When set to a mono channel, the left and right channels are summed
post-pan knob. If the pan knob is set to the center position, the left and rightchannels will be summed and padded. If the pan knob is set to the maximum
left or right positions, only the respective channel will be sent to the output.
The Inserts field shows any enabled or disabled effects for that program. Tap
the area under Inserts to open a window where you can load, change, andenable or disable the effects.
Tap Solo or Mute to solo or mute the program (respectively). Alternatively,
press Solo or Mute under the LED meters (MPC X).
To change the program’s automation, tap the program automation button
or press Read/Write (MPC X, MPC Key 61) to toggle between two states:
When set to Read (R), the program will read automation data but will notrecord any additional automation over it. (Think of this as a protective
feature to prevent accidental changes to your automation while recording.)
When set to Write (W), the program can record automation. (If you haveany Q-Link knobs assigned to automatable parameters, make sure not totouch any accidentally while you are recording.)
Hold Shift and tap the program automation button or press Read/Write(MPC X, MPC Key 61) to disable program automation. When off, the program
will ignore automation data. If you have already recorded or enteredautomation, tapping this will switch between Read (R) and Write (W) only, but
you can override this and turn it off by pressing and holding Shift while tapping
the button.
Important: If you have already recorded automation and turn it off, the track
will still use the effect and its parameter values at the point where you turned it
off.
Tip: You can quickly set all programs and audio tracks to the same automation bytapping the global automation button in the upper-right corner of the screen. See
General Features > Automation to learn about this.
Adjust the pan knob or level slider to change the panning or level of the
program. The green level meter next to the slider shows the program’s current
volume level in dB.
When viewing the track channel strip while using a MIDI track:
The first field shows the current track (which you can change) and its name.
The second field shows the name of the program the track is using.
Use the MIDI fields to configure the MIDI settings for the track. See Addenda >Updates in MPC 2.8 > New Features > MIDI Improvements to learn about this.
Tap Solo or Mute to solo or mute the track (respectively).
Tap the Monitor button to change the monitor behavior for the track.
Adjust the pan knob or level slider to change the panning or level of the track.
The blue level meter next to the slider shows the track’s current velocity level.
Note: If the track is using a plugin program, then the slider will send CC #7(Volume) and the knob will send CC #10 (Pan) to your instrument plugin. The
plugin will then handle these messages as it normally would.
130

When viewing the track channel strip while using an audio track:
The first field defines the input source of the external audio signal, which you can set
to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller
Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–32 in Controller
Mode).
The second field shows where the track is routed, which you can change: Out
1,2–7,8, Out 1–8 or Sub 1–8 in Standalone Mode (depending on the hardware
used); and Out 1,2–31,32 or Out 1–32 in Controller Mode.
Note: When set to a mono channel, the left and right channels are summed postpan knob. If the pan knob is set to the center position, the left and right channels
will be summed and padded. If the pan knob is set to the maximum left or rightpositions, only the respective channel will be sent to the output.
The Inserts field shows any enabled or disabled effects for that track. Tap thearea under Inserts to open a window where you can load, change, and enable ordisable the effects.
Tap Solo or Mute to solo or mute the track (respectively). Alternatively, press Soloor Mute under the LED meters (MPC X).
To change the audio track’s automation, tap the track automation button orpress Read/Write (MPC X, MPC Key 61) to toggle between two states:
When set to Read (R), the audio track will read automation data but will notrecord any additional automation over it. (Think of this as a protective feature
to prevent accidental changes to your automation while recording.)
When set to Write (W), the audio track can record automation. (If you haveany Q-Link knobs assigned to automatable parameters, make sure not totouch any accidentally while you are recording.)
Hold Shift and tap the track automation button or press Read/Write (MPC X,
MPC Key 61) to disable audio track automation. When off, the audio track will
ignore automation data. If you have already recorded or entered automation,
tapping this will switch between Read (R) and Write (W) only, but you can override
this and turn it off by pressing and holding Shift while pressing or tapping the
button.
Important: If you have already recorded automation and turn it off, the track will
still use the effect and its parameter values at the point where you turned it off.
Tip: You can quickly set all programs and audio tracks to the same automation bytapping the global automation button in the upper-right corner of the screen. See
General Features > Automation to learn about this.
Tap the Monitor button to change the monitor behavior for the track.
Adjust the pan knob or level slider to change the panning or level of the track.
The green level meter next to the slider shows the track’s current volume level indB.
To record-enable the track, tap the Record Arm button or press Rec Arm (MPC
X). When you begin audio recording, the audio signal will be recorded to this track.
Tip: You can select multiple tracks in the Track View by pressing and holding Shiftwhile tapping the Arm button to each track.
When viewing the main channel strip:
The first field shows the current main output as a stereo pair (which you canchange).
The Inserts field shows any enabled or disabled effects for that pair of outputs.
Tap the area under Inserts to open a window where you can load, change, andenable or disable the effects.
Tap Mute to mute the main output.
Adjust the pan knob or level slider to change the panning or level of the main
output. The green level meter next to the slider shows the outputs’ current
volume level in dB.
131

Sequence Section
The Sequence section shows the current sequence and its information.

Use Sequence field to select a sequence.
To edit the name of the sequence, tap the cursor icon on the right edge ofthe section, and use the virtual keyboard that appears.

Use the BPM field to adjust the tempo of the sequence.
To set whether the sequence follows its own tempo (Sequence) or a
global tempo (Global), tap the Sequence/Global button under the BPM field.
Alternatively, press and hold Shift+Tap.

Use the Bars field to adjust the length of the sequence in bars.

The Loop button shows whether the sequence (or a part of it) will loop or not.
To enable or disable looping, tap the button.
To set the start point and end point of loop, tap the Start or End field(respectively) and then use the data dial or the –/+ buttons, or double-tap thefield and use the numeric keyboard that appears.
Note: The Last Bar value of the Delete Bars and Copy Bars processes
depends on the total length of the sequence.

Use the Transpose field to set the transposition (in semitones) of the entire
sequence.

132

To edit the sequence, tap the pencil icon on the right edge of the section. The Sequence Edit/Copy window will open.

You can use any of these functions as described below, though there are fewer options for audio tracks than for MIDI
tracks.

To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the screen. Alternatively, press
Main.

To edit the name of the sequence, tap the top of the screen and use the virtual keyboard that appears.

133

The Erase function erases all or part of a track in a specificsequence.
To select the sequence you want to erase, use theSequence field.
To select the track you want to erase within thesequence, use the Track field.
To set the time range of the sequence you want toerase, use the Bar, Beat, and Tick fields. The left
fields set the start of the time range, and the rightfields set the end of the time range.
To select what types of events you erase, select oneof the Erase options:
All erases all pad events from the designated time
range and reset all of its settings.
Automation erases only automation from thedesignated time range.
Note erases only specific pad events from thedesignated time range. In the diagram of the eight
pad banks that appears, press each pad in eachbank to select or deselect its notes. This option isavailable only for MIDI tracks, not audio tracks.
Except Note erases everything except pad eventsfrom the designated time range. This option isavailable only for MIDI tracks, not audio tracks.
To confirm your choice, tap Do It.
To return to the previous screen, tap  Back or
anywhere outside the window.
To cancel and return to Main Mode, tap Cancel.

The Clear function erases all events from the sequence
and resets all of its settings.
To confirm your choice, tap Clear.
To return to the previous screen, tap Cancel.

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The Transpose function transposes a range of events on a
track in a sequence. The events within that range will shiftaccordingly in the Grid View. This option is available for
MIDI tracks only.
To select the sequence you want to transpose, use
the Sequence field.
To select the track you want to transpose within
the sequence, use the Track field.
To set the time range of the sequence you want totranspose, use the two sets of Bar, Beat, and Tickfields. The left fields set the start of the time range, andthe right fields set the end of the time range.
For drum programs, use the two Pad fields to selectthe “source” pad (whose events you want to move) and“destination” pad (where the events will be placed). Tapeach field and then press the desired pad.
For keygroup programs, plugin programs, and MIDI
programs, set the range and amount of transposition:
Range: Use the two Note fields to set the range ofnotes of the events you want to transpose. Note
events within this range will be transposed, while
note events outside of this range will remainunchanged.
Transpose: Use this field to set how many
semitones up or down you want to transpose thenote events.
To confirm your choice, tap Do It.
To return to the previous screen, tap  Back or
anywhere outside the window.
To cancel and return to Main Mode, tap Cancel.

The Bounce to Sample function immediately renders thesequence (all of its tracks) as an audio sample and places itin the project’s sample pool. By default, it will be named
Bounce - and appended with the sequence name.
If you have already used this function on this sequence,then you will be asked if you want to overwrite the existing
sample with this new one or cancel.
To continue and save the sequence over the
existing one, tap Replace.
To cancel, tap Cancel.

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The Delete Bars function removes a range of bars from asequence.
To select the sequence whose bars you want todelete, use the Sequence field.
To set the range of bars you want to delete, use theFirst Bar and Last Bar fields. The bar in each field andall bars in between them will be deleted.
To confirm your choice, tap Do It.
To return to the previous screen, tap  Back or
anywhere outside the window.
To cancel and return to Main Mode, tap Cancel.

The Insert Bars function adds empty bars to a sequenceat a specified point.
To select the desired sequence, use the Sequence
field.
To set how many bars you will insert, use the # ofBars field.
To set the time signature of the inserted bars, use
the two Time Sig fields.
To set where you will insert the bars, use the Before
Bar field. The bars will be inserted before this one.
To confirm your choice, tap Do It.
To return to the previous screen, tap  Back or
anywhere outside the window.
To cancel and return to Main Mode, tap Cancel.

The Half Length function will immediately halve thelength of the sequence (without deleting any note events).

The Double Length function will immediately double thesequence and copy all events from the first half to thesecond half.

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The Copy Sequence function copies the contents of one
sequence to another.
To select the “source” sequence, use the Copy
Contents of Sequence field. This is the sequence
whose events you want to copy.
To select the “destination” sequence, use the Over
Contents of Sequence field. This is the sequence
where the source sequence will be copied.
To confirm your choice, tap Do It.
To return to the previous screen, tap  Back or
anywhere outside the window.
To cancel and return to Main Mode, tap Cancel.

The Copy Bars function copies a range of bars from asequence and adds them to another at a specified point.
To select the “source” sequence, use the From
Sequence field. This is the sequence whose bars you
want to copy.
To set the range of bars to copy in the source
sequence, use the First Bar and Last Bar fields.
To select the “destination” sequence, use the To
Sequence field. This is the sequence where the source
sequence bars will be copied.
To set where you want to add the copied bars, use
the After Bar field. The copied bars will be inserted
after this one.
To set how many instances of the copied bars you
want to add, use the Copies field.
To overwrite the destination sequence, tap Replace.
To add the events to the destination sequence
without erasing anything, tap Merge.
To return to the previous screen, tap  Back or
anywhere outside the window.
To cancel and return to Main Mode, tap Cancel.

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The Copy Events function copies a range of events or
selected audio track regions from a sequence and adds
them to another at a specified point.
To select the “source” sequence, use the From
Sequence field. This is the sequence whose content
you want to copy.
To select the “source” track, use the From Trackfield. This is the track whose content you want to copy.
To specify the pads or notes to copy events from,use the Pads or Notes field. By default, this will be set
to All to copy all events in the current track.
To set the time range of the events or the audio
track you want to copy, use the Bar, Beat, and Tickfields. The left fields set the start of the time range, andthe right fields set the end of the time range.
To set what content is copied, use the field below
the dotted arrow. Copy All Events will copy and paste
all events in the track. Copy Only Selected Events will
copy and paste only the events that are currently
selected.
To select the “destination” sequence, use the To
Sequence field. This is the sequence where thecontent of the source sequence will be copied.
To select the “destination” track, use the To Trackfield. This is the track where the content of the source
track will be copied.
To set where you want to add the copied events oraudio track, use the Bar, Beat, and Tick fields. The
events or audio track will be added after this point.
To set how many instances of the copied events oraudio track you want to add, use the Copies field.
To set whether you want to copy the events in thetime range or the selected notes in the Grid View or
List Edit Mode, use the Selection field. Set this to All
events to copy the notes in the time range determinedby the Bar, Beat, and Tick fields above, or set this to
Selected events to copy only the events currently
selected in the Grid View or List Edit Mode. This field isavailable for MIDI tracks only.
To overwrite the destination sequence, tap Replace.
To add the events to the destination sequence
without erasing anything, tap Merge.
To return to the previous screen, tap  Back or
anywhere outside the window.
To cancel and return to Main Mode, tap Cancel.

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The Save Current Sequence function saves the current
sequence to an external storage device or the internal
drive of MPC X or MPC Live.
To select the storage device you want to view, tap itin the Storage column on the left.
Internal is the internal drive of MPC X/Live/Live
II/One/Key 61.
MPC Documents is a shortcut to the MPC
Documents folder on the internal drive of MPC
X/Live/Live II/One/Key 61.
If you have storage devices connected to USB
ports or SD card slot of MPC X, MPC Live, MPC
Live II, MPC One, MPC Key 61, or your computer(with MPC Studio or MPC Touch), they will appear
in this column, as well.
To enter a folder, double-tap it. Alternatively, turn thedata dial or use the –/+ buttons to move through thelist, and press the data dial, or the center cursor orEnter (MPC X), to enter a folder. You can also tap oneof the five folder buttons in the upper-right to jump
immediately to those pre-assigned file paths (seeBrowser to learn how to do this).
To create a new folder, tap New Folder, use thevirtual keyboard that appears to enter a name, and thentap Do It. You will immediately enter the new folder.
To move up one folder level, tap the folder/ icon in
the upper-left corner.
To name the file, tap the File Name field at the bottomof the screen, and use the virtual keyboard that appears.
To save the file, tap Save.
To cancel and return to the Menu, tap Cancel.
Alternatively, tap the  icon in the upper-left corner.

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Track Section
The Track section shows the current track, program type, and its information.

The Track section while using a MIDI track.

The Track section while using an audio track.

The Track field shows the track number and its name.
To edit the name of the track, tap the cursor icon on the right edge of the section and use the virtual keyboard thatappears.

While using a MIDI track:

The program selector indicates the type of program through which the track is being routed. The specificprogram name is displayed below in the Program section. You can use the program selector to change program
type (and then select a specific program of that type in the Program section below it).
To select a drum program, tap the four-squares icon.
To select a keygroup program, tap the piano-keys icon.
To select a clip program, tap the play-button icon.
To select a MIDI program, tap the bars icon.
To select a CV program, tap the CV icon.
To select a plugin program, tap the plug icon.
Use the Length field to set how long the track is in beats. If you select the minimum value, Seq or 0 (if you use
the numeric keypad), the track will be the exact same length as its sequence.
Tip: This feature lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence
repeatedly under a 4-bar bass line.
Use the Velocity field to set how loudly or quietly a track plays relative to its recorded levels. When set to 50%,
the track will be played with half the velocity it was originally played. When set to 200%, the track will play twice
as loud. The maximum velocity level is still 127, though.
Use the Transpose field to set the transposition (in semitones) of the entire track.
Use the MIDI Ch field to select the MIDI channel the plugin or MIDI program uses. Use this setting when you areworking with a virtual instrument plugin that supports multi-mode.
Tap the Record Arm button to record-enable the track. When you begin MIDI recording, the MIDI events will berecorded to this track.
Tip: You can select multiple tracks in the Track View by pressing and holding Shift while tapping the Arm button
to each track, or by changing the Rec Arm Behavior setting in the Preferences.
Use the Monitor button to set how your MIDI track will be monitored. Tapping it will cycle through its four states:
When set to Off, the track's MIDI input is not monitored, and playback of recorded events will be heard. Thissetting is useful when using keyboards with Local Control active.
When set to In, the track's MIDI input is always monitored regardless of the track's Record Arm state, andplayback from recorded events will not be heard.
When set to Auto, the track's MIDI input is monitored when the track is record armed, and playback ofrecorded events will be heard.
When set to Merge, the track's MIDI input is always monitored, and playback of recorded events will be heard.
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While using an audio track:

Tap the Record Arm button to record-enable the track. When you begin audio recording, the audio signal will berecorded to this track.
Tip: You can select multiple tracks in the Track View by pressing and holding Shift while tapping the Arm button
to each track.

Use the Monitor button to set how your audio track will be monitored. Tapping it will cycle through its three states:
When set to Auto, you will hear incoming audio while the track is record-enabled only.
When on, you will hear incoming audio whether or not the track is record-enabled.
When off, you will never hear any incoming audio.

To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open.

While using MIDI tracks, you can use any of these functions as described below.

To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the screen. Alternatively, press
Main.
To edit the name of the track, tap the top of the screen and use the virtual keyboard that appears.

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The Clear function erases all events from the track andresets all of its settings.
To confirm your choice, tap Clear.
To return to the previous screen, tap Cancel.

The Explode function immediately splits the current track
into multiple tracks—one for each distinct pad or note
(pitch, not event). The current track also remains present
and intact, while each track created from it is labeled withthe track name and pad name or number.

The Double-Speed Events function immediately halves
the lengths of all note events on the track as well as the
distance between them. In other words, the track’s notes
are pressed closer together so the track sounds like it isplaying at twice the previous speed. This does not actuallyaffect the pitches of notes or the tempo.

The Half-Speed Events function immediately doubles thelengths of all note events on the track as well as the
distance between them. In other words, the track’s notes
are spread further apart so the track sounds like it isplaying at half of the previous speed. This does not
actually affect the pitches of notes or the tempo.

The Copy Track function copies the contents of one track
to another.
To select the “source” track, tap the Copy Contentsof Track field. This is the track whose events you wantto copy.
To select the “destination” track, tap the Over
Contents of Track field. This is the track where thesource track will be copied.
To confirm your choice, tap Do It.
To cancel and return to Main Mode, tap Cancel.

The Split Events function divides note events to create
new rhythms and patterns.
To select the how many events to create, use theInto slider. Select 2 to 32 events.
To apply the split to selected events, tap the Only
selected events field. Leave this unchecked to split allnote events in the track.
To confirm your choice, tap Do It.
To cancel and return to Main Mode, tap Cancel.

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The Pitch Quantize function forces the pitches of note
events into a specific scale.
To select the desired root note of the scale, use the
Root Note field.
To select a type of scale, use the Scale field.
To determine which note events will be quantized,
tap the Only apply to selected events checkbox.
When on, only the currently selected note events
will be quantized.
When off, all pitches in the current track will bequantized.
To set lowest-possible and highest-possible pitches
where the quantized note events will be placed, use
the Start Note and End Note fields (respectively). If anote event is originally outside of this range, it will beforced to the nearest pitch (within the scale) inside therange.
To continue and quantize the note events, tap Do It.
To cancel, tap Close.
The Humanize function applies randomization to thetiming, length, and/or velocity of MIDI note events.
To select whether or not humanization will be applied
to the timing of MIDI events, tap the Humanize Timecheckbox.
To select the maximum number of pulses by which
the timing of an event will be adjusted, use theAmount (Pulses) slider.
To set how dramatically the humanization effect isapplied to the timing, use the Eagerness slider.
Negative values correspond to playing “ahead of thebeat” while positive values correspond to playing“behind the beat.”
To set whether or not humanization will be applied
to the duration of MIDI note events, tap the
Humanize Note Length checkbox.
To set how dramatically the humanization effect isapplied to note lengths, use the Length (%) slider.
To set whether or not humanization will be applied
to the velocities of MIDI note events, tap the
Humanize Velocity checkbox.
To set how dramatically the humanization effect isapplied to note velocities, use the Strength (%) slider.
To determine which notes will use thesehumanization values, tap the Only Apply to
Selected Events checkbox.
When on, just the currently selected notes will behumanized.
When off, all notes in the track will be humanized.
To apply humanization and keep this window open,
tap Apply.
To apply humanization and close the window, tap
Do It.
To close the window without making any changes,
tap Close.

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The Generate Random Events function creates random
melodic or drum patterns on the current MIDI track.
To select the type of events you want to create, use
the Event Type field to select Drum Events or
Melodic Events.
To select how the events will be created relative tothe existing events on the track, use the Replace
field:
Replace All Events: Select this option to replace all
events on the track with the randomly generated
ones.
Replace Events in Note Range: Select this option
to replace all events in the designated note range
on the track with the randomly generated ones.
Use the Bank or Start Pad and End Pad menus
to set the note range for drum events or the Start
Note and End Note menus to set the note range
for melodic events.
Add to Existing Events: Select this option to add
the randomly generated events to the track
without replacing or overwriting the existing ones.
To set how many bars the events will use, use thePattern Size (Bars) field. The highest possible value
is the number of bars in the current sequence.
To select the duration of the events, use the Note
Length field. (This feature is nonfunctional if Legato
is enabled while generating melodic events.)
To generate the events and keep this window open,
tap Apply.
To generate the events and close the window, tap
Do It.
To close the window without generating any events,
tap Close.

If Event Type is set to Drum Events:
To select the pad bank that will be used togenerate the events, use the Bank field or selectRange to use the Start Pad and End Pad menus
to define a specific pad range instead.
To define a specific pad range over which theevents will be generated, use the Start Pad or
End Pad fields. You can use these fields only if
the Bank menu is set to Range.
To set how closely together the events will beplaced in the track, use the Density (%) slider.
To set how widely or narrowly the rhythmic
patterns of the generated notes vary, use theRhythm Variation slider.

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If Event Type is set to Melodic Events:
To define a specific note range over which theevents will be generated, use the Start Note or
End Note fields.
To enable or disable legato, tap the Legato
checkbox.
When on, the generated notes will be
extended or shortened to create a long,
unbroken phrase from the first note event’s
start point to the last note event’s end point.
Each note event will sustain until anothernote event starts. If multiple note events startat the same time (and are not the last note
events), their lengths will become identical.
When off, the generated notes will use theduration set by the Note Length menu.
To set the maximum number of note events thatcan be sounding simultaneously in the track,
use the Polyphony field to select 1–8.
To determine whether or not the notes will use
a scale, tap the Constrain Notes to Scale
checkbox.
When on, the notes will be within the scale
determined by the Scale menu.
When off, the notes will be chromatic.
To set how closely together the events will beplaced in the track, use the Density (%) slider.
To set the root note of the scale that the notes
will use, use the Root Note field.
To select the scale or mode that the generated
notes will use, use the Scale field.

The Bounce to Sample function immediately renders the
track (for the current sequence only) as an audio sample
and places it in the project’s sample pool. By default, it will
be named Bounce - and appended with the track name.
This function does not work for tracks that use MIDI
programs or CV programs.
If you have already used this function on this track, then
you will be asked if you want to overwrite the existing
sample with this new one or cancel.
To continue and save the track over the existing
one, tap Replace.
To cancel, tap Cancel.

145

The Bounce to Audio Track function immediately
renders the track (for the current sequence only) as anaudio track in the project. The Main Mode willautomatically switch to the Audio tab. By default, it will be
named Audio and appended with a number (e.g., Audio002). This function does not work for tracks that use MIDI
programs or CV programs.
If you have already used this function on this track, then
you will be asked if you want to overwrite the existing
sample with this new one or cancel.
To continue and save the track over the existing
one, tap Replace.
To cancel, tap Cancel.
The Export as Pattern function saves the track (for thecurrent sequence only) as a pattern (.mpcpattern) to an
external storage device or the internal drive of MPC
X/Live/Live II/One/Key 61.
To select the storage device you want to view, tap itin the Storage column on the left.
Internal is the internal drive of MPC X/Live/Live
II/One/Key 61.
MPC Documents is a shortcut to the MPC
Documents folder on the internal drive of MPC
X/Live/Live II/One/Key 61.
If you have storage devices connected to USB
ports or SD card slot of MPC X, MPC Live, MPC
Live II, MPC One, MPC Key 61, or your computer(with MPC Studio or MPC Touch), they will appear
in this column, as well.
To enter a folder, double-tap it. Alternatively, turn thedata dial or use the –/+ buttons to move through thelist, and press the data dial, or the center cursor orEnter (MPC X), to enter a folder. You can also tap oneof the five folder buttons in the upper-right to jump
immediately to those pre-assigned file paths (seeBrowser to learn how to do this).
To create a new folder, tap New Folder, use thevirtual keyboard that appears to enter a name, and thentap Do It. You will immediately enter the new folder.
To move up one folder level, tap the folder/ icon in
the upper-left corner.
To name the file, tap the File Name field at the bottomof the screen, and use the virtual keyboard that appears.
To save the file, tap Save.
To cancel and return to the Menu, tap Cancel.
Alternatively, tap the  icon in the upper-left corner.

The Convert to Progression function lets you convert thechords of the current track and sequence into a newprogression. See Addenda > Updates in MPC 2.8 > New
Features > Custom Progressions for more information.

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While using audio tracks, you can use any of these functions as described below.

To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the screen. Alternatively, press
Main.
To edit the name of the track, tap the top of the screen and use the virtual keyboard that appears.

The Delete function erases the entire audio track.
To confirm your choice, tap Clear.
To return to the previous screen, tap Cancel.

The Clear Regions function erases all regions from theaudio track without erasing the track itself.

The Reset Channel Strip function:•clears all Insert effect slots;•

turns Mute, Solo, automation, and Monitor off;•

resets the pan knob to the center;•

resets the level slider to 0.00 dB; and•turns the Record Arm button off.

It does not change the track’s inputs or outputs.

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The Copy Track function copies the contents of one track
to another.
To select the “source” track, tap the Copy Contentsof Track field. This is the track whose events you wantto copy.
To select the “destination” track, tap the Over
Contents of Track field. This is the track where thesource track will be copied.
To rename the "destination" track, use the Track
Name field.
To confirm your choice, tap Do It.
To cancel and return to Main Mode, tap Cancel or
anywhere outside the window.

The Save Current Channel Strip function saves thecurrent settings of the track channel strip (for the current
audio track) to an external storage device or the internal
drive of your MPC.
To select the storage device you want to view, tap itin the Storage column on the left.
Internal is the internal drive of MPC X/Live/Live
II/One/Key 61.
MPC Documents is a shortcut to the MPC
Documents folder on the internal drive of MPC
X/Live/Live II/One/Key 61.
If you have storage devices connected to USB
ports or SD card slot of MPC X/Live/Live II/One/
Key 61, or your computer (with MPC Studio/
Touch), they will appear in this column, as well.
To enter a folder, double-tap it. Alternatively, turn thedata dial or use the –/+ buttons to move through thelist, and press the data dial, or the center cursor orEnter (MPC X), to enter a folder. You can also tap oneof the five folder buttons in the upper-right to jump
immediately to those pre-assigned file paths (seeBrowser to learn how to do this).
To create a new folder, tap New Folder, use thevirtual keyboard that appears to enter a name, andthen tap Do It. You will immediately enter the newfolder.
To move up one folder level, tap the folder/ icon in
the upper-left corner.
To name the file, tap the File Name field at thebottom of the screen, and use the virtual keyboard thatappears.
To save the file, tap Save.
To cancel and return to the Menu, tap Cancel.
Alternatively, tap the  icon in the upper-left corner.

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Program Section
The Program section shows the current program. This section will appear differently depending on the type ofprogram selected in the Track section above it.
For all program types while using MIDI tracks, you can do the following:
To edit the name of the program, tap the cursor icon on the right edge of the section. Use the virtual keyboardthat appears to enter a new name, and then tap Do It.
To create a new program of the currently selected type, tap the + icon. A new program of the same type willbe created and appended with a number (e.g., Program 002).
For all program types while using audio tracks, you can do the following:
To change the input source, tap Input Config. This will show or hide the track channel strip. If you are viewing theaudio track channel strip (not the main output channel strip), the first field will be automatically selected.
To enter Audio Edit Mode, tap Edit Audio. This is the same as tapping the waveform-and-box icon on the leftedge of the screen.

While viewing drum programs, the Drum Program field shows the name of the program.
Tap Warp Samples to enter the first Sample tab in Program Edit Mode immediately (see Program Edit Mode >Drum Programs to learn about this).
Tap Assign Samples to enter the Sample Assign tab in the Browser immediately (see Browser to learn about this).
Tap Edit Samples to enter Program Mode in Sample Edit Mode immediately (see Sample Edit Mode > Program
Mode to learn about this). The sample shown will be the one in the top layer of the last pad you pressed.

While viewing keygroup programs, the Keygroup Program field shows the name of the program.
Tap Pad Perform to open the Pad Perform window (see Pad Perform Mode to learn about this).

While viewing clip programs, the Clip Program field shows the name of the program.
Tap Edit Clips to enter Program Edit Mode, where you can assign samples (clips) to pads, edit each clip, andconfigure how each clip plays when launched (see Program Edit Mode > Clip Programs to learn about this).

149

While viewing plugin programs, the Plugin Program field shows the name of the program.
Use the Plugin field to select the plugin the program is using. In the screen that appears, you can tap the Type or
Manufacturer button at the bottom of the screen to enable or disable sorting of your plugins by type or maker.
Note: You have to specify the disk directory where your plugins are located. This can be done in the software’s
Preferences. See user guide in the MPC software to learn how to do this: click the Help menu, select MPC
Help, and select MPC User Manual.
Use the Preset field to select a preset (if any) within the plugin the program is using.
Tap Sounds to open the Sounds menu, where you can browse plugins and presets. See Addenda > Updates in
MPC 2.11 > New Features > Sounds and Favorites for more information.
Tap Favorites to open the Favorites menu, where you can quickly select from saved presets. See Addenda >Updates in MPC 2.11 > New Features > Sounds and Favorites for more information.
Tap Pad Perform to open the Pad Perform window (see Pad Perform Mode to learn about this).

While viewing MIDI programs, the MIDI Program field shows the name of the program.
Use the MIDI Port field to select the port over which the program sends its MIDI data.
Note: You also have to configure the MIDI ports in the Preferences. See the user guide in the MPC software tolearn how to do this: click the Help menu, select MPC Help, and select MPC User Manual.
Use the Program Ch field to select the program change message the program sends out.
Use the MIDI Ch field to select the MIDI channel over which the program sends its MIDI data.
Use the Bank MSB and Bank LSB fields to select the messages for Most Significant Byte and Least Significant
Byte (respectively) that the program sends out.
Tap Pad Perform to open the Pad Perform window (see Pad Perform Mode to learn about this).

While viewing CV programs, the CV Program field shows the name of the program.
Tap the keys icon to set the program to Melodic operation.
Use the Note field to select the note tracking—the program’s note track: Lowest, Highest, or Last.
Use the CV Port field to select the CV port the program is using.
Use the Gate Port field to select the Gate port the program is using.
Use the Mod Wheel field to select the CV port used by a modulation wheel on an external controller.
Use the Velocity Port field to select CV port the program will use to transmit velocity values.
Tap the pads icon to set the program to Drum operation.
Tap the four squares with note icon to assign each pad in the program to a specific CV Port and set its
Data Type.
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To edit the program, tap the pencil icon on the right edge of the section. The Program Edit/Copy window willopen.

You can use any of these functions as described below.
To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the screen. Alternatively,
press Main.
To edit the name of the program, tap the top of the screen and use the virtual keyboard that appears.

The Delete function erases all events from the track andresets all of its settings.
To confirm your choice, tap Clear.
To return to the previous screen, tap Cancel.

The Duplicate function immediately creates an identicalprogram. The duplicate program will use the same namebut appended with a number (e.g., Program 002).

151

The Duplicate to Track function immediately creates an identical program on a new track. The duplicate program
will use the same name but appended with a number (e.g., Program 002). The new track will be named Track andappended with a number (e.g., Track 06).

The Bounce to Sample function immediately renders all tracks that use that program (for the current sequence only)
as an audio sample and places it in the project’s sample pool. By default, it will be named Bounce - and appended withthe program name. This function does not work for MIDI programs or CV programs.
If you have already used this function on this program, then you will be asked if you want to overwrite theexisting sample with this new one or cancel.
To continue and save the program over the existing one, tap Replace.
To cancel, tap Cancel.

The Bounce to Audio Track function immediately renders that program (for the current sequence only) as an audio
track in the project. The Main Mode will automatically switch to the Audio tab. By default, it will be named Audio andappended with a number (e.g., Audio 002). This function does not work for MIDI programs or CV programs.
If you have already used this function on this track, then you will be asked if you want to overwrite the existing
sample with this new one or cancel.
To continue and save the track over the existing one, tap Replace.
To cancel, tap Cancel.

The Flatten Pad function renders all samples on a pad as
an audio sample and places it on the first layer of that pad.
The resulting sample is the audio signal produced by that
pad at full velocity (127) after the pad channel strip, whichmeans that it includes any assigned pad insert effects andthe results of warping the sample. This function is useful if
you need to reduce how CPU-intensive a pad or program isby essentially “embedding” the warping and effects in thesample itself. By default, it will use the name of the firstsample. This function works for drum programs only. (This is
the same as the Flatten Pad button shown at the top of thescreen in Program Edit Mode.)
To select the pad, press it or use the Pad menu.
To set the length of the audio tail, use the Audio Tailfield. This will add extra seconds to the end of theresulting audio file. This is useful if you are using
effects or samples whose sounds exceed the defined
audio length (e.g., long reverb or delay, one-shotsamples with long decays, etc.). We recommend using
an audio tail of at least a couple of seconds.
To name the new sample, tap the Edit Name field,
and use the virtual keyboard that appears.
To confirm your choice, tap Do It.
To cancel, tap Cancel.

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The Copy Pads function lets you copy one or more pads
from one program to another.
To select the type of pad copy you would like toperform, use the Copy Type field. You can copy asingle Pad, a Pad Bank or a Range of pads.
Pad: Use the From Program and Pad fields toselect the program and pad you would like tocopy from, and use the To Program and Pad
fields to select the program and pad you would
like to copy to.
Bank: Use the From Program and From Bank
fields to select the program and pad bank you
would like to copy from, and use the To Programand To Bank fields to select the program and padbank you would like to copy to.
Range: Use the From Program, Start Pad and
End Pad fields to select the program and range ofpads you would like to copy from, and use the To
Program and Start Pad fields to select the
program and pad you would like to copy to.
To apply the settings, tap Apply.
To confirm the copy, tap Do It.
To cancel, tap Close.

The Edit Pad Map function lets you assign specific MIDI
notes to your pads in each program, except for keygroupprograms.
To select a pad to edit, press it or use the Pad field.
To set the corresponding MIDI note for the pad,
use the MIDI Note field.
Use the Presets buttons to quickly apply one of threecommon pad layout presets: Chromatic C-2, Classic
MPC and Chromatic C1.
To close the window and return to the previous
screen, tap the X, Close or anywhere outside thewindow.

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The Save Current Program or Save Current Sample
function saves the current program or sample (the top
layer of the last pad you pressed) (respectively) to an
external storage device or the internal drive of MPC
X/Live/Live II/One/Key 61.
To select the storage device you want to view, tap
it in the Storage column on the left.
Internal is the internal drive of MPC X/Live/Live
II/One/Key 61.
MPC Documents is a shortcut to the MPC
Documents folder on the internal drive of MPC
X/Live/Live II/One/Key 61.
If you have storage devices connected to USB
ports or SD card slot of MPC X/Live/Live II/One/
Key 61, or your computer (with MPC Studio/
Touch), they will appear in this column, as well.
To enter a folder, double-tap it. Alternatively, turn thedata dial or use the –/+ buttons to move through thelist, and press the data dial, or the center cursor orEnter (MPC X), to enter a folder. You can also tap oneof the five folder buttons in the upper-right to jump
immediately to those pre-assigned file paths (seeBrowser to learn how to do this).
To create a new folder, tap New Folder, use thevirtual keyboard that appears to enter a name, andthen tap Do It. You will immediately enter the newfolder.
To move up one folder level, tap the folder/ iconin the upper-left corner.
To name the file, tap the File Name field at thebottom of the screen, and use the virtual keyboardthat appears.
To save the file, tap Save.
To cancel and return to the Menu, tap Cancel.
Alternatively, tap the  icon in the upper-left corner.

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Grid View
The Grid View lets you view and edit the note events of each track of a sequence in a project
and their velocities. This mode has two different appearances: one for drum programs and one
for keygroup programs, MIDI programs, and plugin programs.
For drum programs, the left column shows you all available pads in a vertical view with their corresponding data.
For keygroup programs, plugin programs, and MIDI programs, the left column shows a vertical “piano roll” keyboard.

To enter the Grid View, do either of the following:•

Press Menu, and then tap Grid View.

•

Press Shift+Main/Grid (MPC Live II, MPC One)•

Press and hold Mode and press Pad 2 (MPC Studio)

Note: The Grid View option is available when the currently selected track is a MIDI track. When an audio track is
selected, it will show an icon for Audio Edit Mode instead of Grid View. To select a MIDI track (and enable Grid View),
press Main to enter Main Mode, and then tap MIDI in the lower-left corner.

Grid View of a drum program.

Grid View of a keygroup program or MIDI program.

The top of the screen shows the track name, sequence and timing information, and editing tools.

Use the Track field to select which track of the current sequence you want to show in the grid.

Use the Bars field to set the length of the sequence.

The time counter at the top of the screen indicates the current playhead position. This is shown in most of themodes. See General Features > Time Counter/Locate to learn about this.

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In the Grid View, these four tool icons enable you to use different functions in the grid.

Tap one to select its mode:

Pencil: Draw Mode:
To enter a note in an empty grid square, tap the grid square.
To select a note, tap it.
To move a note, tap and drag it to another grid square.
To erase a note, double-tap it.

Eraser: Erase Mode:To erase a note, tap it.

Select Box: Select Mode:
Note: Notes will remain selected if you switch to another mode. The selection will change, however, if youpress a pad while Hitting Pad Selects All Events is set to On.
To select a note, tap it.
To select multiple notes, tap and drag across the grid to create a box around them.
To move a note, tap and drag it to another grid square.
To move multiple notes, select them as described above, and tap and drag them.
To erase multiple notes, select them as described above, and then select the eraser tool and tap anyof the selected notes.

Magnifying Glass: Navigation Mode:
To move to another part of the grid, tap and drag it.
To zoom in or out, spread or pinch your fingers (respectively) on the grid. You can do this vertically,horizontally, or both at the same time.

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The Settings window lets you configure certain Grid View settings.
To view the Settings, tap the gear icon.

Use the Snap Mode selector to set how events “snap” to the grid.
Absolute: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time
Correct window). This is the typical and traditional method of using the snap/quantization feature.
Relative: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time
Correct window) plus the original time position of the event (e.g., an event that is originally three ticks past atime division on the grid will snap only to positions that are three ticks past every time division).

Use the Hitting Pad Selects All Events selector to turn the feature on or off. When on, pressing a pad willautomatically select all note events for that pad in the sequence on that track. When off, pressing a pad will simply
play its sound without selecting any note events.

Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead.
Follow: Depending on the zoom setting, the grid will scroll along in the background while keeping the audio
playhead centered.
Page: The grid will move to the “next page” to follow the audio playhead.
Off: The grid will not move at all.
These functions also apply to Audio Edit Mode, List Edit Mode, and Sample Edit Mode.

Use the Link Zoom and Scroll selector to turn the feature on or off. When on, the zoom and scroll levels in the MPC
software and your MPC hardware will always be the same. When off, the grid views can be adjusted separately using
the MPC software and your MPC hardware.
Note: This setting is only available when connected to MPC software in controller mode.

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Regardless of which tool is selected, you can do any of the following to move, lengthen, shorten, or transpose any
selected note/notes.
To automatically set the grid to view one pad bank and two bars, tap the grid-and-magnifying-glass icon in
the lower-left corner.
To undo your last action, press Undo.
To redo the last action you undid, press and hold Shift, and then press Undo/Redo.
To select all notes for a pad, press the desired pad.
To move the selected notes, tap Nudge at the bottom of the screen, and then use the data dial or –/+ buttons
to shift the notes left or right. By default, you can position notes only by quantization values defined by the Time
Correct value (see General Features > Timing Correct (TC) to learn about this).
To move the selected notes without restricting (“snapping”) them to the quantization grid, tap and holdDon’t Snap in the lower-left corner of the screen, and then use the data dial or –/+ buttons to shift the notes. In
this case, each nudge is equivalent to four ticks.
To adjust the start point or end point of the selected notes (without changing their position), tap Edit Start at
the bottom of the screen, and then use the data dial or –/+ buttons.
To transpose the selected notes up or down, tap Transpose at the bottom of the screen, and then use thedata dial or –/+ buttons.
To copy the selected notes instantly, press Copy. The selected notes will be duplicated and start immediately
after the end of the last selected note. Nudge will be automatically selected so you can immediately use the data
dial to move the copied notes,
To switch to the previous or next track, press and hold Shift, and then tap Track – or Track + (respectively) at
the bottom of the screen.
To mute or solo the track, press and hold Shift, and then tap Mute or Solo (respectively) at the bottom of thescreen.

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To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See
General Features > Timing Correct (TC) to learn about this.
To select a time division directly, double-tap the down arrow () in the upper-left corner of the grid and select atime division.

To adjust the metronome settings, press and hold Shift, and then tap Click at the bottom of the screen. See
General Features > Metronome (Click/Metro) to learn about this.

The Grid View also contains a velocity/automation lane where you can easily adjust note velocities and automation
parameters.

The velocity lane in the Grid View.

To show or hide the velocity/automation lane:
1. Tap the up arrow (∧) button in the lower-right corner to show the velocity/automation lane.
2. Tap the down arrow (∨) to hide the velocity/automation lane.

When viewing velocity in the lane, a vertical bar represents each note’s velocity. The higher and more red the bar is,
the higher the velocity is. Yellow bars indicate a lower velocity. Bars with a gray line at the top indicate a currently
selected note.
To adjust the velocity of the selected notes, tap Velocity at the bottom of the screen, and then use the data dialor –/+ buttons. The numeric value will appear on the screen.

See Addenda > Updates in MPC 2.6 > New Features > Grid Automation Lanes for more information on editing
automation parameters.

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Audio Edit Mode
Audio Edit Mode lets you view and edit the audio tracks of a sequence in a project.

To enter Audio Edit Mode, press Menu, and then tap Audio Edit Mode.
Note: The Audio Edit option is available when the currently selected track is an audio track. When a MIDI track is
selected, it will show an icon for Grid View instead of Audio Edit Mode. To select an audio track (and enable Audio
Edit Mode), press Main to enter Main Mode, and then tap Audio in the lower-left corner.

Audio Edit Mode with channel strip hidden.

Audio Edit Mode with channel strip shown.

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Below is a brief step-by-step process so you can get started recording audio tracks quickly. Continue reading therest of this chapter to learn how to use Audio Edit Mode in different cases.

To record in Audio Edit Mode (or Main Mode):
1. If the channel strip is not already shown on the left side of the screen, tap the small eye icon to show it.
2. Connect a synthesizer or other line-level audio source to the appropriate input/inputs of your MPC hardware. Set
the Line/Phono selector or Inst/Line selector (MPC Key 61) appropriately, too.
3. Double-tap the first field to select the input source of the external audio signal, which you can set to a pair of
inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 inStandalone Mode, Input 1–32 in Controller Mode) (MPC One/Key 61 do not use Inputs 3,4 but displays them tomaintain compatibility with MPC X/Live/Live II/Touch, which do use them).
4. Double-tap the second field to select where the track is routed (Out 1,2–7,8 and Submix 1–8 in Standalone
Mode, or Out 1,2–31,32 in Controller Mode; MPC Live/Live II do not use Out 7,8, and MPC One/Key 61 do not
use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X, which does usethem).
5. Tap the Monitor button to set how your audio track will be monitored. Tapping it will cycle through its three states:
When set to Auto, you will hear incoming audio while the track is record-enabled only.
When on, you will hear incoming audio whether or not the track is record-enabled.
When off, you will never hear any incoming audio.
6. Turn the 3/4 Rec Gain knob (MPC X), Rec Vol knob (MPC Live/Live II/One/Touch), or Gain knob (MPC Key 61)
to set the input level while sending an audio signal into your MPC hardware. You should now see the level in themeter. Make sure it does not exceed the maximum level (the meter should not be “peaking” constantly).
7. If Mute and Solo are on, tap or press them so they are off. We also recommend tapping the automation button
so it is off/gray (not green/Read [R] or red/Write [W]). Alternatively, press and hold Shift and then press
Read/Write so it is off (MPC X/Key 61).
8. Tap the Rec Arm button next to the pan knob or press Rec Arm (MPC X) to record-enable the track.
9. Press Rec to record-arm the sequence.
10. To start recording, press Play or Play Start—then play your audio source. You should hear your existing
sequence playing in the background. You’ll see the waveform appear as a single “track region” as you record.
11. To stop recording, press Stop.

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The top of the screen shows the track name, sequence and timing information, and editing tools.

Use the Track field to select which track of the current sequence you want to show in the grid.

Use the Bars field to set the length of the sequence.

The time counter at the top of the screen indicates the current playhead position. This is shown in most of themodes. See General Features > Time Counter/Locate to learn about this.

In Audio Edit Mode, these seven tool icons enable you to use different functions in the track.

Tap one to select its mode:

Marquee: Marquee Mode:
To select a track region, tap the upper third of it.
To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.
To split the track at two specific points (creating a track region on either side and between them), tap anddrag across the middle third of it to create a translucent white box, and then tap the upper third of that box.
To shorten or lengthen a track region (or multiple selected track regions), tap and drag the lower thirdof it left or right.

Arrow: Selection Mode:
To select a track region, tap it.
To select multiple track regions, tap and drag across the grid to create a box that highlights them.
Double-tap the selected track regions to deselect them.
To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.
To shorten or lengthen a track region (or multiple selected track regions), tap its edge and drag it.

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Pencil: Draw Mode:
To enter a note in an empty grid square, tap the grid square.
To select a note, tap it.
To move a note, tap and drag it to another grid square.
To erase a note, double-tap it.

Eraser: Erase Mode:
To select multiple track regions, tap and drag across the grid to create a box that highlights them.
To erase a track region (or multiple selected track regions), tap it.

Scissors: Split Mode:To split the track at a specific point (creating a track region on either side), tap that point in the track.
To select a track region, tap its left-most edge.
To select multiple track regions, tap and drag across the grid to create a box that highlights them.
Double-tap the selected track regions to deselect them.

Mute: Mute Mode:
To select multiple track regions, tap and drag across the grid to create a box that highlights them.
Double-tap the selected track regions to deselect them.
To mute or unmute a track region (or multiple selected track regions), tap it.

Magnifying Glass: Navigation Mode:
To move to another part of the track, tap and drag it.
To zoom in or out, spread or pinch your fingers (respectively) on the grid. You can do this vertically,horizontally, or both at the same time.

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The Settings window lets you configure certain Audio Edit Mode settings.
To view the Settings, tap the gear icon.

Use the Snap Mode selector to set how events “snap” to the grid.
Absolute: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time
Correct window). This is the typical and traditional method of using the snap/quantization feature.
Relative: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time
Correct window) plus the original time position of the event (e.g., an event that is originally three ticks past atime division on the grid will snap only to positions that are three ticks past every time division).
Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead.
Follow: Depending on the zoom setting, the waveform display will scroll along in the background while keeping
the audio playhead centered.
Page: The waveform display will move to the “next page” to follow the audio playhead.
Off: The waveform display will not move at all.
These functions also apply to the sample waveform in Sample Edit Mode.

Use the Link Zoom and Scroll selector to turn the feature on or off. When on, the zoom and scroll levels in the MPC
software and your MPC hardware will always be the same. When off, the grid views can be adjusted separately using
the MPC software and your MPC hardware.
Note: This setting is only available when connected to MPC software in controller mode.

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On the left edge of the screen, next to the five mode icons, there are two small
icons that control the channel strip.
To show or hide the channel strip, tap the eye icon.

The channel strip contains some important settings for the audio track or main
output, depending on the currently selected icon:
To view the track channel strip, tap the waveform icon.
To view the main output channel strip, tap the crown icon.

When viewing the track channel strip while using an audio track:
The first field defines the input source of the external audio signal, which you
can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32
in Controller Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–
32 in Controller Mode).
The second field shows where the track is routed, which you can change: Out
1,2–7,8, Out 1–8 or Sub 1–8 in Standalone Mode; and Out 1,2–31,32 or Out
1–32 in Controller Mode.
Note: When set to a mono channel, the left and right channels are summed
post-pan knob. If the pan knob is set to the center position, the left and rightchannels will be summed and padded. If the pan knob is set to the maximum
left or right positions, only the respective channel will be sent to the output.
The Inserts field shows any enabled or disabled effects for that track. Tap thearea under Inserts to open a window where you can load, change, and enable
or disable the effects.
Tap Solo or Mute to solo or mute the track (respectively).
Tap the Monitor button to set how your audio track will be monitored. Tapping
it will cycle through its three states:
When set to Auto, you will hear incoming audio while the track is recordenabled only.
When on, you will hear incoming audio whether or not the track is recordenabled.
When off, you will never hear any incoming audio.

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Tap the track automation button or press Read/Write (MPC X, MPC Key 61)
to toggle between two states:
When set to Read (R), the audio track will read automation data but will notrecord any additional automation over it. (Think of this as a protective
feature to prevent accidental changes to your automation while recording.)
When set to Write (W), the audio track can record automation. (If you haveany Q-Link knobs assigned to automatable parameters, make sure not totouch any accidentally while you are recording.)
Tip: You can quickly set all programs and audio tracks to the same
automation by tapping the global automation button in the upper-right cornerof the screen. See General Features > Automation to learn about this.
Press and hold Shift and tap the track automation button or press
Read/Write (MPC X, MPC Key 61) to disable track automation. When off, theaudio track will ignore automation data. Tap the track automation button orpress Read/Write to enable track automation again.
Important: If you have already recorded automation and turn it off, the track
will still use the effect and its parameter values at the point where you turned itoff.
To change the panning or level of the track, adjust the pan knob or level
slider.
To record-enable the track, tap the Record Arm button or press Rec Arm(on MPC X when the track name is shown in the display strip below the level
meters). When you begin audio recording, the audio signal will be recorded tothis track.
Tip: You can select multiple tracks in the Track View by pressing and holding
Shift while tapping the Arm button to each track.

When viewing the main output channel strip:
The first field shows the current main output as a stereo pair (which you canchange).
The Inserts field shows any enabled or disabled effects for that pair of outputs.
Tap the area under Inserts to open a window where you can load, change, andenable or disable the effects.
Tap Mute to mute the main output.
Adjust the pan knob or level slider to change the panning or level of the main
output.

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Regardless of which tool is selected, you can do any of the following to edit the selected audio track regions.
Tip: If you want to hear only the audio track while editing, use the Solo button in the track channel strip to solo it.
To select a track region, tap the arrow icon to enter Selection Mode and tap a track region. When a track
region is selected, all region parameters will be available to edit.
To undo your last action, press Undo.
To redo the last action you undid, press Shift+Undo/Redo.
To move the selected track region, tap Nudge at the bottom of the screen, and then use the data dial or –/+buttons to shift the track region left or right. Alternatively, if the arrow tool or marquee tool are selected, tap
and drag the upper third of the selected track region left or right. By default, you can move a track region only by
quantization values defined by the Time Correct value (see General Features > Timing Correct (TC) to learn
about this).
To move the selected track region without restricting (“snapping”) it to the quantization grid, tap and holdDon’t Snap in the lower-left corner of the screen, and then use the data dial or –/+ buttons to shift the track
region. In this case, each nudge is equivalent to four ticks.
To adjust the start point or end point of the selected track region (without changing its position), tap Edit
Start at the bottom of the screen, and then use the data dial or –/+ buttons.
To split the track at the current playhead position (creating a track region on either side), tap Split at thebottom of the screen.
To copy, cut, or paste the selected track region,press Copy or press and hold Shift, and then tap
Copy or Cut. Turn the data dial to move thehighlighted track region, and then press the datadial, or the center cursor or Enter (MPC X), to paste
it at its current location. Alternatively, press and hold
Shift, and then tap Paste (respectively).
To cut, copy, or paste the selected track region,press and hold Shift, and then tap Cut, Copy, orPaste (respectively) at the bottom of the screen.
To duplicate the selected track region, tap Duplicate at the bottom of the screen. The duplicate track region
will appear immediately after the original one.
To create a fade-in or fade out for the selected track region, use the Fade In or Fade Out fields, respectively.
The fades will be shown as a sloped line at the start or end of the track region.
To set the level of the selected track region, use the Level field. The waveform amplitude will change accordingly.

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To reverse the selected track region, tap Reverse.

To mute the selected track region, tap Mute.

To lengthen or shorten the selected track region without changing its pitch, tap Warp, which will enable theSemi, Fine, and BPM fields next to it. Use the BPM field to change the tempo, which will change the length of
the track region accordingly. Use the Semi and Fine fields if you want to change the pitch (this is useful formatching the durations of two samples with different pitches).
Tip: You can configure audio track recording to ensure the resulting track region is warped automatically. You canthen adjust the sequence tempo while track region remains in time. See Menu > Preferences > General to learn
about this.
Note: When you record an audio file, the current sequence tempo will be embedded with it. This information isstored within the sample file when you save the project. When you warp an audio track region, the warping
algorithm uses this sequence tempo and the current value in the BPM field to generate the “stretch factor.”
Note: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too
freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources requiredby doing any/all of the following:•

Minimize the amount of pitch adjustment (e.g., the Semi and Fine fields).

•

Avoid warping very small track regions.

•

Warp as few tracks or track regions as possible (i.e., reduce the number of total number of voices [of thepolyphonic limit] that use the warp algorithm at a given time), especially instances where the warped regions
start at the same time.

•

If you have warped samples used in a drum program, consider using the Flatten Pad function to consolidate
the affected pad’s layers into one audio sample (see here to learn about this). After you flatten the pad, its
sample/samples no longer need to be warped.

To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See
General Features > Timing Correct (TC) to learn about this.

To switch to the previous or next track, press and hold Shift, and then tap Track – or Track + (respectively) at
the bottom of the screen.

To mute or solo the track, press and hold Shift, and then tap Mute or Solo (respectively) at the bottom of thescreen.

To edit automation for the track, open the automation lane. See Addenda > Updates in MPC 2.6 > New
Features > Grid Automation Lanes for more information.
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Track View
Track View gives you an overview of the tracks of each sequence. Use this mode to edit tracks
and sequences simultaneously.

To enter the Track View, do either of the following:•

Press Menu, and then tap Track View.

•

Press Shift+Main/Track (MPC X, MPC Live, MPC Key 61, MPC Touch).

•

Press and hold Mode and press Pad 1 (MPC Studio).

Each horizontal strip represents a track in the current sequence. MIDI tracks and audio tracks are grouped together.
MIDI tracks are listed first, audio tracks are listed second.
To move through the list of tracks, swipe up or down.
To collapse or expand each group of tracks, tap the up arrow () or down arrow () icon above the first
track’s Mute button.

The top of the screen shows the sequence name and timing information.

Use the Sequence field to select which sequence contains the tracks you want to show below.

The time counter at the top of the screen indicates the current playhead position. This is shown in most of themodes. See General Features > Time Counter/Locate to learn about this.

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The Settings window lets you configure certain Track View settings.
To view the Settings, tap the gear icon.

Use the Show Unused Tracks selector to turn this feature on or off. When on, tracks with a sequence, program, etc.
will still appear in the Track View. When off, only tracks with a sequence, program, etc. will appear.

To open the Timing Correct settings, tap TC at the bottom of the screen. See General Features > Timing Correct(TC) to learn about this.

To open the metronome settings, tap Click at the bottom of the screen. See General Features > Metronome(Click/Metro) to learn about this.

To select the previous or next track of the same type (MIDI or audio), tap Track – or Track + (respectively) at thebottom of the screen. Alternatively, tap the track in the main part of the screen.

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MIDI Tracks
All MIDI tracks in the project are grouped together in the upper half of the Track View.
To show or hide them, tap the  or  arrow icon.

Use the Input fields to select MIDI input port and channel that the track will use.

Use the Output fields to select the MIDI output port and channel that the track will use. This is only available whenusing a MIDI Program on the track.

Use the Key Range fields to set the incoming range of notes that will be sent to the track. You can tap the low andhigh key fields and then use the data dial or +/- buttons, or tap the Learn button and use a connect MIDI device to
set the key range. The set range will be shown in the keys diagram.

Use the Arm button to record-enable the track. When you begin recording, the MIDI input will be recorded to thistrack. You can select multiple tracks by pressing and holding Shift while tapping the Arm button to each track.

Use the Monitor button to set how your MIDI track will be monitored. Tapping it will cycle through its four states:
When set to Off, the track's MIDI input is not monitored, and playback of recorded events will be heard.
When set to In, the track's MIDI input is always monitored regardless of the track's Record Arm state, andplayback from recorded events will not be heard.
When set to Auto, the track’s MIDI input is monitored when the track is record armed, and playback of recorded
events will be heard.
When set to Merge, the track's MIDI input is always monitored, and playback of recorded events will be heard.

Use the level slider to change the level of the track. The level meter above the slider shows the track’s current level.

Use the Solo and Mute buttons to solo or mute the track (respectively).
Alternatively, tap Mute or Solo (respectively) at the bottom of the screen to mute the currently selected track.

Tap the Filter button to open the Track MIDI Perform Settings window, where you can set parameters for incoming
MIDI data. See Appendix > Updates in MPC 2.11 > New Features > Track MIDI Perform Settings for more
information.

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Audio Tracks
All audio tracks in the project are grouped together in the lower half of the Track View.
To show or hide them, tap the  or  arrow icon.

Use the Input field to set the track’s input/inputs.

Use the Output field to set the track’s output/outputs.

Use the Arm button to record-enable the track. When you begin audio recording, the audio signal will be recorded tothis track. You can select multiple tracks by pressing and holding Shift while tapping the Arm button to each track.

Use the Monitor button to set how your audio track will be monitored. Tapping it will cycle through its three states:
When set to Auto, you will hear incoming audio while the track is record-enabled only.
When on, you will hear incoming audio whether or not the track is record-enabled.
When off, you will never hear any incoming audio.

Use the level slider to change the level of the track. The level meter above the slider shows the track’s current level.

Use the pan knob to change the panning of the track.

Use the Solo and Mute buttons to solo or mute the track (respectively).
Alternatively, tap Mute or Solo (respectively) at the bottom of the screen to mute the currently selected track.

Use the Add new audio track button to create a new audio track.

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Step Sequencer
The Step Sequencer lets you create or edit sequences by using the pads as “step buttons,”
simulating the experience of a traditional step-sequencer-style drum machine. This isavailable for MIDI tracks only, not audio tracks.
You can also create and edit automation using the Step Sequencer. See Addenda >Updates in MPC 2.6 > New Features > Step Automation for more information.
To enter the Step Sequencer, do either of the following:•

Press Menu, and then tap Step Sequencer.

•

Press Step Seq (MPC X, MPC Live II, MPC One) or Shift+Grid/Step Seq (MPC Key 61).

•

Press and hold Mode and press Pad 15 (MPC Studio).

The top of the screen shows the track name and information as well as sequence and timing information.

The Track field shows the name of the current track.

Use the Track Length field to set how long the track is. If you select the minimum value, Sequence or 0 (if you use
the numeric keypad), the track will be the exact same length as its sequence.
Tip: This feature lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence
repeatedly under a 4-bar bass line.

Use the Bars field to adjust the length of the sequence in bars.

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Use the BPM field to adjust the tempo of the sequence.
To set whether the sequence follows its own tempo (Seq) or a global tempo (Gbl), tap the
Seq/Gbl button next to the BPM field. Alternatively, press and hold Shift and then press Tap.

The time counter at the top of the screen indicates the current playhead position. This is shown inmost of the modes. See General Features > Time Counter/Locate to learn about this.

Use the Time Division selector to set the value that determines how many steps each bar of the sequence will have.
The T indicates a triplet-based value.
Alternatively, tap TC at the bottom of the screen to open the Timing Correct window. See General Features >Timing Correct (TC) to learn about this.

To enter or delete steps in a sequence:
1. Use the Pad –/+ buttons at the bottom of the screen to select the pad whose steps you want to enter or delete.
The current pad number is shown in the upper-left corner.
Alternatively, use the Pad Select feature: Tap and hold Pad Sel, press the desired pad, and then release Pad
Sel. You can also use Pad Select as a “latching” feature: tap Pad Sel so it is activated, press the desired pad,and then tap Pad Sel once more so it is deactivated.
2. Use the Bar –/+ buttons at the bottom of the screen to select the bar of the sequence whose steps you want toenter or delete. The current bar number is shown in the upper-left corner.
3. Press the pads of your MPC hardware, or tap a button at the bottom of the sequencer. Each pad corresponds toa step in the bar and will light with a color corresponding to its velocity.
Keep in mind that for time divisions larger than 16, the bar’s steps will be represented by multiple pad banks. In
this case, use Pad Bank Buttons A and B to view all the steps within a bar.

For time divisions larger than 16, the bar’s steps will be represented by multiple pad banks. In
this case, use the left and right arrows (< and >) by the step numbers (1–16, 17–32, etc.) tochange which steps are shown in the sequencer.
Alternatively, use Pad Bank Buttons A and B.

174

To adjust the velocities of the steps, do any of the following:•

Tap anywhere on the velocity bar of a step. The top of the velocity bar will jump to that point.

•

Use the slider on the right edge of the screen to increase or decrease the velocities of all steps.

•

Turn the Q-Link knob that corresponds to that step (the Q-Link knobs must be in the Screen edit mode).
Setting a value of 0 (Off) will delete the step.

Use the Nudge < and Nudge > arrows to shift each step left or right (respectively) one step. This is useful forexperimenting with different rhythmic permutations.

Use the slider on the right edge of the screen to increase or decrease the velocities of all steps.

Use the Flip Steps button to switch which steps have notes entered and which do not have notes.
Steps that previously had no notes will now have notes at full velocity (127). Steps that previously hadnotes will now be empty.

Tap Presets to show or hide the preset sequence controls. These controls let you manipulate andtransform the velocities of the current bar in the sequence.

The first button will apply ascending or descending velocities to the steps. Each time you tap it, it will
cycle through these options:•

The velocities will ascend to a single peak at the end of the bar.

•

The velocities will ascend to two peaks—one after each half of the bar.

•

The velocities will ascend to four peaks—one after each quarter of the bar.

•

The velocities will descend from a single peak at the start of the bar.

•

The velocities will descend from two peaks—one after each half of the bar.

•

The velocities will descend from four peaks—one at the start each quarter of the bar.

The second button will set the velocities of the steps to be at the maximum value (127) or minimum
values (1), depending on their position in the bar. Each time you tap it, it will cycle through these options:•

The velocities of the first half of the bar will be set to 1. The velocities of the second half will be
set to 127.

•

The velocities of the first and third quarters of the bar will be set to 1. The velocities of thesecond and fourth quarters will be set to 127.

•

The velocities of the first, third, fifth, and seventh eighths of the bar will be set to 1. The
velocities of the second, fourth, sixth, and eighth eighths will be set to 127.

•

The velocities of the first half of the bar will be set to 127. The velocities of the second half will
be set to 1.

•

The velocities of the first and third quarters of the bar will be set to 127. The velocities of thesecond and fourth quarters will be set to 1.

•

The velocities of the first, third, fifth, and seventh eighths of the bar will be set to 127. The
velocities of the second, fourth, sixth, and eighth eighths will be set to 1.

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The third button will apply ascending or descending velocities to the steps. Each time you tap it, it will
cycle through these options:•

Across the entire bar, the velocities will ascend to a peak and then descend from it.

•

In each half of the bar, the velocities will ascend to a peak and then descend from it.

•

In each quarter of the bar, the velocities will ascend to a peak and then descend from it.

•

Across the entire bar, the velocities will descend from a peak into a valley and then ascend backup to the peak.

•In each half of the bar, the velocities will descend from a peak into a valley and then ascend backup to the peak.

•In each quarter of the bar, the velocities will descend from a peak into a valley and thenascend back up to the peak.

The fourth button will swap the first half and second half of the bar. In other words, the first half of thebar will become a mirrored image of the second half, and vice versa.

The fifth button will invert the velocities of all steps with entered notes. The sum of the old and new
velocities will equal 127. The exception is a velocity of 127 or 1 as a step with a note cannot have avelocity of 0.
Examples:Steps with velocities of 40 will now have velocities of 87, and vice versa.
Steps with velocities of 75 will now have velocities of 52, and vice versa.
Steps with velocities of 127 will now have velocities of 1, and vice versa.

176

XYFX ModeXYFX Mode turns the touchscreen into an XY pad where each axis represents the range of an effectparameter. As you move your finger on the XY pad, the current position will determine the current valueof the two parameters. You can use this mode to create interesting effect automation on your tracks.
The effect you control in XYFX Mode acts like an insert effect on that program. In fact, XYFX is thename of the insert effect you have to load to the program before you can use this mode. Learn more
about this in General Features > Effects.

To enter XYFX Mode, do any of the following:•

Press Menu, and then tap XYFX.

•

Press XYFX (MPC X), Shift+Next Seq/XYFX (MPC Live II, MPC One), or Shift+Edit/XYFX (MPC Key 61).

When you first enter this mode in a project, you may be prompted to load XYFX to the program. Tap Insert XYFX to
do this.
Note: If you already have four insert effects loaded, you will need to clear one of the insert effect slots before doing this.

Use the XYFX Location field to select the signal to which the effects will be applied: the current program (Program)or a main output (a stereo pair of channels: Output 1/2, Output 3/4, etc.).

The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
General Features > Time Counter/Locate to learn about this.

The automation button indicates the global automation state. This is shown in several modes. See General Features> Automation to learn about this.

177

Touch or move your finger on the gridded part of the screen. A marker will follow your finger to indicate the current
position. The X axis is the horizontal axis, increasing in value as you move right. The Y axis is the vertical axis,
increasing in value as you move up. Each axis is labeled with its assigned parameter.
When an effect has a beat division parameter, the current division will be highlighted as an entire column.
Effects are differently colored for easy visual distinction: beat-synchronized effects are blue, while manuallycontrolled effects are green.

XY Mode with a beat-synchronized effect.

While touching the XY pad, tap Latch in the lower-left corner to keep the marker on the XY pad even after you
release it. The marker will remain there until you touch another part of the XY pad or until you tap Latch again.

Use the Setup button to show or hide the Setup panel, which controls how the XY pad behaves.

Use the Preset field to select the effect you want to use in XYFX Mode.

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XY Mode with a manually controlled effect.

Use the Attack knob to set the length of the attack phase of the envelope, which is triggered when you touch the XY
pad. In other words, this determines how long it takes the effect to fully respond to your touch.

Use the Release knob to set the length of the release phase of the envelope, which is triggered when you release the
XY pad. In other words, this determines how long it takes the effect to fully deactivate after you stopping touching
the XY pad.

Use the Wet/Dry knob to set the blend the original signal (dry) and the effect signal (wet).

The X Axis and Y Axis fields show which parameters are controlled by each axis. This varies depending on the effectyou are using.

179

Sample Edit Mode
Sample Edit Mode lets you edit samples using various functions.

To enter Sample Edit Mode, do any of the following:•

Press Menu, and then tap Sample Edit.

•

Press Sample Edit (MPC X, MPC One, MPC Key 61) or Shift+Mute/Sample Edit (MPC Live II).

•

Press and hold Mode and press Pad 5 (MPC Studio).

To select a sample to edit, do any of the following:•

Use the Sample field at the top of the screen.

•

In Main Mode, tap the Project field at the top of the screen, and then double-tap a sample in the list on theright side.

•

In the Browser, tap the Project button with the P/page icon at the bottom of the screen, and then doubletap a sample in the list on the right side.

•

Press Sample Select and use the data dial or -/+ buttons to select a sample (MPC Studio).

To edit the name of the sample, tap the keyboard icon next to the name at the top of the screen, and use thevirtual keyboard that appears.

To delete the sample, tap the trash-can icon next to the name at the top of the screen. In the screen that appears,
you will see the programs that use this sample within your project. Tap Delete Sample to continue, or tap Cancel toreturn to the previous screen.

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The upper half of the screen shows the waveform. The lower half shows the editing controls.

The waveform display shows the “active” section of the sample waveform. Swipe left or right on the waveform tomove through it.
Above the waveform is the timeline, shown in Samples, Time (in seconds and milliseconds), or Beats. You canselect the measurement units you want to show in the Settings.
To zoom in or out, do any of the following:•

When the magnifying-glass icon (in the upper-right corner) is selected, spread or pinch your fingers(respectively) on the waveform.

•

Tap the Zoom + or Zoom – buttons (respectively) at the bottom of the screen.

•

Turn Q-Link Knob 4 (Zoom on MPC X) or the fourth Q-Link knob in the fourth column (MPC Live/Live II/One/
Key 61/Touch).

•

Press Zoom and use the data dial or -/+ buttons (MPC Studio).

To scroll through the waveform, do either of the following:•

When the magnifying-glass icon (in the upper-right corner) is selected, swipe the waveform left or right.

•

Turn Q-Link Knob 8 (Scroll on MPC X) or the third Q-Link knob in the fourth column (MPC Live/Live II/One/
Key 61/Touch).

The green marker and red marker are the start point and end point (respectively). These two points define the regionof the sample that will be played.
To move the start point or end point of the selected region, do any of the following:•

Tap and drag its marker left or right.

•

Use the Start or End fields shown below the waveform.

•

Use the first column of Q-Link knobs (Start X1__) to adjust the start point or the second column of Q-Link
knobs (End X1__) to adjust the end point. The top-most Q-Link knobs (13 and 14) provide coarse
adjustment. The bottom-most Q-Link knobs (1 and 2) provide fine adjustment.

•

Press Sample Start or Sample End and use the data dial or -/+ buttons (MPC Studio).

Tip: A recorded sample may have some silence at the beginning or end, which makes it difficult to time it correctly ina musical context. Fix this by adjusting the start point. You can also adjust end point to remove any extra silence or
unwanted audio at the end. In addition to making your workflow easier, having a “tight,” well-edited sample canenhance your production or performance.
You can use Sample Edit Mode in three different ways: Trim Mode, Chop Mode, or Program Mode. The options foreach mode are slightly different. Please refer to the following Trim Mode, Chop Mode, and Program Mode parts ofthis chapter to learn how each works. Before using these modes, though, you may want to configure your settings—
see the following Settings chapter to do this.
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Settings
The Settings window lets you configure certain Sample Edit Mode settings.
To view the Settings, tap the gear icon.

Use the Cue Play Mode selector to set how the cue playhead will play audio.
One Shot: Tapping Play Cue will play the entire sample from the cue playhead.
Toggle: Tapping Play Cue once will start playback from cue playhead. Tapping it once more will stop playback.

Use the Cue Preview selector to set if any audio plays as you move the cue playhead. As you move the cue
playhead through the sample waveform, you can set it to play the small part of the sample before the cue playhead(Before), play the small part of the sample after the cue playhead (After), or not play at all (Off). You can also set thisin your overall Preferences (see General Features > Menu > Preferences > General).

Use the Slice Preview selector to set if any audio plays as you move a slice marker. As you move the slice marker
through the sample waveform, you can set it to play the small part of the sample before the slice marker (Before),play the small part of the sample after the slice marker (After), or not play at all (Off). You can also set this in youroverall Preferences (see General Features > Menu > Preferences > General).

Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead.
Follow: Depending on the zoom setting, the waveform will scroll along in the background, keeping the audio
playhead centered.
Page: The waveform display will move to the “next page” to follow the audio playhead.
Off: The waveform display will not move at all.
These functions also apply to the sample waveform in the Grid View.

Use the Timeline Units selector to set the measurement units shown above the sample waveform. You can selectone of the following options:
Time: hours:minutes:seconds:frames
Samples: number of samples
Beats: bars:beats:ticks
182

Trim Mode
We recommend using Trim Mode to crop the start and/or ends from a sample.
To enter Trim Mode, tap the Trim/Chop button in the lower-left corner so it says Trim. There are two pages ofparameters in Trim Mode, which can be accessed by tapping the > or < arrows on the sides of the page.

Use the Start and End fields to set the position of the start point and end point of the sample (respectively).
Alternatively, tap and drag the start (S) or end (E) marker left or right, or use the first column of Q-Link knobs (Start
X1__) to adjust the start point or the second column of Q-Link knobs (End X1__) to adjust the end point.

Trim Mode includes a loop function. When on, the region of the sample between the loop point and end point will
repeat. This is useful when trying to find an ideal spot to begin the sample. The loop cannot be earlier than the startpoint.
To adjust the loop point, do any of the following:•

Use the Loop field.

•

Tap and drag the start (S) marker (if Loop Lock is on) or the loop marker (if Loop Lock is off).

•

Use the first column of Q-Link knobs (Start X1__; if Loop Lock is on) or the third column of Q-Link knobs(Loop X1__; if Loop Lock is off). The top-most Q-Link knobs (13 and 15) provide coarse adjustment. The
bottom-most Q-Link knobs (1 and 3) provide fine adjustment.

•

Press and hold Shift and press Sample Start, then use the data dial or -/+ buttons (MPC Studio).

To turn Loop Lock on or off, tap the Loop Lock button. When on, the loop point is the same as the start point.
When off, the loop point is independent from the start point and indicated by a separate loop marker.
To turn the loop function on or off, tap the Loop button to cycle between the four modes:
Off: The sample will not loop.
Forward: When the loop reaches its end point, it will start playing again from the loop point.
Reverse: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it will
return to the end point and continue playing in reverse.
Alternating: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it
will start playing forward again from the loop point.
To switch between Forward and off, press and hold Shift, and then tap Loop at the bottom of the screen.
Use the X-Fade button to apply a crossfade to a looping sample. See Addenda > Updates in MPC 2.3 > New
Features > Crossfade Looping for more information about this.

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Use your MPC hardware pads to play certain parts of the selected sample:

Play Loop

13

Play to Loop
Start

Play from
Loop Start

14

15

Play Sample

Play Sample(One Shot)(Note On)

16

Play All

09

Play Loop
Continuous

No function

10

11

12

Play from
Start

Play toStart

Play toEnd

Play fromEnd(Note On)

(Note On)

(Note On)

(Note On)

05

06

07

08

Play from
Start

Play toStart

Play toEnd

Play fromEnd(One Shot)(One Shot)(One Shot)(One Shot)

01

02

03

04

Play Sample (One Shot) (Pad 10) plays the sample once from the start point to the end point. Press the padonce to play it.
Play Sample (Note On) (Pad 11) plays the sample once from the start point to the end point. Press and hold thepad to play it, and release the pad to stop playing it. Alternatively, select the headphones icon in the upper-rightcorner, and then tap and hold your finger on the waveform.
Play Loop Continuous (Pad 16) plays the sample repeatedly using the mode set by the Loop button (Forward,
Reverse, or Alternating; if the Loop button is off, the sample will loop forward repeatedly).
Play Loop (Pad 13) plays the sample repeatedly using the mode set by the Loop button (Forward, Reverse, or
Alternating; if the Loop button is off, the sample will loop forward repeatedly). Press and hold the pad to play it,
and release the pad to stop playing it.
Play to Loop Start (Pad 14) plays the part of the sample just before the loop point. Press and hold the pad toplay it, and release the pad to stop playing it.
Play from Loop Start (Pad 15) plays the sample from the loop point to the end of the sample regardless of theend point. Press and hold the pad to play it, and release the pad to stop playing it.
Play All (Pad 9) plays the entire sample.

Pads 1–4 have the same respective functions as Pads 5–8, but Pads 1–4 play the sample part as “One Shots”(pressing the pad once will play the entire part) while Pads 5–8 play the sample part as “Note Ons” (pressing the padand holding it will play the part; releasing it will stop playback):
Play from Start (Pad 1, Pad 5) plays the sample from the start point to the end point.
Play to Start (Pad 2, Pad 6) plays the part of the sample just before the start point to the start point.
Play to End (Pad 3, Pad 7) plays the part of the sample just before the end point to the end point.
Play from End (Pad 4, Pad 8) plays the part of the sample from the end point to the end of the sample.

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Use either of the Tune fields to transpose the sample up or down from its original pitch. Alternatively, press Tuneand use the data dial or -/+ buttons (MPC Studio only) to change the coarse tuning. Press and hold Shift and then press
Tune and use the data dial or -/+ buttons (MPC Studio only) to change the fine tuning.

Use either of the Root Note fields to set the root note of the sample. This defines which note will play the sample atits original pitch when in a keygroup program.

Use either of the BPM fields to manually set the BPM of the sample. On the second Trim Mode page, use the X2 and/2 buttons to double of halve the current tempo.

Tap From BPM to open the Edit Tuning window, whichlets you tune a sample to the current sequence.
Use the Beats field to match the number of beats inthe sequence.
To tune the sample to the sequence, tap Match.
The Tune field will adjust automatically and close thewindow. The sample is now tuned to the sequence.
To tune the sample to the sequence and adjust thesequence tempo, tap To Sequence. This is the sameas tapping Match but it also changes the sequence’s
tempo to the BPM shown in the Tempo field on theright.
To close the window, tap Close.

To enter a tempo manually, use the BPM field.
To detect the tempo automatically, tap Detect BPM. In
the Edit BPM window that appears, you can do any of thefollowing:•

Use the BPM field to enter a tempo manually.

•

Tap Detect to detect the tempo automatically.

•

Tap Tempo at the bottom of the screen at thedesired rate to use it as the tempo. You can playa sequence in the background to help with yourtiming.

•Tap Close, the X, or anywhere outside thewindow to close it.

Note: Before detecting tempo, it is recommended thatyou Normalize samples for best results.

To enter a sample key manually, use the Key fields. One field selects the key root note, and the other field selects
whether the key is Major, Minor or off (--).
To detect the key automatically, tap Detect Key.

185

To select a slice to edit, do either of the following (after you have created slices in Chop Mode):•

Use the Slice field.

•

Turn Q-Link Knob 16 (Select Slice on MPC X) or the fourth Q-Link knob in the fourth column (MPC Live/
Live II/One/Key 61/Touch).

When Link Slices is enabled (after you have created slices in Chop Mode), changing the start point of a slice will alsochange the end point of the previous slice. Similarly, changing the end point of a slice will also change the start pointof the next slice. Disable Link Slices if you are trying to create slices that use non-contiguous parts of the sample.
To enable or disable this feature, tap the Link Slices button.
Important: Link Slices must be disabled to make slices nonsequential, noncontiguous, or overlapping.

0 Snap forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This canhelp to avoid clicks and glitches when playing a sample.
To enable or disable 0 Snap, press and hold Shift, and then tap 0 Snap at the bottom of the screen.

To enable or disable the loop function, press and hold Shift, and then tap Loop at the bottom of the screen. This
switches the loop function between Forward and off. The loop function is described earlier.
Tip: You can use Trim Mode for a specific slice of the sample, previously created and selected in Chop Mode. This
allows for a more detailed view of a single slice than in Chop Mode and gives you more options for auditioning theslice. You can easily switch between Trim Mode and Chop Mode while doing this.
To use both Trim Mode and Chop Mode to edit a sample slice:
1. Tap Trim/Chop at the bottom of the screen so it says Chop.
2. Set all fields as desired to create your sample slices.
3. Select the desired slice.
4. Tap Trim/Chop at the bottom of the screen so it says Trim. The region you are now editing is indicated by thenormal start point and end point markers rather than slice markers.
5. Tap Trim/Chop at any time to return to Chop Mode.

186

Assigning Samples

You can assign your new sample directly to a pad from Trim Mode.
To assign a sample, tap Assign at the bottom of the screen to open the Assign Sample window.
Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.

If you set the Assign To field to Assign slice to a pad, thepad will simply refer to the slice in this sample instead ofcreating a new sample. This is useful for reducing clutter inyour project.

Use the Pad field to select the desired pad. Alternatively,
press the desired pad.

Use the Slice Type field to select how the pad’s layer
settings will be set when the slice is assigned to it (seeProgram Edit Mode to learn more about theparameters mentioned below):
Non-Destructive Slice: The pad’s Slice setting
will be set to the slice number.
Pad Parameters: The pad’s Slice setting will be
set to Pad. The Pad Start and Pad End will be set
to the slice’s start point and end point values, andthe Loop Position will be set to the slice’s startpoint but with Pad Loop deactivated.

Use the Program field to specify the program to which
you want to add the slice.

To assign the sample, tap Do It.
To cancel the operation, tap Close, the X, or anywhereoutside the window.

187

If you set the Assign To field to Make new sample, thiswill create a new sample in your project. (The original
sample will remain as it is.)Use the Pad field to select the desired pad. Alternatively,
press the desired pad.

Check the Crop Sample box to delete the unused
parts from the sample when it’s created and assigned.
This feature is destructive, though the project will stillcontain your original sample.
Leave this box unchecked to keep the unused parts ofthe sample when it is created and assigned. This way,
you will still be able to edit the entire sample further
even though you are using only part of it at the moment.

Use the Program field to specify the program to which
you want to add the slice.

To assign the sample, tap Do It.
To cancel the operation, tap Close, the X, or anywhereoutside the window.

188Processing Slices & Samples

Tap the Process button to open the Process window, where you can select an editing option for the sample.

Use the Function field to select an editing process. Double-tap it or tap Function at the bottom of the screen to
open the Function window, which displays an overview of all available editing processes.

You can use any of these functions as described below.
To return to Sample Edit Mode, tap Cancel.
To return to the Process window, tap the top of the screen.
Note: All Slice processes will affect only the part of the sample between the start point and the end point. The Sample
processes (Bit Reduce and Stereo -> Mono) will affect the entire sample regardless of its start point or end point.

The Discard process deletes the regions before the startpoint and after the end point.

189

The Delete process deletes the region between the startpoint and end point and closes the gap between them.

The Silence process replaces the region between the startpoint and end point with silence.

The Extract process deletes the regions before the startpoint and after the end point and saves it as a new sample
in your current project.
Use the Edit Name field (and the virtual keyboard thatappears) to name the new sample.
Tip: This is useful if you recorded a drum loop and wanted
to remove just a snare drum hit, a kick drum hit, etc. to use
separately in the project.

The Normalize process increases a sample’s level to thehighest level possible without distortion. This is essentiallya kind of digital gain optimization, so you do not have toworry about excessive level settings when working withsamples with a wide range of amplitudes.

190

The Reverse process reverses the region between thestart point and end point.

The Fade In process sets a fade-in between the start pointand end point. The following types are available:
Linear fades the audio in with a linear curve—astraight line between the start and end.
Log fades the audio in with a logarithmic curve—quickly
rising at the start and flattening out towards the end.
Exp fades the audio in with an exponential curve—
slowly rising in the beginning and growing steeper
towards the end.

The Fade Out process sets a fade-out between the startpoint and end point. The following types are available:
Linear fades the audio out with a linear curve—astraight line between the start and end.
Log fades the audio out with a logarithmic curve—
quickly rising at the start and flattening out towards theend.
Exp fades the audio out with an exponential curve—
slowly rising in the beginning and growing steeper
towards the end.

The Pitch Shift process changes the pitch of the sample
without changing its length. This lets you set the sample’s
pitch to your sequence without affecting the sample’s
tempo or duration. You can adjust it up to 12 semitones,
up or down. Keep in mind that the audio quality may
decrease at more extreme settings.

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The Time Stretch process lengthens or shortens the
sample without changing its pitch. This is useful formatching the durations of two samples with different
pitches. You can enter the original tempo of the sample
and the desired tempo after processing.
Use the Beat field to set the desired value number ofbeats.
Use the New Tempo field to set the new tempo. The
Ratio field will then automatically show the time
stretch factor.
Alternatively, to adjust the ratio instead, use the Ratio
field to set the desired ratio. The New Tempo field willthen change automatically based on the new time
stretch factor.

The Gain Change process raises or lowers the volume ofthe sample. You can adjust it up to 18 dB, higher or lower.
This function is different than Normalize because it willallow volumes beyond clipping level. This may be adesired effect, but remember to watch your output level!

The Copy process saves a copy of the sample.
Use the Edit Name field (and the virtual keyboard thatappears) to name the new sample. Otherwise, theprocess will add a consecutive number after the sample
name.

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The Bit Reduce process lowers the bit resolution of asample, effectively reducing its degree of faithful
reproduction. You can reduce it down to 1 bit. (The soundis similar to the Resampler effect, but Bit Reduce will
permanently alter the sample.)
Tip: Use this on drum loops to get a dirty, “old-school”
sizzle but with a digital “edge.”
Note: This process affects the entire sample regardless of
its start point or end point.

The Stereo -> Mono process converts a stereo sample to a
new mono sample and saves it as a new sample.
Use the Edit Name field (and the virtual keyboard thatappears) to name the new sample. Otherwise, theprocess will add a consecutive number after the sample
name.
The following options are available:•

Left will convert the left channel only.

•

Right will convert the right channel only.

•

Sum will combine the left and right audio channels
to a single mono channel.

Note: This process affects the entire sample regardless of
its start point or end point.

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Chop Mode
Whereas Trim Mode crops only the start and/or end off of a sample, Chop Mode divides the sample into multiple
regions called slices. We recommend using Chop Mode when working with a long sample with different sounds
throughout (e.g., a drum loop or a long melodic or harmonic passage).
To enter Chop Mode, tap the Trim/Chop button in the lower-left corner so it says Chop.

Use the Start and End fields to set the position of the start point and end point (respectively) of the currently selected
slice. Alternatively, tap and drag the start (S) or end (E) marker left or right, or use the first column of Q-Link knobs(Start X1__) to adjust the start point or the second column of Q-Link knobs (End X1__) to adjust the end point.
Use the selector in the lower-left corner of the screen to choose how you want to use Chop Mode:
ManualThis method lets you insert slices at locations you select.
ThresholdThis method uses an adjustable detection algorithm that derives the number of slices created from thevolume levels present in the sample.
Use the Threshold field to set the threshold level. Alternatively, turn Q-Link Knob 11 (Threshold on MPC X)
or the second Q-Link knob in the third column (MPC Live/Live II/One/Key 61/Touch). The higher the selectedvalue, the more slices will be created.
Use the Min Time field to set the minimum length of a slice in milliseconds.
Regions
This method divides a sample into several slices of equal length.
Use the Regions field to set how many regions the sample will be divided into. Alternatively, turn Q-Link
Knob 11 (Num Regions on MPC X) or the second Q-Link knob in the third column (MPC Live/Live
II/One/Key 61/Touch). The higher the selected value, the more slices will be created.
BPM
This method divides a sample into several slices based on the tempo (beats per minute).
Use the Bars field to set how many bars are in the sample. Alternatively, turn Q-Link Knob 11 (Bars on MPC X)
or the second Q-Link knob in the third column (MPC Live/Live II/One/Key 61/Touch).
Use the Beats field to set how many beats are in each bar. Alternatively, turn Q-Link Knob 7 (Beats on MPC X)
or the third Q-Link knob in the third column (MPC Live/Live II/One/Key 61/Touch).
Use the Time Div field to set a note division. Alternatively, turn Q-Link Knob 3 (Time Div on MPC X) or the
fourth Q-Link knob in the third column (MPC Live/Live II/One/Key 61/Touch). The slice markers will beplaced according to this setting. You can select 1/4, 1/8, 1/16, or 1/32. (In most cases, you should set thisparameter to 1/16.)
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To play a slice, do either of the following:•

Press the pad that corresponds to the slice. If your sample has more than 16 slices, use the additional pad banks.

•

When the headphones icon (in the upper-right corner) is selected, tap a slice in the waveform.

When the One Shot feature is enabled, you can press a pad once to play the entire slice. When this is disabled,pressing the pad and holding it will play the slice; releasing it will stop playback.
To enable or disable One Shot, press and hold Shift, and then tap One Shot.

To select a slice to edit, do any of the following:•

Use the Slice field.

•

Turn Q-Link Knob 16 (Select Slice on MPC X) or the first Q-Link knob in the fourth column (MPC Live/Live
II/One/Key 61/Touch).

•

When the headphones icon (in the upper-right corner) is selected, tap a slice in the waveform.

To add a slice at the current playhead position, tap Slice+ at the bottom of the screen. You can do this at any
point during sample playback.
To insert a slice marker during sample playback, press an unlit pad (usually Pad 1) to start playback of thesample, and then press an unlit pad during playback to place a slice marker at each location of the playhead. (If youpress a lit pad, playback will restart from that pad’s corresponding slice marker.) The number of the pad that is lit
green is the number of the most-recently inserted slice marker. The numbers of the pads that are lit yellow are thenumbers of the slice markers that are already inserted.

To split or combine slices, tap the glue-and-scissors icon. In the Split/Combine Region screen that appears, tap
one of the following buttons:
Split: This splits the currently selected region into two equal slices.
Combine: This combines the currently selected region with the one before it.
Back: This closes the window.

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When Link Slices is enabled, changing the start point of a slice will also change the end point of the previous slice.
Similarly, changing the end point of a slice will also change the start point of the next slice. Disable Link Slices if you
are trying to create slices that use non-contiguous parts of the sample.
To enable or disable this feature, tap the Link Slices button.
Important: Link Slices must be disabled to make slices nonsequential, noncontiguous, or overlapping.

To remove all slices from a sample, press and hold Shift and tap Clear All.

The cue playhead is useful when manually inserting slice markers. You can set its position and behavior to suit yourworkflow.
Use the Cue field to adjust the position of the cue playhead. Alternatively, tap and drag the translucent marker withthe triangle ().
To play the sample from the cue playhead, tap Play Cue at the bottom of the screen.
To create a slice marker at the cue playhead position, tap Slice+ at the bottom of the screen.
To set how the cue playhead behaves, use the Settings window (described earlier).

0 Snap forces start points and end points to occur only at the waveform’s “zero-crossings.” This can help to avoid
clicks and glitches when playing a sample.
To enable or disable 0 Snap, press and hold Shift, and then tap 0 Snap at the bottom of the screen.

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Converting or Assigning Slices

You can assign your new sample directly to a pad from Chop Mode. You can also convert it into a new program orpatched phrase.
To convert or assign a sample, press and hold Shift, and then tap Convert at the bottom of the screen to open theConvert or Assign Slices window.

If you set the Convert To field to New [program type]program using slices, this will create a new program andassign the sample’s slices to its pads. The pads will simply
refer to the slices in this sample instead of creating new
samples. This is useful for reducing clutter in your project.
The new program will be named after the sample andappended with ch.

Use the Slice Type field to select how each pad’s layer
settings will be set when the slices are assigned to them(see Program Edit Mode to learn more about theparameters mentioned below):•

Non-Destructive Slice: Each pad’s Slice setting
will be set to the slice number.

•

Pad Parameters: Each pad’s Slice setting will be
set to Pad. The Pad Start and Pad End
parameters will be set to the slice’s start point andend point values, and the Loop Pos parameter will
be set to the slice’s start point but with Pad Loop
deactivated.

Check the Create Events box to automatically create
a new track for the new program in which each pad
plays its corresponding slice in ascending sequenceby pad number.

If Create Events is checked, use the Bars field to set
how many bars the slices’ events will occupy.

To convert the sample, tap Do It.
To cancel the operation, tap Close.

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If you set the Convert To field to New clip program, this will
create a new clip program and assign the sample’s slices to
its pads as clips. The pads will simply refer to the slices inthis sample instead of creating new samples. This is usefulfor reducing clutter in your project. The new program will be
named after the sample and appended with ch.
Use the Tempo field to enter the tempo of the clips in
the new program.
Check the Create Events box to automatically create
a new track for the new program in which each pad
plays its corresponding slice in ascending sequenceby pad number.
If Create Events is checked, use the Bars field to set
how many bars the slices’ events will occupy.
To convert the sample, tap Do It.
To cancel the operation, tap Close.

If you set the Convert To field to New program with new
samples, this will create a new sample from each slice andassign them to pads in a new program.
The new program will be named after the sample andappended with ch. The new samples will be appended with
SI-# (where # is a consecutive number).
Check the Crop Samples box to delete the unused
parts from the sample when they are created andassigned. This feature is destructive, though the
project will still contain your original sample.
Leave this box unchecked to keep the unused parts ofthe samples when they’re created and assigned. Thisway, you will still be able to edit the entire samples
further even though you are using only part of them at
the moment.
By default, this option already will create a newprogram. You can uncheck the Create New Program
box to convert each slice into a sample that is placedin the project’s sample pool but not assigned to a
program or pad.
If Create New Program is checked, check the Create
Events box to automatically create a new track in which
each pad plays its corresponding slice in ascending
sequence by pad number.
If Create Events is checked, use the Bars field to set
how many bars the slices’ events will occupy.
To convert the sample, tap Do It.
To cancel the operation, tap Close.
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If you set the Convert To field to Assign slice to a pad,the pad will simply refer to the slice in this sample insteadof creating a new sample. This is useful for reducing clutter
in your project.
Important: Assigning a sample to a pad in this way will
replace the sample on the first layer of the pad.
Use the Pad field to select the desired pad. Alternatively,
press the desired pad.
Use the Slice Type field to select how the pad’s layer
settings will be set when the slice is assigned to it (seeProgram Edit Mode to learn more about theparameters mentioned below):•

Non-Destructive Slice: The pad’s Slice setting
will be set to the slice number.

•

Pad Parameters: The pad’s Slice setting will be
set to Pad. The Pad Start and Pad End will be set
to the slice’s start point and end point values, andthe Loop Position will be set to the slice’s startpoint but with Pad Loop deactivated.

Use the Program field to specify the program to which
you want to add the slice.
To convert the sample, tap Do It.
To cancel the operation, tap Close.

If you set the Convert To field to Make new sample, thiswill create a new sample in your project. (The original
sample will remain as it is.)Important: Assigning a sample to a pad in this way will
replace the sample on the first layer of the pad.
Use the Pad field to select the desired pad. Alternatively,
press the desired pad.
Check the Crop Sample box to delete the unused
parts from the sample when it’s created and assigned.
This feature is destructive, though the project will stillcontain your original sample.
Leave this box unchecked to keep the unused parts ofthe sample when it is created and assigned. This way,
you will still be able to edit the entire sample further
even though you are using only part of it at the moment.
Use the Program field to specify the program to which
you want to add the slice.
To convert the sample, tap Do It.
To cancel the operation, tap Close.
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If you set the Convert To field to Patched phrase, this will
create a new sample that will play based on the tempo ofyour Sequence, and places it in the current project. The
patched phrase will have the same name as the original
sample but appended with pp and will use a different icon
when viewing your project information.

Use the Bars field to set how many bars long thepatched phrase is meant to be.

Processing Slices

Press and hold Shift, and then tap the Process button to open the Process window, where you can select an editing
option for the currently selected slice. (This has fewer options than Trim Mode. Unavailable ones are darkened.)
Use the Function field to select an editing process. Double-tap it or tap Function at the bottom of the screen to
open the Function window, which displays an overview of all available editing processes.
Important: Chop Mode is non-destructive: You can choose the slice/edit behavior without destroying your original
sample, giving you more control over sample playback; you can save your sliced sample and but also reuse all of theslice data in another project. See the Program Edit Mode chapter to learn more about setting a pad to play the entire
sample, a specific slice of a sample, or a specific region of the sample (independent of its slice markers).

You can use any of these functions as described below.
To return to Sample Edit Mode, tap Cancel.
To return to the Process window, tap the top of the screen.
Note: All processes here will affect only the currently selected slice.

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The Silence process replaces the region between the startpoint and end point with silence.

The Extract process deletes the regions before the startpoint and after the end point and saves it as a new sample(with a name you enter) in your current project.
Tip: This is useful if you recorded a drum loop and wanted
to remove just a snare drum hit, a kick drum hit, etc. to use
separately in the project.

The Normalize process increases a sample’s level to thehighest level possible without distortion. This is essentiallya kind of digital gain optimization, so you do not have toworry about excessive level settings when working withsamples with a wide range of amplitudes.

The Reverse process reverses the region between thestart point and end point.

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The Fade In process sets a fade-in between the start pointand end point. The following types are available:
Linear fades the audio in with a linear curve—astraight line between the start and end.
Log fades the audio in with a logarithmic curve—quickly
rising at the start and flattening out towards the end.
Exp fades the audio in with an exponential curve—
slowly rising in the beginning and growing steeper
towards the end.

The Fade Out process sets a fade-out between the startpoint and end point. The following types are available:
Linear fades the audio out with a linear curve—astraight line between the start and end.
Log fades the audio out with a logarithmic curve—
quickly rising at the start and flattening out towards theend.
Exp fades the audio out with an exponential curve—
slowly rising in the beginning and growing steeper
towards the end.

The Pitch Shift process changes the pitch of the sample
without changing its length. This lets you set the sample’s
pitch to your sequence without affecting the sample’s
tempo or duration. You can adjust it up to 12 semitones,
up or down. Keep in mind that the audio quality may
decrease at more extreme settings.

The Gain Change process raises or lowers the volume ofthe sample. You can adjust it up to 18 dB, higher or lower.
This function is different than Normalize because it willallow volumes beyond clipping level. This may be adesired effect, but remember to watch your output level!

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Program Mode
Program Mode lets you edit a sample in the context of the program in which you’ll use it. You can adjust the padparameters as though you were in Program Edit Mode, auditioning and hearing how it will sound in the program’s
audio path.
To enter Program Mode, tap the Program button at the bottom of the screen. The pads will show their assigned
samples in the current Program.

Use the Start and End fields to set the position of the start point and end point of the sample (respectively).
Alternatively, tap and drag the start (S) or end (E) marker left or right, or use the first column of Q-Link knobs (Start
X1__) to adjust the start point or the second column of Q-Link knobs (End X1__) to adjust the end point.

Program Mode includes a loop function. When on, the region of the sample between the loop point and end point will
repeat. This is useful when trying to find an ideal spot to begin the sample. The loop cannot be earlier than the start point.
To adjust the loop point, do any of the following:•

Use the Loop field.

•

Tap and drag the start (S) marker (if Loop Lock is on) or the loop marker (if Loop Lock is off).

•

Use the first column of Q-Link knobs (Start X1__; if Loop Lock is on) or the third column of Q-Link knobs(Loop X1__; if Loop Lock is off). The top-most Q-Link knobs (13 and 15) provide coarse adjustment. The
bottom-most Q-Link knobs (1 and 3) provide fine adjustment.

To turn Loop Lock on or off, tap the Loop Lock button. When on, the loop point is the same as the start point.
When off, the loop point is independent from the start point.
To turn the loop function on or off, tap the Loop button to cycle between the four modes:
Off: The sample will not loop.
Forward: When the loop reaches its end point, it will start playing again from the loop point.
Reverse: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it will
return to the end point and continue playing in reverse.
Alternating: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it
will start playing forward again from the loop point.
To switch between Forward and off, press and hold Shift, and then tap Loop at the bottom of the screen.
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Tap each pad to hear its sample/samples. The sample on its first layer will automatically appear in the waveform
display for editing.

Use the Tune field to transpose the sample up or down from its original pitch.

Tap From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence.

Use the Number of Beats field to match the number of beats in the sequence.
To tune the sample to the sequence, tap Match. The Tune field will adjust automatically and close thewindow. The sample is now tuned to the sequence.
To tune the sample to the sequence and adjust the sequence tempo, tap To Seq. This is the same as
tapping Match but it also changes the sequence’s tempo to the BPM shown in the Tempo field on the right.
To close the window, tap Close.

Use the Root Note field to set the root note of the sample. This defines which note will play the sample at its original
pitch when in a keygroup program.

Use the Slice field to display either the sample as it has been edited (Pad) or the entire sample (All).
If the Slice field is set to All, you can display the sample as it has been edited but keep the start point and end point.
To do this, press and hold Shift, and then tap To Pad at the bottom of the screen. The Slice field will change toPad, but the start point and end point will remain in their current locations.

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The Link Slices button does not have a function in Program Mode.

0 Snap forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This canhelp to avoid clicks and glitches when playing a sample.
To enable or disable 0 Snap, press and hold Shift, and then tap 0 Snap at the bottom of the screen.

To enable or disable the loop function, press and hold Shift, and then tap Loop at the bottom of the screen. This
switches the loop function between Forward and off. The loop function is described earlier.

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Assigning Samples
You can assign your new sample directly to a pad from Program Mode.
To assign a sample, tap Assign at the bottom of the screen to open the Assign Sample window.
Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.

If you set the Assign To field to Assign slice to a pad, thepad will simply refer to the slice in this sample instead ofcreating a new sample. This is useful for reducing clutter inyour project.
Use the Pad field to select the desired pad. Alternatively,
press the desired pad.
Use the Slice Type field to select how the pad’s layer
settings will be set when the slice is assigned to it (seeProgram Edit Mode to learn more about the parameters
mentioned below):•

Non-Destructive Slice: The pad’s Slice setting
will be set to the slice number.

•

Pad Parameters: The pad’s Slice setting will be
set to Pad. The Pad Start and Pad End will be set
to the slice’s start point and end point values, andthe Loop Position will be set to the slice’s startpoint but with Pad Loop deactivated.

Use the Program field to specify the program to which
you want to add the slice.
To assign the sample, tap Do It.
To cancel the operation, tap Close.

If you set the Assign To field to Make new sample, thiswill create a new sample in your project. (The original
sample will remain as it is.)Use the Pad field to select the desired pad. Alternatively,
press the desired pad.
Check the Crop Sample box to delete the unused
parts from the sample when it’s created and assigned.
This feature is destructive, though the project will stillcontain your original sample.
Leave this box unchecked to keep the unused parts ofthe sample when it is created and assigned. This way,
you will still be able to edit the entire sample further
even though you are using only part of it at the moment.
Use the Program field to specify the program to which
you want to add the slice.
To assign the sample, tap Do It.
To cancel the operation, tap Close.
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Processing Slices

Press and hold Shift, and then tap the Process button to open the Process window, where you can select an editing
option for the currently selected slice. (This has fewer options than Trim Mode. Unavailable ones are darkened.)
Use the Function field to select an editing process. Double-tap it or tap Function at the bottom of the screen to
open the Function window, which displays an overview of all available editing processes.
Important: Program Mode is non-destructive: You can choose the slice/edit behavior without destroying your original
sample, giving you more control over sample playback; you can save your sliced sample and but also reuse all of theslice data in another project. See the Program Edit Mode chapter to learn more about setting a pad to play the entire
sample, a specific slice of a sample, or a specific region of the sample (independent of its slice markers).

You can use any of these functions as described below.
To return to Sample Edit Mode, tap Cancel.
To return to the Process window, tap the top of the screen.
Note: All processes here will affect only the currently selected slice.

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The Silence process replaces the region between the startpoint and end point with silence.

The Extract process deletes the regions before the startpoint and after the end point and saves it as a new sample(with a name you enter) in your current project.
Tip: This is useful if you recorded a drum loop and wanted
to remove just a snare drum hit, a kick drum hit, etc. to use
separately in the project.

The Normalize process increases a sample’s level to thehighest level possible without distortion. This is essentiallya kind of digital gain optimization, so you do not have toworry about excessive level settings when working withsamples with a wide range of amplitudes.

The Reverse process reverses the region between the startpoint and end point.

208

The Fade In process sets a fade-in between the start pointand end point. The following types are available:
Linear fades the audio in with a linear curve—astraight line between the start and end.
Log fades the audio in with a logarithmic curve—quickly
rising at the start and flattening out towards the end.
Exp fades the audio in with an exponential curve—
slowly rising in the beginning and growing steeper
towards the end.

The Fade Out process sets a fade-out between the startpoint and end point. The following types are available:
Linear fades the audio out with a linear curve—astraight line between the start and end.
Log fades the audio out with a logarithmic curve—
quickly rising at the start and flattening out towards theend.
Exp fades the audio out with an exponential curve—
slowly rising in the beginning and growing steeper
towards the end.

The Pitch Shift process changes the pitch of the sample
without changing its length. This lets you set the sample’s
pitch to your sequence without affecting the sample’s
tempo or duration. You can adjust it up to 12 semitones,
up or down. Keep in mind that the audio quality may
decrease at more extreme settings.

The Gain Change process raises or lowers the volume ofthe sample. You can adjust it up to 18 dB, higher or lower.
This function is different than Normalize because it willallow volumes beyond clipping level. This may be adesired effect, but remember to watch your output level!

209

Program Edit Mode
Program Edit Mode contains all parameters for editing your Programs.

For drum programs, this mode includes the parameters of four layers as well as all synthesis parameters and insert
effect settings. See the Drum Programs section to learn more.
For keygroup programs, this mode contains slightly more parameters than drum programs. See the Keygroup
Programs section to learn more.
For clip programs, this mode looks very different from that of other programs due to how clip launching works. See
the Clip Programs section to learn more.
For plugin programs, skip to Plugin Programs to learn more.
For MIDI programs and CV programs, skip to MIDI Programs and CV Programs to learn more.
For more general information on the differences between the types of programs, please see General Features >Programs.

To enter Program Edit Mode, do either of the following:•

Press Menu, and then tap Program Edit.

•

Press Prog Edit (MPC X, MPC One) or Edit (MPC Key 61).

•

Press and hold Mode and press Pad 6 (MPC Studio).

Drum Programs

When using drum programs, Program Edit Mode lets you edit the parameters for each pad.
To select a pad, press it. Its parameters will appear on the screen immediately.
To view a specific tab of parameters, tap the Global, Samples, Envelopes, LFO, Modulations, or Effects
button at the bottom of the screen. You can tap the Samples, Envelopes or Effects buttons multiple times tocycle through the available tabs

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Tap the down-arrow icon at the top of the screen (next to the Program field) to open the Flatten Pad window,
which renders all samples on a pad as an audio sample and places it on the first layer of that pad. The resulting
sample is the audio signal produced by that pad at full velocity (127) after the pad channel strip, which means that it
includes any assigned pad insert effects and the results of warping the sample.
This function is useful if you need to reduce how CPU-intensive a pad or program is by essentially “embedding” thewarping and effects in the sample itself. By default, it will use the name of the first sample. This function works for drum
programs only. (This is the same as the Flatten Pad process shown in the program editing functions in Main Mode.)
To select the pad, press it or use the Pad menu.
To set the length of the audio tail, use the Audio Tail field. This will add extra seconds to the end of the resulting
audio file. This is useful if you are using effects or samples whose sounds exceed the defined audio length (e.g.,long reverb or delay, one-shot samples with long decays, etc.). We recommend using an audio tail of at least acouple of seconds.
To name the new sample, tap the Edit Name field, and use the virtual keyboard that appears.
To confirm your choice, tap Do It.
To cancel, tap Cancel.

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Tap the location icon at the top of the screen to open the Edit Zones window, which is a feature for drum programs
and clip programs. This window displays an overview of any selected pads. Use the Mode selector to set how theselected pads will be edited:
Current: Only the currently selected pad can be edited.
Multiple: All selected pads can be edited simultaneously.
All: All pads can be edited simultaneously.

To close the window, tap Close, the X, or anywhere outside the window.
Tip: You can immediately select multiple pads while on any tab in Program Edit Mode (regardless of the current Edit
Zones setting) by pressing and holding the Shift button and pressing each desired pad. The Edit Zones setting willautomatically change to Multiple.

Tap the keyboard-plus icon at the top of the screen to quickly convert a drum sample to a new keygroup program.

The automation button indicates the global automation state. This is shown in several modes. See General Features> Automation to learn about this.

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GlobalIn the Global tab, you can set the playback mode and tuning for the overall Program.

Semi lets you transpose the program up to 36 semitones up or down.

Fine provides fine-tuning of the program up to 99 cents up or down.

Poly (polyphony) sets the playback mode for the program’s pads. In Mono Mode, only one pad will sound at a time.
If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately
mute all other currently playing pads in that program. In Poly Mode, several pads can be triggered at the same time(limited only by the total number of voices available).

Level controls the overall volume level of the loaded sample/samples.

Pan controls the overall panning of the loaded sample/samples in the stereo field.

Use the Mute Group field to assign the selected pad to one of the 32 available groups. When pads assigned to thesame mute group receive MIDI notes, the last pad played will silence all other pads in that mute group. A mute groupaffects pads within that program only; mute groups do not affect pads in other programs.
Tip: This feature is useful for programming realistic hi-hats, especially if only the open or closed hat should be heard.

Use the Layer Play selector to determine how multiple samples assigned to the same pad are played:
Cycle: Each time the pad is played, it will play the next layer’s sample. In other words, the samples will cycle
through the layers as follows: 1, 2, 3, 4, 1, 2, 3, 4… etc.
Velocity: The pad will switch between layers depending on how hard you press a pad.
Random: Each time the pad is played, it will play one of its layer’s samples at random.

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Use the Sample Play selector to determine how much of the sample is played.
One Shot: The entire sample will play from start to end. Use this when you want to play short sounds.
Note Off: The entire sample will play from start to end after the pad has been pressed and released.
Note On: The sample will play only as long as the pad is held. This is better for longer samples so you cancontrol a sound’s duration by pressing and holding its corresponding pad.

Use the Pad Polyphony field to determine how the pad’s sound behaves when multiple hits are registered. When set
to Mono, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its
sample/samples, the new pad will immediately mute all other currently playing pads in that program. When set to
Poly, several pads can be triggered at the same time (limited only by the total number of voices available). You canalso select a specific number of pads (2–32) so that you can trigger up to this many pads at the same time (unlessthey exceed the total number of voices available).

The Simultaneous Play section lets you set up to four pads that can be triggered by pressing one pad only. This function
is useful for triggering a stack of sounds (e.g., layered kick drums). Use each Pad field to select the desired pad.

The Mute Target section lets you select up to four pads (in the same program) for the currently selected pad. Whenthe currently selected pad is played, it will immediately silence its mute targets. Use each Pad field to select thedesired mute target.
Tips:
This feature is useful for programming realistic hi-hats, especially if only the open or closed hat should be heard.
This feature is similar to the mute group feature, available for both drum programs and keygroup programs.

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SamplesEach pad can trigger up to four samples, which are assigned in four individual layers. Each layer has identical,
independently assignable parameters.
Tap Samples to cycle through its four available tabs.

On all four sections, you can access the Settings window, which lets you configure certain settings in the Samples tab.
To view the Settings, tap the gear icon.
To close the Settings, tap Close, the X in the upper-right corner, or anywhere outside the window.

Use the Link Slices selector to set how the start point and end point of a slice in a larger sample is set. You cancreate these slices in Sample Edit Mode (Chop Mode).
When on, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing
the end point of a slice will also change the start point of the next slice. Disable Link Slices if you are trying to create
slices that use non-contiguous parts of the sample. This is the same as the Link Slices button in Sample Edit Mode.

Use the Loop Lock selector to “link” or “unlink” the loop point from the start point. When on, the loop point is thesame as the start point. When off, the loop point is independent from the start point and indicated by a separate loop
marker. This is the same as the Loop Lock button in Sample Edit Mode.

Use the Zero Snap selector to enable or disable the Zero Snap feature, which forces start points, end points, andloop points to occur only at the waveform’s “zero-crossings.” This can help to avoid clicks and glitches when playing
a sample. This is the same as the 0 Snap button in Sample Edit Mode.
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The first Samples tab contains the sample waveform for each layer and controls for its pitch, timing, and playback.

The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half showsthe editing controls.
The waveform display shows the “active” section of the sample waveform. Swipe left or right on the waveform tomove through it.
Above the waveform is the timeline, shown in bars, beats, and ticks.

Use the bottom-most Q-Link knob in the fourth bank to zoom in or out of the sample waveform.

Tap each layer number (Layer 1–4) under the waveform to select it. When selected, its sample waveform will beshown in the upper half of the screen and its settings will be shown in the lower half.

Use the Sample field to select the sample file for that layer. Remember that the sample has to be loaded into the project’s
sample pool beforehand. For information on how to load samples into a project, please see the Browser chapter.

Important: The parameters in the Samples tabs work in conjunction with Chop Mode (in Sample Edit Mode). Here’s
how it works:
When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads, you canconvert a slice using Non-Destructive Slice or Pad Parameters.
A Non-Destructive Slice will let its pad to refer to that slice when you press it; the original sample remains intact andeach slice marker is like a “bookmark” for a pad. In Program Edit Mode, you’ll see that the pad/layer to which it’sassigned has its Slice drop-down menu set to the corresponding slice number in the original sample. Playing that
pad will cause it to refer to that slice marker like a “bookmark” instead of creating an entirely new sample of thatslice. This means that you no longer have to clutter your project with a new sample for every slice (though you canstill use this earlier method, if you prefer).
A slice converted using Pad Parameters is very similar to a non-destructive slice described above. The difference isthat in Program Edit Mode, the pads/layers they’re assigned to have their Slice drop-down menus set to Pad (insteadof the slice number), and the start and end points will correspond to the slice markers in the original sample.
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The green/S marker and red/E marker are the start point and end point (respectively). These two points define theregion of the sample that will be played.
To move the start point or end point, do any of the following:•

Tap and drag the S or E marker left or right.

•

Use the Start or End fields shown below the waveform.

•

Use the first bank of Q-Link knobs to adjust the start point or the second bank of Q-Link knobs to adjust
the end point. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob
provides fine adjustment.

Note: When Loop Lock is on, the loop position (as determined by the Loop field, if enabled) is the same as the
sample’s start point. When off, the loop position is independent from the start point.
Use the Loop field to determine the position where the sample’s playback will repeat when Pad Loop is activated.
Alternatively, use the third bank of Q-Link knobs to adjust the loop point. The top-most Q-Link knob provides
coarse adjustment. The bottom-most Q-Link knob provides fine adjustment.
Note: When Loop Lock is on, the loop position is the same as the sample’s start point. When off, the loop position is
independent from the start point.
Use the Tail Length and Tail Loop fields to add adding extra audio tail to any chopped sample. This is useful forthings like making an abrupt end to a sample sound more natural or adding experimental looping effects to a sample.
The Tail Length parameter enables the sample tail and set its total length, and the Tail Loop parameter sets thestarting point within the tail for looping.
Use the Slice field to select what part/parts of the sample will play:
All: The entire sample will play.
Pad: The sample will play from the Pad Start position to the Pad End position, described earlier. This also lets
you activate Pad Loop (if the Sample Play field in the LFO Modulation tab is set to Note On).
Slice 1, 2, 3, etc.: If you have sliced the sample in Chop Mode, you can select which slice will play when you
trigger the pad.
Semi lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (ifWarp is off). This is the same as the Semi knob on the second Samples tab. The analyzed Key of the sample isdisplayed next to the Semi field and will adjust based on this value.
Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off). This is thesame as the Fine knob on the second Samples tab.
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Use the Reverse button to select in which direction the sample will play. When on, the sample will play in reverse.
When off, the sample will play in the normal forward direction.

Use the Pad Loop button to cycle through the available Pad Loop modes.
Important: For Pad Loop to work, you must (1) set the Sample Play field (in the LFO Modulation tab) to Note On
instead of One Shot and (2) set the Slice field (in the first Samples tab) to Pad instead of All or a slice number.
Off: The sample will not loop.
Forward: You can hold down the pad to cause that sample to repeat from the Loop Position
to the end of the sample. Release the pad to stop the repeating playback.
Reverse: You can hold down the pad to cause that sample to play in reverse, repeating fromthe end of the sample to the Loop Position. Release the pad to stop the repeating playback.
Alternating: You can hold down the pad to cause that sample to play from the Loop Position to
the end of the sample and then play in reverse until it reaches the Loop Position again. This will
repeat as long as you are holding the pad down. Release the pad to stop the repeating playback.

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Tap Warp to enable or disable warping of the sample.
When enabled, lengthening or shortening the sample (based on the BPM) will not change its pitch.
When disabled, lengthening or shortening the sample will also change its pitch and vice versa.

Use the Stretch field to set the “stretch factor,” which affects how the sample is warped (if Warp is on).

Use the BPM field to enter a tempo, which affects how the sample is warped (if Warp is on).

Tap BPM Sync to enable or disable BPM Sync.
When BPM Sync and Warp are both enabled, the sample’s BPM will be “locked” to the tempo of the sequence.
When BPM Sync is disabled but Warp is enabled, the sample will be independent of the tempo of your sequence—use
the Stretch field to lengthen or shorten a sample.

Note: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too
freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required bydoing any/all of the following:•

Avoid using extreme Stretch values.

•

Minimize the amount of pitch adjustment (e.g., the Semi and Fine parameters) of warped audio.

•

Avoid warping very small track regions.

•

Warp as few tracks or track regions as possible (i.e., reduce the number of total number of voices of thepolyphonic limit that use the Warp algorithm at a given time), especially instances where the warped regions startat the same time.

•

Avoid rapidly triggering samples that are warped.

•

If you have warped samples used in a drum program, consider using the Flatten Pad function to consolidate theaffected pad’s layers into one audio sample (see here to learn about this). After you flatten the pad, its
sample/samples no longer need to be warped.
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The second Samples tab contains controls for its pitch, volume level and panning.

Semi lets you transpose the selected layer up to 36 semitones up or down. This will affect the length of the sample (ifWarp is off). This is the same as the Semi field on the first Samples tab.

Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off). This is thesame as the Fine field on the first Samples tab.

Level lets you adjust each layer’s volume, letting you control the “balance” of the samples assigned to the pad.

Pan adjusts the stereo placement of the respective layer.

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The third Samples tab contains the control for its offset and velocity range.

Use the Offset slider to determine a time offset for the sample’s playback.
Positive values (right of center): When the pad is played, playback will start immediately but at a later point in thesample specified by the offset value.
Negative values (left of center): When the pad is played, playback will be delayed by the amount specified by theoffset value.

Use the Vel Start and Vel End knobs to define the velocity range of each layer.
A range from 0 to 127 lets the layer respond to the entire velocity range which is input from the respective pad while,for example, a range from 100 to 127 lets the layer respond only to higher velocity levels. By assigning several
samples of one instrument, you can create a realistic-sounding “multi-sample” by adjusting the velocity ranges ofeach layer accordingly.
For example, you may have three samples of a drum hit with low force, medium force, and high force. You can set
each sample to a layer and set the Velocity ranges so only low velocities trigger the low-force sample, only midrange velocities trigger the medium-force sample, and only high velocities trigger the high-force sample.

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The fourth Samples tab contains the controls for adding randomization to sample parameters such as pitch, leveland panning.

Use the Pitch knobs to adjust the amount of randomization applied to each sample layer’s pitch.

Use the Level knobs to adjust the amount of randomization applied to each sample layer’s volume.

Use the Pan knobs to adjust the amount of randomization applied to each sample layer’s stereo placement.

Use the Offset knobs to adjust the amount of randomization applied to each sample layer’s time offset.

The All Layers section will apply randomization to all sample layers for the following envelope parameters: Attack,Decay, Cutoff and Resonance. Use the Depth slider to control the amount of envelope randomization applied
overall.

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Envelopes
Tap Envelopes to cycle through its three available tabs.

The first Envelope tab contains the amplitude modulation envelope.

Pad Level controls the overall volume level of the loaded sample/samples.

Pad Pan controls the overall panning of the loaded sample/samples in the stereo field.

The Amp Envelope controls affect level changes over time. Use the fields or tap and drag the “handles” of theenvelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter
frequency with the Env knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.

The Velocity Modulation controls determine how much the velocity affects the volume level of the amplitudeenvelope (Amp), the attack of the amplitude envelope (Amp Attack), and/or the panning of the sound (Pan).
When you press a pad softly, only minimal modulation is applied. When you press it harder, the modulation amountalso gets stronger depending on the setting of the corresponding slider.

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The second Envelope tab contains the filter modulation envelope.

Use the Type field to select a filter for the selected pad. See Appendix > Glossary > Filter for an explanation of theavailable filter types.

Use the Cutoff knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency forband-pass and band-stop filter types.

Use the Res knob to set the resonance/emphasis of the frequencies around the cutoff point.
Tip: Use values lower than 80 to give more brilliance to the sound. At values higher than 80, the sound will result in astrong audible boost around the cutoff frequency.

The Filter Envelope controls affect the filter frequency. Use the fields or tap and drag the “handles” of the envelope
to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with
the Depth knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.

Use the Depth slider to determine the amount of influence the filter envelope has on the cutoff frequency. Higher
settings will increase the modulation of the filter by the envelope; lower settings will result in only subtle changes ofthe filter Cutoff over time.
Tip: To give a sound a more distinctive attack, increase the Depth setting and set low Attack and Decay values
as well as a medium-low Sustain value of the Filter Envelope. This will start a sound with the filter opened and close
it shortly afterward, giving it a bright start followed by a darker sustain. String sounds, on the other hand, can soundmuch more “alive” with low Depth settings and a high Attack value, resulting in a slight fade-in of the higher
frequencies.

The Velocity Modulation controls determine how much the velocity affects the cutoff frequency of the filter envelope(Cutoff), the attack phase of the filter envelope (Attack), and/or depth of influence the filter envelope has on the
cutoff frequency (Depth).
When you press a pad softly, only minimal modulation is applied. When you press it harder, the modulation amountalso gets stronger depending on the setting of the corresponding slider.

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The third Envelope tab contains the pitch modulation envelope.

Global Semi lets you transpose the pad up to 36 semitones up or down. This will affect the length of the sample (ifWarp is off). This is the same as the Semi field on the Global tab.

Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off). This is thesame as the Fine field on the Global tab.

The Pitch Envelope controls affect the pad’s pitch. Use the fields or tap and drag the “handles” of the envelope toshape the envelope or time-variant modulation output. Adjust the envelope’s influence on the pitch with the Depth
slider. See the later Anatomy of an Envelope section to learn about the envelope parameters.

The Velocity Modulation control determines how much the velocity affects the pitch envelope (Pitch).
When you press a pad softly, only minimal modulation is applied. When you press it harder, the modulation amountalso gets stronger depending on the setting of the Pitch slider.

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LFO

A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which canbe used for modulation purposes.

Use the Wave field to select the LFO waveform type:
Sine (best suited for smooth modulations)
Triangle (best suited for smooth modulations)
S&H (samples a random value and holds it until the next value is generated)
Saw (can generate interesting filter or volume changes)
Saw Down (can generate interesting filter or volume changes)
Square (interesting results with hard-panning modulations)
Noise (generates random values and glides)

Use the Rate field to determine the LFO frequency. At lower values, it might take some time for the LFO to completea cycle, while higher values will come closer to audible range.

Use the Sync field to set if the LFO’s rate is synchronized with the tempo. You can select one of several time
divisions (a . indicates a dotted note; a T indicates a triplet-based time division). When None is selected, Sync is off.

Use the Destinations sliders to determine how much the LFO affects the pitch of the sound (Pitch), the cutoff
frequency of the filter (Filter), the volume level of the sound (Amp) and panning of the sound (Pan).

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Modulations

Use the Velocity Sensitivity sliders to set how much velocity is required to modulate certain other parameters:•

Sample Start sets how much velocity is needed (for a triggered pad) to modulate the sample start point.

•

Filter Cutoff uses the velocity of a pad to modulate the cutoff frequency directly.

•

Filter Env Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for
the Filter envelope.

•

Filter Env Depth enables velocity information to control the amount of the filter envelope’s effect on the
cutoff frequency.

•

Pitch uses the velocity of a pad to modulate the sample pitch.

•

Amp uses the velocity of a pad to change the sample level. Lower this value to reduce the effect of velocity
on the amplitude.

•

Amp Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the
Amp envelope.

•

Pan uses the velocity of a pad to control the stereo panning.

Use the LFO Destinations sliders to determine how much the LFO affects the pitch of the sound (Pitch), the cutoff
frequency of the filter (Filter), the volume level of the sound (Amp) and panning of the sound (Pan).

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Effects
Tap Effects to cycle through its two available tabs.

Inserts
You can select up to four insert effects for each pad. To learn how to use insert effects, please see General Features >Effects > Insert Effects.

To add an effect:
1. Double-tap the desired Inserts slot. A list of effects will appear.
2. Swipe up or down to move through the list.
You can tap the Type and Manufacturer buttons to sort your effects by those categories.
3. To load an effect, double-tap it, or tap Select.
To close the list, tap Close.

To remove an effect from its slot, tap the trash can icon.

To enable or disable the effect, tap the On/Off button for the slot.
To enable or disable all four insert effects, tap the All On/Off button in the upper-right corner.

To load a factory FX rack, tap the Akai folder icon. You can choose from a number of preset combinations of insert
effects by applications like Drums and Percussion, Voice, LoFi, Mastering, and more.
To load a saved FX rack, tap second folder icon.
To save an FX rack, tap the disk icon.

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To adjust the effect’s parameters, tap the pencil icon. Use the sliders to set the value of each parameter. These
values affect only this instance of the effect; insert effects are not global.

Sends
The audio of the pad will be routed to send effects (if you have any loaded) at their designated send levels. The returnchannels will then send the audio to an assigned main output at the designated return levels.
Use the Send knobs to set the volume level of the signal the pad will route to each send effect.
Important: To set the send level, use, you have to load an effect into the corresponding send effect slot in the
Channel Mixer. See Channel Mixer > Returns to learn more how to do this. To learn about send effects, please see
General Features > Effects > Send/Return Effects.

Drum FXThe Drum FX tab lets you add and control up to eight effects per pad in a Drum program. See Addenda > Updates
in MPC 2.10 > New Features > Drum and Keygroup Program Improvements to learn more.

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Keygroup Programs

When using keygroup programs, Program Edit Mode lets you edit the parameters for each keygroup.

To select a keygroup, press a pad within that keygroup. Its parameters will appear on the screen immediately.
Alternatively, use the Keygroup field at the top of the screen.

To view a specific tab of parameters, tap the Global, Samples, Envelopes, LFO, Porta/Mod or Effects button at
the bottom of the screen. You can tap the Samples and Envelopes buttons multiple times to cycle through theavailable tabs.

Tap the Keygroup field to select a keygroup to edit. You can also select All to edit all keygroups simultaneously.

Number of KG (keygroups) lets you create and select up to 128 keygroups within a keygroup program. This is usefulwhen working with multi-samples. For example, if you want to create a realistic piano, you can use different keygroups(e.g., 88 for a grand piano) with every keygroup containing its own sampled note (with up to four possible velocity
layers). A default keygroup program contains only one single keygroup. When you have created more than one
keygroup with Number of KG, use KG Select to select any keygroup for editing. All selects all available keygroups
of a keygroup program for simultaneous editing.

Tap the piano-keys icon to edit the note range of thecurrent keygroup. This will open the Set Keygroup Note
Range window. This lets you restrict the key range used
for a sample’s playback. Only notes with a key number
higher or equal (Low Key) or lower and equal (High Key)to the selected value will trigger a sound.
Tips:
Alternatively, you can set the current keygroup’s note
range by using the Lo and Hi fields under Note Range in
the Global tab.
Set the Lo parameter to A0 and the Hi parameter to C8 toemulate the range of a standard 88-key piano.

The automation button indicates the global automation state. This is shown in several modes. See General Features> Automation to learn about this.
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GlobalIn the Global tab, you can set the playback mode and tuning for the overall program.

Global Semi lets you tune the program up to 36 semitones up or down.

Global Fine provides fine-tuning of the program up to 99 cents up or down.

Transpose shifts the pitch of the MIDI notes sent to the program up to 36 semitones up or down.

Polyphony sets the playback mode for the program’s keygroups. In Mono Mode, only one keygroup will sound at atime. If a keygroup is played while another (or the same one) is still playing its sample/samples, the new keygroup will
immediately mute all other currently playing keygroups in that program. In Poly Mode, several keygroups can betriggered at the same time (limited only by the total number of voices available).

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Key Group Semi lets you transpose the sample 36 semitones up or down, while Key Group Fine provides finetuning of each layer up to 99 cents up or down.
Tip: The Edit Layers section has some parameters similar to those in this section (Level, Pan, Semi, Fine, Note
Range). Remember that Key Group parameters control the overall settings for the sample, while Edit Layerparameters control the settings for each layer (up to 4).

Level controls the overall volume level of the loaded sample/samples.

Pan controls the overall panning of the loaded sample/samples in the stereo field.

The Lo Key and Hi Key fields let you restrict the key range used for a sample’s playback. Only notes with a key
number higher or equal (Lo) or lower and equal (Hi) to the selected value will trigger a sound. The settings for Lo and
Hi are also shown in the virtual keyboard in the Edit Layers section. Alternatively, tap the piano-keys icon to open
the Set Keygroup Note Range window.
Tip: Set the Lo parameter to A0 and the Hi parameter to C8 to emulate the range of a standard 88-key piano.

Use the KG Poly (keygroup polyphony) field to determine how the keygroup will play. When set to Mono, only one
pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, thenew pad will immediately mute all other currently playing pads in that program. When set to Poly, several pads canbe triggered at the same time, limited only by the total number of voices available. You can also select a specificnumber of pads (2–32) so that you can play up to this many pads at the same time (unless they exceed the total
number of voices available).

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Mute Group allows you to assign the selected pad to one of the 32 available groups. When pads assigned to the same
mute group receive MIDI notes, the last pad played will silence all other pads in that mute group. A mute group affects
pads within that program only; mute groups do not affect pads in other programs.

Key Track allows you to switch a sample’s automatic transposition on or off. If this is off, you will always hear thesame pitch of the sample, no matter which note is triggered by pads or a connected MIDI keyboard.

Layer Play determines how multiple samples assigned to the same pad are played:•

Cycle (Cyc): Each time the pad is played, it will play the next layer’s sample. In other words, the samples will
cycle through the layers as follows: 1, 2, 3, 4, 1, 2, 3, 4… etc.

•

Velocity (Vel): The pad will switch between layers depending on how hard you press a pad.

•Random (Ran): Each time the pad is played, it will play one of its layer’s samples at random.

Sample Play determines how much of the sample is played:•

One Shot: The entire sample will play from start to end. Use this when you want to play short sounds.

•

Note Off: The entire sample will play from start to end after the pad has been pressed and released.

•

Note On: The sample will play only as long as the pad is held. This is better for longer samples so you cancontrol a sound’s duration by pressing and holding its corresponding pad.

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SamplesEach keygroup can trigger up to four samples, which are assigned in four individual layers. Each layer has identical,
independently assignable parameters.
Tap Samples to cycle through its four available tabs.

On all four sections, you can access the Settings window, which lets you configure certain settings in the Samples tab.
To view the Settings, tap the gear icon.
To close the Settings, tap Close, the X in the upper-right corner, or anywhere outside the window.

Use the Link Slices selector to set how the start point and end point of a slice in a larger sample is set. You cancreate these slices in Sample Edit Mode (Chop Mode).
When on, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing
the end point of a slice will also change the start point of the next slice. Disable Link Slices if you are trying to create
slices that use non-contiguous parts of the sample. This is the same as the Link Slices button in Sample Edit Mode.

Use the Loop Lock selector to “link” or “unlink” the loop point from the start point. When on, the loop point is thesame as the start point. When off, the loop point is independent from the start point and indicated by a separate loop
marker. This is the same as the Loop Lock button in Sample Edit Mode.

Use the Zero Snap selector to enable or disable the Zero Snap feature, which forces start points, end points, andloop points to occur only at the waveform’s “zero-crossings.” This can help to avoid clicks and glitches when playing
a sample. This is the same as the 0 Snap button in Sample Edit Mode.

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The first Samples tab contains the sample waveform for each layer and controls for its pitch, timing, and playback.

The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half showsthe editing controls.
The waveform display shows the “active” section of the clip waveform. Swipe left or right on the waveform to movethrough it.
Above the waveform is the timeline, shown in bars, beats, and ticks.

Use the bottom-most Q-Link knob in the fourth bank to zoom in or out of the sample waveform.

Tap each layer number (Layer 1–4) under the waveform to select it. When selected, its sample waveform will beshown in the upper half of the screen and its settings will be shown in the lower half.

Use the Sample field to select the sample file for that layer. Remember that the sample has to be loaded into the project’s
sample pool beforehand. For information on how to load samples into a project, please see the Browser chapter.

Important: The parameters in the Samples tabs work in conjunction with Chop Mode (in Sample Edit Mode). Here’s
how it works:
When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads (keygroups),
you can convert a slice using Non-Destructive Slice or Pad Parameters.
A Non-Destructive Slice will let its keygroup to refer to that slice when you press a pad in that keygroup; the original
sample remains intact and each slice marker is like a “bookmark” for a keygroup. In Program Edit Mode, you’ll seethat the layer to which it’s assigned has its Slice drop-down menu set to the corresponding slice number in theoriginal sample. Playing that keygroup will cause it to refer to that slice marker like a “bookmark” instead of creating
an entirely new sample of that slice. This means that you no longer have to clutter your project with a new sample forevery slice (though you can still use this earlier method, if you prefer).
A slice converted using Pad Parameters is very similar to a non-destructive slice described above. The difference isthat in Program Edit Mode, the layers they’re assigned to have their Slice drop-down menus set to Pad (instead of
the slice number), and the start and end points will correspond to the slice markers in the original sample.
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The green/S marker and red/E marker are the start point and end point (respectively). These two points define theregion of the sample that will be played.
To move the start point or end point, do any of the following:•

Tap and drag the S or E marker left or right.

•

Use the Start or End fields shown below the waveform.

•

Use the first column of Q-Link knobs to adjust the start point or the second column of Q-Link knobs toadjust the end point. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob
provides fine adjustment.

Note: When Loop Lock is on, the loop position (as determined by the Loop field, if enabled) is the same as the
sample’s start point. When off, the loop position is independent from the start point.

Use the Loop field to determine the position where the sample’s playback will repeat when Pad Loop is activated.
Alternatively, use the third column of Q-Link knobs to adjust the loop point. The top-most Q-Link knob provides
coarse adjustment. The bottom-most Q-Link knob provides fine adjustment.
Note: When Loop Lock is on, the loop position is the same as the sample’s start point. When off, the loop position is
independent from the start point.

Use the Tail Length and Tail Loop fields to add adding extra audio tail to any chopped sample. This is useful forthings like making an abrupt end to a sample sound more natural or adding experimental looping effects to a sample.
The Tail Length parameter enables the sample tail and set its total length, and the Tail Loop parameter sets thestarting point within the tail for looping.

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Use the Slice field to select what part/parts of the sample will play:
All: The entire sample will play.
Pad: The sample will play from the Pad Start position to the Pad End position, described earlier. This also lets
you activate Pad Loop (if the Sample Play field in the Global tab is set to Note On).
Slice 1, 2, 3, etc.: If you have sliced the sample in Chop Mode, you can select which slice will play when you
trigger the pad.

Semi lets you transpose the selected layer 36 up to semitones up or down. This is the same as the Semi knob on thesecond Samples tab.

Fine provides fine-tuning of each layer by cents. This is the same as the Fine knob on the second Samples tab.

Use the Reverse button to select in which direction the sample will play. When on, the sample will play in reverse.
When off, the sample will play in the normal forward direction.

Use the Pad Loop button to cycle through the available Pad Loop modes.
Important: For Pad Loop to work, you must (1) set the Sample Play field (in the Global tab) to Note On instead of
One Shot and (2) set the Slice field (in the first Samples tab) to Pad instead of All or a slice number.
Off: The sample will not loop.
Forward: You can hold down the pad to cause that sample to repeat from the Loop Position
to the end of the sample. Release the pad to stop the repeating playback.
Reverse: You can hold down the pad to cause that sample to play in reverse, repeating fromthe end of the sample to the Loop Position. Release the pad to stop the repeating playback.
Alternating: You can hold down the pad to cause that sample to play from the Loop Position to
the end of the sample and then play in reverse until it reaches the Loop Position again. This will
repeat as long as you are holding the pad down. Release the pad to stop the repeating playback.

237

The second Samples tab contains controls for its pitch, volume level and panning.

Semi lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (ifWarp is off). This is the same as the Semi field on the first Samples tab.

Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off). This is thesame as the Fine field on the first Samples tab.

Level lets you adjust each layer’s volume, letting you control the “balance” of the samples assigned to the pad.

Pan lets you adjust the stereo placement of the respective layer.

238

The third Samples tab contains the control for its offset, velocity range and root note.

Use the Offset slider to determine a time offset for the sample’s playback.
Positive values (right of center): When the pad is played, playback will start immediately but at a later point in
the sample specified by the offset value.
Negative values (left of center): When the pad is played, playback will be delayed by the amount specified by
the offset value.

Use the Vel Start and Vel End knobs to define the velocity range of each layer.
A range from 0 to 127 lets the layer respond to the entire velocity range which is input from the respective pad while,for example, a range from 100 to 127 lets the layer respond only to higher velocity levels. By assigning several
samples of one instrument, you can create a realistic-sounding “multi-sample” by adjusting the velocity ranges ofeach layer accordingly.
For example, you may have three samples of a piano key with low force, medium force, and high force. You can set
each sample to a layer and set the Velocity ranges so only low velocities trigger the low-force sample, only midrange velocities trigger the medium-force sample, and only high velocities trigger the high-force sample.

Use the Root Note menu to set the starting note of each loaded sample. Smp denotes the sample’s default pitch.

239

The fourth Samples tab contains the controls for adding randomization to sample parameters such as pitch, leveland panning.

Use the Pitch knobs to adjust the amount of randomization applied to each sample layer’s pitch.

Use the Level knobs to adjust the amount of randomization applied to each sample layer’s volume.

Use the Pan knobs to adjust the amount of randomization applied to each sample layer’s stereo placement.

Use the Offset sliders to adjust the amount of randomization applied to each sample layer’s time offset.

The All Layers section will apply randomization to all sample layers for the following envelope parameters: Attack,Decay, Cutoff and Resonance. Use the Depth slider to control the amount of envelope randomization applied
overall.

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Envelopes
Tap Envelopes to cycle through its three available tabs.

The first Envelope tab contains the amplitude modulation envelope.

Keygroup Level controls the overall volume level of the loaded sample/samples.

Keygroup Pan controls the overall panning of the loaded sample/samples in the stereo field.

The Amp Envelope controls affect level changes over time. Use the fields or tap and drag the “handles” of theenvelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter
frequency with the Env knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.

The Velocity Modulation controls determine how much the velocity affects the volume level of the amplitudeenvelope (Amp), the attack of the amplitude envelope (Amp Attack), and/or the panning of the sound (Pan).
When you press a pad softly, only minimal modulation is applied. When you press it harder, the modulation amountalso gets stronger depending on the setting of the corresponding slider.

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The second Envelope tab contains the filter modulation envelope.

Use the Type field to select a filter for the selected pad. See Appendix > Glossary > Filter for an explanation of theavailable filter types.

Use the Cutoff knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency forband-pass and band-stop filter types.

Use the Res knob to set the resonance/emphasis of the frequencies around the cutoff point.
Tip: Use values lower than 80 to give more brilliance to the sound. At values higher than 80, the sound will result in astrong audible boost around the cutoff frequency.

The Filter Envelope controls affect the filter frequency. Use the fields or tap and drag the “handles” of the envelope
to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with
the Depth knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.

Use the Depth slider to determine the amount of influence the filter envelope has on the cutoff frequency. Higher
settings will increase the modulation of the filter by the envelope; lower settings will result in only subtle changes ofthe filter Cutoff over time.
Tip: To give a sound a more distinctive attack, increase the Depth setting and set low Attack and Decay values
as well as a medium-low Sustain value of the Filter Envelope. This will start a sound with the filter opened and close
it shortly afterward, giving it a bright start followed by a darker sustain. String sounds, on the other hand, can soundmuch more “alive” with low Depth settings and a high Attack value, resulting in a slight fade-in of the higher
frequencies.

The Velocity Modulation controls determine how much the velocity affects the cutoff frequency of the filter envelope(Cutoff), the attack phase of the filter envelope (Attack), and/or depth of influence the filter envelope has on the
cutoff frequency (Depth).
When you press a pad softly, only minimal modulation is applied. When you press it harder, the modulation amountalso gets stronger depending on the setting of the corresponding slider.

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The third Envelope tab contains the pitch modulation envelope.

Global Semi lets you transpose the keygroup up to 36 semitones up or down. This will affect the length of thesample (if Warp is off). This is the same as the Semi field on the Global tab.

Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off). This is thesame as the Fine field on the Global tab.

The Pitch Envelope controls affect the keygroups’s pitch change over time. Use the fields or tap and drag the“handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influenceon the pitch with the Depth slider. See the later Anatomy of an Envelope section to learn about the envelopeparameters.

The Velocity Modulation control determines how much the velocity affects the pitch envelope (Pitch).
When you press a pad softly, only minimal modulation is applied. When you press it harder, the modulation amountalso gets stronger depending on the setting of the Pitch slider.

243

LFO

A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which canbe used for modulation purposes.

Use the Wave field to select the LFO waveform type:
Sine (best suited for smooth modulations)
Triangle (best suited for smooth modulations)
S&H (samples a random value and holds it until the next value is generated)
Saw (can generate interesting filter or volume changes)
Saw Down (can generate interesting filter or volume changes)
Square (interesting results with hard-panning modulations)
Noise (generates random values and glides)

Use the Rate field to determine the LFO frequency. At lower values, it might take some time for the LFO to completea cycle, while higher values will come closer to audible range.

Use the Sync field to set if the LFO’s rate is synchronized with the tempo. You can select one of several time
divisions (a . indicates a dotted note; a T indicates a triplet-based time division). When None is selected, Sync is off.

Use the Destinations sliders to determine how much the LFO affects the pitch of the sound (Pitch), the cutoff
frequency of the filter (Filter), the volume level of the sound (Amp) and panning of the sound (Pan).

244

Porta / Mod

Use the Portamento fields to adjust the settings for pitch gliding.
The Time slider sets the length of the glide between notes.
Tap the Quantize button to synchronize the portamento time with the project tempo.
Tap the Legato button to enable or disable pitch gliding for all triggered notes or just legato notes.

Use the Velocity Sensitivity sliders to set how much velocity is required to modulate certain other parameters:•

Pitch enables velocity information to control the pitch of the sample.

•

Amp Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the
Amp envelope.

•

Amp enables velocity information to control the overall amplitude (level) of the sample.

•

Pan enables velocity information to control the stereo panning of the sample.

•

KB>FLT sets how much the note value will be added to the filter cutoff. This allows samples to sound brighteras they are played higher on the keyboard.

•

Filter Env Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for
the Filter envelope.

•

Filter Env Depth enables velocity information to control the amount of the filter envelope’s effect on the
cutoff frequency.

•

Filter Cutoff uses the velocity of a pad to modulate the cutoff frequency directly.

The Controller Mod section determines the influence of additional play controllers on various sound parameters.
Important: To use these parameters, make sure that a connected MIDI device can send pitch bend messages aswell as aftertouch and modulation wheel data.
Pitch Bend sets the range (in semitones) of a connected MIDI keyboard’s pitch-bend wheel.
Wheel>LFO determines how much a connected MIDI keyboard’s modulation wheel affects the LFO intensity.
Aft>Filt (AftertouchFilter Cutoff) determines how much a connected MIDI keyboard’s aftertouch data affects
the filter cutoff.

245

Effects

Inserts
You can select up to four insert effects for each keygroup. To learn how to use insert effects, please see General
Features > Effects > Insert Effects.
Important: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you
load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.
To add an effect:
1. Double-tap the desired Inserts slot. A list of effects will appear.
2. Swipe up or down to move through the list.
You can tap the Type and Manufacturer buttons to sort your effects by those categories.
3. To load an effect, double-tap it, or tap Select.
To close the list, tap Close.

To remove an effect from its slot, tap the trash can icon.

To enable or disable the effect, tap the On/Off button for the slot.
To enable or disable all four insert effects, tap the All On/Off button in the upper-right corner.
To load a factory FX rack, tap the Akai folder icon. You can choose from a number of preset combinations of insert
effects by applications like Drums and Percussion, Voice, LoFi, Mastering, and more.
To load a saved FX rack, tap second folder icon.
To save an FX rack, tap the disk icon.

246

To adjust the effect’s parameters, tap the pencil icon. Use the user interface or sliders to set the value of eachparameter. These values affect only this instance of the effect; insert effects are not global.

Sends
The audio of the program will be routed to send effects (if you have any loaded) at their designated send levels. The
return channels will then send the audio to an assigned main output at the designated return levels.
Use the Send knobs to set the volume level of the signal the program will route to each send effect.
You can select up to four send effects for each keygroup, but remember that they will be applied to that keygroup
only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will
overlap in that range as well.
Important: To use a send effect, you have to load an effect into the corresponding send effect slot in the Channel
Mixer. See Channel Mixer > Returns to learn more how to do this. To learn about send effects, please see General
Features > Effects > Send/Return Effects.

247

Clip Programs

When using clip programs, Program Edit Mode lets you assign a sample (a loop called a clip) to each pad in a single
bank. You can also edit various settings to determine how each pad launches its assigned clip.
To select a pad, press it. Its parameters will appear on the screen immediately.
To view a specific tab of parameters, tap Program or Pad the bottom of the screen. The Program tab iswhere you assign clips to pads (see Program below). The Pad tab is where you determine how each pad plays
its clip (see Pad below).

Tap the location icon at the top of the screen (between the Program and Pad fields) to open the Edit Zones
window, which is a feature for drum programs and clip programs. This window displays an overview of any selectedpads. Use the Mode selector to set how the selected pads will be edited:
Current: Only the currently selected pad can be edited.
Multiple: All selected pads can be edited simultaneously.
All: All pads can be edited simultaneously.
To close the window, tap Close, the X, or anywhere outside the window.
248

The automation button indicates the global automation state. This is shown in several modes. See General Features> Automation to learn about this.

The Settings window lets you configure certain Audio Edit Mode settings.
To view the Settings, tap the gear icon.

Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead while viewing the Pad tab.
Follow: Depending on the zoom setting, the waveform display will scroll along in the background while keeping
the audio playhead centered.
Page: The waveform display will move to the “next page” to follow the audio playhead.
Off: The waveform display will not move at all.
These functions also apply to the Grid View, Audio Edit Mode, List Edit Mode, and Sample Edit Mode.

249

Program
This tab is where you can assign clips to each pad and adjust the program’s overall tuning and quantization.

To assign a sample to a pad, press or tap a pad to select it (it will play its assigned samples, if any). Tap the
Sample field, and then use the data dial or –/+ buttons to select a clip. Alternatively, double-tap the Sample field,
and then tap a clip to select it.

To clear the assigned clip from a selected pad, assign a sample to a pad, but select None.

Coarse lets you transpose the program up to 36 semitones up or down.

Fine provides fine-tuning of the program up to 99 cents up or down.

Use the Launch Quantize field to set the quantization of the program in bars (or subdivisions of a bar).

250

Pad

The upper half of the screen shows the clip waveform. The lower half shows the editing controls.
The waveform display shows the “active” section of the clip waveform. Swipe left or right on the waveform to movethrough it.
Above the waveform is the timeline, shown in bars, beats, and ticks.

The green marker and red marker are the start point and end point (respectively). These two points define the regionof the sample that will be played.
To move the start point or end point of the selected region, do any of the following:•

Tap and drag the S or E marker left or right.

•

Use the Start or End fields shown below the waveform.

•

Use the first row of Q-Link knobs (Layer 1 Start) to adjust the start point or the second row of Q-Link
knobs (Layer 1 End) to adjust the end point. The right-most Q-Link knobs (12 and 16) provide coarse
adjustment. The left-most Q-Link knobs (9 and 13) provide fine adjustment.

Use the Zoom + or Zoom – buttons at the bottom of the screen to zoom in or out (respectively) of the waveform.

251Below is a brief step-by-step process so you can get familiar with setting up a clip. Continue reading the rest of thischapter to learn how to use the parameters in this window.

To assign and edit a clip:
1. Assign a sample to a pad using the Program tab(described earlier). For example, start with a four-bar
drum loop.
2. In the Pad tab, note that the BPM field has a value,
which is automatically detected.
If the Warp button is not already on, tap it. The Warp
function keeps the loop in time with the sequence
tempo or the global tempo.
3. If you need to edit the loop’s tempo manually, do anyof the following:•

Tap the BPM field, and then use the data dialor –/+ buttons to change the value.

•

Double-tap the BPM field, and then use thenumeric keyboard that appears to enter a value.

4. Let’s shorten the loop to a two-bar loop by doing anyof the following:•

Tap and drag the start point (S) or end point (E)marker.

•Tap the beat, bar, or tick value of the Start or
End fields, and then use the data dial or –/+buttons to change the value.

•

Double-tap the beat, bar, or tick value of theStart or End fields, and then use the numerickeyboard that appears to enter a value.

Set the locations properly to ensure the loop’s timing
is correct—neither too short nor too long. When theloop repeats, it should feel seamless.
5. If the Fade button is not already on, tap it. This applies
a very small fade-in and fade-out at the start and endof the clip to prevent “clicks” and glitches if start point
or end point is not at a “zero-crossing.”
6. If you need to edit the loop’s pitch manually, do any of
the following:•

Tap the Coarse or Fine slider, and then use thedata dial or –/+ buttons to change the value.

•

Use Q-Link Knobs 1 and 2 (Layer __ Semi
Tune and Layer __ Fine Tune) to change thevalue of the Coarse or Fine sliders.

•

Double-tap the Coarse or Fine slider, and thenuse the numeric keyboard that appears to entera value.

The Coarse slider adjusts the pitch in semitones. The
Fine value adjusts the pitch in cents. You will hear the
pitch adjust in real time.

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Tap Warp to lengthen or shorten the clip without changing its pitch, and use the BPM field to change the tempo. Use
the Coarse and Fine sliders if you want to change the pitch.

Use the Pad Play field to determine how the clip is played.
One Shot: When you press the pad, the entire clip will play from start to end and then stop.
Toggle: When you press the pad, the entire clip will play from start to end and loop indefinitely. Pressing it
again—or launching another in the same mute group—will stop its playback. This is the most common usage.

Use the Pad Quantize field to set the quantization of the pad in bars (or subdivisions of a bar). When set to Program
so it uses the same quantization as the overall program (determined by the Launch Quantize field). When set to Off,the pad will not follow any quantization at all.

Tap Reverse to reverse the clip’s audio.

Coarse lets you transpose the pad up to 36 semitones up or down.

Fine provides fine-tuning of the pad up to 99 cents up or down.

Use the Mute Group field to assign the selected pad to one of the 32 available groups. When pads assigned to thesame mute group receive MIDI notes, the last pad played will silence all other pads in that mute group. A mute groupaffects pads within that program only; mute groups do not affect pads in other programs.
By default, each column of pads is assigned to the same mute group. This means only one pad from each column
can be playing its clip at a time. You can use the Mute Group field to configure this any way you like, though.

Use the Fade button to apply a very small fade-in and fade-out at the start and end of the clip. This can help prevent“clicks” and glitches that may occur if the start point or end point is not placed at the waveform’s “zero-crossings.”

253

Plugin Programs

For plugin programs, you will see a graphical representation of the plugin interface, or an overview of all available
plugin parameters with a slider for each.

To select an effect preset, use the dropdown menu at the top of the screen.
To load a saved preset, tap the folder icon at the top of the screen.
To save a preset, tap the disk icon at the top of the screen.

The automation button indicates the global automation state. This is shown in several modes. See General Features >Automation to learn about this.

Use the user interface or sliders to set the value of each parameter.

Use the tabs at the bottom of the screen to access the available parameters.

To assign a parameter to one of the sliders, use the MPC software.
Note: To see the user guide in the MPC software and learn how to do this, click the Help menu, select MPC Help,and select MPC User Manual.

254

MIDI Programs

For MIDI programs, you will see an overview of all available MIDI CCs with a slider for each.

Use the sliders to set the value of each parameter.

Use the six tabs at the bottom of the screen to access the available parameters.

Tap the Edit button in the top-right of the page to edit the MIDI program assignments and naming.
To assign a parameter, tap the dropdown menu and use the data dial or +/- buttons to scroll through the available
MIDI assignments. You can also double-tap the menu to view a list of assignments.
To rename a parameter, tap the pencil icon next to the dropdown menu, and then use the keyboard that appears
to enter a new name. Once renamed, you can save the program and use it with other projects to retain your custom
naming.

255

CV Programs

For CV programs, you will see an overview of all available CV outputs with a slider for each.

The automation button indicates the global automation state. This is shown in several modes. See General Features >Automation to learn about this.

Use the sliders to set the value of each parameter.

Use the six tabs at the bottom of the screen to access the available parameters.

To assign a parameter to one of the sliders, use the MPC software.
Note: To see user guide in the MPC software and learn how to do this, click the Help menu, select MPC Help, andselect MPC User Manual.

256Anatomy of an Envelope
An envelope creates a variable control signal. It can be used, for instance, to modulate the filter settings of a soundover a given period of time.
For drum programs, use the AD/AHDS selector to select an AD or AHDS envelope. When Sample Play is set toNote-On, it will use an ADSR envelope.
Keygroup programs always use AHDS envelopes. When Sample Play is set to Note-On, it will use an ADSR envelope.
With AHDS envelopes, the following happens when you
trigger a sample:
1. Within the period of time you have defined with the attack(Atk), the sample volume rises to its maximum value.
2. The sample’s maximum volume will be maintained
during the Hold phase.
3. During the Decay phase, the sample’s volume will
gradually drop to the sustain level.
4. The sample’s volume will stay at the sustain level(Sust) until the pad is released.
Use the A Shape and D Shape fields to adjust the curve of
the Attack and Decay phases, respectively.
With AD envelopes, the following happens when you triggera sample:
1. Within the period of time you have defined with the attack(Atk), the sample volume rises to its maximum value.
2. The sample’s maximum volume will be maintained until
its Decay phase, when the sample’s volume will gradually
drop to zero over the set duration. Click the Type dropdown menu to select how the decay functions:
Decay From Start: The volume will start decreasing
immediately after reaching its maximum level.
Decay From End: The maximum volume will bemaintained for a hold phase until it reaches the
decay phase.
Use the A Shape and D Shape fields to adjust the curve of
the Attack and Decay phases, respectively.
With ADSR envelopes, the following happens when you
trigger a sample:
1. Within the period of time defined by Attack, thesample volume rises to its maximum value.
2. During the Decay phase, the sample’s volume will
gradually drop to the Sustain level.
3. The sample’s volume will stay at the Sustain level until
the Release phrase begins.
4. The sample’s volume will drop to “zero” over the duration
set by Release.
Use the A Shape, D Shape and R Shape fields to adjust
the curve of the Attack, Decay and Release phases,
respectively.
257

List Edit Mode
List Edit Mode has some of the features of the Grid View—as well as some additional ones—butwith a different interface/workflow.

The time counter at the top of the screen indicates the current playhead position. This is shown in most of themodes. See General Features > Time Counter/Locate to learn about this.

The clock icon at the top of the screen opens the Timing Correct window. See General Features > Timing Correct(TC) to learn about this.

The View menu lets you select what type of events are shown in the list.
All: Select this option to show all event types.
Notes: Select this option to show only notes.
Aftertouch: Select this option to show only aftertouch messages.
Track Automation: Select this option to show only track automation events.
Program Automation: Select this option to show only program automation events.
Pitch Bend: Select this option to show only pitch bend events.
Control Change: Select this option to show only MIDI CC messages.
Program Change: Select this option to show only MIDI program change messages.
Ch Pressure: Select this option to show only channel pressure messages.
Solo/Mute: Select this option to show only solo and mute events for tracks, programs, and pads.
Other: Select this option to show other types of events not listed above, such as pad or keygroup parameters.

The automation button indicates the global automation state. This is shown in several modes. See General Features >Automation to learn about this.
258

The Settings window lets you configure certain
List Edit Mode settings.
To view the Settings, tap the gear icon.

Use the Hitting Pad Selects All Events selector to turn the feature on or off. When On, pressing a pad willautomatically select all note events for that pad in the sequence on that track. When set to Off, pressing a pad will
simply play its sound without selecting any note events.

Use the Auto-Advance on Step Record selector to turn the feature on or off. When set to On, pressing a pad when
the track is record-armed will move the audio playhead forward by a length determined by the current Time Divisionsetting in the TC/Timing Correct window. When set to Off, pressing a pad when the track is record-armed will notchange the audio playhead position.

Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead.
Follow: The list will scroll along in the background while keeping the audio playhead centered.
Page: The list will move to the “next page” to follow the audio playhead.
Off: The list will not move at all.
These functions also apply to the Grid View, Audio Edit Mode, and Sample Edit Mode.

The sequence for the track will be shown as a list of events, with the following parameters:#: This is the number of the note event.
Time: This is the position of the note event in bars, beats, and ticks. If multiple note events occur at the sametime, additional note events will be listed immediately below, but their Time values will be grayed out.
Event Type: This icon indicates the type of event (e.g., Note, Aftertouch, Track Automation, etc.). See the listof icons below showing the different types of events.
Pad/Note: This is the pad and/or corresponding MIDI note number. For drum programs, you will see the padnumber. For keygroup programs, plugin programs, and midi programs, you will see the note.
Length: This is the length of the note event in ticks.
Velocity: This is the velocity of the note event with its corresponding color.
Mod Type: This is the type of modifier used on the note event via automation.
Value: This is the value of the modifier automation.

259

The red arrow () on the left side of the list represents the audio playhead’s current position. If your sequence isplaying, the arrow will move accordingly.

The following icons indicate the corresponding types of events:

Note
Track Mixer Automation (Volume, Pan, Mute, Solo)
Track MIDI CC Automation (0–127)
Track Parameter Automation (Aftertouch, Pitchbend, Channel Pressure, or Program Change)
Program Mixer Automation (Volume, Pan, Mute, Solo, or Send 1–4)
Program Parameter Automation (options vary based on the type of program)
Program Insert Effect Automation (options vary based on the effect)
Pad/Keygroup Mixer Automation (Level, Pan, Pad Mute, Pad Solo, or Send 1–4)
Pad/Keygroup Parameter Automation (options vary based on the type of program)
Pad/Keygroup Insert Effect Automation (options vary based on the effect)260

To select an event, tap it.
To select multiple events, press and hold Shift and tap each event.

To insert a note event, press Rec or Overdub so the button is lit, and then press a pad. A note event will becreated at the current location using the pad you pressed. You can keep pressing additional pads, which willcontinue to insert each press as a single note event in the order you pressed them (similar to a step sequencer).
Press Stop to exit this function.
Note: Depending on the Auto-Advance on Step Record setting, the current time position will either advance each time
you press a pad or remain in place. See the earlier description of Auto-Advance on Step Record to learn about this.
Alternatively, tap Insert at the bottom of the screen to open the Insert Event window. Use the Time Counter fields to
set the location of the event. Use the Type field to set the type of event. Use the Pad field to set the pad where thenote event will be created.

To edit the Pad/Note, Length, or Velocity or numeric Value of an event, tap the value to select it, and then use
the data dial or –/+ buttons to change the value. Alternatively, double-tap it and use the numeric keypad thatappears to enter a value (for Length, Velocity, or numeric Value only).
To edit the Length of an event according to your Timing Correct settings, tap the value to select it, and thenpress and hold Shift and use the data dial or –/+ buttons to change the value.
To shift the Pad/Note of an event by pad bank, tap the value to select it, and then press and hold Shift and use
the data dial or –/+ buttons to change the pad bank.

To turn a Solo/Mute event on or off, tap the desired setting on the On/Off switch. Alternatively, tap the On/Off
switch to select it, and then use the data dial or –/+ buttons to change the value.

To move an event, tap it to select it, tap Nudge at the bottom of the screen, and then use the data dial or –/+buttons to shift the event up or down. Repeat this for other events, or tap Nudge again to turn the feature off.
To move an event according to your Timing Correct settings, tap the Time value to select it, and then press andhold Shift and use the data dial or –/+ buttons to change the value.

To play an event, tap it to select it, and then tap Play () at the bottom of the screen. This works with note eventsonly.

To delete an event, tap it to select it, and then tap Delete at the bottom of the screen.

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Browser
The Browser lets you navigate your MPC hardware’s internal and external hard disks to loadsamples, sequences, songs, etc. Using filter buttons and user-definable folders, you can easily
adapt it to your preferred workflow. You can also audition (preview) your samples before loadingthem.
Important: You can install an additional SATA drive in your MPC X, MPC Live, MPC Live II, or MPC Key 61
hardware, allowing for even more storage space. See Appendix > SATA Drive Installation to learn more about this.
Important: MPC hardware supports read and write capability for exFAT, FAT32, NTFS, and EXT4 file systems aswell as read-only capability for HFS+ file systems. We recommend using an exFAT file system as it is the mostrobust one supported by both Windows and macOS.
To show the Browser, do any of the following:•

Press Menu and then tap Browser.

•

Press Browse (MPC X, MPC One, MPC Studio) or Shift+Menu/Browse (MPC Live, MPC Live II, MPC Key 61,
MPC Touch).

To browse for files, tap Browse in the lower-left corner. See the Browse section to learn about this.
To view the project’s sample pool and pads, tap Sample Assign in the lower-left corner. See the Sample Assign
section to learn about this.

BrowseWhen the Browse tab is selected, you can do any of the following:
To browse your files by location, tap Places on the left side of the screen.
Internal is the internal drive of MPC X/Live/Live II/One/Key 61.
MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X/Live/Live
II/One/Key 61.
If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, MPC Live II, MPC
One, MPC Key 61 or your computer (with MPC Studio or MPC Touch), they will appear in this column, as well.
To browse your files by content, tap Content and then tap the type of file: Drums, Instruments, Clips,
Samples, My Files, or Splice (see below to learn about these content buttons).
To browse your MPC Expansions (MPC X/Live/Live II/One/Key 61 only), tap Expansions (see Addenda >Updates in MPC 2.1 > New Features > Exporting Expansions to learn how to export MPC Expansions fromyour computer to your MPC).
To move up one folder level, tap the folder/ icon in the upper-left corner.
To move through a list, swipe up or down, turn the data dial or use the –/+ buttons.
To select a file or folder, tap it once.
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To enter a folder, double-tap it or tap Open in the lower-right corner. Alternatively, press the data dial, or press
the center cursor or Enter (MPC X), to enter a selected folder. You can also tap one of the folder buttons (1–5)
in the upper-right corner to jump immediately to those pre-assigned file paths (see below to learn how to assign
these file paths).
To load a selected file, double-tap it, tap Load, press the data dial, or press the center cursor or Enter (MPC
X). If the file is a sample, it will be loaded to the project’s sample pool. If the file is a project, it will be loaded in its
entirety (you will be asked if you want to close your current project).
To load all files in a folder, select the folder (so it is highlighted in the list), press and hold Shift, and then tap
Load All in the lower-right corner.
Important: Although you can load multiple files at once, any samples you load into a project will be automaticallyconverted to full-quality uncompressed audio files, so they may use more storage space than they do on yourexternal storage device. If you are unable to load multiple files at once due to this, select fewer files and try again.
To delete a selected file or folder, press and hold Shift and then tap Delete File at the bottom of the screen.
To preview a selected sound, tap and hold Play () at the bottom of the screen.
To enable or disable the audition function and set its volume level, tap Audition at the bottom of the screen.
In the screen that appears, tap Auto to enable or disable it, and tap and drag the level slider up or down to set
the volume level. Use the Sync and Warp buttons to audition samples and loops in time with your sequence.
See Addenda > Updates in MPC 2.5 > New Features > Browser Audition Warp and Sync for more
information. Tap Audition once more to hide the window.
To show the information for the current storage device, press and hold Shift and then tap Drive Info at thebottom of the screen. The drive’s information will appear in a new window. Tap OK to return to the previous screen.
To format a storage device to use an exFAT file system, select it in the Browser, press and hold Shift andthen tap Format Drive at the bottom of the screen. In the window that appears, tap OK and then Format in thenext window to format the device, or tap Cancel to return to the previous screen without formatting. This
formatting process will set the device to use the exFAT file system, remove any partitions from the drive, anderase all of its content. (Devices that are uninitialized or do not have a file system will not be recognized by the
MPC hardware and consequently cannot be formatted.)

Tap the gear icon to open the Browser settings window.
Tap the Show file size, Show modified date orShow created date boxes to show the respective
file information in the list.
Tap the Search includes subfolders box to enable
recursive searching. When enabled, searching a
directory will also search all subfolders within it.
Tap the Hide project data folders box to enable ordisable MPC project folders from appearing in the filelist.

To get the most efficient use of the Browser, set the filepaths to your favorite drive locations first. There are fivefolder buttons labeled 1–5 in the upper-right corner. You
can set these to be shortcuts to five locations on yourMPC hardware’s internal drive and/or any connectedstorage devices, giving you quick access to your files.
To assign the current location to a folder button, press
and hold Shift, and then tap one of the folder buttons (1–5).
Now, when you tap that folder button again, the Browser
will show that folder’s content immediately.

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Use the six filter buttons to show only specific types offiles in the list below. Folders will still be shown in the list.
To show project files only, tap the P/page icon.
To show sequence files only, tap the bars icon.
To show program files only, tap the four-squares icon.
To show preset files only, tap the plug icon.
To show sample files only, tap the waveform icon.
To show all file types, tap the three-pages icon.

Use the six Content buttons to show specific locations in the internal drive of MPC
X/Live/Live II/One/Key 61 and filter them automatically by file type:Drums: Tap this button to enter the Expansions/The Vault 2 folder on theinternal drive, viewing program files only.
Instruments: Tap this button to enter the Expansions/Instruments folder on
the internal drive, viewing program files only.
Clips: Tap this button to enter the Expansions/Clips folder on the internal
drive, viewing program files only.
Samples: Tap this button to enter the Expansions/The Vault 2 folder on theinternal drive, viewing sample files only.
My Files: Tap this button to enter the MPC Documents folder, viewing all files.
Splice: Tap this button to view samples synced from a paired Splice account.
See Addenda > Updates in MPC 2.5 > New Features > Splice Integration
for more information.

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Sample Assign

When the Sample Assign tab is selected, you can do any of the following:
To select a program in the project, double-tap the Program field at the top of the screen. In the list thatappears, tap the desired program. Alternatively, tap the Program field and then use the data dial or the –/+buttons to select a location.
To move through the sample pool, swipe up or down, turn the data dial, or use the –/+ buttons.
To preview a selected sound, tap and hold Play () at the bottom of the screen.
To enable or disable the audition function and set its volume level, tap Audition at the bottom of the screen.
In the screen that appears, tap Auto to enable or disable it, and tap and drag the level slider up or down to set
the volume level. Tap Audition once more to hide the window.
To assign a sample to a pad, press it or tap it on the screen so it lights green. Then, in the Sample Pool list,
tap the desired sample. Alternatively, use the data dial or –/+ buttons to select a sample, and press the datadial, or press the center cursor or Enter (MPC X), to assign it. You can also tap and drag from the sample nameto the desired pad. Hold Shift while tapping and dragging to move the sample to a specific layer on the pad,
indicated by the red bar.
To clear a sample from a pad, press it or tap it on the screen so it lights green. Then, tap Clear Pad at thebottom of the screen.
To delete a sample, tap and hold on the sample name until Delete Sample appears, and then tap it.

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Sampler
The Sampler lets you record audio samples to use in your projects.
Important: To record any audio, you need to connect an audio source to your MPC hardware
or to your computer’s audio interface.

To open the Sampler, do any of the following:•

Press Menu and then tap Sampler.

•

Press Sampler (MPC X, MPC One), Shift+Mix/Sampler (MPC Live II), or Shift+Sample Edit/Sampler (MPC
Key 61).

•Press and hold Mode and press Pad 13 (MPC Studio).

To set up the Sampler before recording:
1. Make sure to reduce the volume levels of your audio source and speakers, headphones, and/or monitors before
you make any connections to avoid “pops” or feedback.
2. Connect a synthesizer or other line-level audio source to the input/inputs of your MPC hardware.
3. Turn the 3/4 Rec Gain (MPC X), Gain (MPC Key 61), or Rec Vol (MPC Live, MPC Live II, MPC One, MPC Touch)knob to set the input level while playing your audio source. You should now see the level in the meter. Make sureit does not exceed the maximum level (the meter should not be “peaking” constantly).
4. Set the recording controls as desired (described in this chapter).
5. Tap the Arm button to record-arm the Sampler.
You can use the Sampler to record using four different methods: Sample, Slice, Pad Tap, or Pad Hold, all describedlater in this chapter. The following controls are present regardless of which method you use.
The Sampler page also contains the Auto Sampler, which lets you capture and convert any plugin preset or external
instrument preset into a Keygroup sampler patch. See Addenda > Updates in MPC 2.3 > New Features > Auto
Sampler for more information.
The time counter in the upper-right corner shows the current playhead position. This is shown in most of the modes.
See General Features > Time Counter/Locate to learn about this.
Tap the tuning fork icon to open the tuner. See Addenda > Updates in MPC 2.11 > New Features > Built-In
Tuner for more information.

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The upper-left Input Source field defines whether you are going to record an external
audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode,
Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode,
Input 1–32 in Controller Mode). You can also select an internal signal from within yourMPC hardware (Resample L, Resample R, or Resample L+R).
Resampling does not require an audio connection because the source is internal and istherefore recorded without any loss in audio quality. You can, for example, use Resample
to record two or more samples by pressing the corresponding pads simultaneously.

Use the second upper-left Mono/Stereo field to choose whether your recorded
samples will be monaural (Mono) or binaural (Stereo).

The Inserts field shows any enabled or disabled effects for the Sampler. Tap the area
under Inserts to open a window where you can load, change, and enable or disable theeffects.
Important: These effects are applied to the audio as you record it. This means that theeffects cannot be “removed” from the sound later. Learn more about how effects workin General Features > Effects.

Tap the Monitor button to enable or disable input monitoring. When set to In, the audio
you hear in your headphones will be taken before it reaches the Sampler, ensuring zerolatency. When off, the audio you hear in your headphones will be taken after it isprocessed in the Sampler, so there may be some latency, but you will hear the audio
source as it sounds in the recording.
Tip: To avoid possible clicks or feedback while input monitoring, reduce the level ofthe audio sources.

Use the threshold slider to adjust the threshold. Alternatively, turn Q-Link Knob 1(MPC X) or the first Q-Link knob in the fourth column (MPC Live, MPC Live II, MPC
One, MPC Key 61, MPC Touch).
When the Sampler is record-armed, it automatically starts recording when the level ofthe incoming source exceeds this setting. If you set it too high, the recording may notstart when you play the input source, or the start of the material you wanted to record
may be missing. If you set it too low, the recording may start too early, before you playthe external source. Set this parameter to an appropriate level using the level meter.
To reset the “peak hold,” which shows the highest level of your input signal in the level
meter, tap it.

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For reference, the Sample Length counter shows you the length of your sample during
the recording procedure.

Tap Arm to record-arm the Sampler. The button will then change to Record and show
Waiting for signal.
At that point, start recording by doing either of the following:•

Start performing so that the incoming audio level exceeds the level of thethreshold slider.

•

Tap Record under the Sample Length counter.

To disarm the track instead, tap Cancel.

Use the Max Length field to define the maximum sampling time. Alternatively, turn the
Q-Link Knobs 3 and 4 (MPC X) or the third and fourth Q-Link knobs in the fourthcolumn (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch): Minutes andSeconds.
You can record up to 19 minutes and 59 seconds (19:59) per sample. We recommend
setting these to values that roughly match your estimated recording duration.

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SampleUsing this method, you can insert slice markers directly in your sample as you record it.
Slice markers divide the sample into multiple regions called slices, which you can adjust in the Chop Mode ofSample Edit Mode (see Sample Edit Mode > Chop Mode for more information). This is useful when working with along sample with different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage).

To start recording, do one of the following:•

Start performing so that the incoming audio level exceeds the level of the threshold slider.

•

Tap Record under the Sample Length counter.

To insert a slice marker in a sample while recording, tap Slice+ (in the lower-right corner) as the sample records.
Each time you tap it, a slice marker will be placed at that location.

To stop recording, tap Stop under the Sample Length counter.

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After you stop your recording, the Keep or Discard Sample window will appear.

Use the Edit Name field to name the new sample. Tap it and use the virtual keyboard that appears.

Use the Program field to assign the new sample to a program. Select <none> if you want to save it to the project
without assigning it to a program.

Use the Assign to Pad field to assign the sample to a pad in the program.

Use the Root Note field to set where the sample’s original pitch will be on the keyboard.

If you recorded a sample while a sequence was playing, the Keep or Discard Sample window will show a few more
options after you select a pad.
Check the Add Event box to automatically add the sample to the currently playing sequence.
Use the @ field to select where you want the event to start:•

Start: The sample will be a note event at the start of the currently playing sequence.

•

Trigger: The sample will be a note event where you began recording it in the currently playing sequence.

Use the Track field to set which track will contain the new event.

To confirm your selections, tap Keep at the bottom of the screen.
To discard the recording and return to the Sampler, tap Discard at the bottom of the screen.
To play the recording, tap Play at the bottom of the screen.
Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).
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SliceUsing this method, the pads correspond to slices of the currently recorded sample. Slice markers divide the sample
into multiple regions called slices, which you can adjust in the Chop Mode of Sample Edit Mode (see Sample Edit
Mode > Chop Mode for more information). This is useful when working with a long sample with different sounds
throughout (e.g., a drum loop or a long melodic or harmonic passage).

To start recording, do one of the following:•

Start performing so that the incoming audio level exceeds the level of the threshold slider.

•

Tap Record under the Sample Length counter.

To insert a slice marker in a sample while recording, press any pad as the sample records. Each time you press
it, a slice marker will be placed at that location.
The number of the pad that flashes red is the number of the slice marker that will be inserted next. The numbers of
the pads that are lit yellow are the numbers of the slice markers that are already inserted.
When you are done recording, you can name the sample and create a new program using the slices.

To stop recording, tap the round Stop button.

After you stop your recording, the Keep or Discard Sample window will appear.

Use the Edit Name field to name the new sample. Tap it and use the virtual keyboard that appears. Otherwise, theprocess will add a consecutive number after the sample name.

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Use the Create New Program field to assign the new sample to a new program:
Off: No program will be created. The slices will still be added to your project’s sample pool.
With Non-Destructive Slices: In the new program, each pad’s Slice setting will be set to the corresponding
slice number. This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit
Mode > Chop Mode > Converting or Assigning Slices).
With Pad Parameters: In the new program, each pad’s Slice setting will be set to Pad. The Pad Start and Pad
End will be set to the slice’s start point and end point values, and the Loop Position will be set to the slice’s
start point but with Pad Loop deactivated. This is identical to how you can assign samples in Sample Edit Mode(as described in Sample Edit Mode > Chop Mode > Converting or Assigning Slices).

To confirm your selections, tap Create or Keep at the bottom of the screen.
To discard the recording and return to the Sampler, tap Discard at the bottom of the screen.
To play the recording, tap Play at the bottom of the screen.
Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).

Pad Tap
Important: This mode works for drum programs only; you must select a drum program before using this mode.
Otherwise, this feature will not do anything, even though it may appear to work.
With this method, pressing a pad immediately starts or continues recording directly to that pad (make sure you areusing the desired program before you start recording). Pads with assigned samples are lit bright yellow. Pads
without samples are lit dim yellow.

To start recording to a pad, press it. Recording will start immediately, and the pad will flash red. If you press a newpad, the recording will stop on the previous pad, which will turn green, and start on the new pad, which will flash red.
Note: If you start recording by tapping Record under the Sample Length counter—or if the volume exceeds thelevel of the threshold slider—the sample will record to your project’s sample pool, not to a pad.

To stop recording to a pad, press the currently recording pad, which is flashing red. The sample will continue
recording. You can start recording on another pad at any time.
To stop all recording, tap Stop under the Sample Length counter.

When you are done recording, each pad that you have pressed during recording:•will have its Slice setting set to Pad;•

will have its Pad Start and Pad End set to the slice’s start point and end point values; and•will have its Loop Position set to the slice’s start point but with Pad Loop deactivated.

This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit Mode > Chop
Mode > Converting or Assigning Slices).
Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).

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Pad Hold
Important: This mode works for drum programs only; you must select a drum program before using this mode.
Otherwise, this feature will not do anything, even though it may appear to work.
With this method, pressing and holding a pad immediately starts or continues recording directly to that pad (make sure
you are using the desired program before you start recording). Pads with assigned samples are lit bright yellow. Pads
without samples are lit dim yellow.

To start recording to a pad, press and hold it. Recording will start immediately, and the pad will light red.
Note: If you start recording by tapping Record under the Sample Length counter—or if the volume exceeds thelevel of the threshold slider—the sample will record to your project’s sample pool, not to a pad.

To stop recording, release the pad. The pad will light green, and the sample will continue recording. You can start
recording on another pad at any time.
To stop all recording, tap Stop under the Sample Length counter.

When you are done recording, each pad that you have pressed during recording:•will have its Slice setting set to Pad;•

will have its Pad Start and Pad End set to the slice’s start point and end point values; and•will have its Loop Position set to the slice’s start point but with Pad Loop deactivated.

This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit Mode > Chop
Mode > Converting or Assigning Slices).
Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).

Auto Sampler
See Addenda > Updates in MPC 2.3 > New Features > Auto Sampler for more information.

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Looper
The Looper lets you record and overdub audio in real time—a great tool for live performanceas well as spontaneous moments in the studio. You can export the loop as a sample to use inyour project.
To open the Looper, do either of the following:•

Press Menu, and then tap Looper.

•

Press Shift+Sampler/Looper (MPC X, MPC One).

•

Press and hold Mode and press Pad 14 (MPC Studio).

Below is a brief step-by-step process so you can get started quickly. Continue reading the rest of this chapter tolearn how to use the Looper in different cases.
To get started using the Looper:
1. Make sure to reduce the volume levels of your audio source and speakers/headphones/monitors before you
make any connections to avoid “pops” or feedback.
2. Connect a synthesizer, audio player, etc. to the input/inputs of your MPC hardware.
3. Turn the 3/4 Rec Gain (MPC X), Gain (MPC Key 61), or Rec Vol (MPC Live, MPC Live II, MPC One, MPC Touch)knob to set the input level while playing your audio source. You should now see the level in the meter. Make sureit does not exceed the maximum level (the meter should not be “peaking” constantly).
4. Set the recording controls as desired (described in this chapter).
5. Tap the Record To selector so Overdub is selected.
6. Tap the Rec/Record button in the lower-right corner to record-arm the Looper.
7. Play your audio source. The Looper will start recording immediately when the input level reaches the thresholdvalue. Alternatively, tap /Play at the bottom of the screen to manually start recording.
Each time the Looper repeats, its contents are being overdubbed—a new layer of audio will be added each time
you let the Looper repeat as it records.
Tip: You can record a loop while playing a sequence in the background for reference.
8. To stop recording, tap /Play at the bottom of the screen.
To export your loop as a sample, tap Export to open the Keep or Discard Sample window.
To clear the contents of the Looper, tap Clear.
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The time counter at the top of the screen indicates the current playhead position. This is shown in most of themodes. See General Features > Time Counter/Locate to learn about this.

The upper-left Input Source field defines whether you are going to record an external
audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode,
Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode,
Input 1–32 in Controller Mode). You can also select an internal signal from within yourMPC hardware (Resample L, Resample R, or Resample L+R).
Resampling does not require an audio connection because the source is internal and istherefore recorded without any loss in audio quality. You can, for example, use Resample
to record two or more samples by pressing the corresponding pads simultaneously.

Use the second upper-left Mono/Stereo field to choose whether your recorded loop
will be monaural (Mono) or binaural (Stereo).

The Inserts field shows any enabled or disabled effects for the Looper. Tap the area underInserts to open a window where you can load, change, and enable or disable the effects.
Important: These effects are applied to the audio as you record it. This means that theeffects cannot be “removed” from the sound later. Learn more about how effects workin General Features > Effects.

Tap the Monitor button to enable or disable input monitoring.
When set to In, the audio you hear in your headphones will be taken before it reaches the Looper, ensuring zerolatency. You can turn input monitoring on only if the Input Source field is set to an input, not to a Resample
setting.
When off, the audio you hear in your headphones will be taken after it is processed in the Looper, so there may
be some latency, but you will hear the audio source as it sounds in the recording.
Tip: To avoid possible clicks or feedback while input monitoring, reduce the level of the audio sources.

Use the threshold slider to adjust the threshold. Alternatively, turn Q-Link Knob 1 (Threshold on MPC X) or the first
Q-Link knob in the fourth column (MPC Live, MPC Live II, MPC One, MPC Key 61, MPC Touch). The threshold
slider will work only when Sync is off (see below).
When the Looper is record-armed, it automatically starts recording when the level of the incoming source exceeds
this setting. If you set it too high, the recording may not start when you play the input source, or the start of thematerial you wanted to record may be missing. If you set it too low, the recording may start too early, before you playthe external source. Set this parameter to an appropriate level using the level meter.
To reset the “peak hold,” which shows the highest level of your input signal in the level meter, tap it.

275

Use the Bars field to define the length of your loop. Regardlessof how much or how little audio you record, this is how longyour loop will be.

Use the Sync button to sync or un-sync the looper withsequence playback. When on, the Looper will stay in step withyour current sequence. When you play or record into the Looper,
it will wait until the sequence starts playing Bar 1 to start.

Use the Record To selector to determine the loop recording
behavior:
Play: Before recording, you must first tap the /Play buttonon the screen, which will start playing the Looper.
Overdub: Before recording, you must first tap the Rec/
Record button in the lower-right corner to record-arm theLooper.

Use the Output Gain slider to set the output signal level of the
Looper.

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To record with the Looper:
Important:
To record without erasing any audio you’ve already recorded in the loop, use the Overdub button.
To overwrite the audio you’ve already recorded, use the Replace button.

If Record To is set to Play:To start recording, tap the Replace or Overdub button as the loop is playing. The Looper will start recording
immediately.
To stop recording, tap the Replace or Overdub button. The Looper will stop recording but continue playing.
To stop playback and recording, tap the /Play button.
If Record To is set to Overdub:
To start recording, tap the /Play button on the screen.
If Sync is off, you can also play your audio source so that the input level reaches the threshold value.
If Sync is on, you can also press the Play or Play Start button to start playing a sequence; recording will
start when the sequence starts on Bar 1.
To stop recording, tap Overdub. The Looper will stop recording but continue playing.
To stop playback and recording, tap the /Play button, or press Stop to stop sequence playback.

To play or stop the loop (without recording), tap the /Play button on the screen.

To reverse loop playback, tap Reverse. If Sync is on, playback will reverse once the Looper’s playhead reaches
the end of the loop. If Sync is off, playback will reverse immediately.

To erase the loop immediately, tap Clear.

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To export the loop as a sample:
1. Tap Export to open the Export Loop as a Sample window.
2. Tap the Edit Name field and use the virtual keyboard that appears to enter a new name.
3. Optional: Use the Program field to assign it directly to a program. To ignore this feature, select <none>.
4. Optional: If you’re assigning the sample to a program, use the Assign to Pad field to assign it to a specific pad.
Alternatively, just press the pad. To ignore this feature, select Off.
5. Use the Root Note field to select the sample’s root note.
6. Optional: Tap and hold your finger on Play to play the sample.
7. Tap Do It to confirm your choice, or Cancel to cancel.
When your loop is done exporting, it will be added to your project’s sample pool with the name you entered andwill be assigned to the program and pad you selected (if any).

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Pad Mixer
In the Pad Mixer, you can set a program’s levels, stereo panning, routing, and effects.

This mode appears differently for each type of program:For drum programs, this mode shows a pad with controls for each individual pad (of 128).
For keygroup programs, this mode shows a pad with controls for each individual keygroup (up to 128).
For clip programs, this mode shows a pad with controls for each individual clip (up to 16). Even though you canview other pad banks, only Pad Bank A is relevant for clip programs.
For MIDI programs, plugin programs, and CV programs, this mode is unavailable.
For more information on how these programs differ, please see General Features > Programs.

To enter the Pad Mixer, do any of the following:•

Press Menu, and then tap Pad Mixer.

•

Press Pad Mixer (MPC X), Shift+Track Mix/Pad Mix (MPC One), or Shift+Mix/Pad (MPC Key 61).

•

Press and hold Mode and press Pad 7 (MPC Studio).

The Pad Mixer works like an audio mixer with various settings for each pad, shown in a 4x4 array. All of theirfunctionality is identical. If a sample has been assigned to a pad, its name is displayed at the top of it.

To select a pad, press its corresponding pad or tap it on the screen. Alternatively, use the numbered Pad field in
the upper-left corner.

To view more channels, use the Pad Bank buttons.

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Use the Program field in the upper-left corner to select the program whose pads you want to view. Remember that
only drum programs, keygroup programs, or clip programs will display properly in the Pad Mixer.

Use the Track field at the top of the screen to select the desired track.

The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
General Features > Time Counter/Locate to learn about this.

The automation button indicates the global automation state. This is shown in several modes. See General
Features > Automation to learn about this.

To view a specific setting on all channels, tap the Level, Pan, Mute, Send, Insert, or Route button at the bottomof the screen. You can tap the Send or Insert buttons multiple times to cycle through the four available slots for each.

When a pad is selected, you can view and adjust all of its settings in the left side of
the screen rather than using the tab buttons at the bottom.
When viewing the channel strip:
The first field shows the current pad number. Press a pad or double-tap thefield to select a different pad.
The second field shows where the pad is routed, which you can change:
Program (the usual setting); Out 1,2–7,8, Out 1–8 or Sub 1–8 in Standalone
Mode; and Out 1,2–31,32 or Out 1–32 in Controller Mode.
Note: When set to a mono channel, the left and right channels are summed
post-pan knob. If the pan knob is set to the center position, the left and rightchannels will be summed and padded. If the pan knob is set to the maximum
left or right positions, only the respective channel will be sent to the output.
The Inserts field shows any enabled or disabled effects for that pad. Tap thearea under Inserts to open a window where you can load, change, and enable
or disable the effects.
Tap Solo or Mute to solo or mute the pad (respectively).
Adjust the pan knob or level slider to change the panning or level of the pad.

280

Levels

When the Level tab is selected, use the data dial or –/+ buttons to adjust the level of the currently selected pad.
The level sliders and meters in each pad show a visual representation of the level. Double-tap a pad on the screen to
open a large version of the level slider and meter.

Panning

When the Pan tab is selected, use the data dial or –/+ buttons to adjust the panning of the currently selected pad.
The pan sliders in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large
version of the pan knob.

281

Mute

When the Mute tab is selected, mute the currently selected pad by doing any of the following:•

Turn the data dial.

•

Use the –/+ buttons.

•

Tap the pad on the screen.

When a pad is muted, its M button will light red.

Send Effects

When the Send tab is selected, use the data dial or –/+ buttons to adjust the send level of the currently selected pad.
The level sliders in each pad show a visual representation of the level. Double-tap a pad on the screen to open alarge version of the level slider.
You can select up to four send effects for each pad. You can use various effects included in your MPC hardware aswell as other VST and AU plugins installed on your computer. Tap the Send button to cycle through the four available
slots for each.
To learn how to use send effects, please see General Features > Effects > Send/Return Effects.
Important: To use a send effect, you have to load an effect into the corresponding send effect slot in the Channel Mixer.
282

Insert Effects

When the Insert tab is selected, use the data dial or –/+ buttons to open a window where you can select an effectfor the currently selected pad.
Instead of level sliders, there are fields that display 0–4 boxes to indicate which insert slots have a loaded effect.
The level meters in each pad show a visual representation of the level. Double-tap a pad on the screen to open awindow where you can load, change, and enable or disable the effects for all four insert slots.
You can select up to four insert effects for each pad. You can use various effects included in your MPC hardware aswell as other VST and AU plugins installed on your computer. Tap the Insert button to cycle through the four available
slots for each.
To learn how to use insert effects, please see General Features > Effects > Insert Effects.
Important:
When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert
effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.
If a routing is set to anything other than Program, then a program insert effect will not be applied to that pad or keygroup.

Routing

When the Route tab is selected, use the data dial or –/+ buttons to select the output of the currently selected pad.
Usually, this is set to Program. Double-tap a pad on the screen to select a different destination: Out 1,2–7,8, Out
1–8 or Sub 1–8 in Standalone Mode; and Out 1,2–31,32 or Out 1–32 in Controller Mode.
Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set tothe center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum
left or right positions, only the respective channel will be sent to the output.
283

Channel Mixer
In the Channel (Track) Mixer, you can set levels, stereo panning, and other settings for yourtracks, programs, returns, submixes and main outputs.

To open the Channel Mixer, do either of the following:•

Press Menu, and then tap Channel Mixer.

•

Press Ch. Mixer (MPC X), Track Mix (MPC One), or Mix (MPC Key 61).

•

Press and hold Mode and press Pad 8 (MPC Studio).

The Channel Mixer works like an audio mixer with various settings for each channel, shown in a 4x4 array. Theirfunctionality is mostly identical. The name of the track, program, or channel is displayed at the top of each one.

Use the Mixer field at the top of the screen to select which mixer you want to view: MIDI Tracks, Audio Tracks,
Programs, Returns, Submixes, or Main Outputs. Each page has slight differences, described in each section.

The following controls and tabs are available for all of the mixers (or most of them, as indicated).

To select a channel, tap its corresponding pad on the screen. Alternatively, use the field in the upper-left corner.
To view more channels (while viewing tracks or programs), use the –/+ buttons at the top of the screen.

The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
General Features > Time Counter/Locate to learn about this.

The automation button indicates the global automation state. This is shown in several modes. See General Features> Automation to learn about this.
284

Levels
When the Level tab is selected, use the data dial or –/+ buttons to adjust the velocity level or volume level of thecurrently selected track, program, return, submix, or main output.
The level sliders and meters in each pad show a visual representation of the level. Double-tap a pad on thescreen to open a large version of the level slider and meter.

Panning
When the Pan tab is selected, use the data dial or –/+ buttons to adjust the panning of the currently selected
track, program, return, submix, or main output.
The pan sliders in each pad show a visual representation of the level. Double-tap a pad on the screen to open alarge version of a pan knob.

Mute/Solo/Rec Arm
Tap this tab to cycle it through Mute, Solo, and Rec Arm functions.

When Mute is selected, mute tracks, programs, returns, submixes, or main outputs by doing any of thefollowing:•

Turn or press the center cursor or Enter (MPC X), or the data dial (MPC Live, MPC Live II, MPC One,
MPC Key 61, MPC Touch).

•

Use the –/+ buttons.

•

Tap the pad on the screen.

•

Turn each of the Q-Link knobs to mute or unmute each of the pads.

When a track, program, return, submix, or main output is muted, its M button will light red.

When Solo is selected, solo tracks, programs, returns, submixes, or main outputs by doing any of the following:•

Turn or press the center cursor or Enter (MPC X), or the data dial (MPC Live, MPC Live II, MPC One,
MPC Key 61, MPC Touch).

•

Use the –/+ buttons.

•

Tap the pad on the screen.

•

Turn each of the Q-Link knobs to solo or unsolo each of the pads.

When a track, program, return, submix, or main output is soloed, its S button will light green while other tracks
are muted with their M buttons lit red.
The Solo tab is available for tracks and programs only.

When Rec Arm is selected, record-enable audio tracks by doing any of the following:•

Turn or press the center cursor or Enter (MPC X), or the data dial (MPC Live, MPC Live II, MPC One,
MPC Key 61, MPC Touch).

•

Use the –/+ buttons.

•

Tap the pad on the screen. Press and hold Shift while tapping a pad on the screen to record-enablemultiple tracks at once.

285

Send Levels (audio tracks, programs, and submixes only)
When the Send tab is selected, use the data dial or –/+ buttons to adjust the send level of audio tracks,
programs, or submixes.
The level sliders in each pad show a visual representation of the level. Double-tap a pad on the screen to open alarge version of the level slider.
You can use up to four send channels. Tap Send to cycle through the four available slots for each.
To learn how to use send effects, please see General Features > Effects > Send/Return Effects.
Important: When using send channels, make sure you have already loaded at least one effect to it using thereturn mixer. See Returns below to learn how to do this.

Insert Effects (audio tracks, programs, returns, submixes, and main outputs only)
When the Insert tab is selected, use the data dial or –/+ buttons to open a window where you can select aneffect for the currently selected audio track, program, return, submix, or main output.
Instead of level sliders, there are fields that display 0–4 boxes to indicate which insert slots have a loaded effect.
The level meters in each pad show a visual representation of the level. Double-tap a pad on the screen to open alarge version of the level slider.
You can select up to four insert effects for each audio track, program, return, submix, or main output. Tap theInsert button to cycle through the four available slots for each.
To learn how to use insert effects, please see General Features > Effects > Insert Effects.

Routing (audio tracks, programs, returns, and submixes only)
When the Route tab is selected, use the data dial or –/+ buttons to select the output of the currently selected
program, return, or submix.

286

MIDI Tracks

The MIDI Track Mixer shows levels, panning, and mute states for all used tracks.

To view a specific setting on all tracks, tap Level, Pan, or Mute at the bottom of the screen. Tap Mute/Solo/Rec
Arm to switch between them.

When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using thetab buttons at the bottom.
When viewing the MIDI track channel strip:
Note: This is the same as the MIDI track channel strip in Main Mode.
The first field shows the current track (which you can change).
The second field shows the current program the track is using (which you can change to a program of the sametype).
Use the MIDI Input and Channel fields to configure the MIDI input settings.
Use the MIDI Output and Channel fields to configure the MIDI output settings (MIDI tracks only).
Use the Send To field to send the track's MIDI output to another track.
Tap Solo or Mute to solo or mute the track (respectively).
Use the monitor button to set the monitor behavior for the track:
Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting isuseful when using keyboards with Local Control active.
In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback fromrecorded events will not be heard.
Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events
will be heard.
Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.
Adjust the pan knob or velocity slider to change the panning or velocity of the track.

287

Audio Tracks

The Audio Track Mixer shows levels, mute/solo/record-arm states, send and insert effects, and routing for all used
tracks.

To view a specific setting on all tracks, tap Level, Pan, Mute/Solo/Rec Arm, Send, Insert, or Route at thebottom of the screen. Tap Mute/Solo/Rec Arm to cycle through them.

When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using thetab buttons at the bottom.
When viewing the audio track channel strip:
Note: This is the same as the audio track channel strip in Main Mode.
The first field defines the input source of the external audio signal, which you can set to a pair of inputs (Input
1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone
Mode, Input 1–32 in Controller Mode).
The second field shows where the track is routed, which you can change: Out 1,2–7,8, Out 1–8 or Sub 1–8 inStandalone Mode; and Out 1,2–31,32 or Out 1–32 in Controller Mode.
Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set
to the center position, the left and right channels will be summed and padded. If the pan knob is set to the
maximum left or right positions, only the respective channel will be sent to the output.
The Inserts field shows any enabled or disabled effects for that audio track. Tap the area under Inserts to open
a window where you can load, change, and enable or disable the effects for all four insert slots.
Tap Solo or Mute to solo or mute the track (respectively).
Tap the Monitor button to set how your audio track will be monitored. Tapping it will cycle through its three states:
When set to Auto, you will hear incoming audio while the track is record-enabled only.
When on, you will hear incoming audio whether or not the track is record-enabled.
When off, you will never hear any incoming audio.

288

Tap the automation button or press Read/Write (MPC X, MPC Key 61) to toggle between its twostates:When set to Read (R), the audio track will read automation data but will not record any additional
automation over it. (Think of this as a protective feature to prevent accidental changes to yourautomation while recording.)
When set to Write (W), the audio track can record automation. (If you have any Q-Link knobs
assigned to automatable parameters, make sure not to touch any accidentally while you arerecording.)
Tip: You can quickly set all programs and audio tracks to the same automation by tapping the
global automation button in the upper-right corner of the screen. See General Features >Automation to learn about this.
Press and hold Shift and tap the automation button or press Read/Write (MPC X, MPC Key
61) to disable program automation. When off, the audio track will ignore automation data.
Important: If you have already recorded automation and turn it off, the audio track will still use
the effect and its parameter values at the point where you turned it off.
Adjust the pan knob or level slider to change the panning or level of the track.
Tap the Record Arm button or press Rec Arm (MPC X) to record-enable the track. When you
begin audio recording, the audio signal will be recorded to this track.
Tip: You can select multiple tracks in the Rec Arm tab by pressing and holding Shift and tapping
each pad on the screen. You can also do this in the Track View by pressing and holding Shiftwhile tapping the Arm button to each track. You can also set the Rec Arm preference to either
Single or Multi in the Preferences.

289

Programs

The Program Mixer shows levels, panning, mute states, send and insert effects, and routing for all programs.

To view a specific setting on all programs, tap Level, Pan, Mute/Solo, Send, Insert, or Route at the bottom of thescreen. Tap Mute/Solo to switch between them. Tap Send or Insert to cycle through the four available slots for each.

When a program is selected, you can view and adjust all of its settings in the left side of the screen rather than using
the tab buttons at the bottom.
When viewing the program channel strip:
Note: This is the same as the program channel strip in Main Mode.
The first field shows the current program number and name (which you can change).
The second field shows where the program is routed, which you can change: Out 1,2–7,8 or Out 1–8 in Standalone
Mode, Out 1,2–31,32 or Out 1–32 in Controller Mode. You can also select a submix (Sub 1–8) in Controller Mode.
Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set
to the center position, the left and right channels will be summed and padded. If the pan knob is set to the
maximum left or right positions, only the respective channel will be sent to the output.
The Inserts field shows any enabled or disabled effects for that program. Tap the area under Inserts to open awindow where you can load, change, and enable or disable the effects for all four insert slots.
Tap Solo or Mute to solo or mute the program (respectively).

290

Tap the program automation button to change the program’s automation. Tapping it will toggle between its
two states:
When set to Read (R), the program will read automation data but will not record any additional
automation over it. (Think of this as a protective feature to prevent accidental changes to yourautomation while recording.)
When set to Write (W), the program can record automation. (If you have any Q-Link knobs
assigned to automatable parameters, make sure not to touch any accidentally while you arerecording.)
Press and hold Shift and tap the program automation button or press Read/Write (MPC X,
MPC Key 61) to disable program automation. When off, the program will ignore automation
data. tap the program automation button or press Read/Write (MPC X, MPC Key 61) toenable program automation again.
Important: If you have already recorded automation and turn it off, the track will still use theeffect and its parameter values at the point where you turned it off.
Tip: You can quickly set all programs and audio tracks to the same automation by tapping the
global automation button in the upper-right corner of the screen. See General Features >Automation to learn about this.
Adjust the pan knob or level slider to change the panning or level of the program.

291

Returns

Pads, programs, and audio tracks can each be sent to up to four send channels. Their audio signals will be routed tothe send channels at their designated send levels. After being processed by the effects on those channels, theirsignals are then sent to the assigned main output based on their return settings (levels, panning, etc.). This view
displays the four return channels. The return mixer shows levels, panning, mute states, insert effects, and routing for
all used tracks.

To view a specific setting on all returns, tap Level, Pan, Mute, Insert, or Route at the bottom of the screen. You
can tap Insert multiple times to cycle through the four available slots.

When a return is selected, you can view and adjust all of its settings in the left side of the screen rather than using
the tab buttons at the bottom.
When viewing the return channel strip:
The first field shows the current return number (which you can change).
The second field shows where the return is routed, which you can change: Out 1,2–7,8 or Out 1–8 in Standalone
Mode; Out 1,2–31,32 or Out 1–32 in Controller Mode (MPC Live/MPC Live II do not use Out 7,8, and MPC One/
MPC Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with MPC X,
which does use them).
Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set
to the center position, the left and right channels will be summed and padded. If the pan knob is set to the
maximum left or right positions, only the respective channel will be sent to the output.
The Inserts field shows any enabled or disabled effects for that return. Tap the area under Inserts to open awindow where you can load, change, and enable or disable the effects for all four insert slots.
Tap Mute to mute the return.
Adjust the pan knob or level slider to change the panning or level of the return.

292

Submixes

The Submixer shows levels, panning, mute states, send and insert effects, and routing for the eight available submixes.

To view a specific setting on all submixes, tap Level, Pan, Mute, Send, Insert, or Route at the bottom of thescreen. You can tap Send or Insert multiple times to cycle through the four available slots for each.

When a submix is selected, you can view and adjust all of its settings in the left side of the screen rather than using
the tab buttons at the bottom.
When viewing the submixer channel strip:
The first field shows the current submix (which you can change).
The second field shows where the submix is routed, which you can change: Out 1,2–31,32 or Out 1–32.
Note: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set
to the center position, the left and right channels will be summed and padded. If the pan knob is set to the
maximum left or right positions, only the respective channel will be sent to the output.
The Inserts field shows any enabled or disabled effects for that submix. Tap the area under Inserts to open awindow where you can load, change, and enable or disable the effects for all four insert slots.
Tap Mute to mute the submix.
Adjust the pan knob or level slider to change the panning or level of the submix.

293

Main Outputs

The Main Outputs Mixer shows levels, panning, mute states, and insert effects for all used stereo pairs of outputs(Out 1,2–7,8 in Standalone Mode, Out 1,2–31,32 in Controller Mode; MPC Live/MPC Live II do not use Out 7,8 and
MPC One/MPC Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with
MPC X, which does use them).

To view a specific setting on all outputs, tap Level, Pan, Mute, or Insert at the bottom of the screen. You can tap
Insert multiple times to cycle through the four available slots.

When viewing the main output channel strip:
Note: This is the same as the main output channel strip in Main Mode.
The first field shows the current main output (which you can change).
The Inserts field shows any enabled or disabled effects for that main output. Tap the area under Inserts to open
a window where you can load, change, and enable or disable the effects for all four insert slots.
Tap Mute to mute that main output.
Adjust the pan knob or level slider to change the panning or level of the main output.

294

Pad Mute Mode
Pad Mute Mode lets you easily mute pads within a program or set mute groups for each pad
within a program.
To enter Pad Mute Mode, do either of the following:•

Press Menu, and then tap Pad Mute.

•

Press Shift+Track Mute/Pad Mute (MPC X, MPC One), or Shift+Mute/Pad (MPC Key 61).

•

Press Pad Mute (MPC Studio).

There are two tabs you can view in this mode: Pad Mute or Pad Group. Tap each button in the lower-left corner toselect it. See the following Pad Mute and Pad Group sections to learn about each.

Use the Program field at the top of the screen to select a program.

The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
General Features > Time Counter/Locate to learn about this.

The automation button indicates the global automation state. This is shown in several modes. See General Features> Automation to learn about this.

Time Correct lets you quantize pad mutes. This is useful when you want your mutes to line up with a specific time
division. For example, with Time Division set to 1 Bar, your mutes will always align with the beginning of the measure
immediately after you press the pad.
Tap Time Division at the bottom of the screen, and select a value from 1/16 to 2 Bars (T indicates a tripletbased time division).
Tap TC at the bottom of the screen to enable or disable the Time Correct feature.
295

Pad MuteYou can mute or unmute individual sounds (on a single track) in real time by pressing the pads. This is useful if you
want to hear a track without a particular sound or if you want to isolate specific sounds or combinations of sounds.
Tip: This function is similar to muting pads one at a time in the grid—but more convenient.

To mute pads in this mode:
1. If the Pad Mute tab in the lower-left corner is not already selected, tap it.
2. Select the desired pad bank. Use the Pad Bank Buttons or tap a pad bank shown on the left side of the screen.
3. To mute or unmute a pad’s sound, press it or tap it on the screen. Muted pads are lit red. Unmuted pads are lit
yellow. Unused pads do not show any sample names.

To assign pads to pad groups within this tab, turn each of the Q-Link knobs (when the Screen Control Q-Link
button is selected) to assign each of the pads to a pad group. The number of each pad’s group is shown in its upperright corner.

296

Pad GroupThe pad group feature extends the concept of pad mutes: you can mute or unmute multiple pads (on a single track)by pressing one pad that you have assigned to a mute group. This is useful if you want to hear a track without aparticular group of sounds or if you want to isolate specific sounds in various combinations. You can create up to 16
different pad groups.

To use pad groups:
1. If the Pad Group tab in the lower-left corner is not already selected, tap it.
2. Use the Pad Bank buttons to select the desired pad bank.
3. To select a pad to add to a mute group, press it or tap it on the screen. The selected pad is lit green. If there
are other pads in the same mute group, they will flash yellow.
4. To add the pad to the mute group, tap the number of the desired mute group on the left side of the screen. To
remove it from the mute group, tap Off.

Alternatively, turn each of the Q-Link knobs (when the Screen Control Q-Link button is selected) to assign each of
the pads to a pad group. The number of each pad’s group is shown in its upper-right corner.

297

Track Mute Mode
Track Mute Mode lets you easily mute tracks within a sequence or set track groups, enabling
you to mute multiple tracks at once.

To enter Track Mute Mode, do either of the following:•

Press Menu, and then tap Track Mute.

•

Press Track Mute (MPC X, MPC One), or press Mute (MPC Key 61).

•

Press and hold Shift and press Pad Mute (MPC Studio).

There are two tabs you can view in this mode: Track Mute or Track Group. Tap each button in the lower-left cornerto select it. See the following Track Mute and Track Group sections to learn about each.

Use the Sequence field at the top of the screen to select a sequence.

The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
General Features > Time Counter/Locate to learn about this.

Time Correct lets you quantize track mutes. This is useful when you want your mutes to line up with a specific time
division. For example, with Time Division set to 1 Bar, your mutes will always align with the beginning of themeasure immediately after you press the pad.
Tap Time Division at the bottom of the screen, and select a value from 1/16 to 2 Bars (T indicates a tripletbased time division).
Tap TC at the bottom of the screen to enable or disable the Time Correct feature.

Tap Solo to turn track soloing on or off. When on, using Track Mute Mode will solo tracks instead of muting them.
298Tap the gear icon to open the Track Mute Settings window.
Check the Instant Track Mute box to instantly mute all audio on a track when mute is enabled. When unchecked,
any sustained sounds will continue to play when mute is enabled.
Check the Play Track Mute and Solo Events to play back track muting and soloing recorded with automation.
Check the Record Track Mute and Solo Events to capture track muting and soloing when recording automation.

Track Mute

This is useful if you want to hear a sequence without a particular track (e.g., muting your keyboard track to focus on
the bass) or if you want to isolate specific sounds or combinations of sounds that are separated by track.
Tip: This function is similar to, but more convenient than, muting tracks one at a time in the Track View.
To mute tracks in this mode:
1. If the Track Mute tab in the lower-left corner is not already selected, tap it.
2. Select the desired pad bank. Use the Pad Bank buttons or tap a pad bank shown on the left side of the screen.
3. To mute or unmute a track, press the corresponding pad or tap it on the screen. Pads for muted tracks are lit
red. Pads for unmuted tracks are lit yellow. Pads for unused tracks do not show any information.
To assign tracks to track groups within this tab, turn each of the Q-Link knobs (when the Screen Control Q-Link
button is selected) to assign each of the pads to a track group. The number of each pad’s track group is shown in its
upper-right corner.

299

Track Group

The track group feature extends the concept of track mutes: you can mute or unmute multiple tracks (in a single
sequence) by pressing one pad that you have assigned to a track group. This is useful if you want to hear a track
without a particular group of sounds or if you want to isolate specific sounds in various combinations. You can create
up to 16 different track groups.

To assign tracks to track groups:
1. If the Track Group tab in the lower-left corner is not already selected, tap it.
2. Select the desired pad bank by using the Pad Bank buttons.
3. To select a track to add to a mute group, press the corresponding pad or tap it on the screen. The pad for theselected track is lit green. If there are other pads for tracks in the same mute group, they will flash yellow.
4. To add the track to a mute group, tap the number of the desired mute group.
To remove the track from the mute group, tap Off.

Alternatively, turn each of the Q-Link knobs (when the Screen Control Q-Link button is selected) to assign each of
the pads to a track group. The number of each pad’s track group is shown in its upper-right corner.

300

Next Sequence Mode
Next Sequence Mode lets you trigger different sequences simply by playing the pads. This isuseful for live performances, letting you change a song’s structure in real time.

To enter Next Sequence Mode, do either of the following:•

Press Menu, and then tap Next Sequence.

•

Press Next Seq (MPC X, MPC Live II, MPC One).

•

Press and hold Mode and press Pad 9 (MPC Studio).

The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
General Features > Time Counter/Locate to learn about this.

The sequence playlist on the left side shows a list-style overview of all usedsequences in your project:
The Sequence column shows the name of the song’s sequences.
The Length column shows the bar length of a sequence.
The BPM column shows the tempo of a sequence in beats per minute.
The currently selected sequence is highlighted in the list. Tap a sequence in the list
to select it.

301

In Next Sequence Mode, every pad is assigned to asequence, starting from Pad A01 with Sequence 1 andascending from there. The pads will show the names of theircorresponding sequences. Empty pads correspond to unused
sequences. The currently selected pad will flash green.

During playback, change the next sequence that will play bypressing the corresponding pad or tapping it on the screen.
If you do not select another sequence, the current sequence
will repeat indefinitely.

As a sequence plays, you can use the buttons at the bottom of the screen to change how playback works:
To switch to the currently selected sequence at the beginning of the next bar, tap Next Bar. This is useful if
you want to switch to another sequence before the current one ends without having to worry about timing issues.
To switch to the currently selected sequence immediately, tap Sudden. The new sequence will start playing
whether or not the current sequence is done. This is useful in live performances if you need to switch to the next
sequence instantly at a certain cue.
To delete the currently selected sequence from the sequence playlist, tap Clear. This option is available only
if that sequence is not playing at that moment.
To repeat the current sequence indefinitely and temporarily ignore pad presses, tap Hold. To return tonormal operation, tap it again. This is useful if you want to select other pads without selecting them to play next.

To copy the sequence playlist to a song, tap  Song while playback is stopped.
In the Copy to Song screen that appears, select a song, and then tap Do It to continue or Close to cancel.
To read more about Song Mode, please see the Song Mode chapter.

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Song Mode
Song Mode lets you arrange sequences in a specific order and/or repetition to create songs.
You can edit the structure of a song during playback for easy, on-the-fly composing.
A project can contain up to 32 songs, each consisting of up to 999 “steps.” Each step can havean assigned sequence as well as the number of times that sequence will repeat.
To open Song Mode, do either of the following:•

Press Menu, and then tap Song Mode.

•

Press Shift+Next Seq/Song (MPC X).

•

Press and hold Mode and press Pad 10 (MPC Studio).

Important: If a sequence is currently playing, stop playback before entering Song Mode. You cannot enter SongMode during playback.
Important: When creating a song, the program used by each track in the song’s first sequence will be used by all
subsequent tracks. In other words, all identically numbered tracks (across sequences) will use the program used by
the first sequence in the song—regardless of what programs each track uses while not in Song Mode.
For example, if you create a project in this way…:• Track 1 of Sequence 1 uses a drum program.
• Track 1 of Sequence 2 uses a keygroup program.
• A song uses Sequence 1 as its first sequence and then uses Sequence 2 any time after it.
…then, in that song, Track 1 in Sequence 2 will use the same drum program as Track 1, Sequence 1.
Because of this, we recommend trying to be consistent while creating tracks in sequences that you intend to use in asingle song. Remember that you can copy one track to another if you ever need to reorder the tracks of a sequence(see Modes > Main Mode > Track Section to learn about this).

Use the Song field to select the song you want to show.

Use the BPM field to adjust the tempo of the sequence.
To set whether the sequence follows its own tempo (Seq) or a global tempo (Gbl), tap the
Seq/Gbl button next to the BPM field. Alternatively, press Shift+Tap/Master.

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The sequence playlist on the left lists of the “steps” of a song.
Each step has (in columns, left to right):•

the step number (each song can contain up to 999 steps)•

a sequence number and name•how many times the sequence plays (each step can play
up to 999 times; set it to Hold [the lowest/minimum
value] to set the sequence to repeat indefinitely until you
stop playback)•the tempo of the sequence•

the number of bars the step occupies (based on how
many times it plays)

Each used sequence is assigned to a pad. Empty pads
correspond to unused sequences. Use the Pad Bank buttons
to access the sequences assigned to pads in other banks.

To insert a step:
1. Tap a step in the sequence playlist after which you want to insert a step.
2. Tap Insert in the lower-right corner of the screen.
Alternatively, “record” a song using the pads:
Note: The sequences or song will not play back as you use the pads to create your song in this way. Pressing thepads just enters their corresponding sequences as steps.
1. Press Rec or Overdub to “record-arm” the song.
2. Press or tap the pad that corresponds to the first sequence you want to use. That sequence will appear in thesequence playlist as the first step.
3. Repeat Step 2 for each additional step you want to add to the sequence playlist. Press or tap a pad multiple
times to add to the number of times it plays.
4. Press Stop to stop “recording.”304

To change a step’s sequence:
1. In the desired step, tap the sequence name.
2. Use the data dial or –/+ buttons to select another sequence.
To delete a step, tap it, and then tap Delete in the lower-right corner of the screen.
To clear the entire sequence playlist (delete all steps), tap Clear.
To switch to the next sequence at the beginning of the next bar during playback, tap Next. This is useful if you
want to switch to another sequence before the current one ends without having to worry about timing issues.
To switch to the next sequence immediately during playback, tap Sudden. The new sequence will start playing
whether or not the current sequence is done. This is useful in live performances if you need to switch to the next
sequence instantly at a certain cue.
To convert the current song to a single sequence:
1. Tap Convert > Seq to open the Convert to Sequence
window.
2. Use the To Sequence field to select which sequence
you want the song to export to.
3. Use the Track Status field to select whether you want
the song to Ignore Muted Tracks or Include Muted
Tracks in the new sequence.
4. To confirm your selections, tap Do It.
To cancel the process, tap Close.
To render/export your song as an audio file, tap Export
to open the Audio Mixdown screen. See General Features> Audio Mixdown to learn how to use this screen to export
your song.

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Q-Link Edit Mode
Q-Link Edit Mode lets you determine what the Q-Link knobs control in other modes. This is
helpful when you want to use the Q-Link knobs to control parameters that might not beshown in the current mode—or parameters that are shown across different modes.

To enter Q-Link Edit Mode, do any of the following:•

Press Menu, and then tap Q-Link Edit.

•

Press Shift+Screen Control/Edit (MPC X), Shift+Sample Edit/Q-Link Edit (MPC One), or Shift+Q-Link(MPC Key 61).

•

Press and hold one of the five Q-Link buttons above the Q-Link knobs, and then tap Q-Link Edit at thebottom of the window that appears (MPC X).

To select an edit mode for the Q-Link knobs, tap one of the five buttons at the bottom of the screen. If you areusing MPC X, you can also press one of the five Q-Link buttons above the Q-Link knobs (Project, Program, Pad
Scene, Pad Param, or Screen Control/Edit):
Project: In this edit mode, the Q-Link knobs can control 16 parameters within the current project overall. See thefollowing Project section to learn about this specific Q-Link Edit Mode.
Program/Audio Track: In this edit mode, the Q-Link knobs can control 16 program or audio track parameters.
See the following Program/Audio Track section to learn about this specific Q-Link Edit Mode.
Pad Scene (for drum programs only): In this edit mode, the Q-Link knobs can control 16 parameters for thecurrently selected pad. See the following Pad Scene section to learn about this specific Q-Link Edit Mode.
Pad Parameter: In this edit mode, the 16 Q-Link knobs correspond to the 16 pads, each one controlling thesame parameter for each pad. This is useful if you need to adjust the same parameter on multiple pads at once
rather than having to select and edit each pad individually. See the following Pad Parameter section to learn
about this specific Q-Link Edit Mode.
Screen: In this edit mode, the Q-Link knobs will control a parameter or group of parameters in your currently
selected mode (e.g., Main Mode, Sample Edit Mode, etc.).

Use the Track field to select a track that uses the desired program (and therefore pad/pads). The contents of thescreen below will vary based on (1) the type of program each track uses and (2) the Q-Link Edit Mode you selected.
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Tap the Learn button to turn Learn Mode on or off. When on, adjusting a control in the MPC software window will
immediately assign it to the currently selected Q-Link knob.
This button is not available while in Screen Q-Link Edit Mode where the Q-Link knobs are unassignable.
To assign a function to a Q-Link knob in Learn Mode:
1. Tap Learn so the button is lit. (This will stop playback. Resuming playback will exit Learn Mode.)
2. Touch or turn the desired Q-Link knob.
3. In the MPC software on your computer, click and drag the slider or knob you want to assign to the Q-Link knob.
The Q-Link knob will be able to control that parameter immediately.
To assign functions to other Q-Link knobs, repeat Steps 2–3.
To exit Learn Mode, tap Learn (or resume playback).

The automation button indicates the global automation state. This is shown in several modes. See General Features> Automation to learn about this.

At any time, in any mode, you can show the QLinks window over the touchscreen’s current contents. These are thesame parameters and settings as what is shown in Q-Link Edit Mode.
To show the QLinks window, press and hold any of the Q-Link buttons: Project, Program, Pad Scene, Pad
Param, or Screen Control/Edit (MPC X) or the Q-Link button (MPC Live, MPC Live II, MPC One, MPC Key 61,
MPC Touch).
To close the QLinks window, release that Q-Link button.

While the QLinks window is shown:
To adjust the settings of the selected knobs, turn the corresponding Q-Link knobs on your MPC hardware.
To select an edit mode for the Q-Link knobs, tap one of the five buttons at the bottom of the screen. If you areusing MPC X, you can also press one of the five Q-Link buttons above the Q-Link knobs: Project, Program, Pad
Scene, Pad Parameter, or Screen.
To turn Learn Mode on or off, tap Learn. (This button is not available while in Screen Q-Link Edit Mode where
the Q-Link knobs are unassignable.)
To enter Q-Link Edit Mode immediately (regardless of the current mode), tap Q-Link Edit at the bottom of thewindow.
To enable or disable the Q-Link overlay, tap Show Q-Link Status When Touched at the bottom of the window.
See Addenda > Updates in MPC 2.8 > New Features > Q-Link Overlay to learn more about this.
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ProjectIn the Project Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the current project.

Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you wantto control with the Q-Link knobs:
MIDI Track: MIDI track parameters. Use the MIDI Track field to select one of the MIDI tracks in your project.
Audio Track: audio track parameters. Use the Audio Track field to select one of the audio tracks in your project.
Program: program parameters. Use the Program field to select one of the programs in your project.
Return: return parameters. Use the Return field to select one of Returns 1–4.
Submix: submix parameters. Use the Submix field to select one of Submixes 1–8.
Main: main output parameters. Use the Main field to select one of the output pairs: Outputs 1/2–7/8 inStandalone Mode or Outputs 1/2–31/32 in Controller Mode (MPC Live/MPC Live II do not use Out 7,8 and MPC
One/MPC Key 61 do not use Out 3,4–7,8 in Standalone Mode, but displays them to maintain compatibility with
MPC X, which does use them).

Next to the second row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you
want to control with the Q-Link knobs:
Mixer: general mixer parameters
Program (in the Program tab if a drum program or clip program is selected): program parameters
Insert 1–4 (not available in the MIDI Track tab or Program tab if a MIDI program is selected): parameters for its
program insert effects

If the Program tab is selected, use the Type selector to determine whether the Q-Link knobs will control the parametersof the entire program (Program) or for a single pad (Pad).
To select a program, use the Program field next to the top row of Q-Link knobs on the screen.
To select a pad (if Type is set to Pad), use the Pad field.

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Use the Parameter field to select the parameter you want to control with the currently selected Q-Link knob.
When the MIDI Track tab is selected:
Mixer: Off, Volume, Pan, Mute, Solo
When the Audio Track tab is selected:
Mixer: Off, Volume, Pan, Mute, Solo, Send 1–4
Insert 1–4: Off, other available parameters depend on the effect
When the Program tab is selected and Type is set to Program:Mixer: Off, Volume, Pan, Mute, Solo, Send 1–4
Program: Off, Global Semi Tune, Global Fine Tune
Insert 1–4: Off, other available parameters depend on the effect
When the Program tab is selected and Type is set to Pad:
Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4
Program:
Off
Filter Env Attack Curve
TuningFilter Env Decay Curve
Filter Cutoff
Filter Env Release Curve
Filter Resonance
Pitch Env Attack
Filter Env Amount
Pitch Env Hold
Amp Env Attack
Pitch Env Decay
Amp Env Decay
Pitch Env Sustain
Amp Env Release
Pitch Env Release
Amp Env Hold
Pitch Env Decay ModeAmp Env Sustain
Pitch Env Attack Curve
Filter Env Attack
Pitch Env Decay Curve
Filter Env Hold
Pitch Env Release Curve
Filter Env Decay
Pitch Env Depth
Filter Env Sustain
Pitch Env Type
Filter Env Release
DrumFX (1–8)
Amp Env Attack Curve
DrumFX Type (1–8)
Amp Env Decay Curve
Layer Level (1–4)
Amp Env Release Curve Layer Sample Pan (1–4)

Layer Semi Tune (1–4)
Layer Fine Tune (1–4)
Velocity to Start
Vel to Filter Attack
Velocity to Env Amount
Velocity to Filter
LFO to Pitch
LFO to Filter
LFO to Amp
LFO to Pan
LFO Wave
LFO Rate
LFO Sync
Velocity to Pitch
Vel to Volume Attack
Velocity to Amp
Velocity to Pan
Layer Slice (1–4)

Layer Reverse (1–4)
Layer Offset (1–4)
Layer Loop Xfade (1–4)
Layer Loop Xfade Type (1–4)
Layer Slice Tail Length (1–4)
Layer Slice Tail Start (1–4)
Layer Pitch Random (1–4)
Layer Level Random (1–4)
Layer Pan Random (1–4)
Layer Offset Random (1–4)
Attack Random
Decay Random
Cutoff Random
Resonance Random
Total Random Amount
LFO Level
LFO Delay
LFO Fade In

Insert 1–4: Off, other available parameters depend on the effect
When the Return tab is selected:
Mixer: Off, Volume, Pan, Mute
Insert 1–4: Off, other available parameters depend on the effect
When the Submix tab is selected:
Mixer: Off, Volume, Pan, Mute, Send 1–4
Insert 1–4: Off, other available parameters depend on the effect
When the Main tab is selected:
Mixer: Off, Volume, Pan, Mute
Insert 1–4: Off, other available parameters depend on the effect
Tap the Momentary checkbox to turn momentary behavior on or off.
When on, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its
original position (when you turned Momentary on) when you release the Q-Link knob.
When off, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting
when you release the Q-Link knob.

309

Program/Audio Track
In the Program/Audio Track Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the currently selected
program or audio track.

When a MIDI track is selected:

Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you wantto control with the Q-Link knobs:
Mixer: general mixer parameters
Program: program parameters
Insert 1–4: parameters for its program insert effects

Use the Type selector to determine whether the Q-Link knobs will control the parameters of the entire program(Program) or for a single pad (Pad).
To select a program, use the Track field at the top of the screen to select a track that uses it. The program
name will appear in the Program field next to the top row of Q-Link knobs on the screen.
To select a pad (if Type is set to Pad), use the Pad field.

Use the Parameter field to select the parameter you want to control with the Q-Link knobs.

When Type is set to Program:Mixer: Off, Volume, Pan, Mute, Solo, Send 1–4
Program: Off, Global Semi Tune, Global Fine Tune
Insert 1–4: Off, other available parameters depend on the effect310

When Type is set to Pad:
Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4
Program:
Off

Filter Env Attack Curve

Layer Semi Tune (1–4)

Layer Reverse (1–4)

TuningFilter Env Decay Curve

Layer Fine Tune (1–4)

Layer Offset (1–4)

Filter Cutoff

Filter Env Release Curve

Velocity to Start

Layer Loop Xfade (1–4)

Filter Resonance

Pitch Env Attack

Vel to Filter Attack

Layer Loop Xfade Type (1–4)

Filter Env Amount

Pitch Env Hold

Velocity to Env Amount

Layer Slice Tail Length (1–4)

Amp Env Attack

Pitch Env Decay

Velocity to Filter

Layer Slice Tail Start (1–4)

Amp Env Decay

Pitch Env Sustain

LFO to Pitch

Layer Pitch Random (1–4)

Amp Env Release

Pitch Env Release

LFO to Filter

Layer Level Random (1–4)

Amp Env Hold

Pitch Env Decay Mode

LFO to Amp

Layer Pan Random (1–4)

Amp Env Sustain

Pitch Env Attack Curve

LFO to Pan

Layer Offset Random (1–4)

Filter Env Attack

Pitch Env Decay CurveLFO Wave

Attack Random

Filter Env Hold

Pitch Env Release CurveLFO Rate

Decay Random

Filter Env Decay

Pitch Env Depth

LFO Sync

Cutoff Random

Filter Env Sustain

Pitch Env Type

Velocity to Pitch

Resonance Random

Filter Env Release

DrumFX (1–8)

Vel to Volume Attack

Total Random AmountAmp Env Attack Curve

DrumFX Type (1–8)

Velocity to Amp

LFO Level

Amp Env Decay Curve

Layer Level (1–4)

Velocity to Pan

LFO Delay

Amp Env Release Curve

Layer Sample Pan (1–4)

Layer Slice (1–4)

LFO Fade In

Insert 1–4: Off, other available parameters depend on the effect
Tap the Momentary checkbox to turn momentary behavior on or off.
When on, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its
original position (when you turned Momentary on) when you release the Q-Link knob.
When off, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting
when you release the Q-Link knob.

311

When an audio track is selected:

Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you wantto control with the Q-Link knobs:
Mixer: general mixer parameters
Insert 1–4: parameters for its program insert effects
Use the Parameter field to select the parameter you want to control with the Q-Link knobs.
Tap the Momentary checkbox to turn momentary behavior on or off.
When on, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its
original position (when you turned Momentary on) when you release the Q-Link knob.
When off, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting
when you release the Q-Link knob.

312

Pad Scene
In the Pad Scene Q-Link Edit Mode, the Q-Link knobs control your favorite 16 parameters for the currently selected
pad. You can select another pad simply by pressing it, allowing you to adjust the same 16 parameters for that new pad.
(These assignments are automatically saved with other user settings. Any project you load will use these assignments.)

To select a pad, press it.
Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you wantto control with the Q-Link knobs:
Mixer: general mixer parameters
Program: pad parameters (i.e., parameters used in Program Edit Mode)Use the Parameter field to select the parameter you want to control with the Q-Link knobs.
Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4
Program:Off
TuningFilter Cutoff
Filter Resonance
Filter Env AmountAmp Env Attack
Amp Env Decay
Amp Env Release
Amp Env Hold
Amp Env Sustain
Filter Env Attack
Filter Env Hold
Filter Env Decay
Filter Env Sustain
Filter Env Release
Amp Env Attack Curve
Amp Env Decay Curve
Amp Env Release Curve

Filter Env Attack Curve
Filter Env Decay Curve
Filter Env Release Curve
Pitch Env Attack
Pitch Env Hold
Pitch Env Decay
Pitch Env Sustain
Pitch Env Release
Pitch Env Decay Mode
Pitch Env Attack Curve
Pitch Env Decay Curve
Pitch Env Release Curve
Pitch Env Depth
Pitch Env TypeDrumFX (1–8)
DrumFX Type (1–8)
Layer Level (1–4)
Layer Sample Pan (1–4)

Layer Semi Tune (1–4)
Layer Fine Tune (1–4)
Velocity to Start
Vel to Filter Attack
Velocity to Env Amount
Velocity to Filter
LFO to Pitch
LFO to Filter
LFO to Amp
LFO to Pan
LFO Wave
LFO Rate
LFO Sync
Velocity to Pitch
Vel to Volume Attack
Velocity to Amp
Velocity to Pan
Layer Slice (1–4)

Layer Reverse (1–4)
Layer Offset (1–4)
Layer Loop Xfade (1–4)
Layer Loop Xfade Type (1–4)
Layer Slice Tail Length (1–4)
Layer Slice Tail Start (1–4)
Layer Pitch Random (1–4)
Layer Level Random (1–4)
Layer Pan Random (1–4)
Layer Offset Random (1–4)
Attack Random
Decay Random
Cutoff Random
Resonance Random
Total Random Amount
LFO Level
LFO Delay
LFO Fade In

Tap the Momentary checkbox to turn momentary behavior on or off.
When on, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its
original position (when you turned Momentary on) when you release the Q-Link knob.
When off, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting
when you release the Q-Link knob.
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Pad ParameterIn the Pad Parameter Q-Link Edit Mode, the Q-Link knobs control the same pad parameter for the each of the 16
pads in the current pad bank.
For example, if the Parameter is set to Level, the 16 Q-Link knobs will adjust the 16 independent Level settings foreach pad in the current pad bank. You could then set the Parameter to Pan and use the Q-Link knobs to adjust thepanning of all 16 pads.

Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameter you want tocontrol with the Q-Link knobs:
Mixer: general mixer parameters
Program: pad parameters (i.e., parameters used in Program Edit Mode)Use the Parameter field to select the parameter you want to control with the Q-Link knobs.
Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4
Program:Off
TuningFilter Cutoff
Filter Resonance
Filter Env AmountAmp Env Attack
Amp Env Decay
Amp Env Release
Amp Env Hold
Amp Env Sustain
Filter Env Attack
Filter Env Hold
Filter Env Decay
Filter Env Sustain
Filter Env Release
Amp Env Attack Curve
Amp Env Decay Curve
Amp Env Release Curve

Filter Env Attack Curve
Filter Env Decay Curve
Filter Env Release Curve
Pitch Env Attack
Pitch Env Hold
Pitch Env Decay
Pitch Env Sustain
Pitch Env Release
Pitch Env Decay Mode
Pitch Env Attack Curve
Pitch Env Decay Curve
Pitch Env Release Curve
Pitch Env Depth
Pitch Env TypeDrumFX (1–8)
DrumFX Type (1–8)
Layer Level (1–4)
Layer Sample Pan (1–4)

Layer Semi Tune (1–4)
Layer Fine Tune (1–4)
Velocity to Start
Vel to Filter Attack
Velocity to Env Amount
Velocity to Filter
LFO to Pitch
LFO to Filter
LFO to Amp
LFO to Pan
LFO Wave
LFO Rate
LFO Sync
Velocity to Pitch
Vel to Volume Attack
Velocity to Amp
Velocity to Pan
Layer Slice (1–4)

Layer Reverse (1–4)
Layer Offset (1–4)
Layer Loop Xfade (1–4)
Layer Loop Xfade Type (1–4)
Layer Slice Tail Length (1–4)
Layer Slice Tail Start (1–4)
Layer Pitch Random (1–4)
Layer Level Random (1–4)
Layer Pan Random (1–4)
Layer Offset Random (1–4)
Attack Random
Decay Random
Cutoff Random
Resonance Random
Total Random Amount
LFO Level
LFO Delay
LFO Fade In

Tap the Momentary checkbox to turn momentary behavior on or off.
When on, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its
original position (when you turned Momentary on) when you release the Q-Link knob.
When off, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting
when you release the Q-Link knob.
314

ScreenIn the Screen Q-Link Edit Mode, the Q-Link knobs will control only the parameter or group of parameters in yourcurrently selected mode (e.g., Main Mode, Sample Edit Mode, etc.).

315

Pad Color Mode
Pad Color Mode lets you assign specific colors to your pads in each program.

To enter Pad Color Mode, enter Main mode and tap the pencil icon in the Program section to open the edit
options, and then tap Pad Color.
Important: If you are already in Pad Color Mode and want to assign pad colors for another program, exit Pad Color
Mode first, and then select another track in Main mode that uses the desired program.

Use the field in the upper-left corner to set how the pad lights will display:
Off: The pads will be unlit whether you are playing them or not.
Classic Velocity: The pads will be unlit while you are not playing them. When you press them, they will light withcolors according to the velocity: red indicates a high velocity, yellow indicates a low velocity.
Fixed: The pads will be lit with their assigned colors whether you are playing them or not.
Off->Velocity: The pads will be unlit when you are not playing them. When you press them, they will light with
their assigned color with a brightness that corresponds with the velocity.
Dim->Velocity: The pads will be dimly lit when you are not playing them. When you press them, they will lightwith their assigned color with a brightness that corresponds with the velocity.
Bright->Velocity: The pads will be brightly lit when you are not playing them. When you press them, they willlight with their assigned color with a brightness that corresponds with the velocity.

Use the Empty Pads field in the upper-left corner to set how empty pads will display:
Empty pads off: Pads without any sounds will remain off.
Empty pads dim: Pads without any sounds will remain more dimly lit than pads with sounds assigned.
Empty pads normal: Pads without any sounds will appear the same as pads with sounds assigned.

316

Use the Single Pad/All Pads select to determine whether you are setting the color for a Single Pad or All Pads.
Tip: To quickly assign that color to all pads in the program, press and hold Shift while tapping a color button.

Use the color buttons to select which color you are assigning.
Tip: To select the color button corresponding a specific pad’s color, press and hold Shift, and then press thepad or tap it on the screen.

Press a pad on your MPC hardware or tap it on the screen to assign the selected color to it.

To make the current pad color settings the defaults for all programs on the same type (e.g., drum programs,
keygroup programs, etc.), tap Make Default. In the window that appears, tap Do It to confirm your choice or Cancel
to cancel.

317

MIDI Control Mode
You can use MIDI Control Mode on your MPC hardware to customize what MIDI messages
are sent from certain controls on your hardware. This custom “control map” will then work
whenever you are in MIDI Control Mode. The edits you make in MIDI Control Mode will be
retained with the current MPC project.
In Standalone Mode, this feature enables you to use your MPC hardware to control external MIDI devices connected
to its MIDI out.
In Controller Mode, this is helpful when using MPC as a plugin: you can use MIDI Control Mode to use your MPC
hardware to control your host software, and then switch back to any other mode to control the MPC plugin.
To enter MIDI Control Mode, do either of the following:•

Press Menu, and then tap MIDI Control.

•

Press Shift+Program Edit/MIDI Control (MPC One), or press Shift+Keyboard Control/MIDI Control (MPC
Key 61).

•Press and hold Mode and press Pad 11 (MPC Studio).

Important:
In Standalone Mode: Make sure your MPC hardware is using the correct MIDI output. You can set this using the
MIDI Output Port field at the top of the touchscreen, or in Preferences (see General Features > Menu >Preferences > MIDI / Sync).
In Controller Mode: In your host software, make sure your MPC hardware is selected as a MIDI controller device.

In the touchscreen, use the fields and selectors to set each control’s parameters to your preference. The available
parameters depend on its type: a pad, or button, a Q-Link knob, or each axis of the XY pad. When you have set allof the parameters as desired, you can select another control or enter another mode.
Use the MIDI Output Port field at the top of the touchscreen to set the MIDI port that the MPC hardware will send
messages from. You can also set this in the MIDI / Sync section of the Preferences menu.
Tap the I/O buttons at the top of the touchscreen to open the MIDI Monitor.

318

To select a control to edit, do any of the following:•

Press or turn it. In the lower-left corner, tap the Hardware tab to edit a pad, button, or Q-Link knob, or tap
the XY tab to edit the XY pad.

•Tap the Control field in the upper-left corner, and then turn the data dial to select one.

•

Double-tap the Control field, and then tap a control name in the menu that appears.

Note: The Control field menu will show many more hardware controls than are actually available on your MPC
hardware. This is because the list includes all possible controls from all current MPC models (MPC X, MPC Live,MPC Touch, etc.). You can edit only the controls that are described in this chapter.
Note: The software window will also display a graphical interface resembling your MPC hardware. Editable controls
show their current MIDI message. Pads and Q-Link knobs show their current MIDI channels.

Pads

These are the MIDI parameters you can edit for each pad:Control: This is the hardware control you are currently editing (Pad 1–Pad 16).
Bank: This is the pad bank the pad belongs to. If you check the Set All box, the pad’s messages andparameters will be identical across all eight banks.
Set All: When this box is checked, the pad’s messages and parameters will be identical across all eight banks.
When this box is unchecked, the pad’s messages and parameters will apply to the current pad only.
Light LED: This determines how the pad’s LEDs will behave.
When set to Never, the LEDs will always be off.
When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the pad.
When set to Local, the LEDs will light up when you press the pad and/or MIDI input is received.
MIDI Channel: This determines which MIDI channel (1–16) the pad will use to send its message to the software.
Note: This is the MIDI note number the pad will send to the software when you press it (0–127 or C-2 to G8).
Velocity: This determines whether the pad will be velocity-sensitive (On) or not (Off). When set to Off, pressing
the pad will send a note at full-level (127) always.
Aftertouch: This determines how the pad’s aftertouch (pressure applied to the pad after the initial press) behaves.
Off: The pad will not send any aftertouch messages.
Channel: If you press multiple pads that have this setting, the aftertouch messages they send will be identical.
Poly: If you press multiple pads, the aftertouch message each pad sends will be independent from the others.
319

Buttons

These are the MIDI parameters you can edit for each button. You can edit the Erase, Tap, Undo/Redo, or
Copy/Delete buttons:
Control: This is the hardware control you are currently editing (Erase, Tap, Undo, or Copy).
Light LED: This determines how the button’s LED (or multiple LEDs) will behave.
When set to Never, the LEDs will always be off.
When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the
button.
When set to Local, the LEDs will light up when you press the button and/or MIDI input is received.
MIDI Channel: This determines which MIDI channel (1–16) the button will use to send its message to the software.
CC Number: This determines what MIDI Control Change number the button will send to the software.
Type: This determines whether the button will behave as a Momentary switch or Toggle (latching) switch.

320

Q-Link Knobs

These are the MIDI parameters you can edit for each Q-Link knob:
Control: This is the hardware control you are currently editing (QLink 1–4).
Light LED: Although you can edit this parameter, it does not actually have a function on your MPC hardware.
When set to Never, the LEDs will always be off.
When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the
Q-Link knob.
When set to Local, the LEDs will light up when you touch or turn the Q-Link knob and/or MIDI input is received.
MIDI Channel: This determines which MIDI channel (1–16) the Q-Link knob will use to send its message to thesoftware.
CC Number: This determines what MIDI Control Change number the Q-Link knob will send to the software.
Mode: This determines how the Q-Link knob will control its parameter.
Absolute: The Q-Link knob’s current position determines its parameter’s value; moving it may cause its
parameter to “snap” to a new position if you’re using it to control different parameters in different modes.
Relative: Moving the Q-Link knob will increase or decrease its parameter regardless of its physical position.
Low Range: This is the Q-Link knob’s lowest possible value (0–127).
High Range: This is the Q-Link knob’s highest possible value (0–127).
Touch Sense: This activates or deactivates the Q-Link knob’s touch-capacitive circuitry.
On: You can touch the Q-Link knob to send a Note On message to the software (this is how your MPC
hardware normally works).
Off: The Q-Link knob will not send any Note On messages; it will only send CC messages when you turn it.
Note: This is the MIDI note number the Q-Link knob will send to the software when you touch it (0–127 or C-2 toG8). Touch Sense must be set to On for this to work.

321

XY Pad

These are the MIDI parameters you can edit for each axis of the XY pad:Control: This is the axis you are currently editing (XYFX X-Axis or XYFX Y-Axis). This field will be hidden if you
tapped the XY tab to show the XY pad’s parameters. You can tap the Hardware tab to show this field.
Mute: This button determines whether the axis is muted or not. When muted, its MIDI output is disabled. You
must be viewing the Settings to do this.
MIDI Channel: This determines which MIDI channel (1–16) the axis will use to send its message to the software.
CC Number: This determines what MIDI Control Change number the axis will send to the software.
Low Range: This is the axis’s lowest possible value (0–127).
High Range: This is the axis’s highest possible value (0–127).

MIDI Learn
You can use the MIDI Learn function to assign external MIDI controllers to various parameters in your specific MPC
project:•

Mixer parameters such as volume, pan, mute, and solo for MIDI or audio tracks, programs, returns, submixes,
and main outputs•

Pad parameters (for drum programs and clip programs only) such as tuning, filter and amp envelopes, layer
settings, LFO settings, and velocity•

Program parameters, which depend on the program type•

Insert effects parameters, which depend on the effect type

These assignments will be saved with your MPC project.

See Addenda > Updates in MPC 2.2 > New Features > MIDI Control Mode: MIDI Learn for more information.

322

Keyboard Control
See Addenda > Updates in MPC 2.11 > New Features > MPC Key 61 Support for more information.

Ableton Control Mode
See Addenda > Updates in MPC 2.7 > New Features > Ableton Live Control for more information.
Note: Ableton Control Mode is not compatible with MPC One, MPC Touch, and MPC Studio.

Pad Perform Mode
Pad Perform Mode lets you assign musical scales/modes, chords, or progressions to the pads
for more creative performance.

To open the Pad Perform window, do any of the following while using a keygroup program, MIDI program, plugin
program, or CV program:•Tap Pad Perform in the Program section of Main Mode.

•

Press Pad Perform (MPC X).

•

Hold Shift and press 16 Level (MPC Live, MPC Live II, MPC One, MPC Key 61, and MPC Touch)

Although you can enter Pad Perform Mode while using a drum program or clip program, it does not work with these
programs.

The touchscreen will show the current pad bank’s mapping of notes or chords.

323

Use the type selector in the top-left to determine what will be mapped over the pads:
Chromatic: Each pad is assigned a note, ascending by one semitone with each pad. Pads with notes in the key
determined by the Scale will be lit, while pads with notes between the scale degrees will be unlit.
Notes: Each pad is assigned a note, ascending by one scale degree with each pad.
Chords: Each pad is assigned a chord, the root note ascending by one scale degree with each pad. All available
chords will play in the key determined by the Scale.
Chromatic Chords: Each pad is assigned a chord, the root note ascending by one scale degree with each pad.
You can play any chord type regardless of the key determined by the Scale. Essentially, this is like the Chords
setting but with more options to play chords out of the set key.
Progressions: Each pad is assigned a chord in a chord progression. You can play the pads in (or out of) order toconstruct songs quickly. The available chords are determined by the Chord field.
Tip: You can use your own progressions (created in the desktop version of the MPC software) on your MPC
hardware. See Addenda > Updates in MPC 2.1 > New Features > Pad Perform Mode: User Progressions tolearn more about this.
Custom: Each pad is assigned a custom note. See Addenda > Updates in MPC 2.11 > New Features > Pad
Perform and 16 Levels Enhancements to learn more about this.

Chromatic Notes in Pad Perform Mode.

Notes in Pad Perform Mode.

Chords in Pad Perform Mode.

Chromatic Chords in Pad Perform Mode.

Progressions in Pad Perform Mode.

Custom Map in Pad Perform Mode
324

Use the Scale & Octave fields to determine the root note and the scale type.
Root Note (pitch and register): This is the starting point of the scale. The available notes are all chromatic notes
across the range of the pads. The pad that’s assigned the root note will be lit differently (and highlighted on thescreen) to indicate where the scale starts in each octave.
Scale Type: This is the scale or mode based on the root note (this is disabled when Type is set to Progressions).
The available scales are:
Major

Blues (minor)

Major Bebop

LydianNatural Minor

Flamenco

Whole Tone

MixolydianHarmonic Minor

Gypsy

Chromatic

AeolianPentatonic Major

Hungarian Gypsy

DorianLocrianPentatonic Minor

Persian

Phrygian

Use the Chord fields to determine what chord type will play when pressing a pad. The chord will use those scaledegrees based off of the pad’s root note. You can use this only when the Type is set to Chords or Chromatic Chords.
When set to Chords, the available chords are:1-3-5 (major/minor)

1-3-5-7 (major7/minor7)

1-4-5 (sus4)

1-3-5-7b (dominant)

1-2-5 (sus2)
When set to Chromatic Chords, the available chords are:Major

Major7

Augmented

Minor

Minor7

DiminishedSus2

Major9

Sus4

Minor9Use the Banks field to determine how the notes are mapped across the pad banks.
Continuous: Pad 01 of one bank is always one scale degree higher than Pad 16 of the previous bank.
Start on Root: Pad 01 will always be the root note of the scale in every pad bank.

You can use the buttons at the bottom of the screen to quickly select different Types and Chords:
Tap Notes to automatically set the Type to Notes.
Tap Chords to automatically set the Type to Chords.
Tap Progressions to automatically set the Type to Progressions.
Tap Octave –/+ to shift the pad assignments down or up by an octave.
Press Shift+1-3-5 to automatically set the Type to Chords and set the Chord to 1-3-5 (major/minor).
Press Shift+1-4-5 to automatically set the Type to Chords and set the Chord to 1-4-5 (sus4).
Press Shift+1-3-5-7 to automatically set the Type to Chords and set the Chord to 1-3-5-7 (major7/minor7).
Press Shift+1-3-5-7b to automatically set the Type to Chords and set the Chord to 1-3-5-7b (dominant).
Press Shift+Note –/+ to shift the pad assignments down or up by a semitone, essentially raising or lowering the
Root Note field by a half-step.

325

Appendix
Effects & Parameters
This chapter lists the available effects. To learn more about how effects work with MPC, please see General Features> Effects.
Note: Some of these effects have a “sync” version (e.g., Flanger Sync, Autopan Sync, etc.) whose rates will beaffected by the current tempo. While viewing the rate of these effects, a “.” next to the time division indicates a
triplet-based rate.

Reverbs
Options: Reverb Small, Reverb Medium, Reverb Large, Reverb Large 2, Reverb In Gate, Reverb Out Gate

Reverb Small
This is a spatial effect, designed to emulate a small room.

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Pre-Delay

1–100

50

Early Reflection

0–100

50

Density

0–100

50

Diffuse

0–100

50

Decay

0–100

50

Lo-Cut0–100

15

Hi-Cut0–100

10Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Pre-Delay

1–100

50

Early Reflection

0–100

50

Density

0–100

50

Diffuse

0–100

50

Decay

0–100

50

Lo-Cut0–100

15

Hi-Cut0–100

10Reverb Medium
This is a spatial effect, designed to emulate a medium room.

326

Reverb Large
This is a spatial effect, designed to emulate the sound of alarge hall.

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Pre-Delay

1–100

50

Early Reflection

0–100

50

Density

0–100

50

Diffuse

0–100

50

Decay

0–100

75

Lo-Cut0–100

10Hi-Cut0–100

10Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Pre-Delay

1–100

50

Early Reflection

0–100

50

Density

0–100

50

Diffuse

0–100

50

Decay

0–100

75

Lo-Cut0–100

10Hi-Cut0–100

10Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Pre-Delay

1–100

50

Early Reflection

0–100

50

Density

0–100

50

Diffuse

0–100

50

Decay

0–100

75

Lo-Cut0–100

10Hi-Cut0–100

10Gate In

0–100

0Reverb Large 2This is a less CPU-intensive spatial effect, emulating thesound of a large hall.

Reverb In Gate
This is a hall reverb with an additional control. The reverb
effect is cut off when the input drops below the level set in
the Gate In parameter.

327

Reverb Out Gate
This is a hall reverb that has an additional control. The reverb Parameter
effect is cut off when the output drops below the level set in
Dry/Wetthe Gate Out parameter.
Pre-Delay

Value Range

Default Value

0–100 (dry–wet)

50

1–100

50

Early Reflection

0–100

50

Density

0–100

50

Diffuse

0–100

50

Decay

0–100

75

Lo-Cut0–100

10Hi-Cut0–100

10Gate Out

0–100

0DelaysDelays the original signal for a specified period of time and plays it back over an adjustable period of time.
Options: Delay Mono, Delay Mono Sync, Delay Stereo, Delay Sync (Stereo), Delay LP, Delay HP, Delay Analog,
Delay Analog Sync, Delay Tape Sync, Delay Ping Pong, Delay Multi-Tap

Delay Mono
Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Time

2–2000 ms

100

Feedback

0–100

25

Damping

0–100

100

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Time

1 bar – 1/16 triplets 1/4

Feedback

0–100

50

Damping

0–100

100

Delay Mono Sync

328

Delay Stereo
Stereo Delay operates similarly to Mono Delay but in true
stereo.

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Time

2–2000 ms

100

Feedback

0–100

25

Damping

0–100

100

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Time

1 bar – 1/16 triplets 1/4

Feedback

0–100

50

Damping

0–100

100

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Time

2–2000 ms

500

Feedback

0–100

50

Cutoff

0–100

50

Resonance

0–100

20

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Time

2–2000 ms

100

Feedback

0–100

50

Cutoff

0–100

33

Resonance

0–100

33

Delay Sync (Stereo)
Stereo Delay operates similarly to Mono Delay but in true
stereo.

Delay LPLP Delay is identical to the Mono Delay, but it uses a
resonant low-pass filter in the delay line.

Delay HP
HP Delay is identical to the Mono Delay, but it uses a
resonant high-pass filter in the delay line.

329

Delay Analog
Analog Delay is similar to the Mono Delay, except that it’s
Parameter
designed to emulate an analog “Bucket Brigade”-style delay.
Dry/WetThis delay has a unique character to it that gives a warmer
sound by adding subtle inaccuracies in phase and timing.
Time
Feedback

Value Range

Default Value

0–100 (dry–wet)50

2–2000 ms

100

0–100

25

Value Range

Default Value

0–100 (dry–wet)

50

Delay Analog Sync
Analog Delay is similar to Mono Delay, except that it’s
Parameter
designed to emulate an analog “Bucket Brigade”-style delay.
Dry/WetThis delay has a unique character to it that gives a warmer
sound by adding subtle inaccuracies in phase and timing.
Time

1 bar – 1/16 triplets 1/4

Feedback

0–100

50

Ramp

0–100

50

Value Range

Default Value

0–100 (dry–wet)

50

Delay Tape Sync
Tape Delay emulates a delay system using an analog tapeParameterloop and a series of tape heads to produce an echo effect.
This delay type yields a very distinct echo sound often heard Dry/Wet
in reggae and dub-style music.
Time

1 bar – 1/16 triplets 1/4

Feedback

0–100

50

Ramp

0–100

50

Head 1

0–100

100

Head 20–100

0Head 30–100

0Head 4

0–100

0

Tone

0–100

50

Spread0–100

50

Wow & Flutter

0–100

50

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Time, Left

2–2000 ms

100

Time, Right

2–2000 ms

100

Feedback

0–100

25

Damping

0–100

100

Delay Ping Pong
This stereo delay allows you to set different delay times for
its left and right repeats.

330

Delay Multi-Tap
This delay is a mono delay which has three delay generatorswith independently adjustable delay times and stereo
position.

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

50

Time 1

2–2000 ms

100

Time 2

2–2000 ms

100

Time 3

2–2000 ms

100

Feedback

0–100

25

Pan 1

0–100

50

Pan 2

0–100

50

Pan 3

0–100

50

Damping

0–100

100

Gain 1

0–100

25Gain 2

0–100

25Gain 30–100

25Flangers
A flanger is a modulated delay to emulate the sound created when running two analog tape machines in parallel witha slight time misalignment. Slow Rate settings can produce a “whooshing” jet engine sound, while faster rates resultin more of a “warble.”
Options: Flanger, Flanger Sync

FlangerParameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Rate

0–100

10

Feedback-100 – 100

0

Delay

0–100

20

Width

0–100

80

Flanger Sync
Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Rate

8 bars – 1/16 triplets

1/4

Feedback-100 – 100

0

Delay

0–100

20

Width

0–100

80

331

Chorus
A chorus effect uses an LFO to modulate the pitch and a delay of the input signal, which are then added to the dry
signal. In small amounts, this creates the illusion of multiple voices playing at once. Turn up the Feedback andDepth for more pronounced “shimmering” and “watery” sounds.
Options: Chorus 2-Voice, Chorus 4-Voice

Chorus 2-Voice
Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Delay

0–100

20

Amount

0–100

80

Width

0–100

80

Feedback

0–100

50

Rate

0–100

10

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Delay

0–100

20

Amount

0–100

80

Width

0–100

80

Feedback

0–100

50

Rate

0–100

10

Chorus 4-Voice

Autopans
This effect uses an LFO to move the incoming signal back and forth across the stereo field, creating a rotary effect.
Options: Autopan, Autopan Sync

AutopanParameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Rate

0–100

10

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Rate

8 bars – 1/32

1/4

Autopan Sync

332

Tremolos
This effect uses an LFO to increase and decrease the volume of the signal. Depending on the LFO shape, this can
produce a smooth wave effect (sine wave) or a stuttering “on-off” effect (square wave).
Options: Tremolo, Tremolo Sync

TremoloParameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Rate

0–100

10

Sine to Square 0–100 (sine–square) 0
Tremolo Sync
Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Rate

1 bar – 1/16 triplets

1/4

Sine to Square 0–100 (sine–square) 0

Phasers
The phaser is a classic effect, created by multiple ganged all-pass filters to create “notches,” or sharp spikes, in thefrequency spectrum. The frequencies of these all-pass filters are usually modulated by an LFO to create a sweeping
sound.
Options: Phaser 1, Phaser 2, Phaser Sync

Phaser 1
Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Rate

0–100

10

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Rate

0–100

10

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Rate

1 bar – 1/16 triplets

1/4

Phaser 2

Phaser Sync

333

HP (High-Pass) Filters
Options: HP Filter, HP Filter Sweep, HP Filter Sync, HP Shelving Filter

HP Filter
This effect is a static filter without modulation.

Parameter

Value Range

Default Value

Frequency

10–19999 Hz

1500

Resonance

0–100

0

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

80

HP Filter Sweep
This effect is a high-pass filter with its cutoff frequency
modulated by an LFO.

HP Filter Sync
This effect is a high-pass filter with its cutoff frequency
modulated by an LFO.

Low Frequency 0–100

50High Frequency 0–100

100

Resonance

0–100

33

Rate

0–100

10

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)100

Low Frequency 0–100

0High Frequency 0–100

100

Resonance

0–100

50

Rate

8 bars – 1/32

1/4

Value Range

Default Value

10–19999 Hz

1500

Resonance

0–100

0

Gain

-18.0 – 18.0 dB

0.0

HP Shelving Filter
This filter differs from the standard filter type, as it attenuates Parameterall frequencies after the cutoff point equally.
Frequency334

LP (Low-Pass) Filters
Options: LP Filter, LP Filter Sweep, LP Filter Sync, LP Shelving Filter

LP Filter
This effect is a static filter without modulation.

LP Filter Sweep
This effect is a low-pass filter with its cutoff frequency
modulated by an LFO.

LP Filter Sync
This effect is a low-pass filter with its cutoff frequency
modulated by an LFO.

Parameter

Value Range

Default Value

Frequency

10–19999 Hz

1500

Resonance

0–100

0

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)80

Low Frequency 0–100

0High Frequency 0–100

100

Resonance

0–100

33

Rate

0–100

10

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)100

Low Frequency 0–100

0High Frequency 0–100

100

Resonance

0–100

50

Rate

8 bars – 1/32

1/4

Value Range

Default Value

10–19999 Hz

1500

Resonance

0–100

0

Gain

-18.0 – 18.0 dB

0.0

LP Shelving Filter
This filter differs from the standard filter type, as it attenuates Parameterall frequencies after the cutoff point equally.
Frequency

335

Parametric EQs
Options: PEQ 2-Band, 2-Shelf, PEQ 4-Band

PEQ 2-Band, 2-Shelf
This effect is a combination of one two-band parametricequalizer and two shelving filters.

Parameter

Value Range

Default Value

Low Frequency

22–1000 Hz

220

Frequency 1

82–3900 Hz

820

Frequency 2

220–10000 Hz

2200

High Frequency

560–19999 Hz

5600

Q1

0–100

0

Q2

0–100

0

Low Gain-18.0 – 18.0 dB

0.0Gain 1-18.0 – 18.0 dB

0.0Gain 2-18.0 – 18.0 dB

0.0High Gain-18.0 – 18.0 dB

0.0Parameter

Value Range

Default Value

Low Frequency

22–1000 Hz

220

Frequency 1

82–3900 Hz

820

Frequency 2

220–10000 Hz

2200

High Frequency

560–19999 Hz

5600

Q1

0–100

5

Q2

0–100

5

Q3

0–100

5

Q4

0–100

5

Gain 1-18.0 – 18.0 dB

0.0Gain 2-18.0 – 18.0 dB

0.0Gain 3-18.0 – 18.0 dB

0.0Gain 4-18.0 – 18.0 dB

0.0

PEQ 4-Band
This effect is a powerful four-band parametric equalizer withfour independent EQ ranges.

336Distortions
Options: Distortion Amp, Distortion Fuzz, Distortion Grimey, Distortion Overdrive, Distortion Custom

Distortion Amp
This effect is designed to reproduce the sound of a tube
amplifier at high volumes.

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Drive

0–100

50

Tone

0–100

50

Dynamics

0–100

50

Output0–100

50Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Drive

0–100

50

Output

0–100

50

Low

0–100

50

Low-Mid

0–100

50High-Mid

0–100

50

High

0–100

50

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Drive

0–100

50

Grime

0–100

50

Center

0–100

50

Width

0–100

50

Resonance

0–100

50

Output0–100

50Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Drive

0–100

50

Tone

0–100

50

Output0–100

50Distortion Fuzz
This popular effect uses hard clipping of the audio signal,
which, at extreme settings, can turn a standard waveform
into a square wave, producing a “razor” effect.

Distortion Grimey
This is a unique distortion effect that distorts a frequency
range in a selectable band.

Distortion OverdriveThis distortion is designed to sound like a mildly distorting
amplifier at medium volumes. It is the smoothest distortion
type available.

337

Distortion Custom
This effect is a highly customized distortion, capable of awide range of useable sounds.

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Drive

0–100

50

+Soft

5–75

2

+Clip

5–50

25

–Soft

5–75

2

–Clip

5–50

25

Low

-18.0 – 18.0 dB

0.0

Mid

-18.0 – 18.0 dB

0.0

High

-18.0 – 18.0 dB

0.0

Output-18.0 – 18.0 dB

50

Compressors
A compressor is an effect that changes the dynamic range of a signal by automatically reducing its gain.
Options: Bus Compressor, Compressor Opto, Compressor VCA, Compressor Vintage
Bus Compressor
This is the most transparent compressor, able to perform
substantial volume adjustments without artifacts.

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)100

Attack0–100

50

Release0–100

50

Threshold-50 – 0 dB

0

Ratio

1–20

1

Oldskool

Off, On

Off

Output-6 – 24 dB

0

Value Range

Default Value

0–100 (dry–wet)100-6 – 18 dB

0

0–100

50

Release0–100

50

Threshold-50 – 0 dB

0

Ratio

1–20

1

Knee

1–100

1

Output-6 – 24 dB

0Compressor Opto
The Opto Compressor is modeled after a vintage
Parameter
compressor type using an optical circuit to control thevolume reduction of the input signal. These compressors are Dry/Wet
usually associated with soft and unobtrusive attack andInput
release characteristics.
Attack338

Compressor VCA
This compressor is more modern-sounding, with a slightly
more transparent sound. A VCA Compressor tends to havequicker attack and release times than an Opto Compressor.

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Input

-6 – 18 dB

0

Attack0–100

50

Release0–100

50

Threshold-50 – 0 dB

0

Ratio

1–20

1

Knee

1–100

1

Output-6 – 24 dB

0

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Input

-6 – 18 dB

0

Attack0–100

50

Release0–100

50

Threshold-50 – 0 dB

0

Ratio

1–20

1

Knee

1–100

1

Output-6 – 24 dB

0

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)100

Decimate

0–100

0

Bit Reducer

4–32

32

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)

100

Rate

0–100

0

Decimate

0–100

0Compressor Vintage
This compressor has a sound similar to classic tube
compressors, with their gentle yet pumping response and adash of tube saturation.

Bit Reducers
Options: Decimator, Resampler

Decimator
Decimator down-samples the incoming signal by removing
bits from the digital signal. The difference between
decimation and resampling is that Decimator does not use
any filtering to mask or correct digital artifacts. The result isan effect ranging from mild to almost completely pure digital
distortion, depending on the setting and the source material.

Resampler
Resampler is similar to Decimator in that it removes bits froman incoming signal. The difference is that Resampler applies
a complex suite of filters and anti-aliasing to attempt toretain the original sound quality. This is a method used bypopular vintage samplers and sampling drum machines fromthe 1980s. Resampler can be used to achieve a “dirty”
sound on drum loops, without the harshness of distortion.

339

OtherOptions: Auto Wah, Frequency Shifter, Transient Shaper

Auto WahThis effect is a low-pass filter modulated by an envelope that Parameteryields a classic funky “wah-wah”- like sound. The envelope
is triggered by the incoming signal’s amplitude. The amount Dry/Wetof the envelope on the cutoff frequency is user-definable.
Resonance

Value Range

Default Value

0–100 (dry–wet)

100

0–100

75

Attack0–100

30Release0–100

30

Center0–100

50

Sensitivity

0–100

50

Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)100

Frequency-1000 – 1000

0

Asynchrony

0–1000

0

A Pan

0–100

0

B Pan

0–100

100

A Gain0–100

75

B Gain0–100

75Parameter

Value Range

Default Value

Dry/Wet0–100 (dry–wet)100

Attack0–100

50

Release0–100

50

Output0–100

50Frequency ShifterA frequency shifter changes the frequencies of an input
signal by a fixed amount and alters the relationship of theoriginal harmonics. This can produce a chorus-like effect aswell as very crazy artificial timbres.

Transient Shaper
A transient shaper can be used to enhance or soften the
Attack and Release phases of audio material.

340

Glossary
This glossary briefly defines and explains many of the technical terms used throughout this manual.

Aftertouch

The majority of contemporary keyboards are capable of generating aftertouch messages. On thistype of keyboard, when you press harder on a key you are already holding down, a MIDI aftertouchmessage is generated. This feature makes sounds even more expressive (e.g., through vibrato).

Aliasing

Aliasing is an audible side effect arising in digital systems as soon as a signal contains harmonics
higher than half the sampling frequency.

AmountDescribes to which extent a modulation source influences a given parameter.

AmplifierAn amplifier is a component that influences the volume level of a sound via a control signal. It
can be modulated by a control signal (e.g., generated by an envelope or an LFO).

AttackAn envelope parameter. This term describes the ascent rate of a time-relevant process (e.g., anenvelope from its starting point to the point where it reaches its highest value). The attack phaseis initiated immediately after a trigger signal is received (e.g., after you play a note on a trigger
pad or a keyboard).

Bit Rate

Bit rate (also known as word length), is the number of bits used to store the level information ofeach single sample slice within a whole sample. The higher the bit rate, the more precise theinformation about a sample (i.e., its dynamics’ resolution). Normal audio CDs are 16-bit. The
MPC hardware supports full 24-bit resolution.

BounceWhen you “bounce” a sequence, track, or program, you are rendering that part of your project as
an audio file (as opposed to a MIDI file). The MPC hardware lets you bounce sequences, tracks,or programs as samples (saved to your project’s sample pool) or as full audio tracks (saved toyour project’s sample pool and added directly to the current sequence).
Bouncing a track will render that track after it is sent through its program. Bouncing a program
will render all tracks that use that program after they are sent through it. Bouncing a sequence
will render all tracks in that sequence after they are sent through their respective programs.

Clipping

Clipping is a sort of distortion that occurs when a signal exceeds the maximum value that can behandled by a signal processing system it is fed into. The curve of a clipped signal is dependent
on the system where the clipping occurs. In the analog domain, clipping effectively limits thesignal to a given maximum level. In the digital domain, clipping is similar to a numerical overflow,
resulting in negative polarity of the signal’s portions exceeding the maximum level.

Control Change

MIDI messages enable you to manipulate the behavior of a sound generator to a significant
degree. This message essentially consists of two components:(Controllers)•

The controller number, which defines the parameter to be influenced. It can range from 0
to 127.

•The controller value, which determines the extent of the modification.

Controllers can be used for effects such as slowly swelling vibrato, changing the stereo panning
position and influencing filter frequency.
Cutoff

The cutoff frequency is a significant factor for a filter. A low-pass filter for example dampens the
portion of the signal that lies above this frequency. Frequencies below this value are allowed topass through without being processed.

341

CV

CV stands for control voltage, an analog method of sending control messages to external
synthesizers, drum machines, etc. CV messages are typically used in conjunction with Gatemessages (CV messages determine the pitch of notes while Gate messages determine note
activation and length). CV messages are sent from the CV out ports of your MPC hardware andto the CV in ports of your external MIDI device.
Please note that each external MIDI device uses a specific control voltage range, which
determines how many volts are used in each octave (e.g., 1V/oct). Be mindful of this whensetting it up with the MPC software and/or controller hardware—mismatched voltage ranges can
produce unusual/undesirable “re-scaling” of the octaves.

Decay

Decay describes the descent rate of an envelope once the attack phase has reached its
maximum and the envelope drops to the level defined by the sustain value.

Envelope

An envelope is used to modulate a sound-shaping component within a given time. For instance,
an envelope that modulates the cutoff frequency of a filter opens and closes this filter over a
period of time. An envelope is started via a trigger, usually a MIDI note.
The classic ADSR envelope consists of four individually variable phases: attack, decay, sustain,
and release. Attack, decay and release are time or slope values, while sustain is an adjustablelevel. Once an incoming trigger is received, the envelope runs through the attack and decay
phases until it reaches the programmed sustain level. This level remains constant until the trigger
is terminated. The envelope then initiates the release phase until it reaches the minimum value.
You can see and read about the envelopes used in MPC Live in Operation > Modes > Program
Edit Mode > Anatomy of an Envelope.

FilterA filter is a component that allows some of a signal’s frequencies to pass through it anddampens other frequencies. The most important aspect of a filter is the filter cutoff frequency.
Filters generally come in four categories: low-pass, high-pass, band-pass, and band-stop.
These are the available filters:
A low-pass filter (the most common type) dampens all frequencies above the cutoff frequency.
A high-pass filter in turn dampens the frequencies below the cutoff.
A band-pass filter allows only those frequencies around the cutoff frequency to pass. Allothers are dampened.
A band-stop filter does the opposite of a band-pass: it dampens only the frequencies aroundthe cutoff frequency.
A band-boost filter boosts the frequencies around the cutoff frequency, similar to what a bandon an equalizer would do. All other frequencies pass through normally.
The number of poles in a filter’s “slope” determines how extreme or subtle the effect of thefilter will be. Filters with one or two poles produce a subtler sound while filters with six or eightpoles are much more pronounced.
The Model filters are analog-style emulations of famous vintage synth filters. Model1 is a fourpole filter that distorts at high input levels. Model2 uses a mellow resonance with a “fattening”
distortion in the lower frequencies. Model3 can produce howling, piercing resonances andextreme sub frequencies—watch your speakers!
The Vocal filters are formant filters that emulate the human voice. Vocal1 produces “ah” and“ooh” vowel sounds. Vocal2 uses three bands to produce “oh” and “ee” vowel sounds.
Vocal3 uses five bands to emulate an idealized model of the vocal tract.
MPC3000 LPF is a dynamic, resonant low-pass filter (12 dB/oct) that was used on the original
MPC3000, released in 1994.
Please also see the entry for Resonance, an essential characteristic of a filter’s sound.

Gate

Gate messages are analog messages sent to external synthesizers, drum machines, etc. Gatemessages are typically used in conjunction with CV messages (CV messages determine the pitchof notes while Gate messages determine note activation and length). Gate messages are sent fromthe CV out ports of your MPC hardware and to the CV/Gate in ports of your external MIDI device.

342

LFO

LFO is an acronym for low-frequency oscillator. The LFO generates a periodic oscillation ata low frequency and features variable waveshapes. Similar to an envelope, an LFO can beused to modulate a sound-shaping component.

MIDI

MIDI stands for musical instrument digital interface. Developed in the early 1980s, MIDI
enables interaction between various types of electronic music instruments from different
manufacturers. At the time a communications standard for heterogeneous devices did notexist, so MIDI was a significant advance. It made it possible to link various devices with one
another through simple, standardized connectors.
Essentially, this is how MIDI works: One sender is connected to one or several receivers. For
instance, if you want to use a computer to play a MIDI synthesizer, the computer is the senderand the synthesizer acts as the receiver. With a few exceptions, the majority of MIDI devices
are equipped with two or three ports for this purpose: MIDI In, MIDI Out and in some cases
MIDI Thru. The sender transfers data to the receiver via the MIDI Out jack. Data are sent via acable to the receiver’s MIDI In jack.
MIDI Thru has a special function. It allows the sender to transmit to several receivers. It routes
the incoming signal to the next device without modifying it. Another device is simply
connected to this jack, thus creating a chain through which the sender can address a numberof receivers. Of course, it is desirable for the sender to be able to address each device
individually. To achieve this, a MIDI channel message is sent with each MIDI event.

MIDI Channel

This is a very important element of most messages. A receiver can only respond to incoming
messages if its receive channel is set to the same channel as the one the sender is using totransmit data. Subsequently, the sender can address specific receivers individually. MIDI
Channels 1–16 are available for this purpose.

MIDI Clock

The MIDI clock message transmits real-time tempo information to synchronize processes
among several connected devices (e.g., a sound generator’s delay time to a MIDI sequencer).
Note: Audio recording is disabled when receiving MIDI Clock sync. Use MIDI Time Code torecord audio while receiving MIDI sync.

Modulation

A modulation influences or changes a sound-shaping component via a modulation source.
Modulation sources include envelopes, LFOs or MIDI messages. The modulation destination
is a sound-shaping component such as a filter or a VCA.

Note On & Note Off This is the most important MIDI message. It determines the pitch and velocity of a generated
note. A note-on message will start a note. Its pitch is derived from the note number, which
can range from 0 to 127. The velocity ranges from 1 to 127. A velocity value of 0 is equivalent
to a note-off message.
Normalize

Normalization is a function to raise the level of a sample to its maximum (0 dB) withoutcausing distortion. This function automatically searches a sample for its maximum level andconsequently raises the entire sample’s level until the previously determined maximum level
reaches 0 dB. In general, this results in a higher overall volume of the sample.

Panning

The process or the result of changing a signal’s position within the stereo panorama.

Pitch-Bend

Pitch-bend is a MIDI message. Although pitch-bend messages are similar in function tocontrol change messages, they are a distinct type of message. The resolution of a pitch-bend
message is substantially higher than that of a conventional controller message. The humanear is exceptionally sensitive to deviations in pitch, so the higher resolution is used because it
relays pitch-bend information more accurately.

343

Program

A program is a file that contains a list of all samples to be used, and settings for each sample(e.g., pad assignments, loop points, pitch tuning, effects, etc.) Program Edit Mode is where
you can edit and assign samples (read more about this in Operation > Modes > Program
Edit Mode). You can have a total of 128 programs in a project.
There are three kinds of programs that use samples for their sound source. Drum programs
are mostly used for creating drum programs and easy and quick assigning of samples to apad. With keygroup programs, you can use one sample (or more) and spread it across two or
more keys and play the sample chromatically over a keyboard. That way, there is no need tosample every key of, for instance, a piano. Clip programs use several samples that can belooped (clips), each of which can assigned to a pad; launching different combinations of clips
together lets you create intriguing, layered performances.

Program Change

These are MIDI messages that select sound programs. Programs 1–128 can be changed via
program change messages.

ReleaseAn envelope parameter. This term describes the descent rate of an envelope to its minimum
value after a trigger is terminated. The release phase begins immediately after the trigger isterminated, regardless of the envelope’s current status. For instance, the release phase may
be initiated during the attack phase.

Resonance

Resonance or emphasis is an important filter parameter. It emphasizes the frequencies aroundthe filter cutoff frequency by amplifying them with a narrow bandwidth. This is one of the mostpopular methods of manipulating sounds. If you increase the emphasis to a level where thefilter enters a state of self-oscillation, it will generate a relatively pure sine waveform.

Root KeyThe root key defines the original pitch of a recorded instrument or of a sample. Samples in
MPC contain the dedicated root key information. This information will be createdautomatically during recording or importing.

SampleWhen you tap the pads on your MPC hardware, you can trigger sounds that we callsamples. Samples are digitized snippets of audio that can be recorded using the recording(sampling) function of your MPC hardware or loaded from the Browser.
You can edit and process a sample in different ways. For example, a sample can betrimmed, looped, pitch-shifted or processed, using various effects. When you have finishedediting your sample, you can assign it to one or more drum pads to play it. Samples can beeither mono or stereo.

Sample Rate

This is the frequency representing the amount of individual digital sample scans per second
that are taken to capture an analog signal digitally. For normal CD audio recordings, 44100
samples per second are used, also written as 44.1 kHz.
You can export audio using sampling rates up to 96 kHz (see Operation > General Features> Audio Mixdown) and play audio using 44.1 kHz.

Sequence

A sequence is the most basic “building block” of music you can create within an MPC
project. MIDI information from your MPC hardware pads, buttons, and Q-Link knobs arerecorded to the tracks of a sequence. Each sequence on your MPC hardware can contain
128 MIDI tracks and 8 audio tracks. Each project can store up to 128 separate sequences.
The length of a sequence can be set from 1 to 999 bars, which would be enough to create an
entire song using only one sequence. However, MPC Live has a dedicated Song Mode thatlets you chain sequences together to create a song.

Song

Song Mode that allows you to arrange different sections (verse, chorus, hook, etc.) in orderto build a song. Each song can have up to 999 “steps” (stages in which a sequence may play
one or more times). Each project can store up to 32 songs.

344

Stretch Factor

The stretch factor is a value generated by the Warp algorithm in the software. When you
record an audio file, the current sequence tempo will be embedded with it. This informationis stored within the sample file when you save the project. When you warp an audio track
region, the warping algorithm uses this sequence tempo and the current value in the BPM
field to generate the stretch factor.

SustainThis term describes the level of an envelope remaining constant after it has passed the attackand decay phases. Once reached, the sustain level is kept until the trigger is terminated.

Time-Stretch

See Warp below.

Track

A sequence on your MPC hardware can contain 128 MIDI tracks and 8 audio tracks.
Each MIDI track contains MIDI note events and controller data. In this case, the track
contains no audio information—only MIDI information that uses the samples in a program (oran external MIDI sound module) to generate its audio. You can edit your performance inmany different ways once the performance has been captured.
Each audio track contains an audio signal that has been recorded or imported into yourproject. You can edit this audio within the software and incorporate it into your sequences
alongside your MIDI tracks.

Trigger

A trigger is a signal that initiates events. Trigger signals are very diverse. For instance, a MIDI
note or an audio signal can be used as a trigger. The events a trigger can initiate are also
very diverse. A common application for a trigger is its use to start an envelope.

Warp

The Warp feature lengthens or shortens a region of an audio track or sample withoutchanging its pitch. This enables you to fit the length of an audio track or sample to the lengthof a sequence, a bar in your sequence, etc. while maintaining its original key.
Please note that the Warp algorithms are very CPU-intensive and can result in audio dropouts during playback if used too freely. Be mindful of how (and how often) you use the warp
function. You can reduce the CPU resources required by doing any/all of the following:
Minimize the amount of pitch adjustment of warped audio.
In Program Edit Mode, avoid using extreme Stretch values.
Avoid warping very small audio regions.
Warp as few tracks or track regions as possible (i.e., reduce the number of total numberof voices of the polyphonic limit that use the Warp algorithm at a given time), especiallyinstances where the warped regions start at the same time.
Avoid rapidly triggering samples that are warped.
If you have warped samples used in a drum program, consider using the Flatten Padfunction to consolidate the affected pad’s layers into one audio sample (see here to learn
about this). After you flatten the pad, its sample/samples no longer need to be warped.

345

SATA Drive Installation
To create more internal storage space on your MPC hardware, you can purchase a SATA (Serial ATA) drive andinstall it yourself, but read this chapter first.
Your MPC X, MPC Live, MPC Live II, or MPC Key 61 can support nearly any standard 2.5” SATA drive on themarket—either a solid-state drive (SSD) or hard-disk drive (HDD). Make sure it uses a 2.5” (63.5 mm) form factor anduses (or can use) one of these file systems: exFAT, FAT32, NTFS, or EXT4 (for read and write capability) or HFS+ (forread-only capability).
Note: We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.
Note: Alternatively, you could install an mSATA (mini-SATA) drive, but make sure you also purchase an adapter thatenables it to fit into a typical 2.5” SATA interface.

1. Make sure your MPC hardware is powered off.
2. Locate the SATA drive panel in the center of the bottom panel of your MPC hardware. Use a Phillips-headscrewdriver to remove the screws (don’t lose them!), and remove the SATA drive panel.
3. Gently pull the SATA connector and cable out from inside your MPC hardware. Be careful not to disturb
anything inside—handle just the SATA connector and cable.
4. Connect your SATA drive to the SATA connector. Make sure the connection is secure.
5. Use four 3x5mm mounting screws (included with MPC hardware or with your SATA drive) to secure the SATA drive
to the SATA drive panel. Do not overtighten the screws, but make sure the drive is secure and does not shake.
6. Place the SATA drive panel back onto the bottom panel of your MPC hardware, and use the original screws tosecure it in place.
You can now access this drive while using your MPC hardware!
In Standalone Mode, this drive will appear as a second internal drive.
In Controller Mode, this drive will appear as another drive connected to your computer (just as a USB drive or SD
card connected does when connected to your MPC hardware).

346

MIDI Machine Control (MMC)Your MPC hardware can send and receive MIDI Machine Control (MMC) messages, a standard protocol for transport
controls.

The MPC hardware can send these messages:
MPC Button

MMC Command Sent

Rec

MMC Record Strobe (when recording starts), then MMC Record Exit

Overdub

MMC Record Strobe (when recording starts), then MMC Record Exit

Stop

MMC StopPlay

MMC Deferred Play

Play Start

MMC Locate Zero, then Deferred Play

Data Dial, –/+, Step </>, Bar <</>>

MMC Locate values

To set up your MPC hardware to send MMC messages to an external device:
1. Use a standard 5-pin MIDI cable to connect your MPC hardware’s MIDI Out A to the MIDI input of your external
device.
2. Press Menu to show the menu, and tap the gear icon to enter the Preferences.
3. Tap the Sync tab.
4. Tap the Send Port 1 field, and use the data dial or –/+ buttons to select Midi Out A.
5. Tap the Send MMC box so it is enabled (checked).
6. Exit the Preferences.
7. Configure your other device properly so it can receive MMC messages.

The MPC hardware can receive these messages:
MPC Command Received

MPC Function

MMC Deferred PlayPlay

MMC Locate Zero, then Deferred Play

Play Start

MMC StopStop

MMC Record Strobe

Record (Rec)MMC PauseStop

MMC Locate values

Change location in sequence

To set up your MPC hardware to receive MMC messages from an external device:
1. Use a standard 5-pin MIDI cable to connect your MPC hardware’s MIDI In A to the MIDI output of your external
device.
2. Press Menu to show the menu, and tap the gear icon to enter the Preferences.
3. Tap the Sync tab.
4. Tap the Receive MMC box so it is enabled (checked).
5. Exit the Preferences.
6. Configure your other device properly so it can send MMC messages.
347

Technical Specifications
Specifications are subject to change without notice.

MPC X / MPC X Special Edition
ADCs

24-bit @ 44.1, 48, or 96 kHz

DACs

24-bit @ 44.1, 48, or 96 kHz

Digital Signal Processing

32-bit floating point

Mic Inputs 1–2

Dynamic Range

112 dB (A-weighted)(2) balanced XLR+1/4”(6.35 mm) TRS

SNR

111 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.003% (1 kHz, +4 dBu, -1 dBFS)

Preamp EIN-135 dBu (max gain, 40 Ω source, A-weighted)

Digital Audio System-129.5 dBu (max gain, 150 Ω source, unweighted)
Frequency Response

20 Hz – 20 kHz (+0.2 / -0.2 dB)

Maximum Input Level+12.5 dBu

Sensitivity-46 dBu

Gain Range

58 dB

Line Inputs 1–2

Dynamic Range

114 dB (A-weighted)(2) balanced XLR+1/4”(6.35 mm) TRS

SNR

112 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.003% (1 kHz, +4 dBu, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.1 / -0.1 dB)

Maximum Input Level+20 dBu

Sensitivity-9.5 dBu

Gain Range

29.5 dBLine Inputs 3–4

Dynamic Range

114.5 dB (A-weighted)(2) balanced 1/4”
(6.35 mm) TRS

SNR

112.5 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.003% (1 kHz, +4 dBu, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.1 / -0.1 dB)

Maximum Input Level+20 dBu

Sensitivity-10 dBu

Gain Range

30 dB

Inst Inputs 1–2

Dynamic Range

113.5 dB (A-weighted)(2) unbalanced 1/4”
(6.35 mm) TS

SNR

111.5 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.003% (1 kHz, +4 dBu, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.1 / -0.2 dB)

Maximum Input Level+10 dBu

Sensitivity-20 dBu

Gain Range

30 dB

Input Impedance~ 1 MΩ
348

Phono Inputs

Dynamic Range

108 dB (A-weighted, 63 mVrms @ 1kHz, -1 dBFS, 20 Ω source)(2) unbalanced RCA

SNR

86 dB (A-weighted, 4 mVrms @ 1kHz, 20 Ω source)

THD+N

0.005% (1 kHz, -46 dBu, -1 dBFS)

Maximum Input Level

63 mVrms (1 kHz)

Sensitivity

2 mVrms (1 kHz)

Main Outputs 1–2

Dynamic Range

114 dB (A-weighted)(2) impedance-balanced
1/4” (6.35 mm) TRS

THD+N

0.006% (1 kHz, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.2 dB)

Maximum Output Level+20 dBuOutput Impedance

100 Ω

Outputs 3–4

Dynamic Range

114 dB (A-weighted)(2) impedance-balanced
1/4” (6.35 mm) TRS

THD+N

0.006% (1 kHz, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.2 dB)

Maximum Output Level+20 dBuOutput Impedance

100 Ω

Outputs 5–8

Dynamic Range

118.5 dB (A-weighted)(4) impedance-balanced
1/4” (6.35 mm) TRS

THD+N

0.001% (1 kHz, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.1 / -0.0 dB)

Maximum Output Level+20 dBuOutput Impedance

100 Ω

Headphone Outputs

Dynamic Range

111 dB (A-weighted)(1) 1/4” (6.35 mm)stereo headphone

THD+N

0.007% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones)(1) 1/8” (3.5 mm)stereo headphone

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.2 dB)

Maximum Power Delivered

360 mW (<1% THD)

Maximum Output Level+20 dBu349

MechanicalPads(16) velocity- and pressure-sensitive pads, RGB-backlit(8) banks accessible via Pad Bank buttons

Knobs(16) 360° touch-sensitive Q-Link knobs for parameter adjustment(7) 270° knobs for gain, mix & level adjustment(1) 360° encoder for value/data adjustment

Memory

Display

10.1” (25.6 cm) full-color 1280x800 display with capacitive multi-touchRAM

2 GB (MPC X)
4 GB (MPC X Special Edition)

Internal
Storage

16 GB (MPC X) (6 GB user storage)
48 GB (MPC X Special Edition) (10 GB user storage)
Expandable via SATA connections

File System Compatibility

exFAT (read & write) (recommended)
FAT32 (read & write)
NTFS (read & write)
EXT4 (read & write)
HFS+ (read only)
Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV

Connections(2) XLR+1/4” (6.35 mm) TRS inputs (Input 1/2)
(2) 1/4” (6.35 mm) TRS inputs (Input 3/4: 1 stereo pair)(2) 1/4” (6.35 mm) TS instrument inputs (Inst 1/2)
(2) RCA inputs (Input 3/4: 1 stereo pair, phono- or line-level)(2) 1/4” (6.35 mm) TS footswitch inputs (FS 1/2)
(2) 5-pin MIDI inputs(8) 1/4” (6.35 mm) TRS outputs (Main L/R, Outputs 3/4–7/8: 4 stereo pairs)(4) 5-pin MIDI outputs(8) 1/8” (3.5 mm) CV/Gate outputs(1) 1/4” (6.35 mm) stereo headphone output(1) 1/8” (3.5 mm) stereo headphone output(2) USB Type-A ports(1) USB Type-B port
(1) SD card slot
(1) power adapter inputPower

via power adapter: 19 V, 3.42 A, center-positive, included

Dimensions

19.9” x 16.7” x 3.4” / 50.5 x 42.4 x 8.7 cm (display flat)(width x depth x height)

19.9” x 15.3” x 8.4” / 50.5 x 38.8 x 21.4 cm (display upright)

Weight12.57 lb.
5.66 kg

350

MPC LiveADCs

24-bit @ 44.1, 48, or 96 kHz

DACs

24-bit @ 44.1, 48, or 96 kHz

Digital Signal Processing

32-bit floating point

Line Inputs

Dynamic Range

113.5 dB (A-weighted)(2) balanced
1/4” (6.35 mm) TRS

SNR

108 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.001% (1 kHz, +4 dBu, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.1 dB)

Maximum Input Level+11 dBu

Sensitivity-13.5 dBu

Gain Range

24.5 dB

Phono Inputs

Dynamic Range

107 dB (A-weighted, 63 mVrms @ 1 kHz, -1 dBFS, 20 Ω source)(2) unbalanced RCA

SNR

86 dB (A-weighted, 4 mVrms @ 1 kHz, 20 Ω source)

THD+N

0.009% (1 kHz, -46 dBu, -1 dBFS)

Maximum Input Level

63 mVrms (1 kHz)

Sensitivity

2 mVrms (1 kHz)

Main Outputs 1–2

Dynamic Range

113 dB (A-weighted)(2) impedance-balanced
1/4” (6.35 mm) TRS

THD+N

0.002% (1 kHz, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.5 dB)

Maximum Output Level+9 dBuOutput Impedance

100 Ω

Outputs 3–6

Dynamic Range

116 dB (A-weighted)(4) impedance-balanced
1/4” (6.35 mm) TRS

THD+N

0.001% (1 kHz, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.1 dB)

Maximum Output Level+9 dBuOutput Impedance

100 Ω

Headphone Output

Dynamic Range

112 dB (A-weighted)(1) 1/8” (3.5 mm)stereo headphone

THD+N

0.005% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.2 dB)

Maximum Power Delivered+35 mW (<1% THD, 32 Ω headphones)

Maximum Output Level+10 dBu

Digital Audio System

351

MechanicalPads(16) velocity- and pressure-sensitive pads, RGB-backlit(8) banks accessible via Pad Bank buttons

Knobs(4) 360° touch-sensitive Q-Link knobs(4) Q-Link knob columns accessible via Q-Link button(1) 360° encoder for value/data adjustment and selection via push

MemoryFile System Compatibility

Display7” (17.8 cm) full-color 1280x800 display with capacitive multi-touch

RAM

2 GB

Internal
Storage

16 GB (6 GB user storage + 10 GB pre-installed content)
Expandable via SATA connections

exFAT (read & write) (recommended)
FAT32 (read & write)
NTFS (read & write)
EXT4 (read & write)
HFS+ (read only)
Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV

Connections(2) 1/4” (6.35 mm) TRS inputs (1 stereo pair)(6) 1/4” (6.35 mm) TRS outputs (3 stereo pairs)(1) 1/8” (3.5 mm) stereo headphone output(2) RCA inputs (1 stereo pair)(2) 5-pin MIDI inputs(2) 5-pin MIDI outputs(2) USB Type-A ports(1) USB Type-B port
(1) SD card slot
(1) power adapter inputPower

via power adapter: 19 V, 3.42 A, center-positive, included
via battery: lithium-ion, rechargeable, up to 6 hours of battery life

Dimensions

16.7” x 8.8” x 2.7”

(width x depth x height)

42.4 x 22.4 x 6.9 cm

Weight5.9 lb.
2.7 kg352

MPC Live II
ADCs

24-bit @ 44.1, 48, or 96 kHz

DACs

24-bit @ 44.1, 48, or 96 kHz

Digital Signal Processing

32-bit floating point

Line Inputs

Dynamic Range

113 dB (A-weighted)(2) balanced
1/4” (6.35 mm) TRS

SNR

108.5 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.001% (1 kHz, +4 dBu, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.1 dB)

Maximum Input Level+16.5 dBu

Sensitivity-13 dBu

Gain Range

29.5 dB

Phono Inputs

Dynamic Range

108.5 dB (A-weighted, 74 mVrms @ 1 kHz, -1 dBFS, 20 Ω source)(2) unbalanced RCA

SNR

87 dB (A-weighted, 4 mVrms @ 1 kHz, 20 Ω source)

THD+N

0.011% (1 kHz, -46 dBu, -1 dBFS)

Maximum Input Level

74 mVrms (1 kHz)

Sensitivity

2 mVrms (1 kHz)

Main Outputs 1–2

Dynamic Range

118 dB (A-weighted)(2) impedance-balanced
1/4” (6.35 mm) TRS

THD+N

0.001% (1 kHz, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.2 dB)

Maximum Output Level+9 dBuOutput Impedance

100 Ω

Outputs 3–4

Dynamic Range

116.5 dB (A-weighted)(2) impedance-balanced
1/4” (6.35 mm) TRS

THD+N

0.001% (1 kHz, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.1 dB)

Maximum Output Level+9 dBuOutput Impedance

100 Ω

Outputs 5–6

Dynamic Range

112.5 dB (A-weighted)(2) impedance-balanced
1/4” (6.35 mm) TRS

THD+N

0.002% (1 kHz, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.1 dB)

Maximum Output Level+9 dBuOutput Impedance

100 Ω

Digital Audio System353

Headphone Output

Dynamic Range

111 dB (A-weighted)(1) 1/8” (3.5 mm)stereo headphone

THD+N

0.003% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones)

Frequency Response

20 Hz – 20 kHz (+0.0 / -0.2 dB)

Maximum Power Delivered+35 mW (<1% THD, 32 Ω headphones)

Maximum Output Level+10 dBuOutput Impedance

32 Ω

Pads

(16) velocity- and pressure-sensitive pads, RGB-backlit(8) banks accessible via Pad Bank buttons

Knobs(4) 360° touch-sensitive Q-Link Knobs(4) Q-Link Knob columns accessible via Q-Link button(1) 360° encoder for display navigation and selection via push

Buttons(27) dedicated function buttons; red-, amber-, or green-backlit

Display

6.9” / 176 mm (diagonal)
5.9” x 3.7” / 150 x 93 mm (width x height)
Full-color LED-backlit display with touch interface

CPU

Processor: Quad-core ARM® processor
RAM: 2 GB
Storage: 16 GB, expandable via SATA connections

Connections(2) 1/4” (6.35 mm) TRS inputs (1 stereo pair)(6) 1/4” (6.35 mm) TRS outputs (3 stereo pairs)(1) 1/4” (6.35 mm) stereo headphone output(2) RCA inputs (1 stereo pair)(2) 5-pin MIDI inputs(2) 5-pin MIDI outputs(4) Stereo CV/Gate outputs(1) Ethernet link port
(2) USB Type-A ports(1) USB Type-B port
(1) SD card slot
(1) power adapter inputPower

via power adapter: 19 V, 3.42 A, center-positive, included
via battery: lithium-ion, rechargeable, up to 4 hours of battery life

Dimensions

16.2” x 9.6” x 1.8”

(width x depth x height)

411.5 x 243.8 x 45.7 mm

Weight7.45 lbs.
3.38 kg

354

MPC One / MPC One+ADCs

24-bit @ 44.1, 48, or 96 kHz

DACs

24-bit @ 44.1, 48, or 96 kHz

Digital Signal Processing

32-bit floating point

Line Inputs 1–2

Frequency Response

20 Hz – 20 kHz (+0/-0.8 dB)(2) balanced 1/4”
(6.35 mm) TRS

Dynamic Range

113 dB (A-weighted)

Signal-to-Noise Ratio

111 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.002% (1 kHz, +4 dBu, -1 dBFS)

Max Input Level+16 dBu

Sensitivity-13.5 dBu

Gain Range

29.5 dBLine Outputs 1–2

Frequency Response

20 Hz – 20 kHz (+0/-0.8 dB)(2) balanced 1/4”
(6.35 mm) TRS

Dynamic Range

113 dB (A-weighted)

THD+N

0.003% (1 kHz, -1 dBFS)

Maximum Output Level+9 dBuOutput Impedance

100 Ω

Headphone Output

Frequency Response

20 Hz – 20 kHz (+0/-0.8 dB)(1) 1/8” (3.5 mm)stereo headphone

Dynamic Range

112.5 dB (A-weighted, 32Ω)

THD+N

0.006% (1 kHz, -1 dBFS, 32Ω)Maximum Output Level

28.8 mW @ 32ΩPads(16) velocity- and pressure-sensitive pads, RGB-backlit

Digital Audio System

Mechanical(8) banks accessible via Pad Bank buttons
Knobs(4) 360° touch-sensitive Q-Link Knobs(4) Q-Link Knob columns accessible via Q-Link button(1) 360° encoder for display navigation and selection via
push

Buttons(31) dedicated function buttons; red-, amber-, or greenbacklit

Display

7.0” / 177 mm (diagonal)
5.9” x 3.7” / 151 x 94 mm (width x height)
Full-color LED-backlit display with touch interface

CPU

Processor: Quad-core ARM® processor
RAM: 2 GB
Storage: 2 GB user storage, 2 GB pre-installed content (MPC One)
16 GB internal storage, 7.8 GB user storage (MPC One+)

355

File System Compatibility

exFAT (read & write) (recommended)
FAT32 (read & write)
NTFS (read & write)
EXT4 (read & write)
HFS+ (read only)
Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV

Connections(2) 1/4” (6.35 mm) TRS inputs (1 stereo pair)(2) 1/4” (6.35 mm) TRS outputs (1 stereo pair)(1) 1/8” (3.5 mm) stereo headphone output(1) 5-pin MIDI inputs(1) 5-pin MIDI outputs(4) CV/Gate outputs(1) USB Type-A port
(1) USB Type-B port
(1) SD card slot
(1) power adapter inputPower

via included power adapter:
MPC One: 19 V, 3.42 A, center-positive
MPC One+: 12 V, 3 A, center-positive

Dimensions

10.7” x 10.7” x 2.1”

(width x depth x height)

272 x 272 x 53 mm

Weight4.7 lbs.
2.1 kg356

MPC Key 61
ADCs

24-bit @ 44.1, 48, or 96 kHz

DACs

24-bit @ 44.1, 48, or 96 kHz

Digital Signal Processing

32-bit floating point

Mic Inputs1–2

Frequency Response

20 Hz – 20 kHz (+0.2 / -1.0 dB)(2) balanced XLR+1/4”(6.35 mm) TRS

Dynamic Range

111 dB (A-weighted)

SNR

110 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.002% (1 kHz, +4 dBu, -1 dBFS)

Preamp EIN-130 dBu (max gain, 40 Ω source, A-weighted)

Digital Audio System-128 dBu (max gain, 150 Ω source, unweighted)
Maximum Input Level+13 dBu

Sensitivity-46 dBu

Gain Range

59 dBLine Inputs 1–2

Frequency Response

20 Hz – 20 kHz (+0.2 / -1.0 dB)(2) balanced XLR+1/4”(6.35 mm) TRS

Dynamic Range

112 dB (A-weighted)

SNR

111 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.001% (1 kHz, +4 dBu, -1 dBFS)

Maximum Input Level+20 dBu

Sensitivity-11 dBu

Gain Range

31 dB

Inst Inputs 1–2

Frequency Response

20 Hz – 20 kHz (+0.2 / -1.0 dB)(2) unbalanced 1/4”
(6.35 mm) TS

Dynamic Range

112 dB (A-weighted)

SNR

106 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.001% (1 kHz, +4 dBu, -1 dBFS)

Maximum Input Level+16 dBu

Sensitivity-15 dBu

Gain Range

31 dB

Input Impedance

1 MΩ

Main Outputs 1–2

Frequency Response

20 Hz – 20 kHz (+0.03 / -0.2 dB)(2) impedance-balanced
1/4” (6.35 mm) TRS

Dynamic Range

115 dB (A-weighted)

THD+N

0.004% (1 kHz, -1 dBFS)

Maximum Output Level+16 dBuOutput Impedance

50 Ω

357

Outputs 3–4

Frequency Response

20 Hz – 20 kHz (+0.03 / -0.2 dB)(2) impedancebalanced 1/4” (6.35mm) TRS

Dynamic Range

115 dB (A-weighted)

THD+N

0.004% (1 kHz, -1 dBFS)

Maximum Output Level+16 dBuOutput Impedance

50 Ω

Headphone Output

Frequency Response

20 Hz – 20 kHz (+0.05 / -0.2 dB)(1) 1/4” (6.35 mm)stereo headphone

Dynamic Range

108 dB (A-weighted)

THD+N

0.004% (1 kHz, 10 mW per channel into 32 Ω headphones)

Maximum Output Level+6 dBu (unloaded)Power Output

40 mW RMS (per channel into 32 Ω headphones)

Keys

61 semi-weighted keys with aftertouchPads(16) velocity- and pressure-sensitive pads, RGB-backlit

Mechanical(8) banks accessible via Pad Bank buttons
Knobs(4) 360° touch-sensitive Q-Link knobs(4) Q-Link Knob columns accessible via Q-Link button(1) 360° encoder for value/data adjustment

Buttons(44) dedicated function buttons; white-, red-, or greenbacklit

Touch Strip(1) Multi-function, touch-capacitive control strip0.8” x 4.4” / 20 x 113 mm (width x height)

Display7” / 177 mm (diagonal)
Full-color LED-backlit display with touch interface

MemoryRAM

4 GB

Internal Storage

32 GB
Expandable via SATA connections

File System
Compatibility

exFAT (read & write) (recommended)
FAT32 (read & write)
NTFS (read & write)
EXT4 (read & write)
HFS+ (read only)
Audio Files: AIF/AIFF, FLAC, MP3, OGG, WAV

358

Connections(2) 1/4” (6.35 mm) Combo XLR/TRS inputs (1 stereo pair)(1) 1/4” (6.35 mm) TRS sustain pedal input (TS compatible)(1) 1/4” (6.35 mm) TRS footswitch pedal input (TS compatible)(1) 1/4” (6.35 mm) TRS expression pedal input (TS compatible)(4) 1/4” (6.35 mm) TRS outputs (2 stereo pairs)(1) 1/4” (6.35 mm) stereo headphone output(8) 1/8" (3.5 mm) TS mono CV/Gate outputs(1) 5-pin MIDI inputs(1) 5-pin MIDI outputs(1) 5-pin MIDI thru-port(1) Ethernet link port
(2) USB Type-A ports(1) USB Type-B port
(1) IEC power input

Power

100 V – 240 V AC, 50/60 Hz, 65 W

Dimensions

38.8” x 12.3” x 3.8”

(width x depth x height)

986 x 313 x 96.7 mm

Weight17.9 lbs.
8.1 kg359

MPC Studio mk2
Pads(16) velocity- and pressure-sensitive pads, RGB-backlit(8) banks accessible via Pad Bank buttons

Knobs(1) 360° push encoder for display navigation and selection

Touch Strip(1) multi-function 5.5" (140 mm) touch-capacitive controller with LED indicators

Buttons(39) LED backlit dedicated function buttons

Display

Full-color LCD

Connections(1) 1/8" (3.5 mm) MIDI input(1) 1/8" (3.5 mm) MIDI output(1) USB Type-B port

Power

via USB

Dimensions

12.0” x 6.7” x 1.5”

(width x depth x height)

305 x 171 x 37 mm

Weight

1.8 lbs.
0.83 kg

360

MPC Touch
Line Inputs

Dynamic Range

102 dB (A-weighted)(2) balanced
1/4” (6.35 mm) TRS

SNR

99 dB (1 kHz, +4 dBu, A-weighted)

THD+N

0.002% (1 kHz, +4 dBu, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.1 / -0.1 dB)

Maximum Input Level+15 dBu

Input Impedance

12 KΩ (balanced), 5 KΩ (unbalanced)

Sensitivity-16 dBu

Gain Range

31 dB

Main Outputs

Dynamic Range

100 dB (A-weighted)(2) impedancebalanced 1/4”
(6.35 mm) TRS

THD+N

0.006% (1 kHz, -1 dBFS)

Frequency Response

20 Hz – 20 kHz (+0.25 / -0.25 dB)

Maximum Output Level+8 dBuOutput Impedance

100 Ω

Headphone Output

THD+N

0.009% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones)(1) 1/8” (3.5 mm)stereo headphone

Frequency Response

20 Hz – 20 kHz (+0.3 / -0.3 dB)

Maximum Output Level+6 dBuMaximum Power Delivered 12 mW/channel

MechanicalOutput Impedance

33 Ω

Pads

(16) velocity- and pressure-sensitive pads, RGB-backlit(8) banks accessible via Pad Bank buttons

Knobs(4) 360° touch-sensitive Q-Link knobs(4) Q-Link knob columns accessible via Q-Link button(1) 360° encoder for value/data adjustment and selection via push

Display
Connections

7.0” (17.8 cm) full-color 1280x800 display with capacitive
multi-touch(2) 1/4” (6.35 mm) TRS inputs (1 stereo pair)(2) 1/4” (6.35 mm) TRS outputs (1 stereo pair)(1) 1/8” (3.5 mm) stereo headphone output(1) 1/8” (3.5 mm) MIDI input (1/8”-to-5-pin adapter included)(1) 1/8” (3.5 mm) MIDI output (1/8”-to-5-pin adapter included)(1) USB Type-B port
(1) power adapter inputPower

via power adapter: 6 VDC, 3 A, center-positive, included

Dimensions

16.2” x 8.6” x 1.9”

(width x depth x height)

41.1 x 21.8 x 4.8 cm

Weight4.6 lb.
2.1 kg361

Trademarks & Licenses
Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries.
Ableton is a trademark of Ableton AG.
ASIO and VST are trademarks of Steinberg Media Technologies GmbH.
The Bluetooth word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of suchmarks by Akai Professional is under license.
MPC software incorporates élastique Pro V3 by zplane.development.
Apple and macOS are trademarks of Apple Inc., registered in the U.S. and other countries.
SD and SDHC are registered trademarks of SD-3C, LLC.
Windows is a registered trademark of Microsoft Corporation in the United States and other countries.
Pro Tools is a trademark of Avid Technology, Inc. in the U.S. and other countries.
All other product names, company names, trademarks, or trade names are those of their respective owners.
For complete legal information, visit akaipro.com/product-legal362

Addenda
Updates in MPC 2.1
New Features
Exporting Expansions
You can export MPC Expansion Packs (installed on your computer) to your MPC hardware for use in its Standalone
Mode. (This has been added to Operation > Modes > Browser > Browse.)

To export MPC Expansions:
1. Connect your MPC hardware to your computer. Make sure both are powered on.
2. On your computer, open the MPC software.
3. On your MPC hardware, enter Controller Mode.
4. In the MPC software window, click the menu icon (≡), select File > Export, and then click Expansion….
5. In the Export Expansion to Standalone MPC window that appears, click the Drive menu and select a storage
device that you will use with your MPC hardware: the internal SATA drive (if you have installed one in your MPC
hardware), an SD card, or a USB flash drive.
6. In the Expansions list, click the box next to each one to select or deselect it. Only the selected ones will be
exported. Click Select all to select all of them or Select none to deselect all of them.
7. Click Export to start exporting, or click Cancel to close the window and not export anything.
The exporting process creates an Expansions folder at the root level of your storage device and copies yourMPC Expansions into it.
To use your expansions, restart your MPC hardware in Standalone Mode, enter the Browser, and tap
Expansion.

363

Snap: Absolute & Relative
While editing a MIDI or audio track, you can now use
the Grid View or Audio Edit Mode to move or copy
events using two different ways of “snapping” note
events to the grid: Absolute or Relative. (This has
been added to Operation > Modes > Grid View and
Audio Edit Mode.)
To view the Settings, tap the gear icon.

Use the Snap Mode selector to set how events “snap”
to the grid.
Absolute: Events will “snap” to the nearest time
division on the grid (as determined by the TC
field or Time Correct window). This is the
typical and traditional method of using thesnap/quantization feature.
Relative: Events will “snap” to the nearest time
division on the grid (as determined by the TC
field or Time Correct window) plus the originaltime position of the event (e.g., an event that isoriginally three ticks past a time division on thegrid will snap only to positions that are threeticks past every time division).

List Edit Settings: Auto-AdvanceThe Settings window now has some additional lets
you configure certain List Edit Mode settings. (This has
been added to Operation > Modes > List Edit Mode.)
To view the Settings, tap the gear icon.

Use the Auto-Advance on Step Record selector toturn the feature on or off.
When set to On, pressing a pad when the track isrecord-armed will move the audio playhead forward
by a length determined by the current Time Divisionsetting in the TC/Timing Correct window.
When set to Off, pressing a pad when the track isrecord-armed will not change the audio playhead
position.

364

Pitch Quantization
In a MIDI track, you can now force the pitches of note events into a specific scale. This quantization process is available
with other track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section.)

To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open.
To open the Pitch Quantize window, tap Pitch Quantize.

To select the desired root note of the scale, use the Root Note field.
To select a type of scale, use the Scale field.
To determine which note events will be quantized, tap the Only apply to selected events checkbox.
When on, only the currently selected note events will be quantized.
When off, all pitches in the current track will be quantized.
To set lowest-possible and highest-possible pitches where the quantized note events will be placed,
use the Start Note and End Note fields (respectively). If a note event is originally outside of this range, itwill be forced to the nearest pitch (within the scale) inside the range.
To continue and quantize the note events, tap Do It.
To cancel, tap Close.
365

Step Sequencer: Velocity Adjustment via Q-Links
While using the Step Sequencer, you can now use the Q-Link knobs to adjust the velocity of the note event at eachstep (the Q-Link knobs must be in the Screen edit mode). On MPC X, the number of each step will be shown under
the corresponding Q-Link knob. (This has been added to Operation > Modes > Step Sequencer).
To adjust the velocity of each note event, use the corresponding Q-Link knob to select a value (1–127).
To enter a note event at a step, use the corresponding Q-Link knob to change its velocity from 0 (Off) to avalue of 1 or greater.
To delete a note event from a step, set the corresponding Q-Link knob to its minimum position, 0 (Off).

Pad Perform Mode: User Progressions
You can now use your own progressions (created in the desktop version of the MPC software) on your MPC
hardware.

To transfer progressions to your MPC hardware:
1. Connect the storage device that you will use with your MPC hardware (e.g., the internal drive, an SD card, a USB
drive) to your computer.
2. On your computer, access the storage device and create a folder named Progressions on its root level.
3. Copy your progression files (.progression) from your computer to that Progressions folder.
By default, progressions are saved here:
Windows: C:\Program Files\Akai Pro\MPC\Progressions and/or C:\ProgramData\Akai\MPC\Progressions
macOS: ~/Library/Application Support/Akai/MPC/Progressions
4. Eject and disconnect the storage device from your computer, and connect it to your MPC hardware.

To use your progressions, start your MPC hardware in Standalone Mode, enter Pad Perform Mode, and tap
Progressions. Your MPC hardware will scan the Progressions folder you created and add them to the list ofavailable progressions.

Faster Attack for Amp Envelopes
In the amp envelope of a drum program or keygroup program, an attack value of 0 now produces a much faster
response, thus making your drum hits even punchier than before. (You can set the attack value in Program Edit Mode.
See Operation > Modes > Program Edit Mode > Drum Programs > Filter/Envelope and Keygroup Programs >Filter/Envelope to learn more.)
Important: Any drum or keygroup programs that you created and saved before this update will load in MPC 2.1 withan attack value of 1 to ensure backwards compatibility.

366

Updates in MPC 2.2
New Features
MIDI Control Mode: MIDI Learn
You can now use the MIDI Learn function to assign external MIDI controllers to various parameters in your specific
MPC project:•

Mixer parameters such as volume, pan, mute, and solo for MIDI or audio tracks, programs, returns, submixes,
and main outputs•

Pad parameters (for drum programs and clip programs only) such as tuning, filter and amp envelopes, layer
settings, LFO settings, and velocity•

Program parameters, which depend on the program type•

Insert effects parameters, which depend on the effect type

These assignments will be saved with your MPC project.
Tip: Because these MIDI assignments are saved within a project, you can use them while working with a project on
both the desktop version of the MPC software or on your MPC hardware in Standalone Mode. You can also include
them with a user template.
To display the MIDI Learn window, press
Menu, tap MIDI Control to enter MIDI Control
Mode, and then tap the MIDI Learn tab.
Each assignment has the following settings:
Source: This is the name or number of the
track, program, return, submix, or main
output.
Target: This is the name of the assigned
command or parameter.
Type: This is the type of message:•

Toggle Button: When the control is abutton, pressing it will activate ordeactivate its command or parameter.
It will remain in that state until youpress it again.

•

Momentary Button: When the control is a button, pressing and holding it down will activate its commandor parameter. Releasing the button will deactivate it.

•

Fixed Button: When the control is a button, pressing it will send its command.

•

Note: When the control is a button, pressing it will send the MIDI note (determined by the Data field).

•

Abs CC: When the control is a knob, turning it will send its CC message (determined by the Data field)
according to the precise physical position of the knob. (When you start turning it, the value may “jump”
from its current value to the one corresponding to the knob’s position.) This is for use with knobs thathave a maximum and minimum position.

•

Rel CC Offset: When the control is a knob, turning it will send the CC message (determined by the Data
field), starting from the current value. This is for use with 360° knobs controlling parameters that have amaximum and minimum position.

•

Rel CC 2’s Complement: When the control is a knob, turning it will send the CC message (determinedby the Data field), starting from the current value. This is for use with 360° knobs controlling bipolar
parameters where there is a center (12:00) position (e.g., panning).

This is automatically detected based on the Source and Target fields, though you can use this field to assign it
manually if it does not detect it properly.
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Ch: This is the MIDI channel the control is using.
Data: This is the MIDI note number or CC number.
Flip: Tap this box to select or deselect it. When selected, the control’s polarity will be reversed (e.g., a button’s“off” state will become its “on” state and vice versa).
To assign a parameter to a hardware control:
1. Tap Learn in the upper-left corner so it is on. (The Enable Mapping button will also activate if it is not already on.)
2. Tap + in the lower-left corner to create an “empty” assignment (its Target menus will be set to None and Off).
Alternatively, tap an assignment that is already in the list if you want to change it.
3. Move or press the desired control on your MIDI controller. The Type, Ch, and Data fields will be automaticallyassigned.
4. Use the Source field to select a MIDI or audio track, program, return, submix, or main output (for drum programs
and clip programs, you can select the entire program or a single pad within it). The Target menu will indicate thesource you selected.
5. Use the Target menu to select the parameter. Your selection will be shown under Target in the list, as well.
The control on your MIDI controller will now control the Target parameter.
To assign more controls, repeat Steps 2–5.
To stop assigning controls, tap Learn again so it turns off.
To clear an assignment, follow the steps above to reassign its Source field to None and assign its Target field to Off.
To delete an assignment (the entire slot), tap it in the list, and then tap the trash-can icon in the lower-right corner.
To delete all assignments, press and hold Shift, and then tap the trash-can icon in the lower-right corner. In thewindow that appears, tap Remove All to continue or tap Cancel to not delete any assignments.

Humanize
You can now apply randomization to the timing, length, and/or velocity of MIDI events. This process is available withother track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section).

To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open.
To open the Humanize window, tap Humanize.

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The Humanize function applies randomization to the timing, length, and/or velocity of MIDI note events.
To select whether or not humanization will be applied to the timing of MIDI events, tap the Humanize Timecheckbox.
To select the maximum number of pulses by which the timing of an event will be adjusted, use the Amount(Pulses) slider.
To set how dramatically the humanization effect is applied to the timing, use the Eagerness slider. Negativevalues correspond to playing “ahead of the beat” while positive values correspond to playing “behind the beat.”
To set whether or not humanization will be applied to the duration of MIDI note events, tap the Humanize
Note Length checkbox.
To set how dramatically the humanization effect is applied to note lengths, use the Length (%) slider.
To set whether or not humanization will be applied to the velocities of MIDI note events, tap the Humanize
Velocity checkbox.
To set how dramatically the humanization effect is applied to note velocities, use the Strength (%) slider.
To determine which notes will use these humanization values, tap the Only Apply to Selected Events checkbox.
When on, just the currently selected notes will be humanized.
When off, all notes in the track will be humanized.
To apply humanization and keep this window open, tap Apply.
To apply humanization and close the window, tap Do It.
To close the window without making any changes, tap Close.
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Generate Random Events
You now create random melodic or drum patterns on the current MIDI track. This process is available with othertrack editing processes. (This has been added to Operation > Modes > Main Mode > Track Section).

To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open.
To open the Generate Random Events window, tap Generate Random Events.

The Generate Random Events function creates random melodic or drum patterns on the current MIDI track.
To select the type of events you want to create, use the Event Type field to select Drum Events or Melodic
Events.
To select how the events will be created relative to the existing events on the track, use the Replace field:
Replace All Events: Select this option to replace all events on the track with the randomly generated ones.
Replace Events in Note Range: Select this option to replace all events in the designated note range on the
track with the randomly generated ones. Use the Bank or Start Pad and End Pad menus to set the note
range for drum events or the Start Note and End Note menus to set the note range for melodic events.
Add to Existing Events: Select this option to add the randomly generated events to the track without
replacing or overwriting the existing ones.
To set how many bars the events will use, use the Pattern Size (Bars) field. The highest possible value is thenumber of bars in the current sequence.
To select the duration of the events, use the Note Length field. (This feature is nonfunctional if Legato isenabled while generating melodic events.)
To generate the events and keep this window open, tap Apply.
To generate the events and close the window, tap Do It.
To close the window without generating any events, tap Close.

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If Event Type is set to Drum Events:
To select the pad bank that will be used to generate the events, use the Bank field or select Range to
use the Start Pad and End Pad menus to define a specific pad range instead.
To define a specific pad range over which the events will be generated, use the Start Pad or End Pad
fields. You can use these fields only if the Bank menu is set to Range.
To set how closely together the events will be placed in the track, use the Density (%) slider.
To set how widely or narrowly the rhythmic patterns of the generated notes vary, use the Rhythm
Variation slider.

If Event Type is set to Melodic Events:
To define a specific note range over which the events will be generated, use the Start Note or End Note
fields.
To enable or disable legato, tap the Legato checkbox.

Without legato applied.

With legato applied.

When on, the generated notes will be extended or shortened to create a long, unbroken phrase from thefirst note event’s start point to the last note event’s end point. Each note event will sustain until anothernote event starts. If multiple note events start at the same time (and are not the last note events), theirlengths will become identical.
When off, the generated notes will use the duration set by the Note Length menu.
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To set the maximum number of note events that can be sounding simultaneously in the track, use the
Polyphony field to select 1–8.
To determine whether or not the notes will use a scale, tap the Constrain Notes to Scale checkbox.
When on, the notes will be within the scale determined by the Scale menu.
When off, the notes will be chromatic.
To set how closely together the events will be placed in the track, use the Density (%) slider.
To set the root note of the scale that the notes will use, use the Root Note field.
To select the scale or mode that the generated notes will use, use the Scale field.

Project Template
You can now select a project file to use as a template for new projects. (This has been added to Operation > General
Features > Menu > Save and Menu > Preferences > Project Load/Save.)

To select a project template file, do either of the following:

1. Tap the icon in the upper-left corner to enter the Menu.
2. Tap the gear icon to enter the Preferences.
3. Tap Project Load/Save.
4. Tap the magnifying-glass icon next to the Template File field to select the project you want to use as atemplate.

1. In Main Mode, tap the Project field in the upper-left corner.
2. Tap Save As… at the bottom of the screen.
3. Tap the Save as Template checkbox to check it.
4. Name and select a location for the project, as usual.
5. Tap Save. (The file will now be shown in the Template File field in the Preferences’ Project Load/Save tab.)

To load the project template from the startup screen (when you power on your MPC hardware), tap User
Template at the bottom of the screen. In order for this option to be available, New Project Dialog (in the
Project Defaults tab) in the Preferences must be set to Demo or Demo/Template/Recent.

372

Updates in MPC 2.3
New Features
Arpeggiator
MPC now includes a full-featured arpeggiator and phrase player for melodic program types.
To open the Arpeggiator settings:
1. Set the current track type to Plugin, Keygroup, MIDI, or CV.
2. Open the Arpeggiator window by doing either of the following:• Press and hold the Note Repeat button, then tap Arp at the bottom-right of the screen.
• Alternatively, press the Arpeggiator F-Key (MPC X).

To activate the Arpeggiator, tap Enable so it is checked.
Tap again to Disable the Arpeggiator.
To latch the Arpeggiator, tap Latch so it is checked. Tap
again to Disable Latch.
The Setup section of the Arpeggiator window sets whatkind of arpeggiator will be used and its functions:
Use the Action field to set the type: Arp, Note
Repeat, Rhythm and Pattern. See below for moredetails about these types and their additionalparameters.
Use the Step Size field to set the note value of eacharpeggiator step from 1/1–1/64 beats, including T(triplet) variations. This field is not used in Patternmode.
Use the Note Length slider to set the length of theplayed note in each step, from 1–100%.
Use the Velocity field to set the velocity of thearpeggiator notes. Choose As played, From firstnote, Accented, Full, 3/4, Half or 1/4.
Use the Swing field to set the amount of swing in the
arpeggiator from 50% to 75%. Swing lets you"shuffle" your beats—from subtle to extreme.
The Arp mode section of the Arpeggiator window isavailable when the Action is set to Arp. When this action
is selected, hold down a chord and the arpeggiator willplay a pattern based on the notes held.
Use the Pattern field to set how the arpeggiator
triggers the held notes.
Use the Octaves field to set how many octaves of theheld notes the arpeggiator will cycle through.
Use the Variation field to apply rhythmic variation to
the set pattern.

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The Rhythm section of the Arpeggiator window isavailable when Action is set to Note Repeat or Rhythm.
The Note Repeat action provides traditional MPC Note
Repeat behavior. When the Rhythm arpeggiator action is
selected, hold down a chord and the arpeggiator will play
the held notes in a rhythmic pattern.
Use the Spread field to spread the timing of the heldnotes, creating a glissando effect.
Use the Rhythm Pattern field to choose the pattern
played when notes are held. This is only available for
the Rhythm action.

The Pattern section of the Arpeggiator window isavailable when the Action is set to Pattern. When thisarpeggiator action is selected, hold down a single note to
trigger a melodic phrase. As you change what note isheld, the melodic phrase will be transposed.
Use the Pattern field to choose the pattern.

The Settings section of the Arpeggiator window offers
additional options to control the arpeggiator.
If you have a sustain pedal connected, you can enable
Sustain Pedal Latches to use it to control latching.
Use the Latch Mode setting to set the latch behavior.
When set to Reset, adding a new note(s) will reset thecurrently latched note(s). When set to Add, new notes
will be added to currently latched notes.

Tap Close to close the Arpeggiator window.

374

Auto Sampler
You can now capture and convert any plugin preset or external instrument preset into a Keygroup sampler patch.
To open the Auto Sampler:
1. Open the Sampler mode by doing either of the following:• Press Menu and then tap Sampler.
• Press Sampler (MPC X).
2. Press the Auto Sampler icon in the toolbar.
Sample Source Information
The Track name and Program name fields show thetarget track and program that will be sampled. This
will be automatically selected as the active track andprogram when Auto Sampler is opened.
Use the Record from field to select an external or
resample input to record from:To capture the output of a plugin, simply selecta Plugin track before opening Auto Sampler.
Note: When a plugin track is selected, the Auto
Sampler will only sample the plugin track,
regardless of the setting in the Record From
field.
To capture a preset from an external
instrument such as a sound module, select the
Input that the external instrument is connected to.

Note Range
Use the Min note and Max note settings to determine
the lowest and highest notes used to create thesampler patch.
Use the Note stride to determine the range of notesthat each sample will cover. For instance, a note
stride of 5 means that every 5 notes will utilize adifferent sample.
Check the Extend min/max notes box to sample all
the way to the lowest and highest notes, regardless of
the Min Note and Max Note settings.

Velocity
Tap the boxes next to Layers 1–4 to select how manylayers will be used to create the sampler patch.
Use the Velocity value sliders to set the velocity ofeach layer.

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Sampling
Use the Note length slider to set the length of thesampled note in seconds.
Use Tail slider to set the length of the Audio Tail inseconds. This will add extra seconds to the end of theresulting audio file. This is useful if you are capturing
samples whose sounds exceed the defined audio
length (e.g., long reverb or delay, one-shot samples
with long decays, etc.). We recommend using an
audio tail of at least a couple of seconds.
Use Base name to set the naming convention for the
samples that will be created by the Auto Sampler.

Looping
Use the Enable looping field to select how theresulting samples can or cannot be looped:•

Off: The sample will not loop.

•

Forward: You can hold down the pad tocause that sample to repeat from the Loop
Position to the end of the sample. Release
the pad to stop the repeating playback.

•Reverse: You can hold down the pad tocause that sample to play in reverse,
repeating from the end of the sample to the
Loop Position. Release the pad to stop therepeating playback.

•

Alternating: You can hold down the pad tocause that sample to play from the Loop
Position to the end of the sample and thenplay in reverse until it reaches the Loop
Position again. This will repeat as long as you
are holding the pad down. Release the pad tostop the repeating playback.

Use the Loop start and Loop end sliders to set the starting and ending points in the sample where the loop will
occur.
Use the Crossfade field to set the amount of crossfade between the loop end and loop start in seconds.
Use the Crossfade Type field to select Equal Power or Linear crossfade.
Under On completion, check Make current program toload the completed sampler patch as the current
program.
Under Info, the Session Duration field provides anestimate of how long the auto sampling process will take.
Tap OK to initiate the auto sampling process. A Progress
window will appear. Click Cancel to stop the auto
sampling process. Any samples already created will be
retained.
Tap Cancel to close the Auto Sampler window without
continuing.

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Crossfade Looping
You can now add real time crossfade looping to sample playback.

To apply crossfade looping to a sample:
1. Open Sample Edit mode by doing either of the following:• Press Menu, and then tap Sample Edit.
• Press Sample Edit (MPC X).
2. Make sure the loop Lock setting is set to Off.
3. Tap the Loop button to select the Forward (FWD) loop mode.
4. Make sure there is at least 10 samples of space between the Start point and Loop point.
5. Tap the X-Fade button to open the X-Fade window:

To set the length of the crossfade in samples, use the Length field.
To set the type of crossfade, use the Type field. Select Equal Power or Linear.
To close the window and return to Trim Mode, tap the X or tap Close.
When you are finished, press Pad A16 – Play Continuous Loop in Sample Edit Trim Mode to hear the crossfade
applied to the sample.

377

Mode Selection Shortcut
You can now press and hold the Menu button on your MPC hardware and press a pad to select a menu mode. The
pads follow the 4x4 layout of the Mode Menu.

Pad Perform Mode: Chromatic TypeYou can now use Pad Perform Mode to set the pads to follow a chromatic layout. When the Chromatic type isselected, each pad is assigned a note, ascending by one semitone with each pad. Pads with notes in the key
determined by the Scale will be lit, while pads with notes between the scale degrees will be unlit.

Q-Link Navigation Enhancements
Q-Link functionality has been enhanced in the following modes: Main Mode, Track View, Next Sequence, Grid Editor,
and Audio Edit Mode.
Set the Q-Link Mode to Screen in these pages to access the following controls:
Use Q-Link Knob 2 to adjust the playhead position.
Use Q-Link Knob 3 to scroll through the waveform in the large waveform display.
Use Q-Link Knob 4 to zoom in or zoom out at the playhead position.
Note: For MPC hardware in standalone mode, the Zoom and Scroll Q-Links are only available in the Grid Editor andAudio Edit Mode.

378

Split Events
You can now easily split note events, useful for creating intricate hi-hat parts or quintuplet/sextuplet motifs or drum
beats. (This has been added to Operation > Modes > Main Mode > Track Section.)

To edit the track, tap the pencil icon on the right edge of the Main Mode screen. The Track Edit window willopen.
To open the Split Events window, tap Split Events.

To set how many events notes will be divided into, use the Into slider.
To determine which notes will be divided, tap the Only selected events checkbox.
To split the events and close the window, tap Do It.
To close the window without making any changes, tap Close.

379

AIR Instrument Plugins
MPC now includes three new plugin instruments: AIR TubeSynth, AIR Bassline, and AIR Electric.

AIR Bassline
The AIR Bassline plugin emulates the sound of classic
mono synths, with a contemporary twist. Bassline alsocomes packaged with four integrated AIR effects (Chorus,
Delay, Compressor and Hype), as well as two built-in
distortion algorithms (Overdrive and Clip).

Osc/Filter/Envelope
Use this tab to adjust the settings for the oscillators,
as well as their filter and envelope settings.
Parameter
Oscillator

FilterEnvelope

Waveform

Description

Value Range

Continuously variable waveshape for the oscillator.

Saw Octave, Saw,
Square, Sine

Sub-Octave Amount of sub-octave oscillator.

0–100%

Fifth

Amount of fifth-oscillator.

0–100%Start Phase

Position of the waveform when a note is triggered.

Free, 0 degr., 180
degr.

Glide Time

Amount of time to slide from the pitch of one note to the next
note played.

10.0 ms – 2.00 s

Boost

Boosts the signal of the oscillator.

0.0 – 48.0 dB

Boost Freq.

Center frequency of the boost.

* 1.0 – * 240.0

Boost
Envelope

Amount of effect of the envelope on the Boost section.
Gain 0–100%, Off,
Frequency 0–100%
Adjust Gain to control the amount of boost.
Adjust Frequency to control the center frequency of the boost.

LP Cutoff

Cutoff frequency for the low-pass filter.

20.0 Hz – 20.0 kHz

ResoResonance of the filter.

0–100%

Filter Env

Envelope of the filter.
At negative values, decreases the cutoff value based on the
decay value.
At positive values, increases the cutoff value based on the
decay value.

-100% – 0 – +100%

HP Cutoff

Cutoff frequency for the high-pass filter.

10.0 – 500 Hz

Amp Attack

Length of time for the note to reach full volume.

0–100 Soft,
0–100% Hard

Amp Decay

Length of time for the note to reach the sustained volume.

0–100%

Filter Decay Length of time for the filter to reset after being released.

0–100%

Pitch Mod

0–100%

Amount of pitch modulation applied to the envelope.

380

Velocity/Global/Chorus
Use this tab to adjust the Velocity Control settings and Global volume. You can also apply and adjust thesettings for the built-in Chorus effect.
Parameter
Velocity

GlobalChorusDescription

Value Range

Amp Control

The amount of effect velocity has on amplitudecontrol.

0–100%

Filter Control

The amount of effect velocity has on filter control.

0–100%

Boost Control

The amount of effect velocity has on boost control.

0–100%

Env Retrigger

Sets whether the envelope will retrigger when a note is Off, On
played while another note is being held.

Global Volume

Sets the volume level.

-Inf dB – +6.0 dB

Drive TypeChoose one of two drive algorithms.

Overdrive, Clip

Drive AmountAmount of drive applied.

0–100%

Bend Range

Number of semitones up or down controlled by MIDI
pitch bend messages.

0–12

Rate

Modulation speed of the chorus effect.

20.0 Hz – 20.0 kHz

Depth

Modulation depth of the chorus effect.

0–100%

Mix

Wet/dry amount of the chorus effect.

-100% – 0 – 100%

On/OffEnables or disables the effect.

Off, On

Delay
Use this tab to apply and adjust the settings for the built-in delay effect.
Parameter

Description

Time

Length of time of the delayed signal.

Value Range

When Sync is set to Free: 1 ms – 2.00 s
When Sync is set to Sync: 1/32 – 8/4
Sync

Sync the Delay Time to the Global Tempo or set to Free to adjust Timeby milliseconds.

Free, Sync

Mix

Wet/dry amount of the delay effect.

0–100%

Feedback

Amount of signal fed back into the delay line.

0–100%

Damp

Center frequency of where the delay signal will be dampened.

1.00 – 20.0 kHz

ResoAmount of resonance of the feedback signal.

0–100%

Reso Freq

Center frequency for feedback resonance.

100 Hz – 10.0 kHz

Ratio

Reduces the delay Time in either the Left or Right stereo field. This isuseful for creating offset, panned delays.

L 50:100, R 50:100

HPF

Center frequency for delay signal high-pass filter.

20.0 Hz – 1.0 kHz

Width

Stereo width of delay signal. Higher values give wider stereo separation.

0–100%

On/OffEnables or disables the effect.

Off, On

381

Compressor/Hype
Use this tab to apply and adjust the settings for the built-in Compressor and Hype effects.
Parameter
Compressor

Hype

Description

Value Range

Threshold

Signal level after which the compressor will be applied.

0.0 – -60. dB

Ratio

Amount of compression applied.

1.0:1 – 100.0:1

OutputAmount of additional output gain for the compressedsignal.

0.0 – 30.0 dB

Mix

Wet/dry mix of the compressor effect.

0–100%Knee

How gradually the compressor reacts as the thresholdis reached.
Lower values apply a "soft" knee (compression isapplied more slowly as signal approaches thethreshold), and higher values apply a "hard" knee(compression is immediately applied when thethreshold is reached).

0–100%

AttackLength of time to apply the compression.

100 us – 300 ms

ReleaseLength of time for compressed signal to return tooriginal level.

10 ms – 4.00 s

On/OffEnables or disables the effect.

Off, OnHigh

Dampens or maximizes high end frequencies.

-100 – 0 – +100%

Low

Dampens or maximizes low end frequencies.

-100 – 0 – +100%

On/OffEnables or disables the effect.

Off, On

382

AIR Electric
The AIR Electric plugin emulates the sound of classic
electric pianos. Dedicated Pickup, Envelope, Bell andNoise parameter sections provide a huge amount offlexibility to configure the timbre of the electric pianosound. Electric also includes five AIR effects: Tremolo,
Tube Distortion, Chorus, Delay and Spring Reverb.
While viewing any of the tabs listed below, you canquickly enable or disable the Bell and Noise sounds, aswell as the built-in effects (Tremolo, Tube, Chorus, Delayand Spring Reverb).
When viewing a specific tab, you can enable or disable
the sound or effect by pressing the circle in the upperright corner of each section.

Pickup/Env
Use this tab to edit the settings for the emulated pickup and the sound envelope.
Parameter
PickupEnvelope

Description

Value Range

Type

Type of pickup emulated.

Pickup, 0–100%
Electro-Static,
0–100% ElectroMagnetic

HeightHeight of the pickup to the tines.

0.0 – 5.0 mm

Distance

Distance of the pickup to the tines.

0.1 – 10.0 mm

Clip

Amount of clipping applied to the signal.

0–100%

Keytrack

Ties the pickup parameters to the pitch being played. 0–100%
At higher values, the Distance is increased as thepitch is increased.

AttackLength of time for the note to reach full volume.

100–0% Hard,
0–100% Soft

Decay

Length of time for the note to reach the sustained
volume.

100 ms – 20.0 s

ReleaseLength of time for the note to become silent after
being released.

100 ms – 5.0 s

Peak Length

Length of time full volume is held before decaying.

3–50 ms

Keytrack

Ties the envelope parameters to the pitch being
played.
At higher values, the envelope time is decreased as
the pitch is increased.

0–100%

383

Bell/Noise
Use this tab to apply and adjust the settings for the Bell and Noise sounds.
Parameter
Bell

Noise

Description

Value Range

Tune

Pitch of the bell sound, in semitones above the root
pitch.

0– 60 semitones

Dry/PUMix of Dry versus Pickup signal for the bell sound.

-100% – 0% – +100%

VolumeLevel of the bell sound.

-Inf dB – 0.0 – +6.0 dB

Tune Keytrack

Ties the tuning of the bell sound to the pitch being
played.

0–100%Decay

How long it takes for the bell sound to dissipate.

100 ms – 7.0 s

Keytrack

Ties the amount of bell sound to the pitch being
played.
At negative values, the bell sound is increased as thepitch increases.
At positive values, the bell sound is increased as thepitch decreases.

-100% – 0% – +100%

Freq

Center frequency of the noise effect.

200 Hz – 16.0 kHz

RandomAmount of randomization applied to the noise effect.

0–100%

Mix

Level of noise effect present.

-Inf dB – 0.0 – +6.0 dB

AttackLength of time for the noise effect to reach full level.

1–50 ms

Decay

Length of time for the noise effect to dissipate.

100 ms – 3.00 s

Keytrack

Ties the Freq to the pitch being played.

0–100%

Setup
Use this tab to adjust general settings for the plugin.
Parameter

Description

Value Range

Polyphony

Number of voices available.

1–16 Voices

Level

Overall level of the plugin.

-Inf dB – 0.0 – +6.0 dB

Velo Level

Adjusts how much incoming velocity is applied.

0–100%

Velo Tone

Ties the incoming velocity to tone.
At higher values, increased velocity increases tone brightness.

0–100%

Velo Attack

Ties the incoming velocity to the attack envelope.
At higher values, lower velocities feature longer attack times.

0–100%

384

Trem/Tube/Chorus
Use this tab to apply and adjust the settings for the built-in Tremolo, Tube (Overdrive), and Chorus effects.
Parameter
Tremolo

Description
Rate

Value Range

Modulation speed of the effect.
When Sync is set to Free: 0.25 – 13.00 Hz
When Sync is set to Sync: 8/4 – 1/16

Tube

Chorus

Sync

Sync the Tremolo Rate to the Global Tempo or let it
run Free.

Free, Sync

Mode

Select Pan for stereo field modulation, or Tremolo for
amplitude modulation.

Pan, Tremolo

DepthAmount of modulation applied.

0–100%

Drive

Amount of drive applied.

0–100%

Headroom

Amount of gain reduction between the clean signal
and the driven signal.

-30.0 – 0.0 dB

Saturation

Amount of saturation applied.

0–100%

OutputOutput level of the tube driven signal.

-20.0 – 0.0 – +20.0 dB

Rate

Modulation speed of the effect.

0.40 – 3.20 Hz

Depth

Amount of pitch modulation of the effect.

0–100%

Mix

Wet/dry amount of the chorus effect.

0–100%

Delay
Use this tab to apply and adjust the settings for the built-in Delay effect.
Parameter

Description

Value Range

Time

Amount of time between the dry signal and the delayed signal.
When Sync is set to Free: 1 ms – 2.00 s
When Sync is set to Sync: 1/32 – 8/4

Sync

Sync the Delay Time to the Global Tempo or set to Free to adjust Timeby milliseconds.

Free, Sync

Mix

Wet/dry amount of the delay effect.

0–100%

Feedback

Amount of signal fed back into the delay line.

0–100%

Damp

Center frequency of where the delay signal will be dampened.

1.00–20.0 kHz

ResoAmount of resonance of the feedback signal.

0–100%

Reso Freq

Center frequency for feedback resonance.

100 Hz – 10.0 kHz

Ratio

Reduces the delay Time in either the Left or Right stereo field. This isuseful for creating offset, panned delays.

L 50:100, R 50:100

HPF

Center frequency for delay signal high-pass filter.

20.0 Hz – 1.0 kHz

Width

Stereo width of delay signal. Higher values give wider stereo separation.

0–100%

385

Spring Reverb
Use this tab to apply and adjust the settings for the built-in Spring Reverb effect.
Parameter

Description

Value Range

Pre-Delay

Length of time between dry signal and reverberated signal.

0–250 ms

Time

Length of reverb tail.

1.0 – 10.0 s

Mix

Wet/dry amount of the reverb effect.

0–100%

Diffusion

Rate of increasing density of reverb reflections.
At lower settings, the sound of individual reflections is more present.
At higher settings, reflections are more uniform.

0–100%

Width

Stereo width of reverb signal. Higher values give wider stereo separation.

0–100%

Low Cut

Center frequency for reverb signal low-cut filter.

20.0 Hz – 1.00 kHz

386

AIR TubeSynth
The AIR TubeSynth plugin emulates the sound of classic
vintage analog polysynths. TubeSynth is based on thehighly acclaimed AIR Vacuum Pro desktop synth plugin
and also includes 5 integrated AIR effects.

Oscillator
Use this tab to adjust the settings for the two variable
Oscillators and the Sub Oscillator.

Parameter
Oscillator 1

Description

Value Range

OctaveCoarse tuning of the oscillator by octaves.
The Wide setting provides additional Finetuning controls.

Wide, 32', 16', 8', 4', 2'

Fine

Fine tuning of the oscillator by semitones.
When Octave is set to Wide: -70.00 – 0.00 – +70.00
When Octave is set to 32'–2': -12.00 – 0.00 – +12.00

Oscillator 2

Shape

Waveshape of Oscillator 1 (continuously
variable).

Triangle, Saw, Square, Pulse

F-EnvShapeAmount of Filter Envelope output subtracted
from or added to the value defined by theOsc 1 Shape parameter.

-100 – 0 – +100%

Quad

Enables or disables four-voice emulation forthe oscillator.

Off, On

DetuneAdjusts tuning of the additional Quad voices.

0–100%

OctaveCoarse tuning of the oscillator by octaves all
the way down to LFO speed.

LFO, 32', 16', 8', 4', 2'

Fine

Fine tuning of the oscillator.
When Octave is set to LFO: 0.01 – 20.00 Hz
When Octave is set to 32'–2': -12.00 – 0.00 – +12.00
semitones

Shape

Waveshape of Oscillator 2 (continuously
variable).

Noise, Saw, Square, Pulse

F-EnvShapeAmount of Filter Envelope output subtracted
from or added to the value defined by theOsc 2 Shape parameter.

-100 – 0 – +100%

Sync

Enables or disables syncing of Oscillator 2 toOscillator 1.

Off, On

Micro Detune

Additional detuning of Oscillator 2.

0–100%

Phase

Position of the waveshape when the sound is 0–360 degrees
triggered.

Sub Oscillator ShapeWaveshape of the sub oscillator (continuously Triangle, Saw, Square, Pulse
variable).

387

Mixer / Filter
Use this tab to control EQ for Oscillator 2, set the levels of the oscillators and effects, and edit the low-pass filter.
ParameterOsc 2 EQ

Mixer

LP Filter

Description

Value Range

Gain

Amount of gain applied to the selected Frequency.

-48 – 0 – +48 dB

Frequency

Center frequency for the equalization band.

25–10,000 Hz

Drive

Amount of drive added to the EQ signal.

0–100%

Keytrack

Ties the EQ settings to the pitch being played

0–100%Osc 1

Level of Oscillator 1.

0–100%Osc 2

Level of Oscillator 2.

0–100%Sub OscLevel of the Sub Oscillator.

0–100%

Ring Mod

Level of Ring Modulation effect.

0–100%

Drive

Level of Drive effect.

0–100%

Cutoff

Center frequency of the low-pass filter cutoff.

0–100%

Reso

Amount of resonance of the low-pass filter.

0–100%

Slope

Amount of attenuation applied above the cutoff
frequency.

0–24 dB/oct

Saturation

Amount of saturation applied to the low-pass filter.

0–100%

Env

Percentage of the envelope output subtracted from oradded to the LP Filter Cutoff.

-100 – 0 – +100%

Keytrack

Ties the LP Filter Cutoff to the pitch being played.

0–100%

388

Envelope
Use this tab to adjust the various envelope settings.
Parameter

Description

Value Range

Filter Envelope Attack

Length of time for the filter to reach full level.

1.00 ms – 100 s

Decay

Length of time for the filter to reach sustain level.

1.00 ms – 100 s

SustainLength of time for the filter to hold sustain level.

0–100%

ReleaseLength of time for the filter to dissipate when released. 1.00 ms – 100 s

AttackLength of time for the note to reach full level.

1.00 ms – 100 s

Decay

Length of time for the note to reach sustain level.

1.00 ms – 100 s

SustainLength of time for the note to hold sustain level.

0–100%

ReleaseLength of time for the note to dissipate when released. 1.00 ms – 100 s

Start Level

Initial velocity level of the envelope.

0–100%Start Time

Length of time for the envelope to start.

0–5000 ms

Slope Hold

Percentage of Envelope subtracted from or added to
the Destination when a note is held.

-100 – 0 – +100%

Slope Rel

Percentage of Envelope subtracted from or added to
the Destination when a note is released.

-100 – 0 – +100%

Destination

Where the envelope will be applied to.

Off, Pitch, Osc 2
Pitch, LFO 1/2 Rate,
Osc1 Quad Det., Osc
1/2 Shape, Osc 1/2
Level, Ring Level

Amp Envelope

Envelope 3

389

LFO
Use this tab to adjust the settings for the low-frequency oscillators.
Parameter
LFO 1/LFO 2

Description

Value Range

Shape

Waveshape of the low-frequency oscillator.

Sine, Square. Saw
Up, Saw Down,
Pump, S&H, Drift

Destination

Where the low-frequency oscillator is sent.
LFO1: Off, Pitch, Filter,
Level, Pan
LFO2: Pitch, Osc 1/2 Shape,
Osc 1/2 Pitch, LPF,
Quad Detune, Osc
EQ Freq, Osc 2 EQ
Gain, Ring Level

Rate

Speed of modulation.
When Sync is Off: 0.01 – 20.00 Hz
When Sync is On: 8/4 – 1/32

Modulation

Depth

Amount of modulation applied.

0–100%

Fade

Apply a fade-in or fade-out of the LFO signal.

0.00 – 20.00 s out,
No fade,0.00 – 20.00 s in

Sync

Sync the LFO Rate to the Global Tempo or turn Off to Off, On
adjust Rate by Hertz.

SourceWhere the modulation signal is sent from.

Filter Env, Amp Env,
Osc 1, Osc 2

Destination

Where the modulated signal is received.

Pitch, Osc 1/2 Shape,
Osc 1/2 Pitch, LPF,
Quad Detune, Osc
EQ Freq, Osc 2 EQ
Gain, Ring Level

Depth

Amount of modulation applied.

0–100%

390

SetupUse this tab to adjust plugin setup parameters.
Parameter

Description

Value Range

Velocity 1

Send Velocity data to one of the following control
destinations.

Amp, Cutoff, Osc1
Shape, Osc2 Shape,
Osc1&2 Shape

Depth

Amount of modulation applied.

0–100%

Velocity 2

Send Velocity data to one of the following control
destinations.

Amp, Cutoff, Osc1
Shape, Osc2 Shape,
Osc1&2 Shape

Depth

Amount of modulation applied.

0–100%

Modwheel

Send Modwheel data to one of the following
control destinations.

Amp, Cutoff, Osc1
Shape, Osc2 Shape,
Osc1&2 Shape

Depth

Amount of modulation applied.

-100 – 0 – 100%Aftertouch

Send Aftertouch data to one of the following
control destinations.

LFO 1 Depth, Cutoff,
Osc1 Shape, Osc2
Shape, Osc1&2 Shape

Depth

Amount of modulation applied.

-100 – 0 – 100%

Polyphony

Number of allowable voices, and how voices are
triggered.

Legato, Retrigger, 2, 3, 4

Bend Range

Number of semitones up or down controlled by
MIDI pitch bend messages.

0–12 (semitones)

Glide Time

Amount of time to slide from the pitch of one noteto the next note played.

1.00 ms – 100 s

Glide All

Enables or disables pitch gliding for all triggered
notes, not just legato notes.

Off, On

DetuneAmount of detuning applied. This setting is only
applied when Doubling is enabled.

0–100%

Doubling

Enables or disables voice doubling.

Off, On

Shape

Amount of signal sent to a Tube Drive.

0–100%

Width

Stereo width of the audio signal. Higher values
give wider stereo separation.

0–100%

Level

Overall output volume of the plugin.

-Inf dB – +12.0 dB

Controller Destinations

Setup

Output391

Chorus
Use this tab to apply and adjust the settings for the built-in Chorus effect.
Parameter

Description

Value Range

Rate

Modulation speed of the effect.

0.01 – 10.0 Hz

Delay

Length of time the wet signal is offset from the dry signal.

0.00 – 24.00 ms

VoicesNumber of voices used in the chorus effect.

3, 4, 6LFO Wave

Waveshape of the low-frequency oscillator for the chorus effect.

Tri, Sine

Depth

Amount of pitch modulation of the effect.

0.00 – 24.00 ms

Width

Stereo width of the chorus effect. Higher values give wider stereo
separation.

0–100%

Lo CutCenter frequency for the chorus low-cut filter.

20.0 Hz – 1.0 kHz

Mix

Wet/dry amount of the chorus effect.

0–100%

Delay
Use this tab to apply and adjust the settings for the built-in delay effect.
Parameter

Description

Value Range

Time

Length of time between the dry signal and the delayed signal.
When Sync is set to Free: 1 ms – 2.00 s
When Sync is set to Sync: 1/32 – 8/4

Sync

Enable to sync the Delay Time to the Global Tempo, disable to set theTime in milliseconds.

Off, On

Feedback

Amount of delay signal fed back into the delay line.

0–100%

Mix

Wet/dry amount of the delay effect.

0–100%

Damp

Center frequency of where the delayed signal will be dampened.

1.00 – 20.0 kHz

ResoAmount of resonance of the feedback signal.

0–100%

Reso Freq

Center frequency for feedback resonance.

100 Hz – 10.0 kHz

Ratio

Reduces the delay Time in either the Left or Right stereo field. This isuseful for creating offset, panned delays.

L 100:50, R 50:100

HPF

Center frequency for delay signal high-pass filter.

20.0 Hz – 1.0 kHz

Width

Stereo width of delay signal. Higher values give wider stereo separation.

0–100%

392

Reverb / Compressor / Hype
Use this tab to apply and adjust the settings for the built-in Reverb, Compressor and Hype effects.
Parameter
ReverbCompressor

Hype

Description

Value Range

Mode

Type of reverb applied.

Hall, Stadium, Room,
Abstract

Time

Length of reverb tail.

0.4 s – +Inf s

Lo CutCenter frequency for the reverb low-pass filter.

1 – 1000 Hz

Hi CutCenter frequency for the reverb high-pass filter.

1.0 – 20.0 kHz

Mix

Wet/dry mix of the reverb effect.

0–100%

Threshold

Signal level after which the compressor will beapplied.

0.0 – -60. dB

OutputAmount of additional output gain for the compressedsignal.

0.0 – +30.0 dB

Mix

Wet/dry mix of the compressor effect.

0–100%

Ratio

Amount of compression applied.

1.0:1 – 100.0:1

Knee

How gradually the compressor reacts as the threshold 0–100%
is reached.
Lower values apply a "soft" knee (compression isapplied more slowly as signal approaches thethreshold), and higher values apply a "hard" knee(compression is immediately applied when thethreshold is reached).

AttackLength of time to apply the compression.

100 us – 300 ms

ReleaseLength of time for compressed signal to return tooriginal level.

10 ms – 4.00 s

HighDampens or maximizes high end frequencies.

-100 – 0 – +100%

Low

Dampens or maximizes low end frequencies.

-100 – 0 – +100%393

Plugin Preset Support
Internal Akai effects now include all new plugin editors and factory presets.

To load a plugin preset:
1. Open a plugin instrument or effects plugin editor.
2. At the top of the instrument or effect editing window will be a dropdown menu for selecting presets. Double-tap
the menu to open it, and tap a preset to select it.
A number of third-party VST plugins will also display a bank of presets when used with MPC.

Additionally, you can now save and load plugin presets.

To save or load a plugin preset:
1. Open a plugin instrument or effects plugin.
2. To the right of the dropdown menu for selecting presets are Folder and Disc icons.
Tap the Folder icon to load a plugin preset saved on your MPC or any connected drive. Use the window that
opens to select the location where the preset is saved.
Tap the Disc icon to save your plugin settings as a new preset. Use the window that opens to select where you
would like to save the preset.

394

Updates in MPC 2.4
New Features
AIR FX Bundle
Your MPC now includes the AIR FX Bundle—a collectionof 28 effects designed with ease of use in mind with all
new touch-interface layouts. These effects include thelegendary AIR Creative FX collection that has been usedby countless professionals as part of Pro Tools® software
since Version 8. They also include 10 new plugins thathave been expertly designed by the DSP gurus at AIR
Music Technology.
16 classic effects from Pro Tools® now available include
the following:

AIR Distortion
This effect is a multi-type distortion that adds color toyour audio signal with varying types and amounts ofdistortion.

Parameter

Value Range

Default Value

Mode

Hard, Soft, Wrap

Hard

Drive

0 – 60 dB

15 dB

Output0–100%

100%

Mix

0–100% (dry-wet) 100%Tone Pre-Shape -100 – 0 – +100% 0%Tone High Cut

1.00 – 20.0 kHz

20.0 kHz

StereoOn, Off

Off

Clipping Thresh. -20.0 – 0.0 dB FS -10.0 dB FS
Clipping Edge

0–100%

0%

Parameter

Value Range

Default ValueHigh Gain

0.0 – 12.0 dB

0.0 dB

Low Gain

0.0 – 12.0 dB

0.0 dB

Output- Inf – 0.0 dB

0.0 dB

Freq. High

1.0 – 10.0 kHz

3.16 kHz

Freq. Low

40.0 – 640 Hz

160 HzHarmonics

0.0 – 12.0 dB

0.0 dBPhase+ (positive),- (negative)+

AIR Enhancer
This effect enhances the low and high broadband
frequencies of the audio signal.

395

AIR Ensemble
This effect applies fluid, shimmering modulation effects
to the audio signal.

Parameter

Value Range

Default Value

Rate

0.01 – 10.0 Hz

1.00 Hz

Depth

0.00 – 24.00 ms

6.00 ms

Width

0–100%

100%

Mix

0–100% (dry–wet) 75%

Mod. Delay

0.00 – 24.00 ms

0.00 ms

Mod. Shimmer

0–100%

50%

AIR Filter Gate
This effect chops your audio signal
into rhythmic patterns with variable
filtering, amplitude and panning.

Parameter

Value Range

Default Value

Pattern

Straight, Pulse, Pumper, Marching,
Fader, Offbeats, Off+Pan, L/R Pan,
LL/RR Pan, Slow Pan, Rand Pan,
Shorter, Longer, Reverse, Random,
Keyed 1–2, Half Time, 12-Step,
Ducked, Trance 1–6, Tech 1–6

Straight

Rate

1/2–1/32, including Dotted and Triplet 1/16

Swing

50.0–66.7%

50.0%

Mix

0–100%

100%

Filter Mode

Off, LP, BP, HP, Phaser

LP

Filter Cutoff-100 – 0 – 100%0%Filter Reso-100 – 0 – 100%0%Gate Attack

0–100%

25%

Gate Hold

0–100%

50%

Gate Release

0–100%

25%

Mod LFO Wave Random; 2–12, 16, 24, 32, 48, 64,
96, 128, 192, 256 Steps

RandomMod Env-100 – 0 – 100%0%

Mod LFO

0–100%

0%

AIR Flanger
This effect applies a short, modulating delay to the audio Parametersignal.
Rate

Value Range

Default Value

0.02 – 10.00 Hz

0.40 Hz

Depth

0–100%

50%

Feedback

0–100%

50%

Mix

0–100% (dry–wet) 50%

Headroom-20.0 – 0.0 dB FS -10.0 dB FS

396

AIR Freq ShiftThis effect shifts the audio signal's individual frequencies Parameterfor unique effects.
Mode

Value Range

Default ValueUp, Down, Up &Down, Stereo

Up

Frequency

10.0 mHz – 10.0 kHz 316 mHz

Feedback

0–100%

0%Mix

0–100% (dry–wet)100%

AIR Fuzz Wah
This is a multi-effect that combines transistor-like distortion and wah.
Tab

Parameter

Value Range

Default Value

Fuzz-Wah

Mix

0–100% (dry–wet)

100%

Order

Fuzz>Wah, Wah>Fuzz

Fuzz>Wah

Fuzz Mix

0–100% (dry–wet)100%

Wah Mix

0–100% (dry–wet)100%

Fuzz Drive0 – 40 dB

20 dB

Fuzz Tone

1.00 – 10.0 kHz

3.16 kHzFuzz Output-Inf – 0.0 dB

0.0 dB

Fuzz Enable

Off, OnOffWah Pedal

0–100%

50%

Wah Filter Mode

Lowpass, Bandpass, Highpass

Bandpass

Min. Freq.

50.0 Hz – 4.00 kHz

428 HzMax Freq.

50.0 Hz – 4.00 kHz

2.07 kHzMin. Resonance0–100%

55%

Max Resonance0–100%

33%

Wah Enable

Off, On

On

Mode

LFO, Env

LFO

Rate
LFO
Env

8/4 – 16
0–100%

4T
75%

Depth

-100 – 0 – 100%0%Modulation

397

AIR Kill EQThis effect can zap out the Low, Mid or High broadband
frequency from an audio signal.

Parameter

Value Range

Default ValueHigh

Thru, Kill

Thru

Mid

Thru, Kill

Thru

Low

Thru, Kill

Thru

Output-20.0 – +20.0 dB

0.0 dBHigh Gain-Inf – +12.0 dB

0.0 dBMid Gain-Inf – +12.0 dB

0.0 dB

Low Gain-Inf – +12.0 dB

0.0 dBHigh Freq.

500 Hz – 8.00 kHz

2.00 kHz

Offset-100 – +100%

0%

Low Freq.

50.0 – 800 Hz

200 HzAIR Lo-Fi
This effect is used to bit-crush, down-sample, clip, rectify and mangle an audio signal.
Tab

Parameter

Value Range

Default Value

Lo-Fi

Bit Depth

1.0 – 16.0 bit

16.0 bit

Sample Rate

500 Hz – 50.0 kHz

50.0 kHz

Mix

0–100%

100%

Clip

0.0 – 40.0 dB

0.0 dB

Rectify

0–100%

0%

Noise Mod

0–100%

0%Pre

0.125 – 2.000 Fs

0.5000 Fs

Post

0.125 – 2.000 Fs

1.000 Fs

EnableOn, Off

Off

Wave

Sine, Tri, Saw, Square, Morse,
S&H, Random

Sine

Rate
Sync Off:
Sync On:

0.01 – 10.0 Hz
8/4 – 161.00 Hz
2T

Sync

On, Off

Off

Depth

-100 – 0 – 100%0%

Attack

0.1 – 10.0 s

0.5 s

Release0.1 – 10.0 s

0.5 s

Depth

-100 – 0 – 100%0%Distortion

Anti-Alias

LFO / Env

398

AIR Multi-Chorus
This effect applies a thick, complex chorus effect to your Parameteraudio signal.
Rate

Value Range

Default Value

0.01 – 10.0 Hz

1.00 Hz

Depth

0.00 – 24.00 ms

6.00 ms

Voices3, 4, 64Mix

0–100% (dry–wet)

50%

Chorus Low
Cut

20.0 Hz – 1.00 kHz

20.0 Hz

Chorus Width 0–100%

100%

Mod WaveSine, TriTri

Mod Delay

0.00 – 24.00 ms

6.0 msParameter

Value Range

Default Value

Pre-Delay

0–250 ms0 ms

Dry Delay

0–1500 ms

0 ms

Time

0–1000 ms

250 msMix

0–100% (dry–wet) 50%

Diffusion

0–100%

100%

Width

0–100%

50%

Shape

Gated, Reverse

Gated

Low-Cut

20.0 Hz–1.00 kHz 141 Hz

High-Cut

1.00–20.0 kHz

AIR Non-Lin Reverb
This is a spatial effect, designed to produce synthetic,
processed ambience with special gated and reversed
reverb effects.

9.46 kHzAIR Phaser
This effect applies a phaser to your audio signal, for thatwonderful "wooshy," "squishy" sound.

Parameter

Value Range

Default Value

Rate

0.10 – 10.00 Hz

1.00 Hz

Depth

0–100%

50%

Feedback

0–100%

0%Mix

0–100% (dry–wet)50%

Phaser Model Vibe, Stone, Ninety,
Tron,

NinetyOffset
Phase
Rate
Type

-180 – +180 deg.
25–400%0 deg.
100%

Phase, Rate

Phase

399

AIR Reverb
This is a spatial effect, with a wide range of reverb types to add space or room to your audio signal.
Tab

Parameter

ValuesDefault Value

ReverbPre-Delay

0–250 ms

0 ms

Room Size

0–100%

100%Time

0.4 ms – +inf s

1.9 s

Mix

0–100%

50%

Type

Off, Booth, Club, Room, Small
Chamber, Medium Chamber, Large
Chamber, Small Studio, Large
Studio, Scoring Stage,
Philharmonic, Concert Hall, Church,
Opera House, Vintage 1, Vintage 2

OffLength0–100%

100%

ER / Tail Mix

0–100%

50%

Input Width

0–100%

0%

Output Width

0–100%

0%Delay

0–250 ms

0 ms

Ambience

0–100%

0%Density

0–100%

100%

Time-100 – 0 – 100%

0%

Freq

2.00 – 20.0 kHz

6.32 kHzCut

1.0 – 20.0 kHz

9.46 kHzTime-100 – 0 – 100%

0%

Freq

20.0 Hz – 2.00 kHz

200 HzCut

1 – 1000 Hz

1 Hz

Early Reflection

Reverb

Room

Hi/Lo Freq
Hi Freq

Lo Freq

AIR Spring Reverb
This is a spatial effect, designed to emulate the sound of Parametera spring reverb tank.
Pre-Delay

Value Range

Default Value

0–250 ms

3 ms

Time

1.0–10.0 s

4.0 s

Mix

0–100 (dry–wet)

50%

Diffusion

0–100%

100%

Width

0–100%

0%

Low Cut

20.0 Hz –1.0 kHz

141 Hz400

AIR Stereo Width
This effect creates a wider stereo presence in an audio
signal.

Parameter

Value Range

Default Value

Width

0–200%

100%

Delay

0.0 – 8.0 ms

0.0 msLevel Trim

-Inf – 0.0 – +12.0 dB 0.0 dB

Pan Trim

L100 – <C> – R100

<C>

High

0–200%

100%

Mid

0–200%

100%

Low

0–200%

100%

Parameter

Value Range

Default ValueVowel

OO, OU, AU, AH,
AH
AA, AE, EA, EE, EH,
ER, UH, OH, OO

Env Depth-100 – 0 – +100%

0%Formant-12.00 – +12.00

0.00

Mix

0–100%100%

LFO WaveSine, Tri, Saw,
Square, S&H,
RandomSine

LFO Rate
Sync Off:
Sync On:

0.01 – 10.0 Hz
8/4 – 161.00 Hz
2T

LFO Sync

Off, OnOffLFO Depth-100 – 0 – +100%

0%

Env Thresh-60.0 – 0.0 dB-30.0 dB

Env Attack

0.1 – 10.0 s

0.5 s

Env Release

0.1 – 10.0 s

0.5 s

AIR Talk Box
This effect adds voice-like resonances to audio signals.

401

12 all new plugins from AIR include the following:

AIR Channel Strip
This specially-designed plugin combines multiple effects with a fast interface. The EQ section provides a
highpass filter, low and high shelves, and a fully parametric mid-band. For dynamics, the AIR Compressor andGate algorithms are perfect for achieving hard-hitting drum sounds.
Tab

EQ

Gate/Comp

Parameter

Value Range

Default Value

EQ Enable

Enabled, Bypass

EnabledGate Enable

Enabled, Bypass

EnabledComp Enable

Enabled, Bypass

EnabledOutput-Inf – +24.00 dB

0.00 dB

High Shelf Gain-12.0 – +12.0 dB

0.0 dBHigh Shelf Freq

1.20 – 20.0 kHz

6.00 kHzMid Gain-18.0 – +18.0 dB

0.0 dBMid Freq

40.0 Hz – 16.0 kHz

247 Hz

Mid Q

0.40 – 10.00

1.00

Low Shelf Gain-12.0 – +12.0 dB

0.0 dB

Low Shelf Freq

20.0 Hz – 1.00 kHz

100 HzHP Filter0 – 1000 Hz

0 Hz

Gate Thresh-120.0 – 0.0 dB-120.0 dB

Gate Depth

0 – -120.0 dB-120.0 dB

Gate Attack

0.01 – 1000.00 ms

0.18 ms

Gate Release1.00 – 3000.00 ms

7.40 ms

Comp Thresh

0.0 – -60.0 dB

0.0 dB

Comp Ratio

1.0:1 – 100.0:1

3.9:1

Comp Attack

100 us – 300 ms

5.48 ms

Comp Release10.0 ms – 4.00 s

200 msParameter

Value Range

Default Value

Threshold-60.0 – 0 dB

-48.0 dB

Ratio

1.0:1 – 100.0:1

3.9:1

Output0.0 – 30.0 dB

15.0 dB

Mix

0–100% (dry-wet)

100%

Knee

0–100%

50%

Attack100 us – 300 ms

5.48 ms

Release10.0 ms – 4.00 s

200 msAIR Compressor
This basic compressor effect changes the dynamic
range of a signal by automatically reducing its gain if it
exceeds a certain level (the threshold).

402

AIR Delay
This is a classic delay line effect with a variable feedback Parameter
filter. Additional Ratio and Width parameters enable youTime
to achieve a wide range of stereo delay effects.
Sync Off
Sync On

Value Range

Default Value

1 ms – 2.00 s
1/32 – 8/4

388 ms
1/8D

Sync

Off, On

Off

Feedback

0–100%

40%

Mix

0–100% (dry–wet) 50%

Delay Ratio

50:100 – 100:50

Delay HPF

20.0 Hz – 1.0 kHz 20.0 Hz

Delay Width

0–100%

100%

Feedback Damp

1.0 – 20.0 kHz

20.0 kHz

Feedback Reso

0–100%

0%Fdbk. Reso Freq

100 Hz – 10.0 kHz 1.0 kHz

Parameter

Value Range

100:100

AIR Diff Delay
This is a delay line effect that is synchronized to yoursession tempo and uses an adjustable amount ofdiffusion to emulate the dissipation of echoes inreverberant space.

Default ValueTime
Sync Off: 1 – 1000 ms
Sync On: 1/64 – 4/4(including Triplet
and Dottedvariations)

161 ms
1/16D

Sync

Off, OnOn

Width

0–100%

100%

Mix

0–100% (dry–wet) 40%

Feedback

0–100%

50%

Fdbk. Diffusion

0–100%

40%

Fdbk. High Damp 0–100%

35%

Low Cut

20.0 Hz – 1.00
kHz

Pan

-100 – 0 – +100% 0%

20.0 Hz403

AIR Filter
This effect applies a filter to the audio
signal and then applies selectable
saturation or reduction to the filteredsignal.

Parameter

Value Range

Default Value

Cutoff Freq

55.0 Hz – 20.0 kHz

20.0 kHzReso Factor

0.7 – 20.0

1.0

Type

LP4–1, BP2, BP4, HP2_LP1,
HP3_LP1, HP4–1, BR2, BR4,
BR2_LP1, BR2_LP2, HP1_BR2,
BP2_BR2, HP1_LP2, HP1_LP3,
AP3, AP3_LP1, HP1_AP3

LP4

Output Gain

-Inf dB – 0.0 dB

0.0 dB

Saturation
Type

Resample, Bit Crush, Rectify, Hard
Clip, Distort, Overdrive

Overdrive

Saturation
Drive

0.0 – 12.0 dB

0.0 dB

Saturation
Mode

DCF, CVF

DCF

AIR Maximizer
This effect is a limiter optimized for professional
mastering.

Parameter

Value Range

Default Value

Threshold-40.0 – 0.0 dB-20.0 dB

Ceiling-20.0 – 0.0 dB FS-5.0 dB FS

Look Ahead

0.0 – 20.0 ms

0.0 msKnee

Hard, Soft

Hard

Release10.0 ms – 10.0 s

316 ms

LF Mono10.0 Hz – 1.00 kHz

10.0 Hz

Parameter

Value Range

Default Value

Threshold-120.0 – 0.0 dB-48.0 dB

Depth

0 dB – -120.0 dB-120 dB

Denoise Filter

Off, OnOffAIR Noise Gate
This effect is similar to a compressor, but instead ofattenuating audio signal that rises above a threshold, anoise gate attenuates audio signal that falls below a
threshold by a set amount. This can help reduce
background noise in your audio signal.

Denoise Thresh -120.0 – 0.0 dB-60.0 dB

Attack

0.01 – 1000.00 ms

0.18 msHold

0 – 1000 ms

250 msRelease1.00 – 3000.00 ms

7.40 ms404

AIR Para EQThis effect is a powerful four-band parametric equalizer
with four independent EQ ranges, adjustable Low andHigh EQ filter types, and dedicated Low Cut and High
Cut.

Parameter

Value Range

Default ValueHigh Freq

1.2 – 20.0 kHz

6.00 kHzHigh Q
Shelf
Bell

0.40 – 2.00
0.40 – 10.00

1.00
1.00

High Gain
Shelf
Bell

-12.0 – +12.0 dB-18.0 – 18.0 dB

0.0 dB
0.0 dBHigh Type

Shelf, Bell

Shelf

High Out/In

Out, In

High Mid Freq

120 Hz – 16.0 kHz

2.00 kHzHigh Mid Q

0.40 – 10.00

1.00

High Mid Gain-18.0 – 18.0 dB

0.0 dBHigh Mid Out/In

Out, In

Low Mid Freq

40.0 Hz – 16.00 kHz 247 Hz

Low Mid Q

0.40 – 10.00

1.00

Low Mid Gain-18.0 – 18.0 dB

0.0 dB

Low Mid Out/In

Out, In

Low Freq

20.0 Hz – 1.00 kHz 100 Hz

Low Q
Shelf
Bell

0.40 – 2.00
0.40 – 10.00

1.00
1.00

Low Gain
Shelf
Bell

-12.0 – +12.0 dB-18.0 – 18.0 dB

0.0 dB
0.0 dB

Low Type

Shelf, BellShelf

Low Out/In

Out, In

Output-20.0 – +20.0 dB

0.0 dBHigh Cut Freq

120 Hz – 20.0 kHz

20.0 kHzHigh Cut Type6, 12, 18, 24 dB

12 dB

High Cut Out/In

Out, In

Low Cut Freq

20.0 Hz – 8.00 kHz 100 Hz

Low Cut Type6, 12, 18, 24 dB

Low Cut Out/In

Out, In

12 dB

405

AIR Pitch ShifterThis effect alters the pitch of the audio signal and can be Parameter
adjusted based on the source or style of the signal.
Mode

Value Range

Default Value

Vocal, Bass, Beats,
Chords, Textures

Vocal

Shift

-24.0 – 0 – 24.0

0.0

Mix

0–100%

100%

Parameter

Value Range

Default Value

Depth

0–100%

80%

Speed

Bar, 1/2 – 1/32T

1/4

AIR PumperThis effect creates a rhythmic pumping effect, similar tothat of sidechain compression.

Release Shape 0–100%

10%

Trigger Offset-100.0 – +100.0 ms

0.0 msAttack

0–100%

5%Hold

0–100%

10%

Release0–100%

60%

Parameter

Value Range

Default Value

Attack-100 – 0 – +100%

0%

Attack Shape

0–100%

50%

Sustain-100 – 0 – +100%0%Output-20.0 – +20.0 dB

0.0 dB

Limit

Off, OnOn

AIR TransientThis effect is used to enhance or soften the Attack andRelease phases of audio material.

AIR Tube Drive
This effect is designed to reproduce the sound of an
overdriven tube amplifier.

Parameter

Value Range

Default Value

Drive

0–100%

0%

Headroom-30.0 – 0.0 dB-15.0 dB

Saturation

0–100%

50%

Output-20.0 – +20.0 dB

0.0 dBAIR Instrument Layouts
MPC now contains stunning new touch-interface layouts for the following AIR Music Technology instrument plugins:
Hybrid, Loom, Vacuum Pro, Velvet, Xpand!2 and theRiser.

406

Clip Program Improvements
Internal Clip Program architecture has been significantly improved, allowing you to play up to 16 clip programs at thesame time. Clips will continue to play when changing tracks or sequences, allowing you to seamlessly integrate theminto live performance.

FLAC and OGG Support
You can now load and export FLAC and OGG files with MPC.

Mother Ducker
You can now apply sidechain ducking effects in MPC using the new Mother Ducker and Mother Ducker Input
insert effects.

Mother Ducker
Add this effect as an insert to the track you want to havethe ducking effect applied to. Use the meters to monitor
the level from your trigger input and tweak the Threshold
and Ratio parameters to adjust the amount of ducking.
The Attack and Release parameters can be used tosculpt the envelope of the gain reduction to achieve
exactly the pumping effect you are after. Mother Ducker
has eight internal buses so you can set up multiple
channel strips with ducking effects from different
sources.

Parameter

Value Range

Default Value

Ratio

1.00:1 – 60.00:1

6.00:1Knee

0.000 – 6.000 dB

0.000 dB

Attack

1.0 – 1000.0 ms

10.0 ms

Release1.0 – 1000.0 ms

100.0 ms

Threshold-100.000 – 0.000 dB-6.021 dB

Gain-100.000 – +12.000 dB -0.000 dB

Auto Gain

On, Off

On

From

Bus 1–8

Bus 1

Parameter

Value Range

Default ValueTo

Bus 1–8

Bus 1

Mother Ducker Input
Add this effect as an insert to the track you want to use
as a trigger input, such as a kick drum track.

407

Next Sequence Mode
Next Sequence Mode now remembers the next sequence change when switching to another mode.

Additional Transport Controls
You can now hold Shift and press Stop to return the playhead to the beginning of the timeline.

408

Updates in MPC 2.5
New Features
Splice Integration
Your standalone MPC hardware now integrates with the Splice platform, allowing you to download and browse your
Splice sample library on your standalone device.

To access Splice:
1. First, make sure your MPC hardware is connected to a Wi-Fi network. See Preferences > Wi-Fi to learn how toconnect to a wireless network. You will also need access to a web browser.
2. On your MPC, press Menu and tap the gear icon at the top of the screen to open the Preferences page.
3. Navigate to the Splice tab.
4. Tap the Get Login Code button. (If you are not connected to a network, you will be prompted to do so before
the Get Login Code button appears.)
5. Follow the on-screen instructions to link your MPC to your Splice account via a web browser. It may take yourMPC a few moments to successfully link.
6. A message will appear on screen when the link has been successfully established. Tap OK to continue andreturn to the Splice Preferences page.
7. Once the process is complete and your MPC has been paired to your Splice account, tap the Sync Files button
to download samples from your Splice account via Wi-Fi to a drive of your choice.
By default, files will be stored on the Internal drive. You can change the selected drive by tapping the Change
button under Sync Files To Drive.

To browse samples imported from Splice:
1. Open the Browser.
2. Under the Content tab, tap the Splice shortcut icon to view samples downloaded from your Splice account.
If nothing appears, make sure that you have connected your Splice account and synced your files by following
the directions above.
3. The right-side of the browser will display your Splice samples organized into a series of top level folders, allowing
you to easily browse your sample library by BPM, Instrument, Key, Pack or Tag. The All Your Samples folder willshow a list of all samples you have downloaded.

Note: The original sample files are stored in the By Pack folder on your drive. Other folders such as By Instrument
contain internal links to help sort the samples by various tags. If the By Pack folder on your drive is deleted, the files
in the remaining folders will become unusable. To fully remove all files, the entire Splice directory should be deleted.
IMPORTANT: Drives formatted using the FAT32 system do not support these internal links. For these drives, and on
the internal storage drives of some earlier MPCs, samples will only be sorted in the By Pack folder. We recommend
using an exFAT file system on external drives used with MPC, as it is the most robust one supported by both
Windows and macOS.

To view the number of samples available to download from your account, tap the Check For Update button.

To log out of a Splice account, tap the Log Out button.

409

Browser Audition Warp and Sync
In the Browser, you can now audition samples that have an MPC-embedded tempo in sync with the project tempo.

1. Open the Browser by doing either of the following:• Press Menu and then tap Browser.
• Press Browse (MPC X) or Shift+Menu/Browse (MPC Live, MPC Touch)
2. Tap Audition at the bottom of the screen, or press the respective F-Key (MPC X only).
3. In the options that appear, enable Sync to set samples to be auditioned at the beginning of the next bar of thesequence when playback is active.
Enable Warp to set samples with an embedded tempo to be warped to the project tempo. Samples with noembedded tempo or externally-embedded tempo will not be affected by this setting.
4. Select a sample, loop, program or project to preview, then tap the Play button to audition. If Auto Audition isturned on, samples will audition when selected.

410

Updates in MPC 2.6
New Features
Ableton Live Set Export
You can now export MPC sequences as an Ableton LiveSet (.ALS) file.

To export the current sequence as an Ableton Live Set:
1. Open Main Mode by pressing Main, or by pressing
Menu and then tapping Main.
2. Tap the Project field at the top of the display to open
the Project window.
3. Tap ALS Export.
4. In the window that appears, you can adjust thefollowing settings for your export:
Use the Export MIDI As settings to choose how MIDI programs and sequences are exported, either as
Audio files or MIDI files. When using Plugin, Drum or Keygroup programs, you can render sequences as
Audio to preserve the sound of the instruments, or render sequences as MIDI data.
Check the Include Program Volume/Pan Settings box to include these settings in the export. Whendisabled, the volume and pan settings will be set to 0 dB and center (C), respectively.
Check the Bypass Program Effects Plugins box to deactivate any third-party effect plugins used with theprogram for the export. When disabled, those effects will be activated.
Use the Audio Tail field to set the amount, in seconds, of extra time added to the end of the resulting audio
files.
Use the Bit Depth field to set the bit depth to 8, 16 or 24.
Use the Sample Rate field to set the sample rate to 44.1, 48, 88.2 or 96 kHz. In most cases, we recommend
selecting 44.1 kHz.
5. Tap Export to begin the export, or tap Close to cancel and return to the previous page.

Erase Parameters
From the Erase window, you can now erase selected
automation parameters.
1. While the sequence is stopped, press the Erase button
to open the Erase window.
2. Tap Automation to select it.
3. By default, the Parameter field is set to All. Doubletap this field to display a list of all parameters that havebeen automated on the current track.
4. Select the parameter you would like to erase, and thentap Do It to erase the automation.

411

Grid Automation Lanes
You can now input, view and edit automation in Grid View and Audio Edit Mode.

To add automation to a sequence:
1. Select a MIDI program or Audio program.
2. For MIDI programs, tap the grid icon to open Grid View. For Audio programs, tap the waveform-and-box icon
to open Audio Edit Mode.
3. Tap the up arrow on the parameter bar to expand the velocity/automation lane.
4. By default, Velocity is shown in this lane for MIDI programs and PRG: Volume is shown for Audio programs.
Double-tap this field to open the Parameter drop-down menu.
5. In the menu that appears, tap Add New to add an automation parameter. You can choose from a variety ofparameters depending on the type of program, insert effects added and other options.

To edit automation, do any of the following in Grid View or Audio Edit View:• Use the pencil tool to draw your automation in the automation lane.
• Use the eraser tool to erase automation points. If you erase all automation points, the parameter will be
removed.
• Tap the trash can icon to delete all automation for the selected parameter at once (Grid View only).
You can also edit automation using the Step Sequencer (see below).

412

Step Automation
You can now input, view and edit automation in the Step Sequencer.

To add a step automation parameter:
1. Open the Step Sequencer by doing either of the following:• Press Menu, and then tap Step Sequencer.
• Press Step Seq (MPC X).
2. By default, the Parameter field of the Step Sequencer displays Velocity for MIDI programs and PRG: Volume
for audio programs. Double-tap this field to open the drop-down menu.
3. In the menu that appears, tap Add New to add an automation parameter. You can choose from a variety ofparameters depending on the type of program, insert effects added and other options.
To edit step automation, do any of the following:• Tap and drag your finger in the step area to freely draw step values.
• Press and hold the Q-Link button, and then tap Screen to set the Q-Link knobs to Screen Mode. While viewing
the step sequencer, you can use the Q-Link knobs for tactile control of each step's automation value, emulating
traditional knob-based step sequencers. While it is being adjusted, the current automation value will be shown
next to the Parameter field, as well as in the display strip above the knobs (MPC X only).
For MPC Live and MPC Touch, use Bank 1 of the knobs to control Steps 1–4, Bank 2 to control Steps 5–8,
Bank 3 to control Steps 9–12 and Bank 2 to control Steps 13–16.
• Press and hold Shift and tap Clear to clear all automation for the selected parameter in the selected sequence.
• Press and hold Shift and tap Clear Bar to clear all automation for the selected parameter in the current bar of
the selected sequence.
• Use the Nudge < and > buttons to shift the current automation parameter to the left or right at the current Timing
Correct value.
• Use the slider on the right edge of the screen to increase or decrease the parameter values of all automation
steps in the visible time range.
• Tap Presets and use the buttons to apply the presets to the step automation (See Operation > Modes > Step
Sequencer for more information).
Note: When editing step automation, if a step is not activated, a darkened step bar will indicate the current
parameter value at that step, based on the last active step.

413

Submixes
MPC hardware now contains 8 submixes in Standalone Mode for additional track and program routing options.

To assign an audio track or program to a submix:
1. Press Menu, and then tap Channel Mixer. Alternatively, press Ch. Mixer (MPC X only).
2. Set the Mixer field at the top of the display to Audio Tracks or Programs.
3. Double-tap the Output field of the audio track or program channel strip.
4. In the drop-down menu, scroll to the top of the list and tap to select Sub 1–8. The audio track or program's
audio will now be routed to the selected submix.
To edit a submix:
1. Press Menu, and then tap Channel Mixer. Alternatively, press Ch. Mixer (MPC X only).
2. Set the Mixer field at the top of the screen to Submixes.
3. Use the mixer grid to select a submix, and then use the channel strip on the left side of the screen to add effects
or adjust level, pan and other parameters.

Workflow Enhancements
The Keep or Discard window in Sample Record Mode and the Export Loop as Sample window in Looper Mode
now have easy-access buttons to Save or Edit the recorded sample or loop.
In Sequence Edit Mode, you can now copy events from individual or multiple pads or notes from the Copy Events
window.
In the Sequence Edit > Copy Sequence and Track Edit > Copy Track windows, you can now rename thedestination sequence or track.
The FX list can now be sorted by type of effect for easier navigation.
Timing Correct can now be applied to all tracks by pressing the All Track button in the Timing Correct window.

414

Updates in MPC 2.7
New Features
Ableton Live Control
Your standalone MPC X and MPC Live are now pre-mapped to control Ableton Live 10.1.2 or later for instantperformance and production setup, providing an unparalleled level of integration with Ableton Live from a standalone
device. MPC's Live Control Mode has been carefully designed to allow you to instantly switch between using MPC instandalone mode and Live Control mode without ever stopping playback. You can control Ableton Live over a Wi-Fi
network for cableless operation, or connect standalone MPC X or MPC Live to your computer using a USB-toEthernet adapter for a more tightly controlled setup.
To get started with Ableton Live Control, you will need to follow the directions in the sections below download,
install and configure the necessary software.
Akai Network Driver
The Akai Network Driver will allow your MPC X or MPC Live to seamlessly communicate with and control Ableton
Live.
1. Download the Akai Network Driver from akaipro.com and install it by following the directions.
2. Once the installation has completed, restart your computer.
3. Power on your MPC.
4. Press Menu and tap the gear icon to open the Preferences menu.
5. Tap Wi-Fi to open the Wi-Fi settings. Make sure Wi-Fi is set to On, and then connect to your local wirelessnetwork.
Alternatively, you can connect MPC to your network using a USB-to-Ethernet adapter. In this case, selectEthernet from the Preferences menu and make sure the Enabled option is checked.
6. Open the Akai Network Driver application.
7. In the Configured Remote Device field, locate the IP address and Serial Number of your MPC and select it. If
you need to verify you are selecting the correct unit, you can view network information on your MPC in the Wi-Fi
menu by holding Shift and tapping Info.
8. If you still do not see your unit's Serial Number and IP, click the Add a Device button to manually enter yourunit's IP address.
9. Once your unit has been successfully configured, you can rename it by pressing the Rename a Selected Device
button. When you are finished, you can close the Akai Network Driver application and open Ableton Live.

Configuring Ableton Live
1. Important: To use MPC v2.7 to control Ableton Live, you will need to download and install version 10.1.2 orlater.
2. Open Ableton Live 10.1.2 or later.
3. Open the Preferences menu by selecting Live > Preferences.
4. Make sure you have selected your preferred Audio Device in the Audio tab.
5. In the Link / MIDI tab, click the first available Control Surface field and select Akai Force MPC.
6. In the same row, select Akai Network – DAW Control as the Input and Output.
7. Under the MIDI Ports section, set Remote for the Akai_Force_MPC Input and Akai_Force_MPC Output toOn.

Once the previous steps have been completed, you can begin controlling Ableton Live with your MPC.

415

Live Control Mode
To open Live Control mode, press Menu (or tap the icon in the upper-left corner of the screen) on yourstandalone MPC hardware and then tap Live Control.
Alternatively, press and hold the Menu button and then tap Pad 4 to jump to Live Control mode.
To exit Live Control mode, press Menu (or tap the icon in the upper-left corner of the screen) on yourstandalone MPC hardware and then select another mode.
Alternatively, press and hold the Menu button and then tap a pad to jump to another mode.
Live Control Mode consists of three main views, which can be selected by tapping the tabs on the left side of thedisplay: Matrix View, Mixer View and Device Control View. Click the links to jump to that section.
In each of these modes, you will always have access to the following controls and functions on the display:
Tap a track name to select it.
Tap the stop icons at the bottom of the display to stop clips in the selected track.
Tap the Launch Quantize field (above the scene launch arrows) to set the Launch Quantize value.
Tap the Scene Launch arrows on the right side of the display to launch all clips in that row.
Additionally, MPC's hardware controls are pre-mapped to give you hands-on control of parameters and functions.
See the MPC X Control Map and MPC Live Control Map for the complete mappings.

Control Bar
At the top of the interface is the Control Bar. This toolbar can be configured to one of three presets based on typical
Ableton Live use cases in the Settings window.
To open the Settings window, tap the gear icon in the top-right corner of the display.
Use the Control Bar field to select one of the three preset configurations: Settings, Arrangement or
Performance.
• Session: The Session View configuration is ideal for working in Ableton Live's 8x8 clip launch matrix.
Use the BPM field to adjust the tempo in Ableton Live.
Tap the Phase Nudge Down and Phase Nudge Up icons to temporarily decrease or increase the tempo
in Ableton Live.
Tap the metronome icon to enable to disable the metronome in Ableton Live.
Tap the follow icon to turn following on or off. When set to on, your Ableton Live software display will
move along with playback to keep the current playback position in view. You can adjust the Follow
Behavior in Ableton Live's Preferences.
Use the Position field to select the playback position.
Tap the + icon to enable or disable MIDI Arrangement Overdubbing.
Tap the automation icon to enable to disable automation recording.
• Arrangement: The Arrangement configuration is ideal for working with Ableton Live's linear Arrangementview.
Use the BPM field to adjust the tempo in Ableton Live.
Use the Position field to select the playback position.
Use the Start field to select the Arrangement loop start point.
Tap the loop icon to enable or disable Arrangement looping.
Use the Length field to select the Arrangement loop length.
• Performance: The Performance configuration is ideal for real-time performance with Ableton Live.
Use the BPM field to adjust the tempo in Ableton Live.
Tap the Phase Nudge Down and Phase Nudge Up icons to temporarily decrease or increase the tempo
in Ableton Live.
Use the Quantize To field to set the time division for quantization: 1/4, 1/8, 1/8T, 1/8 and 1/8T, 1/16, 1/16T,
1/16 and 1/16T or 1/32.
416

Matrix View
The Matrix View provides an overview of the clip matrix from Ableton Live's Session view, displaying up to eighttracks and eight rows of clips on the display. The tracks and clips displayed on your MPC's touchscreen will beshown in Ableton Live with a colored box outline.
Your MPC's pads control up to four tracks and four rows of clips, marked by a white outline on the display.
To move the 4x4 Session Matrix focus one row or column at a time:
MPC X: Use the cursor buttons.
MPC Live: Use the Bank buttons.
To move the 4x4 Session Matrix focus by eight rows or eight columns at a time:
MPC X: Hold Shift and use the cursor buttons.
MPC Live: Hold Shift and use the Bank buttons.
To launch a clip from the 4x4 Session Matrix, press the corresponding pad on your MPC X or MPC Live.
You can also use the pads to launch scenes.
To toggle between launching clips and scenes:
MPC X: Press the XYFX button.
MPC Live: Press the 16 Level button.
To launch a scene, press a pad in the corresponding row.
See the MPC X Control Map and MPC Live Control Map for more information.

All tracks, clips and scenes will display the same color and names as assigned in Ableton Live. The pads on yourMPC hardware will also change color depending on the playback or recording state:
When a clip is stopped, it will display the color set in Ableton Live on both the hardware pads and display.
When a clip is playing, the hardware pad will blink green, and the clip on the display will fill with white based on
the clip length.
When a clip is preparing to record, it will flash red on both the hardware pads and display until the launchquantization value is reached.
When a clip is recording, it will blink red on the hardware pads and be lit red on the display.
You can also access the following controls and features by tapping the buttons at the bottom of the display:
Tap Quantize at the bottom of the screen to quantize the currently selected clip according to the Quantize To
value (set in the Ableton Live Control Settings).
Tap Delete at the bottom of the screen to delete the currently selected clip.
Tap Insert Scene at the bottom of the screen to insert a new scene after the currently selected clip.
Tap Rec at the bottom of the screen to enable or disable Ableton Live's Arrangement Record. Use this tocapture your Session performance into the Arrangement view.

417

Mixer View
The Mixer View gives you control of Ableton Live's key mixing features, such as levels, stereo panning, sends andreturns and more. Use the tabs at the bottom of the display to select what information is shown on MPC's display.
• Levels: The Levels tab gives you an overview of the volume level of your tracks, including the Returns and theMain Output track.
Tap a level slider and then use the data dial or –/+ buttons to adjust the volume level of the currently
selected track, return or main output. Alternatively, tap and drag a level slider to adjust the volume level.
The level sliders and meters in each pad show a visual representation of the level. Double-tap a track on thescreen to open a large version of the level slider and meter.
• Main: The Main tab gives you a full channel strip with a number of mixing options for your tracks.
Tap the track activator (under the track name) to enable or disable (mute) the track.
Tap the S button to solo the track.
Tap the record button to arm the track for recording.
The pan sliders in each track show a visual representation of the pan. Tap a pan slider and then use thedata dial or –/+ buttons to adjust the panning of the currently selected track, return or main output.
Alternatively, tap and drag the pan slider to adjust the panning. Double-tap a pan slider on the screen to
open a large version of the slider.
Tap a level slider and then use the data dial or –/+ buttons to adjust the volume of the currently selected
track, return or main output. Double-tap a level slider on the screen to open a large version of the slider.
Alternatively, tap and drag a level slider to adjust the volume level.
• Sends: The Sends tab gives you an overview of the Send and Return controls in Ableton Live.
Use the send knobs to adjust the send level of tracks. Tap the knob and use the data dial or –/+ buttons toadjust the level. Alternatively, tap and drag the send knob to adjust the send level.
Tap the A or B icons to assign the track to the Ableton Live's A or B cue mix.

Device Control View
The Device Control View allows you to control MIDI Instruments, Audio Effects and other Devices in Ableton Livedirectly from your MPC. The current view of the Device Control Tab is determined by the "blue hand" remote control
icon in Ableton Live's Detail View.
Tap the Track Name under the Control Bar to select the Track. If there is a Device(s) associated with the Track,
the first will be shown below.
Tap the lock icon on the right side to lock parameter changes to the device.
Use the sliders to adjust the parameters of the device. Tap a slider and then use the data dial or –/+ buttons toadjust the parameter. Alternatively, tap and drag a slider to adjust the parameter.
Use the Device – and + buttons to change devices on the same track. The white and grey boxes below theparameter sliders represent the number of available Devices.
Use the Bank – and + buttons to cycle through banks of controls for the device, if available. For internal Ableton
Live plugins, you will see the name of the current bank. For third party plugins, you will see the number of thecurrent bank.
Tap Device On to enable or disable (bypass) the device.

Q-Links
The Q-Links on your MPC give you hands-on control of Ableton Live's key parameters.
On MPC X, Q-Links 1–8 control track volume for the eight tracks currently in view, while Q-Links 9–16 control thedevice on the currently selected track, based on the "blue hand" in Ableton Live's Detail View. The OLED screens
above each Q-Link also provide clear visual feedback of the parameter name and value being controlled.
On MPC Live, Q-Link Banks 1 and 2 control track volume, and Q-Link Banks 3 and 4 control the current device atthe "blue hand" position. Press and hold the Q-Link button to bring up the Q-Links Overview on the touchscreen,where you can view the current assignments and quickly select another bank.
418

MPC X Control Map

1

26
27

24 25
22 23

28 29 30 31 32

18

19 20 21

3
17
33

4

5

2

7
13 14

6
15 16

8 9 10 11 12General Controls and Features#

Device Control

Ableton Live Function

1

Display

In Ableton Live Control Mode, MPC X's display will show a dynamic representation of
Ableton Live's software.

2

Pads

Press the pads to launch clips or scenes. Press the XYFX button to toggle between
launching clips (the button is off) and launching scenes (the button is on).

3

Data Dial

Adjusts the highlighted field.

4-/+

Decreases or increases the value of the highlighted field.

5

Numeric Input

If the selected field on the screen is a number, press these numbered buttons as you
would on a standard numeric keypad to enter a value. Press the keypad’s Enter to enterit. (A numeric keypad with additional operations will appear on the screen, as well.)

6

Directional Cursors

Moves the 4x4 Session Matrix focus on the display by one row or one column at a time.

7

Shift

Hold this button to access secondary button functions. See Shift Controls for moredetails.

419

Transport Controls#

Device Control

Ableton Live Function

8

RecordEnable and disable Arrangement Record

9Overdub

Enable and disable Session Record.

10 Stop

Stop playback.

11 Play

Start playback from the Stop position.

12 Play Start

Start playback from the Arrangement start (1:1:1).

13 <Move Playhead back by one bar

14 >Move Playhead forward by one bar

15 <<Phase Nudge down

16 >>Phase Nudge up

Right-Hand Side Buttons#

Device Control

Ableton Live Function

17 Tap Tempo

Tap this button at the desired rate to set a new tempo in Ableton Live.

18 XYFX

Toggles the MPC pads between launching clips (XYFX off) and launching scenes (XYFX on).

19 Erase

Deletes the selected clip.

20 UndoUndo the last action.

21 Copy

Duplicates the selected clip into the next available clip slot.

22 MuteMutes/deactivates the current track.

23 Solo

Solos the current track.

24 Rec Arm

Arms the current track for recording.

25 Read/Write

Arms Global Automation.

Left-Hand Side Buttons#

Device Control

Ableton Live Function

26 Next Seq

Opens the Ableton Clip Launch Matrix tab

27 Ch. Mixer

Opens the Ableton Mixer tab.

28 Q-Link Project

Moves to the previous device.

29 Q-Link Program

Moves to the next device.

30 Q-Link Pad Scene

Device Control Bank Left

31 Q-Link Pad Param

Device Control Bank Right

32 Q-Link Screen Control Opens the Ableton Device Control tab
33 Q-Links

Adjusts the currently selected parameters displayed in the OLED screens above.
Q-Links 1–8 control track volume for the eight tracks currently in view, while Q-Links 9–
16 control the device on the currently selected track, based on the "blue hand" in Ableton
Live's Detail View.

420

Shift Controls
Press and hold MPC X's Shift button, and then press the following buttons for additional actions.
#

Device Control

Ableton Live Function

2

Pads

Selects a clip without launching it.

6

Directional Cursors

Moves the 4x4 Session Matrix focus on the display by eight rows or eight columns at atime.

10 Stop

Stop playback and return song position to 1:1:1.

17 Tap Tempo

Toggle the metronome on and off.

21 UndoRedo the last action.

MPC Live Control Map

7

8

9
12

10
11

5
6
6
1

6

2
13

14 15 46
3

16 17 18 19 20 21 4
Basic Controls#

Device Control

Ableton Live Function

1

Display

In Ableton Live Control Mode, MPC Live's display will show a dynamic representation of
Ableton Live's software.

2

Pads

Press the pads to launch clips or scenes. Press the 16 Level button to toggle between
launching clips (the button is off) and launching scenes (the button is on).

3

Data Dial

Adjusts the highlighted field.

4-/+

Decreases or increases the value of the highlighted field.

5Q-Link Button

Press this button to move forward between Q-Link Banks 1–4. Push and hold this button
to bring up the Q-Links Overview window on the display.

421

#

Device Control

Ableton Live Function

6

Q-Links

Adjusts the currently selected parameters.
Use the Q-Link button to toggle between Q-Link Banks 1 and 2 (which control Track
Level for the eight tracks currently viewed) and Banks 3 and 4 (which are mapped tocontrol the device on the current track, based on the location of the "blue hand" in
Ableton Live's Detail View).

7

Bank A/E

Move the 4x4 Session Matrix focus up by one row.

8

Bank B/F

Move the 4x4 Session Matrix focus down by one row.

9

Bank C/G

Move the 4x4 Session Matrix focus left by one column.

10 Bank D/HMove the 4x4 Session Matrix focus right by one column.

11 Erase

Deletes the selected clip.

12 16 Level

Toggles the MPC pads between launching clips (16 Level off) and launching scenes (16Level on).

13 Shift

Hold this button to access secondary button functions. See Shift Controls for moredetails.

14 UndoUndo the last action.

15 Copy

Duplicates the selected clip into the next available clip slot.

16 TapTap this button at the desired rate to set a new tempo in Ableton Live.

17 RecEnable and disable Arrangement Record.

18 Overdub

Enable and disable Session Record.

19 Stop

Stop playback.

20 Play

Start playback from the current playhead position.

21 Play Start

Start playback from the Arrangement start (1:1:1).

Shift Controls
Press and hold MPC's Shift button, and then press the following buttons for additional actions.
#

Device Control

Ableton Live Function

2

Pads

Selects a clip without launching it.

5

Q-Link Button

Move backward between Q-Link Banks 1–4.

7

Bank A/E

Move the 4x4 Session Matrix focus up by eight rows.

8

Bank B/F

Move the 4x4 Session Matrix focus down by eight rows.

9

Bank C/G

Move the 4x4 Session Matrix focus left by eight columns.

10 Bank D/HMove the 4x4 Session Matrix focus right by eight columns.

13 UndoRedo the last action.

15 Tap

Toggle the metronome on and off.

18 Stop

Stop playback and return song position to 1:1:1.

422

Ethernet Adapter Support
Standalone MPC hardware now supports USB-to-Ethernet adapters. Ethernet settings can be set in the Ethernet tabof the Preferences menu.

Improved Preferences Organization
The Preferences menu has been updated with improved organization. Wi-Fi, Ethernet and Bluetooth tabs have beengrouped and are now located beneath the Info tab. (This has been updated in Operation > General Features >Menu > Preferences.)423

Updates in MPC 2.7.2
New Features
MPC One Support
MPC 2.7.2 adds support for the Akai Professional MPC One hardware.
Note: Ableton Live Control is not available for MPC One.

424

Updates in MPC 2.7.3
New Features
MPC Live II Support
MPC 2.7.3 adds support for the Akai Professional MPC Live II hardware.

MPC Live II Ableton Live Control
The MPC Live II hardware is also pre-mapped to control Ableton Live 10.1.2 or later. See Addenda > Updates in
MPC 2.7 > New Features > Ableton Live Control for more information on how to use Live Control Mode.
Note: You can control Ableton Live over a Wi-Fi network for cableless operation, or connect MPC Live II to yourcomputer using an Ethernet cable for a more tightly controlled setup.

MPC Live II Control Map

7 8 9 10 13 14

5

11 12

6
6

1

6

2
15

4

6
3

16 17 18 19 20 21 4

Basic Controls#

Device Control

Ableton Live Function

1

Display

In Ableton Live Control Mode, MPC Live II's display will show a dynamic representation of
Ableton Live's software.

2

Pads

Press the pads to launch clips or scenes. Press the 16 Level button to toggle between
launching clips (the button is off) and launching scenes (the button is on).

3

Data Dial

Adjusts the highlighted field.

4-/+

Decreases or increases the value of the highlighted field.
425

#Device Control

Ableton Live Function

5

Q-Link Button

Press this button to move forward between Q-Link Banks 1–4. Push and hold this button
to bring up the Q-Links Overview window on the display.

6

Q-Links

Adjusts the currently selected parameters.
Use the Q-Link button to toggle between Q-Link Banks 1 and 2 (which control Track
Level for the eight tracks currently viewed) and Banks 3 and 4 (which are mapped tocontrol the device on the current track, based on the location of the "blue hand" in
Ableton Live's Detail View).

7

Bank A/E

Move the 4x4 Session Matrix focus up by one row.

8

Bank B/F

Move the 4x4 Session Matrix focus down by one row.

9

Bank C/G

Move the 4x4 Session Matrix focus left by one column.

10 Bank D/HMove the 4x4 Session Matrix focus right by one column.

11 Erase

Deletes the selected clip.

12 16 Level

Toggles the MPC pads between launching clips (16 Level off) and launching scenes (16Level on).

13 UndoUndo the last action.

14 Copy

Duplicates the selected clip into the next available clip slot.

15 Shift

Hold this button to access secondary button functions. See Shift Controls for moredetails.

16 TapTap this button at the desired rate to set a new tempo in Ableton Live.

17 RecEnable and disable Arrangement Record.

18 Overdub

Enable and disable Session Record.

19 Stop

Stop playback.

20 Play

Start playback from the current playhead position.

21 Play Start

Start playback from the Arrangement start (1:1:1).

Shift Controls
Press and hold MPC Live II's Shift button, and then press the following buttons for additional actions.
#

Device Control

Ableton Live Function

2

Pads

Selects a clip without launching it.

5

Q-Link Button

Move backward between Q-Link Banks 1–4.

7

Bank A/E

Move the 4x4 Session Matrix focus up by eight rows.

8

Bank B/F

Move the 4x4 Session Matrix focus down by eight rows.

9

Bank C/G

Move the 4x4 Session Matrix focus left by eight columns.

10 Bank D/HMove the 4x4 Session Matrix focus right by eight columns.

13 UndoRedo the last action.

16 Tap

Toggle the metronome on and off.

19 Stop

Stop playback and return song position to 1:1:1.

426

Updates in MPC 2.8
New Features
MIDI Improvements
MPC now supports multi-MIDI control, making MPC the ultimate MIDI sequencing studio centerpiece. In addition togetting the most out of the MIDI DIN ports on your MPC hardware, you can now use your hardware's USB ports toconnect class-compliant MIDI devices such as USB keyboards, MIDI interfaces and USB-to-CV modules, allowing
you to dramatically increase the MIDI input and output capabilities of MPC.
Note: To use multiple USB MIDI devices with standalone MPC, we recommend using a high-quality, powered USB
hub.

Configuring MIDI
To configure the MIDI Inputs and Outputs, go to Preferences > MIDI / Sync.

The Input Ports section displays all available MIDI input ports in a list. Tap the keyboard icon to rename a port to acustom name. This is particularly useful when using multiple devices connected to a single MIDI interface or hub, as
you can name the ports according to the devices connected to them. The custom port names will be reflected
throughout the internal software.
Next to each MIDI input port are the Global, Control and Track buttons:•

When Global is enabled, MIDI data from this port will always go to the current track. The MPC Pads are an
example of a device that is always Global.

•

When Control is enabled, MIDI data from this port will be sent to MIDI Learn.

•

When Track is enabled, this MIDI port will appear in the list of available track MIDI Inputs.

The Output Ports section displays all available MIDI output ports in a list. Tap the keyboard icon to rename a port
to a custom name.
Next to each MIDI output port are the Sync and Track buttons:•

When Sync is enabled, the MIDI output port will send MIDI sync messages according to the type set in the
Preferences menu under MIDI / Sync > Sync Send > Send.

•

When Track is enabled, the MIDI output port will appear in the list of available track MIDI Outputs.

By default, the Track Enable Ports When Discovered option is set to On so that when any MIDI device is plugged
in, the Track option is automatically enabled so the ports can be selected as an available MIDI input or output.

To configure the MIDI Input and Output for a track:
1. In Track View, use the MIDI Input and Channel fields
to set the desired MIDI input port and channel. For
tracks where the Program type is set to MIDI, you
can also set the MIDI Output port and Channel.
2. In Main Mode, open the channel strip by tapping theeye icon. Set the channel strip view to Track bytapping the bars icon and then use the MIDI
Input/Output Ports, Input/Output Channels and/or
Send To fields to configure the MIDI settings.
3. In Channel Mixer Mode, set the Mixer field at the topof the touchscreen in the toolbar to MIDI Tracks, andthen use the Channel Strip to adjust the MIDI
Input/Output Ports, Input/Output Channels and/or
Send To fields to configure the MIDI settings.
427

You can now also send MIDI from one track to another tolayer two or more sound generators. For example, to layer
two plugin instruments:
1. On Track 1, set the Program Type to Plugin andselect a plugin instrument and preset.
2. On Track 2, also set the Program Type to Plugin andpress the Program + icon to create a second plugin
program. Select a new plugin instrument and preset.
3. Open Main Mode and select Track 1.
4. Open the Channel Strip by pressing the eye icon andthen select Track view by tapping the bars icon.
5. Use the Send To field to select Track 2.
6. Now, any note input or MIDI from Track 1 willautomatically be sent to Track 2 as well, giving you aquick and easy way to layer two sounds.

MIDI Recording
For recording, MIDI Tracks now have an Input Monitor button with four states:•

Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting isuseful when using keyboards with Local Control active.

•

In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback fromrecorded events will not be heard.

•

Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events
will be heard.

•

Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.

Copy Pads
You can now copy one or more pads from one drum
program to another. This process is available with otherprogram editing processes. (This has been added toOperation > Modes > Main Mode > Program Section).
To show the Copy Pads window, tap the pencil icon on
the right edge of the Program section in Main Mode. Afterthe Program Edit window opens, tap Copy Pads.
Use the Copy Type menu to select the whether you
want to copy an individual Pad, a Bank of pads or a
Range of pads. Use the fields that appear to selectthe Pad, From Bank or Start/End Pads that will becopied.
Use the From Program menu to select the programfrom which the pads will be copied.
Use the To Program menu to select the program towhich the copied pads will be added.
Use the Pad, To Bank or Start Pad where the copied
pads will be added starting from.
Click Apply to confirm your setting, and then click Do
It to copy the pads or Cancel to return to the previous
screen.

428

Custom Progressions
You can now create custom Progressions based on thecurrent MIDI track from your standalone hardware. This
process is available with other track editing processes.
(This has been added to Operation > Modes > Main
Mode > Track Section).
To show the Convert to Progression window, tap the
pencil icon on the right edge of the Track section in Main
Mode. After the Track Edit window opens, tap Convert to
Progression.
Use the Progression fields to set the parameters of
the new Progression.
To set the progression name, use the Name
field.
To set the root note, use the Root Note field.
To set the scale type, use the Scale Type field.
Use the Chord fields to set the parameters for thechords in your progression.
To select a chord from the progression to edit,
use the Chord field.
To rename the selected chord, use the Name
field.
To set the type of chord, use the Type field toselect Root, Normal or Below Root.
To play the selected chord, tap the Play button.
To close the window and return to the previous
screen, tap the X, Close or anywhere outside thewindow.

Edit Pad MIDI Note Map
You can now create custom note mappings for any
program type directly from your standalone MPC hardware.
Note mapping lets you assign specific MIDI notes to yourpads in each program, except for keygroup programs.
This process is available with other track editing
processes. (This has been added to Operation > Modes> Main Mode > Program Section).
To show the Edit Pad MIDI Note Map window, tap the
pencil icon on the right edge of the Program section in
Main Mode. After the Program Edit window opens, tap
Edit Pad Map.
Use the Pad field to select the pad to edit. You canalso press a pad to select it.
Use the MIDI Note field to set the corresponding MIDI
Note for the pad.
Use the Presets buttons to quickly apply one of threecommon pad layout presets: Chromatic C-2,
Classic MPC and Chromatic C1.
To close the window and return to the previous screen,
tap the X, Close or anywhere outside the window.
429

Global Automation Button
All automation buttons, including the global automation button (available in Main Mode, Grid View, XYFX Mode,
List Edit Mode, the Pad Mixer, the Channel Mixer, Pad Mute Mode, and Q-Link Edit Mode) and the programautomation buttons (available in Main Mode and the Channel Mixer) now toggle between Read and Write states
when tapped. To turn automation off or on, hold Shift and tap the global automation button or programautomation button.
Pressing the Read/Write button on MPC X now also toggles between Read and Write states. Hold the Shift buttonand press Read/Write to turn automation off or on.

Global Timing Correct On/Off
The Timing Correct (TC) window now has a convenient
Global Timing Correct On/Off button.
You can also enable or disable Global Timing Correct byholding Shift and tapping the TC value at the top of thescreen in Main Mode or List Edit Mode.

Main Button Track SelectYou can now press and hold the Main button to view the
Select Track window where you can select a track bypressing the corresponding pad or tapping the pad in the
Select Track window.
Use the MIDI and Audio tabs to switch between track
types.

Expanded Pad Perform
You can now easily open and use Pad Perform from Main
Mode and other modes where the pads play notes.
To open the Pad Perform window in Main Mode,tap the Pad Perform icon in the program section
when using a plugin, keygroup or MIDI program.
To open the Pad Perform window in other modes,
hold Shift and press 16 Level. Alternatively, press
Pad Perform (MPC X only).

430

Retrospective Record
Your MPC hardware now captures MIDI events in the background, allowing you to recall performances when record
was not enabled.
To capture events using retrospective record, hold Shift and press Record after playing some notes to add
the recent events to the current track.

Single or Multi Record Arm
You can now configure the behavior of the Record Arm buttons by adjusting the Record Arm setting underPreferences > Sequencer.
•

In Single mode, selecting a different track will automatically arm that track and disarm all other tracks. This is
the default mode and is the same as previous MPC releases. To arm multiple tracks to record in Single
mode, hold Shift and tap each track's record button.

•

In Multi mode, you can tap any track's record button to add it to the group of armed tracks. This is usefulwhen doing multitrack recording.

Q-Link Overlay
MPC Live, MPC Live MKII, MPC One and MPC Touch
now display visual feedback when a Q-Link knob istouched. A panel will appear on the right side of thetouchscreen showing the available parameters being
controlled and their values.
(This has been added to Preferences > General).

431

Updates in MPC 2.9
New Features
AIR DrumSynth
The AIR DrumSynth plugins emulate the sound of classic
drum machines and feature multiple synthesis types,
advanced modeling and carefully crafted, built-in effects
to create powerful contemporary drum sounds.

To use AIR DrumSynth:
1. Create a Plugin program.
2. Double-tap the Plugin field to open the Plugin
window.
3. Expand the MPC Drum Plugins option and select thedesired plugin.
You can add the following drum types as individual
plugins per track: Clap, Crash, HiHat, Kick, Perc,
Ride, Snare and Tom. Each of these instruments has
comprehensive synthesis and effects sections
described below.

In each plugin, you can quickly enable or disable the built-in effects (Transient, Distortion, EQ and Compressor)
while viewing any of the tabs listed below by tapping the buttons on the right side of the touchscreen under FX.
Drum Sound
Use this tab to adjust the basic settings for the drum sound. You can also use the knobs on this tab to quickly
adjust up to eight parameters specifically chosen for each sound.
Parameter

Description

Value Range

Model

Type of drum sound emulated.

Varies

One-ShotAllows the drum sound to play entirely when triggeredor only for how long the note length is set.

Enabled, Disabled

Velocity

Amount of incoming Velocity applied. When set to 0,
all notes will sound as if Full Level.

0–100%

Velocity 2

Amount of additional Velocity envelope that can beused to control a parameter.

-100 – 0 – +100%

Select the Parameter where the Velocity 2 informationis sent.

Param 1–8

Gain

Volume level of the drum sound.

-Inf, -68.0 – 0 – +12.0 dB

Parameter
Knobs

Each drum sound has up to eight associatedparameters that can be used to further shape thesound. The available parameters vary based on thetype of drum sound selected. Use the knobs to adjust
the selected parameter.

VariesTarget432

Trans/Dist
Use this tab to adjust the settings for the Transient and Distortion effects.
Parameter
Transient

Distortion

Description

Value Range

AttackDecreases or increases the amount oftransient attack applied to the signal.

-100 – 0 – +100%

Shape

Adjusts the shape of the processed transient. 0–100%

Sustain

Percentage of sustain envelope subtracted
from or added to the transient effect.

-100 – 0 – +100%

Pre-Shape

Increases or decreases the high-end tone of
the incoming audio signal pre-distortion.

-100 – 0 – +100%

Drive

Amount of drive applied.

0–60 dB

Threshold

Signal level after which the distortion will beapplied.

-20.0–0.0 dB FS

High Cut

Center frequency of the distortion signal high- 1.00–20.0 kHz
cut filter.

Mix

Wet/dry amount of the distortion effect.

0–100%

EQ/Comp
Use this tab to adjust the settings for the EQ and Compressor effects.
Parameter
EQ

Compressor

Description

Value Range

High Freq

Center frequency for the High EQ band.

1.20 – 20.0 kHz

High Gain

Amount of gain applied to the High EQ band.

Cut, -12.0 – 0 – +12.0 dB

High Mid Freq

Center frequency for the High Mid EQ band.

120 Hz – 16.0 kHz

High Mid Q

Width of the High Mid EQ band.

0.40–10.00

High Mid Gain

Amount of gain applied to the High Mid EQ
band.

-18.0 – 0 – +18.0 dB

Low Mid Freq

Center frequency for the Low Mid EQ band.

40.0 Hz – 8.00 kHz

Low Mid Q

Width of the Low Mid EQ band.

0.40–10.00

Low Mid Gain

Amount of gain applied to the Low Mid EQ
band.

-18.0 – 0 – +18.0 dB

Low Freq

Center frequency for the Low EQ band.

20.0 Hz – 1.00 kHz

Low GainAmount of gain applied to the Low EQ band.

Cut, -12.0 – 0 – +12.0 dB

Ratio

Amount of compression applied.

1.0:1 – 100.0:1

AttackLength of time to apply the compression.

100 us – 300 ms

Threshold

Signal level after which the compressor will
be applied.

-60.0–0.0 dB

OutputAmount of additional output gain for thecompressed signal.

0.0–30.0 dB

433

You can also use the DrumSynth:Multi plugin to accessall DrumSynth sounds from one plugin, which includes
additional dedicated effects and mixing controls.
Note: You can only have one DrumSynth:Multi plugin
active per project when in Standalone mode.

DrumSynth 1–8 / Trans/Dist / EQ/Comp
Use the first eight tabs in the Multi to control the same
parameters as the individual DrumSynth plugins. Tapeach tab to cycle between the Drum Sound view, theTrans/Dist view, and the EQ/Comp view.

Send FX
Use this tab to adjust the settings for the Delay, Diffuser and Reverb effects.
Parameter
Delay

Diffuser

ReverbDescription

Value Range

Time

Length of time between the dry signal and the 1/32 – 8/4
delayed signal.

Ratio

Reduces the delay Time in either the Left or
Right stereo field. This is useful for creatingoffset, panned delays.

L 100:50, R 50:100

Feedback

Amount of delay signal fed back into thedelay line.

0–100%

Filter Freq

Sets the center frequency of the filtered delay 1.00 – 20.0 kHz
signal.

ResoAmount of resonance of the feedback signal.

0–100%

Reso Freq

Center frequency for feedback resonance.

100 Hz – 10.0 kHz

Delay

Delay time between the dry signal and the
diffused signal.

1/64 – 4/4

Feedback

Amount of diffused signal sent back into thedelay line.

0–100%

Diffusion

Rate of increasing density of reverbreflections.
At lower settings, the sound of individualreflections is more present.
At higher settings, reflections are more
uniform.

0–100%

BrightAdjusts the high-end tone of the diffusedsignal.

0–100%

Mode

Type of reverb applied.

Hall, Stadium, Room,
Abstract

Time

Length of reverb tail.

0.4 s – +Inf s

Low Cut

Center frequency for the reverb low-passfilter.

1 – 1000 Hz

High Cut

Center frequency for the reverb high-passfilter.

1.00 – 20.0 kHz

434

Mixer / FX / Sends
Use this tab to mix the individual drum sounds as well as control their effects. The Mixer / FX / Sends tab
contains three different views that can be accessed by tapping the tab at the bottom of the display.
Use the Mixer view to adjust the volume, panning, muting and soloing for each drum.
Tap the 1–8 icons to mute or unmute the selected drum.
Tap the S icon to solo the selected drum.
Tap and drag the pan slider to adjust the drum panning. Alternatively, tap the slider and use the encoder, or
use the appropriate Q-Link knob.
Tap and drag the volume slider to adjust the drum volume. Alternatively, tap the slider and use the encoder,
or use the appropriate Q-Link knob.
Use the FX view to enable or disable the Transient, Distortion, EQ and Compressor effects for each drum sound.
Tap the FX box to enable or disable the selected FX on the selected drum.
Use the Sends view to adjust the send levels for the Delay, Diffuser and Reverb Send FX.
Tap and drag the Send knob to adjust the send level for the selected effect on the selected drum.
Alternatively, tap the knob and use the encoder, or use the appropriate Q-Link knob.

435

Updates in MPC 2.10
New Features
Four New Instrument Plugins
Your MPC hardware now includes four new plugin instruments: AIR Hype, AIR Mellotron, AIR Solina andWayOutWare Odyssey.
To use the new plugins:
1. Make sure you have downloaded the new Synth Content installation pack from your account at akaipro.com.
2. Copy the Synths directory from the downloaded pack into the top-level folder of a SD card or USB drive. You do
not need to copy any of the other files. Then, insert the drive into your device.
Note: For maximum convenience, we recommend you install a SATA drive in the drive bay of your standalone
MPC and then copy the Synths folder onto this drive.

AIR Hype
The AIR Hype plugin is a modern style dual-oscillator synthesizer
that includes a wide variety of built-in effects for endlesscombinations of sound, as well as convenient macro controls forlightning-fast adjustments.

Macro
Use this tab to adjust the macro settings for the plugin. You canaccess the Effect on/off switches in all tabs.
Parameter

Description

Value Range

Macros

These six macro controls are unique to eachpreset.

VariesCutoffAmount of filter cutoff applied.

0–100%

Reso

Amount of filter resonance applied.

0–100%Mod

Amount of modulation effect applied.

0–100%

Distortion

Amount of distortion effect applied.

0–100%

Delay

Amount of delay effect applied.

0–100%

ReverbAmount of reverb effect applied.

0–100%

PumperAmount of pumper effect applied.

0–100%

VolumeMain output volume.

-inf – 0.0 – +6.0 dB

436

AIR Hype (continued)

Filter / Amp
Use this tab to adjust the filter and amplitude envelope settings.

Parameter

Description

Value Range

CutoffCutoff frequency for the filter.

0–100%

Reso

Amount of resonance of the filter.

0–100%

Filter Envelope Attack

Length of time for the filter to reach full level.

0–100%

Decay

Length of time for the filter to reach sustain
level.

0–100%

SustainLength of time for the filter to hold sustain level. 0–100%

ReleaseLength of time for the filter to dissipate whenreleased.

0–100%

Envelope
Depth

Amount of Filter Envelope added to the filter
cutoff.

0–100%

Envelope
Velocity

Amount of effect the note velocity has on thefilter envelope.

0–100%

Spike

Applies additional velocity to the amplitudeattack.

0–100%

Spike Decay

Length of time for the Spike to decay.

0–100%

AttackLength of time for the note to reach full level.

0–100%

Decay

Length of time for the note to reach sustain
level.

0–100%

SustainLength of time for the note to hold sustain level. 0–100%

ReleaseLength of time for the note to dissipate whenreleased.

0–100%

Fade

Amount added to the envelope sustain level.

0–100%

Velocity

Amount of effect the note velocity has on theamplitude envelope.

0–100%

FilterAmp

Amp Envelope437

AIR Hype (continued)

Effects 1
Use this tab to adjust the settings for the Low-Frequency Oscillator
and Modulation, Distortion and Hype effects.

Parameter
LFO

Description
Rate

Value Range

Speed of the low frequency oscillator.
When Sync is set to 1st Note, Each Note, or Off: 0.03 – 30.00 Hz
When Sync is set to Temp+Note or Tempo+Beat: 8/4 – 1/64

Mod

Distortion

Hype

Sync

Enables or disables LFO sync, and sets how it issynced when enabled.

Off, 1st Note, Each Note,
Tempo+Note, Tempo+Beat

Depth

Amount of LFO modulation applied.

0–100%

Rate

Speed of modulation.

0.05 – 20.00 Hz

AdjustLength of time the wet signal is offset from the dry 0.0 – 24.0 ms
signal.

Depth

Amount of modulation applied.

0–100%

Mix

Wet/dry mix of the modulation effect.

0–100%

Drive

Amount of drive applied.

0–100%

Bias

Emulates amount of voltage sent to a tube poweramp.

-100 – 0 – 100%

OutputOutput level of the distorted signal.

0–100%

Mix

Wet/dry mix of the distortion effect.

0–100%

Low

Dampens or maximizes low end frequencies.

-12.0 – 0.0 – +12.0 dB

Lo-MidDampens or maximizes low-mid frequencies.

-20.0 – 0.0 – +20.0 dB

Hi-MidDampens or maximizes high-mid frequencies.

-20.0 – 0.0 – +20.0 dB

High

Dampens or maximizes high end frequencies.

-12.0 – 0.0 – +12.0 dB

438

AIR Hype (continued)

Effects 2
Use this tab to adjust the settings for the Delay, Reverb,
Compressor, Pumper and Limiter effects.

Parameter
Delay

ReverbCompressor

PumperLimiter

Description

Value Range

Time

Amount of time between the dry signal and thedelayed signal.

1/16 – 16/4

Feedback

Amount of signal fed back into the delay line.

0–100%

Freq

Adjusts the filter cutoff frequency of the delayed
signal.

100 – 16000 Hz

Mix

Wet/dry amount of the delay effect.

0–100%

L/R

Reduces the delay Time in either the Left or
Right stereo field. This is useful for creatingoffset, panned delays.

L 50:100 – R 100:50

Pre-Delay

Length of time between dry signal andreverberated signal.

0.0 – 250.0 ms

TimeLength of reverb tail.

0.3 – 60.0 s

Mix

Wet/dry amount of the reverb effect.

0–100%

Threshold

Signal level after which the compressor will beapplied.

-30.0 – 0.0 – +10.0 dB

Ratio

Amount of compression applied.

1.0:1 – 20.0:1

AttackLength of time to apply the compression.

0–100%

OutputAmount of additional output gain for thecompressed signal.

-20.0 – 0.0 – +20.0 dB

Rate

Speed of the pumper effect.

Bar, 1/2 – 1/32T

Depth

Amount of signal attenuation by the effect.

0–100%

ReleaseAmount of time to release the effect.

0–100%

Drive

Amount of drive added after the limiter effect.

0.0 – 30.0 dB

439

AIR Hype (continued)

Setup
Use this tab to adjust the plugin setup parameters.

Parameter
Setup

Description

Value Range

Transpose

Transposition of the plugin, in semitones.

-36 – 0 – +36

Tune

Fine tuning of the plugin, in cents.

-100 – 0 – +100

Glide Time

Amount of time to slide from the pitch of one note to
the next note played.

0 ms – 32 s

Glide Mode

Enables or disables pitch gliding for all triggered
notes or legato notes.

Off, Legato, All

Mode

Sets the plugin to polyphonic or monophonic

Poly, Mono

Del-Rev

Level of the delay and reverb signals.

-inf – 0.0 – +6.0 dB

VolumeOverall level of the plugin.

-inf – 0.0 – +6.0 dB

Destination

Send Mod Wheel data to one of the following control
destinations.

Pitch, Cutoff, Reso, Amp,
Pan

Depth

Amount of modulation applied.

MIDI Control
Mod Wheel

When Destination is set to Pitch: -12.0 – +12.0
When Destination is set to Cutoff, Reso, Amp or Pan: -100 – 0 – 100%Aftertouch

LFO

Ties the modulation to the Control LFO.

Off, On

Destination

Send Aftertouch data to one of the following control
destinations.

Pitch, Cutoff, Reso, Amp,
Pan

Depth

Amount of modulation applied.

0–100%

When Destination is set to Pitch: -12.0 – +12.0
When Destination is set to Cutoff, Reso, Amp or Pan: -100 – 0 – 100%Control LFO

LFO

Ties the modulation to the Control LFO.

Off, On

Sync

Enables or disables Control LFO sync, and sets how
the Control LFO is synced when enabled.

Off, First Note, EachNote, Tempo + Note,
Tempo + Beat

Rate

Speed of modulation of the Control LFO.
When Sync is set to First Note or Each Note: 0.03 – 30.00 Hz
When Sync is set to BPM & Note or BPM & Beat: 8/4 – 1/64

Shape

Waveshape of the Control LFO.

Sine, Triangle, Sawtooth,Square, S&H Random,
S&H Alternate, Random
Drift, Slow Drift440

AIR Mellotron
The AIR Mellotron plugin is a software recreation of the classic
tape keyboard, including reproductions of the original tapesamples in both clean and dirty versions.

Model
Use this tab to adjust the settings for the tape sample.
Parameter

Description

Value Range

SampleSelect the tape loop sample.

8 Voice Choir, Boys
Choir, Flute, Violins 1,
Violins 2, Violin

Clean

Enables or disables a cleaner sample sound.

Off, On

Formant

Decreases or increases the harmonic resonance ofthe formant frequency.

-12 – 0 – +12

AgeAmount of sound degradation applied.

0–100%

Smpl Start

Starting point of the tape loop sample.

0–100%

CutoffAmount of filter cutoff applied.

0–100%

AttackLength of time for the sound to reach full level.

0 ms – 32 s

ReleaseLength of time for the sound to dissipate when thenote is released.

0 ms – 32 s

Vel > Amp

The amount of effect velocity has on amplitudecontrol.

0–100%

MW VibAmount of vibrato applied from the mod wheel.

0–100%AT VibAmount of vibrato applied from aftertouch.

0–100%

Vib Speed

Modulation speed of the vibrato effect.

0.03 – 30.00 Hz

Key OnEnables or disables key action noise on note on.

Off, On

Key Off

Enables or disables key action noise on note off.

Off, OnOn VolAmount of key-on noise.

0–100%Off Vol

Amount of key-off noise.

0–100%

Smpl Poly

Number of voices available.

1–40

Level

Overall level of the plugin.

0–100%

441

AIR Mellotron (continued)

Flavor / Compressor / EQ
Use this tab to adjust the settings for the flavor, compressor andEQ effects. Each effect can be turned on and off by using the
buttons on the right side.

Parameter

Description

Value Range

FlavorUse the button in the upper-right corner to enable ordisable the flavor effect.

Off, On

TimbreSelects an emulation type to color the sound.

VariesTimbre Depth

Amount of timbre emulation applied to the sound.

0–100%

Flutter

Amount of speed fluctuation of the sound playback.

0–100%

Vinyl Distortion Amount of vinyl distortion noise applied to the signal.

0–100%

Vinyl Noise
Compressor

Amount of vinyl noise such as clicks and pops applied 0–100%
to the signal.
Use the button in the upper-right corner to enable ordisable the compression effect.

Off, On

Threshold

Signal level after which the compressor will be applied. -30.0 – 0.0 – +10.0 dB

Ratio

Amount of compression applied.

1.0:1 – 20.0:1

AttackLength of time to apply the compression.

0–100%

MakeupAmount of additional output gain for the compressedsignal.

-20.0 – 0.0 – +20.0 dB

Use the button in the upper-right corner to enable ordisable the EQ effect.

Off, On

Low

Amount of attenuation or boost applied to the low
frequency band.

-12.0 – 0.0 – +12.0 dB

Low Mid

Amount of attenuation or boost applied to the low-mid -20.0 – 0.0 – +20.0 dB
frequency band.

High Mid

Amount of attenuation or boost applied to the highmid frequency band.

-20.0 – 0.0 – +20.0 dB

HighAmount of attenuation or boost applied to the highfrequency band.

-12.0 – 0.0 – +12.0 dB

EQ

442

AIR Mellotron (continued)

Delay / Spring Reverb
Use this tab to adjust the settings for the delay and spring reverb
effects. Each effect can be turned on and off by using the buttons
on the right side.

Parameter

Description

Value Range

Delay

Use the button in the upper-right corner to enable ordisable delay.

Off, On

Time

Amount of time between the dry signal and thedelayed signal.

1/16 – 16/4

L/R Ratio

Reduces the delay Time in either the Left or Rightstereo field. This is useful for creating offset, panned
delays.

50:100 – 100:100 –100:50Feedback

Amount of signal fed back into the delay line.

0–100%

Mix

Wet/dry amount of the delay effect.

0–100%

Reso LP Freq

Low pass frequency for feedback resonance.

100 – 16000 Hz

Reso Bell Freq

Center frequency for feedback resonance.

100 – 16000 Hz

Reso Bell Gain Amount of gain applied to the resonant frequency.

0–100%

Use the button in the upper-right corner to enable ordisable the spring reverb effect.

Off, On

Pre-Delay

Length of time between dry signal and reverberated
signal.

0 – 250 ms

Time

Length of reverb tail.

1.00 – 10.00 s

Low Cut

Center frequency for reverb signal low-cut filter.

20 – 1000 Hz

Diffusion

Rate of increasing density of reverb reflections.
At lower settings, the sound of individual reflections ismore present.
At higher settings, reflections are more uniform.

0–100%

Width

Stereo width of reverb signal. Higher values give wider 0–100%
stereo separation.

Mix

Wet/dry amount of the reverb effect.

Spring Reverb

0–100%

443

AIR Solina
The AIR Solina plugin is a software recreation of the classic string
synthesizer.

EnsembleUse this tab to adjust the voice and ensemble settings.
Parameter

Description

Value Range

Voice

Click each button to enable or disable the selectedvoice.

Contra Bass, Cello, Viola,
Violin, Trumpet, Horn

Voice Volume

Volume of the selected voice.

-Inf – 0 – +12

Voice Panning

Stereo panning of the selected voice.

L64 – C – R64

Voice Octave

Octave adjustment for the selected voice.

-2, -1, 0 (Contra Bass)
0, +1, +2 (Violin)-1, 0, +1 (All others)

Ensemble

Enables or disables the ensemble effect.

Off, On

Bass Volume

Adjusts the volume of the bass voices.

0–100

Dual

When enabled, both bass and upper voices will play Off, On
on every key, regardless of the octave. Whendisabled, the voices will be split so that the bass
voices play on lower octaves and the upper voices
play on higher octaves.

Upper Volume

Adjusts the volume of the upper voices.

0–100

Level

Overall level of the plugin.

0–100%

444

AIR Solina (continued)

Sound
Use this tab to adjust additional settings for the plugin sound.

Parameter

Description

Value Range

Crescendo

Length of time for the sound to reach full volume.

0 ms – 32 s

SustainLength of time for the sound to remain playing after 0 ms – 32 s
the key is released.

Formant

Decreases or increases resonant frequencies toadjust the timbre of the sound.

-12 – 0 – +12

FilterAdjusts the low-pass filter frequency.

0–100%

Age

Amount of detuning and drift applied.

0–100%

Velocity to Amp

The amount of effect velocity has on amplitudecontrol.

0–100%

MW Vibrato

Amount of vibrato applied from the mod wheel.

0–100%AT Vibrato

Amount of vibrato applied from aftertouch.

0–100%

Vibrato Speed

Modulation speed of the vibrato effect.

1.00–30.00 Hz

Sample Poly

Number of voices available.

1–50

445

AIR Solina (continued)

FlavorUse this tab to adjust the settings for the flavor and vinyl effects.

Parameter

Description

Value Range

FlavorEnables or disables the flavor effect.

Off, On

TimbreSelects an emulation type to color the sound.

VariesTimbre Depth

Amount of timbre emulation applied to the sound.

0–100%

Vinyl
Distortion

Amount of vinyl distortion noise applied to the signal.

0–100%

Vinyl NoiseAmount of vinyl noise such as clicks and pops applied tothe signal.

0–100%

Flutter

Amount of speed fluctuation of the sound playback.

0–100%

MonofyReduces the stereo spread.

0–100%

446

AIR Solina (continued)

Chorus / EQ
Use this tab to adjust the settings for the chorus and EQ effects.
Use the buttons on the right side to enable or disable each effect.

Parameter
ChorusEQ

Description

Value Range

Rate

Modulation speed of the chorus effect.

0.05 – 20 Hz

Depth

Modulation depth of the chorus effect.

0–100%

Tone

Decreases or increases the brightness of the chorus
effect.

-100 – 0 – +100%

Mix

Wet/dry amount of the chorus effect.

0–100%

Low

Amount of attenuation or boost applied to the low
frequency band.

-12.0 – 0.0 – +12.0 dB

Low Mid

Amount of attenuation or boost applied to the low-mid
frequency band.

-20.0 – 0.0 – +20.0 dB

High Mid

Amount of attenuation or boost applied to the high-mid
frequency band.

-20.0 – 0.0 – +20.0 dB

HighAmount of attenuation or boost applied to the highfrequency band.

-12.0 – 0.0 – +12.0 dB

447

AIR Solina (continued)

Delay / Spring Reverb
Use this tab to adjust the settings for the delay and spring reverb
effects. Use the buttons on the right side to enable or disable each
effect.

Parameter
Delay

Description

Value Range

Time

Amount of time between the dry signal and the delayed
signal.

1/16 – 16/4

L/R Ratio

Reduces the delay Time in either the Left or Right stereo 50:100 – 100:100 –100:50field. This is useful for creating offset, panned delays.

Feedback

Amount of signal fed back into the delay line.

0–100%LP FreqLow pass frequency for feedback resonance.

100 – 16000 Hz

Bell Freq

Center frequency for feedback resonance.

100 – 16000 Hz

Bell Gain

Amount of gain applied to the resonant frequency.

0–100%

Mix

Wet/dry amount of the delay effect.

0–100%

Length of time between dry signal and reverberated
signal.

0 – 250 ms

Time

Length of reverb tail.

1.00 – 10.00 s

Low Cut

Center frequency for reverb signal low-cut filter.

20 – 1000 Hz

Diffusion

Rate of increasing density of reverb reflections.
At lower settings, the sound of individual reflections ismore present.
At higher settings, reflections are more uniform.

0–100%

Width

Stereo width of reverb signal. Higher values give wider
stereo separation.

0–100%

Mix

Wet/dry amount of the reverb effect.

0–100%

Spring Reverb Pre-Delay

448

WayOutWare Odyssey
The WayOutWare Odyssey plugin is a software recreation of theclassic analog synthesizer that captures the character and nuanceof the original Odyssey using WayOutWare’s experience andexpertise in circuit modeling and signal processing.

VCO 1/2
Use this tab to adjust the settings for the voltage controlled
oscillators.
Parameter

Description

LFO/Audio

LFO, Audio
When set to Audio, standard pitches will be
produced as indicated by the Oct, Semi and CT
values for the Frequency setting.
When set to LFO, the VCO will be controlled by an
LFO and may be used for modulating VCO2.

Frequency

Determines the pitch adjustment for the oscillator.
The total frequency range depends on the LFO/
Audio setting, and is shown at the bottom of thissection.

0.174 – 1478.852 Hz

CoarseCoarse pitch adjustment.

-0.200 – 6.333 V

Fine

Fine pitch adjustment.

0.000 – 0.875 V

Source 1
Waveform

Type of frequency modulation waveform appliedby the LFO.

LFO Sine, LFO Square

Depth 1

Depth of frequency modulation.

0.0–100.0%

Source 2

Determines the frequency modulation source.

S/H, ADSR

Depth 2Depth of Source 2 modulation.

0.0–100.0%

Width

Width of pulse width modulation.

50.0–90.0%

Mod

Depth of pulse width modulation.

0.0–100.0%

SourceDetermines the pulse width modulation source.

LFO Sine, ADSR

Sync

Determines whether VCO 2 is synced with thefrequency of VCO 1. When disabled, you can use
both VCOs to produce separate pitches.

Off, On

Frequency

Pitch adjustment for the oscillator.

8.706 – 1478.852 Hz

CoarseCoarse pitch adjustment.

-0.200 – 6.333 V

Fine

Fine pitch adjustment.

0.000 – 0.875 V

Source 1

Type of modulation source. When S/H Mixer orPedal is selected, the modulation can becontrolled by the Sample and Hold mixer or by anoptional external expression pedal.

LFO Sine, S/H Mixer or
Pedal

Depth 1

Depth of Source 1 modulation.

0.0–100.0%

Source 2

Type of modulation source.

S/H, ADSR

Depth 2Depth of Source 2 modulation.

0.0–100.0%

Width

Width of pulse width modulation.

50.0–90.0%

Mod

Depth of pulse width modulation.

0.0–100.0%

SourceType of source for pulse width modulation.

LFO Sine, ADSR

VCO 1 FMVCO 1 Pulse
Width

VCO 2 FMVCO 2 Pulse
Width

Value Range

449

WayOutWare Odyssey (continued)

Mod/Env
Use this tab to adjust the settings for the low frequency oscillator,
sample and hold generator, and envelope generator.

Parameter
LFO

Sample/Hold

AR

ADSR

Description

Value Range

LFO Tempo
Sync

Determines whether LFO speed is free floatingor synced to project tempo.

Off, OnLFO Speed

Speed of the low frequency oscillator.
When Sync is Off: 0.0925 – 20.0000 Hz
When Sync is On: 4/4 – 1/64 beats

Trigger

Determines the source signal for triggering the
Sample and Hold mixer, either the Low
Frequency Oscillator or the pitched Keyboard
output.

LFO Trigger, Kybd Trigger

Source 1

Selects the VCO-1 waveform or pulse widthmodulation as Sample and Hold input.

Saw, Pulse

Source 2

Selects a noise generator or the VCO-2 pulse
width modulation as Sample and Hold input.

Noise, Pulse

VCO-1

Level of the VCO-1 input.

0.0–100.0%

Depth

Level of the noise or VCO-2 input.

0.0–100.0%

Lag

Adjusts the smoothing of the Sample and Hold
output voltage.

0.0–100.0%

AttackAttack time of the AR envelope generator.

0.003 – 10.000 seconds

Release

Release time of the AR envelope generator.

0.003 – 10.000 seconds

Trigger Source

Determines the input source sent to the AR
envelope generator.
When set to KYBD Gate, the envelope
generator is triggered by key input.
When set to LFO Repeat, the envelope
generator is trigger by the LFO pulse wave.

KYBD Gate, LFO Repeat

AttackAttack time of the ADSR envelope generator.

0.003 – 10.000 seconds

Decay

Decay time of the ADSR envelope generator.

0.003 – 10.000 seconds

SustainSustain time of the ADSR envelope generator.

0.000 – 10.000 V

Release

Release time of the ADSR envelope generator.

0.003 – 10.000 seconds

Trigger Source

Type of input to trigger the envelope generator. KYBD Gate, LFO Repeat

RepeatKYBD Repeat, Auto Repeat
When Trigger Source is set to LFO Repeat,
select KYBD Repeat for the LFO to trigger only
when a key is pressed, or select Auto Repeat
for the LFO to trigger automatically without key
input.
450

WayOutWare Odyssey (continued)

Mix/Filter
Use this tab to adjust the audio mixing and routing, as well as
adjust the voltage controlled filter, high-pass filter, and voltage
controlled amplitude.

Parameter
VCF

Audio Mixer

VC Filter

HP Filter

VC AmpDescription

Value Range

VCF Cutoff

Cutoff frequency of the filter.

0.680 – 10.645 V, or
16.02 - 16012.70 Hz

VCF ResResonance of the filter.

0.000 – 0.800 Q

Noise/RingMod

Select the noise generator or ring modulation
input for the mixer.

Noise, Ring Mod

Noise/Ring
Mod Level

Level of the noise generator or ring modulation
into the mixer.

0.0–100.0%

VCO-1 Input

Select the VCO-1 input type for the mixer.

Saw, Pulse

VCO-1 Level

Level of VCO-1 into the mixer.

0.0–100.0%

VCO-2 Input

Select the VCO-2 input type for the mixer.

Saw, Pulse

VCO-2 Level

Level of VCO-2 into the mixer.

0.0–100.0%

VCO-1 Filter
Modulation
SourceSet the input source for VCO-1 filter
modulation.
Select KYBD CV to use key input as thesource.
Select S/H Mixer or Pedal to use the Sample
and Hold generator or optional external pedal.

KYBD CV, S/H Mixer or
Pedal

CV Modulation
Level

Level of VCO-1 filter modulation.

0.0–100.0%

VCO-2 Filter
Modulation
SourceSet the input source for VCO-2 filter
modulation.

S/H, LFO Sine

CV Modulation
Level

Level of VCO-2 filter modulation.

0.0–100.0%

FilterModulation
SourceSelect which envelope generator to use as afilter modulation source.

ADSR, ARCV Filter
Modulation
Level

Amount of envelope filter modulation applied to 0.0–100.0%
the VC Filter.

HPF Cutoff

Cutoff frequency of the high-pass filter.

0.680 – 10.645 V, or
16.02 - 16012.70 Hz

Mod Source

Select which envelope generator to use as anamplitude modulation source.

ADSR, ARMod

Amount of envelope modulation applied to the
output signal.

0.0–100.0%

VCA GainAmount of gain applied to the VC Amp.

0.0–100.0%
451

WayOutWare Odyssey (continued)

Echo
Use this tab to adjust the settings for the tape echo effect.

Parameter

Description

Value Range

Delay

Use the switch in the bottom-left corner to enable ordisable the delay effect.

Off, On

Sync

Enable to sync the Echo Time to the Global Tempo, or Off, On
disable to adjust the Echo Time by milliseconds.

SustainLength of time that the echo continues playing.

0.0–100.0%

Echo Mix

Adjusts the wet/dry amount between the original soundand the echo.

100% Synth – 50/50%– 100% Echo

Echo Time

Amount of time between the dry signal and the delayed
signal. Use the slider or the Echo Time field to change thevalue.
When Sync is Off: 0.02 – 5.00 seconds
When Sync is On: 1/64 – 4/4452

WayOutWare Odyssey (continued)

Settings
Use this tab to adjust general settings such as voice count,
portamento and performance parameters.

Parameter

Description

Value Range

Voice Count

Number of voices available. When set to Duo, each VCO
controls a separate note.

Duo, 2–4

Portamento

Length of time to slide between notes.

0.000 – 1.500 seconds

Exp Pedal

Enables or disables the use of an expression pedal tocontrol portamento.

Off, On

Footswitch

Enable or disables the use of a footswitch to activate
portamento.

Off, On

TransposeAmount of transposition applied to the keyboard.

-2, 0, +2 octaves

Noise

Type of noise used for the noise generator.

White, Pink

MW Vib LFOAmount of vibrato LFO applied by the mod wheel.

0.0–100.0%

MW PWM

Amount of pulse width modulation applied by the modwheel.

0.0–100.0%

KYBD Filter

Amount that the filter is tied to the pitch being played.

0.0–100.0%

KYBD Amp

Amount that the amplitude is tied to the pitch being
played.

0.0–100.0%

Performance
Velocity
Depth

453

AIR FX Bundle
Your MPC hardware now includes nine new insert effects, including a new AIR vocal effects suite, an improved AIR
Diffuser Delay, and more.
AIR Diff Delay
This is a delay line effect that is synchronized to yoursession tempo and uses an adjustable amount ofdiffusion to emulate the dissipation of echoes inreverberant space.

Parameter

Value Range

Default ValueTime
Sync Off: 1 – 1000 ms
Sync On: 1/64 – 4/4(including Triplet
and Dottedvariations)

161 ms
1/16D

Sync

Off, OnOn

Width

0–100%

100%

Mix

0–100% (dry–wet) 40%

Feedback

0–100%

50%

Fdbk. Diffusion

0–100%

40%

Fdbk. High Damp 0–100%

35%

Low Cut

20.0 Hz – 1.00
kHz

Pan

-100 – 0 – +100% 0%

20.0 HzAIR Diode Clip
This is a distortion effect that can be used foranything from adding subtle grit to drum breaks toaggressive distorted mayhem.

Parameter

Value Range

Default Value

Input HP

200 – 800 Hz

500 HzEnv Speed

0–100%

50%

Output HP

1000 – 4000 Hz

2000 Hz

Output LP

1000 – 12000 Hz

6000 Hz

Wide

Off, On

Off

Solo

Off, On

Off

Oversampling

Off, OnOn

Level-inf – 0.0 – +12.0 dB 0.0 dB

454

AIR Half Speed
This effect can quickly create half-speed versions
from any input material. Filter the processed audio
using the built-in high pass and low pass filter tocreate dramatic transitions, and use the fade in andfade out parameters to create synchronizedtransitions between dry and effected audio.

Parameter

Value Range

Default Value

Start, Stop
Loop Length

1/16 – 4 Bars

1 Bar

Mode

*1.5, *2, *4

*2

Mix

0–100%

100%

Loop Fade1.00 – 200 ms

4.90 ms

Fade In

Hard, Soft, 1/16–4
Bars

Hard

Fade Out

Hard, Soft, 1/16–4
Bars

Hard

HPF

Off, 20.0 Hz – 20.0
kHz

Off

LPF

20.0 Hz – 19.9 kHz,
Off

Off

Band

Off, On

OffParameter

Value Range

Default Value

Gain-12.0 – 36.0 dB

0.0 dB

Ceiling-24.0 – 0.0 dB

0.0 dB

Look Ahead

0.0 – 20.0 ms

0.0 msRelease10.0 ms – 10.0 s

316 ms

LF Mono10.0 Hz – 1.00 kHz

10.0 Hz

Parameter

Value Range

Default Value

Intervals

1/64 – ¼

1/16

Sync

Off, On

On

Steps

2–64

5

Step Length

0–100%

100%

FreezeOff, On

Off

Decay

50.0 ms – 100 s

6.99 sVolume-12.0 – 0.0 – 6.0 dB -1.2 dB

Mix

0–100%

100%

Pan Mod

0–100%

50%

Pitch Mod-100 – 0 – +100%

0%

AIR Limiter
This is a lookahead limiter perfect for mastering or
mixing.

AIR StutterThis effect creates mind-blowing glitch effects usinga wide range of volume, pan and pitch stutter
effects.

455

MPC now also includes a new AIR Vocal insert effects suite, designed to enhance working with voices in MPC.
AIR Vocal Doubler
This effect creates realistic vocal doubles to add
width or thickness to a vocal line.

Parameter

Value Range

Default Value

Voices

1–8

4

Stereo Spread

0–100%

70%

Lead Volume-Inf – +6.0 dB

0.0 dB

Doubler Volume-Inf – +6.0 dB

0.0 dB

Pitch+/- 0–250%+/- 38%

Pitch Speed

0–100%

75%

Timing0–800 ms

63 ms

Parameter

Value Range

Default Value

Key

A–G#

C

Scale

Major, Minor, Harm
Minor, Melo Minor,
Dorian, Phrygian,
Lydian, Mixo,
Locrian, Chromatic,
Penta, Maj Triad,
Min Triad, Root

Major

Lead Volume-Inf – 0.0 dB

0.0 dB

Harmony Volume -Inf – 0.0 dB-2.5 dB

Timing0–100%

42%

Tuning0–100%

14%

Smooth5–200 ms

8 ms

Voice Range

Very Low, Low, Mid, Mid
High, Very High

Root Mode Split

A–G#

E

Reference

420.0–460.0 Hz

440.0 Hz

Delay Sync

Off, OnOn

Harmony 1–4

Off, On

1 On

AIR Vocal Harmonizer
This effect can create up to four-part realistic vocal
harmonies and complex doubling effects. Each vocal
part has its own level, delay, formant, mode andinterval parameters.

456

AIR Vocal Tuner
This effect applies pitch correction for naturalsounding or hard-tuned vocal effects.

Parameter

Value Range

Default Value

Detection

Unworried, Default,
Selective, Picky,
BlindDefault

Voice Range

Very Low, Low, Mid, Mid
High, Very High

Key

A–G#

A

Scale

Major, Minor, Harm
Minor, Melo Minor,
Dorian, Phrygian,
Lydian, Mixo,
Locrian, Chromatic,
Penta, Maj Triad,
Min Triad, Root

Minor

Retune Time

1–1000 ms

32 ms

Reference

420.0–460.0 Hz

440.0 Hz

Parameter

Value Range

Default Value

Left / Right

0–11025 Samples
or
0.0–250.0 ms

0 Samplesor
0.0 msSamples / MS

Samples, MS

Samples

Link

Off, On

Off

Value Range

Default Value

1.0–300.0
grains/sec

68.0
grains/sec

Grain Window

20.0–1000.0 ms

608.0 ms

Grain Length

10.0–200.0 ms

171.9 ms

Grain Feedback-99.9 – 0.0 – 99.9%

0.0%

Trigger
Randomization

0–100%

0.0%

Pitch
Randomization

0–100%

0.0%

Pitch

-12.0 – 0.0 – 12.0
semitones

0.0 semitones

Fine-50.0 – 0.0 – 50.0% 0.0%

Stereo0–100%

0.0%

Mix

0–100%

34.6%

FreezeOff, OnOff

Two new Akai insert effects are also included:
Sample Delay
This effect is a utility delay plugin that can delay theleft and right channels by different, small amounts toloosen percussion elements or add stereo width.

Granulator
This effect turns your incoming audio into small grains Parameterof sound that can be looped, pitch shifted, andGrain Density
manipulated in new and interesting ways.

457

Standalone Audio Interface Support
You can now use most audio interfaces that are both USB class-compliant and Linux class-compliant with yourstandalone MPC. Audio devices must also be set to 44.1 kHz sample rate and 128 sample buffer size.
Note: If you are unsure of your audio interface’s compatibility, check with the original equipment manufacturer for
more information.
To use an external audio interface:
1. Open the Menu and tap the gear icon to open the Preferences.
2. Select the Audio Device settings from the sidebar.
3. Use the Audio Device field to select the Internal sound device or a connected, class-compliant audio interface.
Check the 32 Inputs/Outputs box to enable use of up to 32 simultaneous inputs and outputs.
Note: Increasing the number of simultaneous inputs and outputs will also increase CPU overhead.

FX Racks
You can now load and save FX racks with your MPC hardware. An
FX rack is a preset file containing all parameter settings of up to
four insert effects on a single channel strip. A factory library of FX
Rack presets are also included, divided into helpful categories
such as Drums and Percussion, Voice, Guitar, Experimental,
Mastering, and more.
To load or save an FX rack, open any Inserts page (such as in
the Program Edit, Channel Mixer or Pad Mixer modes):Tap the Akai folder icon to load one of the included factory
presets.
Tap the FX folder icon to load a previously saved custom
preset file.
Tap the disk icon to save all settings from all Insert effects inthe channel strip to a single file.

Drum and Keygroup Program Improvements
Drum and Keygroup programs have been significantly reworked to add more features and improve the ergonomicsof the editors. The Program Edit interface has been improved overall, and many new features have been added.
Sample Tail
Drum Programs now include a Tail Length and Tail Start
parameters for adding extra audio tail to any chopped sample. Thisis useful for things like making an abrupt end to a sample soundmore natural or adding experimental looping effects to a sample.
To adjust the tail of a sample:
1. Load a Drum or Keygroup Program.
2. Press Menu, and then tap Program Edit to open Program
Edit mode.
3. Tap the Samples tab to open the first page.
4. Use the Tail Length parameter to enable the sample tail andset its length.
5. Use the Tail Start parameter to set the starting point of thetail for looping. Set this to smaller values for delay effects, or
longer values for more obvious looping effects.
458

Drum FX
You can now quickly add effects to samples in a Drum programby using the built-in Drum FX
To use the Drum FX:
1. Load a Drum Program.
2. Press Menu, and then tap Program Edit to open Program
Edit mode.
3. Tap the Effects tab twice to open the second page.
4. There are eight available Drum FX slots, each with an
adjustable parameter:•

Ring Mod•

Rectifier•

Bit Crush•

Bass Enhancer (Tight)•

Decimater•

Bass Enhancer (Medium)•

Tube Drive•

Bass Enhancer (Wide)•

Soft Clipper•

Stereo Width•

Hard Clipper•

Wave Folder•

Low Pass

•

Gain

•

High Pass

5. Use the Type dropdown menu to select the effect in each slot
and turn each knob to adjust the selected effect parameter.

Randomization
Drum and Keygroup programs now have a Randomization
section. You can use this section to add subtle variation to drum
samples or keygroup programs by randomizing parameters.
To adjust the Randomization parameters:
1. Load a Drum or Keygroup program.
2. Press Menu, and then tap Program Edit to open Program
Edit mode.
3. Tap the Samples tab until you reach the fourth page.
4. Use the knobs to adjust the available randomization
parameters for each layer: Pitch, Level, Pan, Sample
Offset, and Envelope (Attack, Decay, Cutoff, Resonance).
Use the Depth slider to control the amount of randomization
applied overall.
Other Enhancements
Drum and Keygroup programs now have adjustable curve parameters for each time stage.
Drum and Keygroup programs now have an adjustable Pitch envelope.
Drum and Keygroup programs now have Note-Off as an available option for the Sample Play triggering parameter.
Keygroup Programs now have Portamento, Time, Quantize, and Legato parameters that can be controlled throughprogram automation. These can also be accessed in Program Edit mode in the Porta/Mod tab.

459

File Browser Enhancements
The MPC File Browser now supports recursive searching. When searching for files, enter a search term and by
default MPC will search for files that match the search term in the current and all available subfolders. To disable
this, click the Settings icon next to the Search bar and uncheck
You can now view the Size, Date Created, and Date Modified for each file in the File Browser. Tap the gear icon
below the Search bar to open the Browser settings window, and then tap to enable the options you would like toview.
You can now order the File Browser by column type. Tap the column header to sort the files in ascending ordescending order for the selected column.
You can now Filter the file list in the File Browser by Plugin Presets. Tap the plug icon in the filters list to show onlyplugin preset files.
You can now tap and drag samples in the Sample Assign tab to a drum pad. Hold Shift and tap and drag to add thesample to a specific layer on the pad, indicated by a red bar.

Key Detection
MPC now automatically calculates the key of melodic samples after being loaded.
To view the sample key, load a sample and open in it in Sample Edit or Program Edit modes.

Expanded CV Program Operation
You can now set CV programs to Melodic or Drum operation. Melodic CV programs behave the same as previous
MPC versions. Drum CV programs can be used to configure any pad to output on any CV port.
To set the CV program type:
1. Load a CV program.
2. In the Program section of Main Mode, tap the Keys icon to
select Melodic program, or tap the Pads icon to select Drum
operation.
To edit the assignments of a Drum type CV program:
1. After adding a CV Drum program, click Edit next to CV Map in
the Program Inspector window.
2. In the window that appears:•

Use the Pad field to select the pad to edit.

•

Use the To Port field to select the CV port the pad will
send data on.

•

Use the Data Type field to select the type of data sent:Gate, Velocity, or Note.

460

MIDI Program Renaming
You can now rename any control in a MIDI program. This
lets you save the MIDI program with renamed parameters
and use it in any MPC project.
To rename a MIDI control:
1. Select a MIDI program.
2. Press Menu, and then tap Program Edit to open
Program Edit mode.
3. Tap the Edit button at the top of the screen.
4. Tap the MIDI Control dropdown menu to select the
MIDI assignment for each control.
5. Tap the pencil icon to edit the name of the selected
control using the keyboard that appears.

MIDI Monitor
You can now monitor incoming MIDI messages using thebuilt-in MIDI monitor.
To view incoming MIDI data, tap the MIDI In/Out icons
in the Main Mode or Menu toolbar. The MIDI Monitor
popup will display the last 10 MIDI messages sent or
received.
Tap In to view incoming MIDI messages.
Tap Out to view outgoing MIDI messages.
Tap Clear to clear the monitor log.
Tap Close or the X to close the MIDI monitor andreturn to the previous page.

Undo History
You can now view your Undo History from your MPC
hardware.
To view the Undo History window, open the Menu andtap the clock icon. The last 10 undoable (and redoable)
actions you have performed will appear in this list in
sequence. Each step is numbered in the # column. Eachaction is named in the Action column with additional
information in the Detail column.
Tap the Undo button to undo the last action.
Tap the Redo button to redo the last action you
undid.
The magenta action marker indicates the current“undo state” location—the last-performed action.
To undo or redo multiple actions at once, click and drag the action marker to the desired location in the list.
The project will immediately revert to that state. Actions that can be redone (below the action marker) are grayedout.
Tap Close or the X to close the Undo History window and return to the previous page.

461

Updates in MPC 2.10.1
New Features
MPC Studio mk2 Support
MPC 2.10.1 adds support for the Akai Professional MPC Studio mk2 hardware. This hardware differs from other
MPC hardware in this manual in that it acts primarily as a controller for the MPC software.
Updates in this manual will instruct you how to use your MPC Studio hardware to access various modes,
parameters, and functions of the MPC software. To learn more about how to use the MPC software, consult the MPC
software User Guide. This can be accessed by opening the MPC software, and then navigating in the menu to Help
> MPC Help > MPC Software Manual.

For a breakdown of MPC Studio’s controls, see Features > MPC Studio mk2.

Touch Strip and Touch FX
MPC now supports MPC Studio’s touch strip control, which gives you expressive control over levels, notes, andmore, including the new Touch FX insert effects. As you move your finger along the touch strip, the current position
will determine the current value of the parameter.
To use the touch strip with MPC Studio:
1. Press the Touch Strip button to enter Touch Strip mode selection.
2. Press the Touch Strip button again repeatedly to cycle through the available Touch Strip modes as shown on
MPC Studio’s display:•

Touch FX•

Expression

•

Notes

•

Q-Link•Pitch Bend•

Pad level•

Mod Wheel•

Program Level•

Sustain•

Project

You can also use the data dial or -/+ buttons to cycle through the modes while the Touch Strip button is
activated. See below for more information on each mode.
3. Press your finger on the touch strip and move it up and down as an expressive control for the selectedparameter.
4. Press and hold Shift and press the Touch Strip button to configure settings for each mode, if available. See
below to learn more.
To load the Touch FX plugin from MPC hardware with a touchscreen:
1. Tap an empty slot in the Inserts section of any channel strip.
2. Double-tap an empty insert slot in the Effects window to open the list of plugin effects
3. Tap the + or – button to expand the Harmonic category.
4. Select the TouchFX plugin.
5. Tap the pencil icon to open the plugin window, where you can adjust the plugin settings and use the virtual
touch strip to control the effect.

462

Touch FX
Select this mode to use the touch strip as an expressive control for an effect parameter. The effect you control acts
like an insert effect on the selected output.

To configure the Touch FX settings from MPC Studio:
1. Press and hold Shift and press the Touch Strip button to open the Touch FX Setup window in the software.
2. Use the Touch FX Destination field to select where the Touch FX should be applied. You can select the current
Program, a Return, a Submix, or an Output. Click the Insert Touch FX button to add Touch FX to the selected
destination.
3. Once Touch FX has been inserted, you can press and hold Shift and press the Touch Strip button again toreopen the Touch FX Setup window in the software to configure additional settings:
Touch FX Preset: Use this field to select the desired effect for the touch strip. You can also use the data
dial or -/+ buttons to cycle through the presets as shown on the display once Touch FX has been
inserted to a destination. The specific parameters for each effect can be set by clicking the Touch FX
Setup button at the bottom of the window.
Latch: Check this box to keep the current position on the touch strip even after you release it. The
position will remain in place until you touch another part of the XY pad or until you uncheck Latch.
Touch > Wet/Dry: Check this box to use the touch strip to control the Wet/Dry amount in addition to
the Assigned Parameter as set by clicking the Touch FX Setup button at the bottom of the window.
Wet/Dry: Use this slider to set the blend the original signal (dry) and the effect signal (wet).
Attack: Use this slider to set the length of the attack phase of the envelope, which is triggered when you
make contact with the touch strip. In other words, this determines how long it takes the effect to fully
respond to your touch.
Release: Use this slider to set length of the release phase of the envelope, which is triggered when you
release the touch strip. In other words, this determines how long it takes the effect to fully deactivate
after you release your finger from the touch strip.
Touch FX Setup: Click this button at the bottom of the window in the software to open the effect plugin
setup window to change the parameters for the selected preset.
In this window, you can also use the Assigned Parameter field to select a preset parameter to becontrolled by the touch strip. This can be separate from or in addition to controlling the Wet/Dry amount,depending on the Touch > Wet/Dry setting.
To close the Touch FX Setup window, click Close in the software, or press and hold Shift and press the Touch
Strip button again.

463

Use the controls on the left side of the Touch FX plugin window to adjust the settings for MPC Studio’s Touch Strip
control. For other hardware, you can control the Touch Strip by assigning it to a MIDI control or by using the virtual
touch strip on the touchscreen.
Touch Strip: This strip represents the MPC Studio’s touch strip control, and can also be controlled manually byclicking and dragging from the software, tapping and dragging from a hardware touchscreen, or by assigning it a
MIDI control. Use this to control the selected Touch FX.
Touch Enable: Tap this box to enable touch control the currently selected Touch FX.
Assigned Parameter: Use this field to select a preset parameter to be controlled by the touch strip. This can beseparate from or in addition to controlling the Wet/Dry amount, depending on the Touch > Wet/Dry setting.
Touch Value: Use this slider to control the value of the Assigned Parameter controlled by the touch strip.
Wet Amount: Use this slider to set the blend the original signal (dry) and the effect signal (wet).
Touch Value / Wet/Dry Lock: Tap the lock icon to use the touch strip to control the Wet/Dry amount inaddition to the touch value of the Assigned Parameter.
Touch Attack: Use this slider to set the length of the attack phase of the envelope, which is triggered when you
move the touch strip control.
Touch Release: Use this slider to set length of the release phase of the envelope, which is triggered when you
release the touch strip control.

Use the controls on the right side of the Touch FX plugin window to select a Touch FX type and adjust its settings.
You can also select from the included presets at the top of the window.

Manual Filter
The touch strip controls a static, multi-mode filter without
modulation.

Parameter

Value Range

Default Value

Cutoff40.00–10000 Hz

2530.00 Hz

Resonance

0.00–1.00

0.50

Mode

LowPass,
BandPass, HiPass

LowPass464

Beat Sync Filter
The touch strip controls a multi-mode filter with its cutoff
Parameter
frequency modulated by an LFO, which can be synced to the
Cutoffproject tempo.

Value Range

Default Value

40.00–10000 Hz

34737.15 Hz

Resonance

0.00–1.00

0.50

Manual Speed

Off, 0.10–50.00 Hz Off

Depth

0.0–100.0%

50.0%

Mode

LowPass,
BandPass, HiPass

BandPass

Shape

Ramp Up, Ramp
Down, Triangle,
Sine, Square,
Random1,
Random2

Ramp Up

Sync Speed

Off, 2 Bars, 1 Bar,
1/2, 1/4, 1/4t, 1/8,
1/8t, 1/16, 1/16t,
1/32, 1/64

1/4

Parameter

Value Range

Default Value

Cutoff40.00–10000 Hz

3052.90 Hz

Resonance

0.00–1.00

0.50

Feedback-99.00 – 0.00 –
99.00

49.50

Diffusion

0.00–1.00%

0.50%

Mode

LowPass,
BandPass, HiPass

LowPass

Delay Time

1 Bar, 1/2, 1/4, 1/4t, 1/4
1/8, 1/8t, 1/16,
1/16t, 1/32, 1/64

Delay Mode

Normal, CrossFeedback, PingPong

NormalOctave Mode

Off, On

OffParameter

Value Range

Default Value

Cutoff40.00–10000 Hz

2530.00 Hz

Resonance

0.00–1.00

0.50

Mode

LowPass,
BandPass, HiPass

LowPass

Delay Time

1/4, 1/4t, 1/8, 1/8t,
1/16, 1/16t, 1/32,
1/64

1/4

ReverseOff, On

Off

Beat Sync Delay
The touch strip controls repeated instances of the original
signal that decay over a period of time that is synced to theproject tempo.

Beat Repeat
The touch strip controls an effect that will slice and repeat
the source audio according to a tempo-synced beat value.

465

Tape Stop
The touch strip controls a tape stop effect that emulates theslowing down of analog tape playback.

Parameter

Value Range

Default Value

Cutoff40.00–10000 Hz

2530.00 Hz

Manual Stop
Time

1.00 – 4.00 s

2.50 sSync Stop
Time

Off, 1/4, 1/4t, 1/8,
1/8t, 1/16, 1/16t,
1/32, 1/64

Off

Value Range

Default Value

0.0–100.0%

100.0%

0.10–50.00 Hz

Off

Off, 2 Bars, 1 Bar,
1/2, 1/4, 1/4t, 1/8,
1/8t, 1/16, 1/16t,
1/32, 1/64

1/4

Parameter

Value Range

Default Value

Feedback

0.0–100.0%

100.0%

Phaser
The touch strip controls a phaser effect, created by multiple Parameterganged all-pass filters to create “notches,” or sharp spikes,
in the frequency spectrum. The frequencies of these all-pass Feedback
filters can be modulated by an LFO to create a sweeping
Manual Speedsound.
Sync Speed

Comb Filter
The touch strip controls a comb filter, which creates“notches” in the frequency spectrum, similar to the phaser,
by delaying the audio signal and adding it back to itself.

Manual Speed 0.10–50.00 Hz

Off

Sync Speed

Off, 2 Bars, 1 Bar,
1/2, 1/4, 1/4t, 1/8,
1/8t, 1/16, 1/16t,
1/32, 1/64

1/4

Parameter

Value Range

Default Value

Cutoff40.00–9000 Hz

1160.00 Hz

Resonance

0.00–100.00%

0.50%

Feedback

0.00–100.00%

0.50%

Diffusion

0.0–10000.0%

5000.0%

Delay Time

1 Bar, 1/2, 1/4,
1 Bar
1/4t, 1/8, 1/8t,
1/16, 1/16t, 1/32,
1/64

Washout
The touch strip controls an echo effect that is useful for
creating transitions.

466

Granulator
The touch strip controls a granulator effect, which turns yourincoming audio into small grains of sound that can belooped, pitch-shifted, and manipulated.

Parameter

Value Range

Default Value

Density

1.0–300.0
grains/sec

150.0
grains/sec

Window Length

20.0–1000.0 ms

510.0 ms

Grain Length

10.0–200.0 ms

105.0 ms

Grain Feedback-99.00 – 0.00 –
99.00

0.0%

Pitch

-12.0 – 0.0 – 12.0 0.0 semi
semi

Stereo Spread

0.0–100.0%

0.0%

Parameter

Value Range

Default Value

Frequency

100.00–4000.00
Hz

4000.00 Hz

Feedback

0.0–100.0%

100.0%

Manual Flanger
The touch strip controls a flanger effect, a modulated delaythat emulates the sound created when running two analog
tape machines in parallel with a slight time misalignment.

Notes
Select this mode to use the touch strip as a control for playing notes in the selected program.
To configure the Note settings, press and hold Shift and press the Touch Strip button to open the Touch Strip
Notes Config window in the software.
Root Note: Use this field to set the desired root note of the scale.
Scale: Use this field to set the type of scale.
Octave: Use this field to set the starting octave of the root note.
Velocity: Use this field to set the velocity of the notes played with the touch strip.
Number of Notes: Use this field to set the number of notes covered by the length of the touch strip.

Pitch Bend
Select this mode to use the touch strip as you would a pitch wheel on a typical keyboard to control pitch bend.
To configure the Pitch Bend settings, press and hold Shift and press the Touch Strip button to open the Pitch
Bend Settings window in the software.
Relative Mode: When checked, the center pitch is set wherever you first place your finger along the touch strip.
When unchecked, the touch strip is fixed with the center being the unchanged noted.
Bend Up Range: Use this field to set the range of the pitch bend up in semitones.
Bend Down Range: Use this field to set the range of the pitch bend down in semitones.
Note: Pitch Bend ranges are only applied to MPC instruments and not to third-party plugins.
Global Pitch Bend: Check this box to override the pitch bend settings of all programs, so that those with pitch
bend disabled or set to different ranges will only use the Global Range instead. When unchecked, all programs
may use their individual pitch bend settings.

Mod Wheel
Select this mode to use the touch strip as you would a mod wheel on a typical keyboard to control the MIDI CC1
modulation control.
467

Sustain
Select this mode to use the touch strip as you would a sustain pedal on a typical keyboard to enable or disable notesustain. When enabled, notes will continue sounding until sustain is disabled.

Expression
Select this mode to use the touch strip as you would an external expression pedal to control the MIDI CC11
expression control.

Q-LinkSelect this mode to use the touch strip as a Q-Link control as found on other MPC hardware.
To configure the Q-Link settings, press and hold Shift and press the Touch Strip button to open the Touch Strip
Q-Link window in the software.
Q-Link: Use this field to select which Q-Link is controlled by the touch strip (1–16). You can also press one of the
16 pads to select that Q-Link while the Touch Strip Q-Link window is open in the software.

Pad Level
Select this mode to use the touch strip to control the current Pad Level.

Program Level
Select this mode to use the touch strip to control the current Program Level.

Project
Select this mode to assign a project parameter to the touch strip control.
To configure the Project settings, press and hold Shift and press the Touch Strip button to open the Touch Strip
Project Mode Config window in the software.
Source: Use this field to select the location of the project parameter: MIDI Track, Audio Track, Program (andPad), Return, Submix or Main (Output).
Parameter: Use this field to select a project parameter to control with the touch strip. The available parameters
depend on the type of Source selected.
When the MIDI Track source is selected:
Off
Mixer: Volume, Pan, Mute, Solo
When the Audio Track source is selected:
Off
Mixer: Volume, Pan, Mute, Solo, Send 1–4
Insert 1–4: Other available parameters depending on the effect
When the Program source is selected, and a Program is selected:
Off
Mixer: Volume, Pan, Mute, Solo, Send 1–4
Program: Global Semi Tune, Global Fine Tune
Insert 1–4: Other available parameters depending on the effect468

When the Program source is selected, and a Pad is selected:
Off
Mixer: Level, Pan, Pad Mute, Pad Solo, Send 1–4
Program:TuningFilter Env Decay Curve

Layer Fine Tune (1–4)

Layer Offset (1–4)

Filter Cutoff

Filter Env Release Curve

Velocity to Start

Layer Loop Xfade (1–4)

Filter Resonance

Pitch Env Attack

Vel to Filter Attack

Layer Loop Xfade Type (1–4)

Filter Env Amount

Pitch Env Hold

Velocity to Env Amount Layer Slice Tail Length (1–4)

Amp Env Attack

Pitch Env Decay

Velocity to Filter

Layer Slice Tail Start (1–4)

Amp Env Decay

Pitch Env Sustain

LFO to Pitch

Layer Pitch Random (1–4)

Amp Env Release

Pitch Env Release

LFO to Filter

Layer Level Random (1–4)

Amp Env Hold

Pitch Env Decay Mode

LFO to Amp

Layer Pan Random (1–4)

Amp Env Sustain

Pitch Env Attack Curve

LFO to Pan

Layer Offset Random (1–4)

Filter Env Attack

Pitch Env Decay CurveLFO Wave

Attack Random

Filter Env Hold

Pitch Env Release CurveLFO Rate

Decay Random

Filter Env Decay

Pitch Env Depth

LFO Sync

Cutoff Random

Filter Env Sustain

Pitch Env Type

Velocity to Pitch

Resonance Random

Filter Env Release

DrumFX (1–8)

Vel to Volume Attack

Total Random AmountAmp Env Attack Curve

DrumFX Type (1–8)

Velocity to Amp

LFO Level

Amp Env Decay Curve

Layer Level (1–4)

Velocity to Pan

LFO Delay

Amp Env Release Curve Layer Sample Pan (1–4)

Layer Slice (1–4)

LFO Fade In

Filter Env Attack Curve

Layer Reverse (1–4)

Layer Semi Tune (1–4)

Insert 1–4: Other available parameters depending on the effect
When the Return source is selected:
Off
Mixer: Volume, Pan, Mute
Insert 1–4: Other available parameters depending on the effect
When the Submix source is selected:
Off
Mixer: Volume, Pan, Mute, Send 1–4
Insert 1–4: Other available parameters depending on the effect
When the Main source is selected:
Off
Mixer: Volume, Pan, Mute
Insert 1–4: Other available parameters depending on the effectMomentary: Check this box to turn momentary behavior on or off.
When on, moving your finger along the touch strip will adjust its parameter, but the parameter will
immediately return to its original position (when you turned Momentary on) when you release your finger fromthe touch strip.
When off, moving your finger along the touch strip will adjust its parameter, and the parameter will remain at
its new setting when you release your finger from the touch strip.

469

Note Repeat
You can also use the touch strip for Note Repeat control.
To enable Note Repeat, press and hold the Note Repeat button. You can then use the touch strip to control therate of Note Repeat, as indicated by the LEDs next to the touch strip.
To latch Note Repeat, press and hold Shift and press the Note Repeat button. When latched, you do not have tokeep your finger on the touch strip for Note Repeat to be activated.

470

Updates in MPC 2.11
New Features
MPC Key 61 Support
MPC 2.11 adds support for the Akai Professional MPC Key 61 hardware. For a breakdown of MPC Key 61’s controls,see Features > MPC Key 61.

MPC Key 61 also includes a new Keyboard Control menu for customizing how its 61-key keybed is used.
To access Keyboard Control, press the Keyboard Control button on your MPC Key 61. You can then edit thefollowing parameters.

Keyboard Input
Transpose: This determines the amount of transposition to the keyboard, up to 36 semitones up or down.
MIDI Channel: This determines which MIDI channel (1–16) the keyboard input will use to receive messages.
Aftertouch (Channel Pressure): This determines whether aftertouch is enabled (As Played) or not (Disable).
Note On Velocity: This determines the incoming velocity of note on messages. For velocity that is
responsive to your playing, select As played. Alternatively, you can set a fixed velocity for all note on
messages, at 12%, 18%, 25%, 31%, 37%, 43%, Half, 56%, 62%, 68%, 75%, 81%, 87%, 93% or Fullvelocity.
Scale Filter
Filter Input: This determines how specific notes are filtered. Select As Played to apply no filtering, Snap to
Scale to shift non-scale notes played to the nearest scale degree, or Filter to Scale to disable non-scale
notes from playing entirely.
Root Note: This determines the root note of the set scale.
Scale: This determines the type of scale used for note filtering. The available scales are:
Chromatic

Pentatonic Minor

Aeolian

Hungarian Gypsy

Major

DorianLocrianPersianNatural Minor

PhrygianBlues

Major Bebop

Harmonic Minor

LydianFlamenco

Whole Tone

Pentatonic Major

Mixolydian

GypsyInternal Keyboard Routing
Keyboard Route: This determines where MIDI data from the keyboard is sent. Select from the following
options:
Local Off: Keyboard MIDI data is only sent to the MIDI out. This may be useful if working with externalsound modules.
Global: Keyboard MIDI data will always go to the current track.
Tracks: The Keyboard will appear as a port in the list of available track MIDI Inputs.
Global and Tracks: Keyboard MIDI data will go to the current track and be available as a track MIDI
input.

471

External Keyboard Routing
MIDI Output Port: This determines the MIDI port where the keyboard will output MIDI externally.
Keyboard sends MIDI here: Check this box to send all MIDI from the keyboard to the selected MIDI Output
port.
MIDI Channel: This determines which MIDI channel (1–16) the keyboard will use to send messages
externally.
Minimum Note / Maximum Note: This determines the range of notes that will output MIDI externally.
Keyboard Settings
Velocity Response: This determines how playing the keys translates into velocity values. Select preset Light
1–3, Linear, or Heavy 1–3 responses, or select Custom to create your own response using the following
settings:
Velocity Curve: Use this slider to adjust the velocity curve, from -50 to 0 to +50. At negative values, ittakes more force to hit higher velocity values; at positive values, it takes less force.
Gain: Use this slider to apply additional gain to the velocity curve, from -20 to 0 to +20. Increasing thegain will make it easier to hit high velocity values, and decreasing it will make it harder.
Black Key Sensitivity: Use this slider to set the sensitivity of the keyboard’s black keys, from -20 to 0 to
+20.
White Key Sensitivity: Use this slider to set the sensitivity of the keyboard’s white keys, from -20 to 0 to
+20.
Pedal Settings
Pedal: This determines the pedal input port from MPC Key 61. Select Sustain, FS2, or Expression.
Type: This determines the pedal type, either Switch (on/off) or Variable (such as an expression pedal).
Polarity: This determines the polarity of the pedal input. Select Auto, Positive, or Negative. If you arehaving issues with your pedal, check the settings on your hardware or try adjusting this field for the correct
behavior.
CC Assign: This is the MIDI CC assignment the pedal will send. Select Disable, Default (varies dependingon the port used), or CC 000–126.
Pitch Bend / Mod Wheel
Pitch Bend: Use this field to select the MIDI function for the keyboard pitch wheel. Select Disable, Default –Pitch Bend, or CC 000–126.
Mod Wheel: Use this field to select the MIDI function for the keyboard modulation wheel. Select Disable,
Default – CC 001: Modulation, or CC 000–126.
Global Pitch Bend Settings
Global Pitch Bend: Check this box to override the pitch bend settings of all programs, so that those withpitch bend disabled or set to different ranges will only use the Global Range instead. When unchecked, allprograms may use their individual pitch bend settings.
Range Up/Range Down: Use these sliders to set the range of the pitch bend in semitones.

472

MPC Key 61 also includes touch strip and touch FX support.
To use the touch strip with MPC Key 61:
1. Press the Touch Strip button to enter Touch Strip mode selection.
2. Press the Touch Strip button again repeatedly to cycle through the available Touch Strip modes as shown on
MPC Key 61’s display:
•

Notes

•

Q-Link•Pitch Bend•

Pad level•

Mod Wheel•

Program Level•

Sustain•

Project•

Expression

You can also press and hold the Touch Strip button and use the window that appears to select a mode.
3. Press your finger on the touch strip and move it up and down as an expressive control for the selectedparameter.
4. Press and hold Shift and press the Touch Strip button to configure settings for each mode, if available.
To load the Touch FX plugin from MPC Key 61:
1. Tap an empty slot in the Inserts section of any channel strip.
2. Double-tap an empty insert slot in the Effects window to open the list of plugin effects
3. Tap the + or – button to expand the Harmonic category.
4. Select the TouchFX plugin.
5. Tap the pencil icon to open the plugin window, where you can adjust the plugin settings.
Note: In standalone mode, starting an empty project will automatically place an instance of Touch FX on Outputs
1/2.
Alternatively, you can insert Touch FX into the channel strip from the Touch FX setup window (Shift+Touch FX).

To use Touch FX with MPC Key 61:
1. If it is not already, press the Touch FX button to set the touch strip to Touch FX mode. Touch FX mode is thedefault mode for the MPC Key 61 touch strip.
2. Press and hold Shift and press the Touch FX button to open the Touch FX setup window.
Press the Touch FX Setup button at the bottom of the touchscreen to open the effect window.
3. Once setup is complete, you can also press and hold the Touch FX button to quickly select one of the available
effects linked above.
See Addenda > Updates in MPC 2.10.1 > New Features > Touch Strip and Touch FX for more information on thetouch strip and touch FX modes.

473

Sounds and Favorites
MPC now includes two new menus for browsing included plugin instruments, the Sounds and Favorites menus.

To enter the Sounds and Favorites menus, do any of the following:•

In Main mode, select a plugin track and then tap the Sounds or Favorites buttons in the Program section.

•

Press Menu, and then tap Sounds.

•

Press Sounds (MPC Key 61).

When viewing either the Sounds or Favorites menu, you can swap to the other menu by tapping the first tab at thebottom of the touchscreen.
Tap the gear icon at the top of the screen to open the Sounds menu settings. Here, you can set the default Sounds
menu view to be Instruments or the Current Preset.
Tap Locate Preset at the top of the touchscreen to open the preset list for the currently selected plugin instrument.
Tap Track -/+ to move to the previous or next track.
Tap the  Instruments button to select another program type to search for using the Sounds interface. You cansearch for Drum, Plugin, Keygroup, Clip, MIDI, and CV program types in any factory expansions or user
expansions on any attached drives. When browsing an expansion or user folder, tap a cell to load the selected
program.
When searching for non-Plugin programs, you can also tap and hold on an empty space to set a preferred folder
location for your saved programs.

474

Tap Key Ranges to set the MIDI key ranges for each track. This can allow you to play multiple instruments from one
keyboard.
To add a new track, tap New Track, and then select the type of track to add.
To instantly adjust the key range for drum tracks, tap Drum Split. This will automatically set the key range tothe first 16 notes of the keyboard to correspond with Pads 1–16. This is useful for using the MPC Key 61 to play
melodic sounds on the keybed and drum sounds on the pads at the same time.
To adjust the key range, tap and drag from the ends of the blue bar for each track. Alternatively, tap Learn Min
or Learn Max and then press a key on a connected keyboard to set that note as the min or max.
To mute the current track, tap Mute.
To solo the current track, tap Solo.
To view the channel strip for the current track, tap the eye icon on the left side of the touchscreen. See
Operation > Modes > Main Mode for more information on using the channel strip.

Tap Edit Instrument at the bottom of the touchscreen to open Program Edit Mode to adjust the instrument parameters.

To save a preset as a favorite:
1. Select the desired plugin and preset using the Sounds menu.
2. Open the Favorites menu by tapping the bottom-left tab in the Sounds menu, or by tapping Favorites in the
Plugin Program section of Main mode.
3. Press and hold on an empty Favorites slot to save the preset in the selected slot.
To edit an existing Favorite slot, tap and hold on a filled Favorite slot. In the menu that appears:• Tap Clear to clear the slot.
• Tap Overwrite to replace the favorite with the currently selected preset.

Performances
The Performances tab is available for MPC Key 61 users with an MPC Keys Performance expansion installed. Tap
one of the slots to load a sample Performance project, which show off the layering and key split capabilities of MPC
Key 61. Each performance project loads with a drum kit and multiple instruments mapped across the key range forfast experimentation.

475

Setlists
Use the Setlists tab to create a list of projects to easily recall, such as for a live performance.
To create a Setlist:
1. Open the Setlist tab from the Sounds page.
2. Tap and hold on an empty Setlist slot, and then tap Choose Project.
3. In the file browser that appears, locate the project you would like to add and then tap Select to load it.
To edit an existing Setlist slot, tap and hold on a filled slot. In the menu that appears:• Tap Choose Project to select a different project for the same slot.
• Tap Clear to empty the selected slot.
• Tap Copy to copy the project to another slot. Then, tap and hold on an empty slot and tap Paste.

New Plugin Instruments
You can now purchase a range of new plugin instruments for use with MPC standalone, MPC desktop software, andother DAWs.
AIR OPX-4 is the brand-new four operator FM powerhouse, delivering the ultimate in FM synthesis sound shaping.
The instrument includes:•

Advance FM Synthesis: Four Operators, each capable of producing complex waveforms through feedback,formant shaping, FM filtering and FM shaping parameters.

•

Dual-mode filter path with 23 different filter types.

•

Six envelopes with tempo-synchronized looping.

•

Two LFOs and two Ramps.

•

Three insert effect slots and two global effect slots, with a huge library of 27 AIR effects including reverbs,
delays, modulations, and distortions.

•

Modulation Matrix with 32 slots.

•

Sample layer for adding percussive attacks.

•

Over 670 factory presets included.

AIR Stage Piano is the brand-new flagship acoustic piano instrument. With an elegant interface, you can tweak thesound of each piano model to your taste by changing the dynamics, age, and formants of the piano timbre andadjust note release samples and sustain resonance to increase realism. From the depth and richness of a concert
grand to the upright jazz feel of the most vibrant club, Stage Piano and its inspiration selection of carefully crafted
presets are perfect for capturing the moment. The instrument includes:•

Advanced acoustic piano sound engine•

Up to six velocity layers.

•

Four multi-sampled acoustic pianos: Yamaha C7, Steinway D, Bechstein Upright, and Workstation.

•

Sympathetic resonance.

•

Hammer fall and staccato release layers.

•

Equal and stretched tunings.

•

Five built-in AIR effects: Flavor, Compressor, EQ, Delay, and Reverb.

476

AIR Stage EP is the brand-new flagship electric piano instrument, delivering the lush and rich sounds of the mostdesirable electric pianos at your fingertips. Stage EP includes five detailed electric piano models, including acoustic
mechanics and an FM tine synth, to capturing the magic and warm smoothness of the originals, while also adding
the full spectrum of modern and classic electronic sounds.
This instrument includes:•

Advanced electric piano sound engine.

•

Up to twelve velocity layers.

•

Five multi-sampled electric pianos: Rhodes, Rhodes Hot, Suitcase, Wurlitzer, Pianet.

•

Acoustic and FM mechanics layer.

•

Seven built-in AIR effects: Chorus, Tremolo, Amp Sim, Compressor, EQ, Delay, and Reverb.

AIR Studio Strings is the brand-new orchestral strings instrument, bringing the rich and elegant sounds oforchestral, chamber, and solo strings inside your MPC. Create beautifully articulated masterpieces from a powerfulsampled library featuring combined and individual strings, including Violin, Cello, Bass, and Viola.
This instrument includes:•

Advanced four-part, sample-based string ensemble engine.

•

Orchestral, chamber, and solo sample sets.

•

Unique intelligent legato engine.

•

Four built-in AIR effects: Flavor, EQ, Delay, and Reverb.

AIR Organ is the brand-new organ instrument for MPC, delivering advanced drawbar organ additive synthesis forevery musical occasion. With ten incredible tonewheel sets, all gathered from authentic vintage organs, and theaward-winning rotary speaker simulation from AIR DB33, AIR Organ will bring you a rich, expressive experience in astunning user interface.
This instrument includes:•

Advanced drawbar organ additive synthesis engine.

•

10 different drawbar models sampled from vintage organs.

•

Percussion layer and key click sounds.

•

Scanner vibrato.

•

Four built-in AIR effects: Rotary, EQ, Delay, and Reverb.

The Fabric Series includes four new plugin instruments: Fabric XL, Fabric, Fabric Piano, and Fabric Electric Piano.
Fabric XL is the brand-new flagship sample-based synthesizer from AIR Music Technology and delivers theultimate sounds for all your production needs. Fabric XL brings a stunning collection of cutting-edge presets,
including everything from twisted and dark motion pads, drone and sub-basses, acoustic and electric guitars,
acoustic and electric pianos, classic poly and lead synths, and much more.
Fabric is almost identical to Fabric XL, but removes the largest sample keymaps to reserve less of your MPC’s
memory.
Fabric Piano and Fabric Electric Piano deliver the sonic characteristics of the flagship Stage Piano and StageEP instruments, respectively, but in less CPU-intensive forms. Each includes a comprehensive set of editing
features and built-in effects, such as the AIR Flavor effect for adding grit for a lo-fi sound.

477

Activating Instrument Plugins
If you have purchased an MPC instrument, you can activate it on up to three devices.
Note: Activation requires an internet connection.
To activate plugins:
1. Open the Preferences menu by pressing Menu or tapping the icon in the upper-left corner of the screen,
and then tapping the Preferences icon at the bottom of the screen.
2. You will need a valid internet connection to activate your plugins, so if you are not already connected, use
the Wi-Fi or Ethernet menus to select your network.
3. Tap the Activate Plugins option on the left side of the screen.
4. Tap the Log In button to log into your inMusic Profile. You can scan the QR code with a mobile device oropen the URL shown on the page in a browser of your choice. If you do not already have an account, you will
be prompted to create one.
5. Once you have been logged in, you can try out plugin instruments through a free trial, or activate your purchases.
To start a trial, tap the Start Trial button next to the desired plugin.
To register a purchase, use the Enter Serial field to enter your serial number and then tap Register.
To refresh the page with your latest purchases or activations, tap Refresh.
To activate a plugin on your device, tap the Activate button next to its name. Tap Deactivate toremove the plugin activation from your device.
To download a purchase to your device, first tap the Change button at the bottom of the touchscreen to
select a Content Download Drive. This can be a connected SATA drive, USB drive, or SD card. Then, tap
the download icon to begin downloading the plugin to your drive. The download icon will change to show
the installation progress. Once the process is complete, you can use your plugin with standalone MPC.
To log out of your account, tap Log Out.

Insert Effect Updates
MPC now includes two new AIR insert effects: AIR Amp Simulation and AIR Flavor.
AIR Amp Sim
This effect simulates guitar and bass amplifiers with awide range of available cabinet models and tone
shaping options.

Parameter

Value Range

Default Value

Cab Model

D.I., Brit, 1x8”, 1x12”, 4x10”
2x10”, 2x12”, 4x10”,
4x12”, 1x15” Bass,
4x10” Bass, Radio

Drive

0.0–11.0

0.0

Mode

Mono, Stereo

StereoOutput-12.0 – 0.0 – +12.0 dB

0.0 dB

Soft Clip

0–100%

0%

Top Boost

0–100%

0%Bias

0–100%

0%Bass-12.0 – 0.0 – +12.0 dB-12.0 dBMid

-12.0 – 0.0 – +12.0 dB 0.0 dB

Mid Freq

250 Hz – 4.00 kHz

Treble-12.0 – 0.0 – +12.0 dB 0.0 dB

1.00 kHz478

AIR Flavor
This effect applies EQ simulations of radios, phones,
tape machines, and more to dramatically change thetimbre of your sound.

Parameter

Value Range

Default Value

TimbreVariesNeutralTimbre Depth

0–100%

100%

Vinyl Distortion

0–100%

0%Vinyl Noise

0–100%

0%

Flutter

0–100%

0%

Monofy0–100%

0%

Additionally, the following improvements have been made to existing MPC plugins:•

Rack FX presets have been updated to include presets that use the AIR Flavor and AIR Amp Sim effects.

•

The Akai Granulator effect now includes three new parameters for more control over the grains: Reverse,
Shape, and Skew.

•

The AIR Vocal Tuner effect now includes a suite of factory presets.

•

The AIR Reverb effect now has an expanded range of factory presets.

479

Menu Editing and Shortcuts Panel
You can now edit the order of MPC modes in the Menu.

To edit the Menu appearance:
1. Press Menu, or tap the icon in the upper-left corner of the screen while viewing any mode.
2. Tap the Edit button at the top of the touchscreen, or press and hold Shift. The menu icons will now be
outlined to indicate editing is enabled.
3. Tap and drag the menu icons to your preferred location.
Mode icons placed in the left-most column will be available in the shortcuts panel in other modes.
The bottom row also serves as a shortcut area that by default lets you quickly create a new project, saveprojects or other MPC files, open the Project popup, and access Preferences.
The remaining sixteen modes in the main area of the Menu will also be available to select by pressing andholding Menu and tapping a pad according to your selected layout.
4. To exit editing and commit your changes, tap the Edit button again, or release the Shift button.
To return the menu to the default order, press and hold Shift and then tap Reset at the top of the touchscreen.
To use the shortcuts panel, swipe the black touch handle to the right from the left edge of the touchscreen while
viewing any mode. The five modes from the left-most column of the Menu can be accessed here.
To close the shortcuts panel, swipe the menu to the left, or select one of the modes.

480Built-In Tuner
Standalone MPCs now include a built-in tuner function, allowing you to easily tune any connected audio sources
such as guitars, basses, synth modules, and other pitched instruments.

To access the tuner:
1. Open the Menu by pressing Menu, or tapping the icon in the upper-left corner of the screen while on thenormal page of your current mode.
2. Tap the tuning fork icon at the top of the touchscreen.
3. In the window that appears:•

Use the Input Channel field to select the input for the instrument you would like to tune.

•

Use the Frequency of A field to set the base tuning frequency.

4. Play a note and use the indicator to adjust your instrument to the correct pitch.
5. To close the tuner screen, tap Close, the X in the upper-right corner, or anywhere outside the window.
You can also access the tuner from the Sampler mode by tapping the tuning fork icon at the top of the touchscreen.

Note Probability and Note Ratchet
You can now add probability and create roll effects by adding ratchets to any note in the MPC sequencer. You canapply probability and ratchet from your MPC in Grid View or by using 16 Levels.
To apply probability or ratchet to a note in Grid View:
1. Open Grid View.
2. Tap the up arrow (∧) button in the lower-right corner to show the velocity/automation lane.
3. Tap to select the current parameter (by default, Velocity), and then use the data dial or -/+ buttons to selectProbability or Ratchet.
4. Adjust the blue bars to alter the probability that the note will play, or the ratchet subdivisions for the selected
notes. The subdivisions are shown as dotted lines on the original note.
You can also view and adjust the probability or ratchet information using the Step Sequencer. Select the desirednote and then set the Step Sequencer Parameter to Probability or Ratchet. As the bars are adjusted, the current
probability value (1–100%) or ratchet subdivision (Off, 2-8) will be shown in the Parameter field. The ratchet value
will also be shown in the note on button beneath the accompanying slider.

481

To apply probability or ratchet using 16 Levels:
1. Press the pad with the note where you would like to add probability or ratchet.
2. Press the 16 Levels button to open the 16 Levels window.
3. In the 16 Levels window, set the Type field to Probability or Ratchet.
4. The 16 pads will now represent probability that the note will play from lowest to highest, or increasing ratchet
subdivision values.
Note probability and ratchet values will also be saved and loaded as part of MPC pattern files (.mpcpattern).

Pad Perform and 16 Levels Enhancements
You can now use 16 Levels with all Pad Perform settings. Instead of producing an error message when 16 Levels is
activated on a melodic program, 16 Levels will activate as follows:•

For Pad Perform modes where a pad plays a single note (Chromatic, Notes, Custom), activating 16 Levels
will apply to the current note.

•

For Pad Perform modes where there is more than one note per pad (Chords, Chromatic Chords,
Progressions), activating 16 levels will apply to the root note of the current chord.

•

For melodic programs that are not keygroups, only Velocity, Probability, and Ratchet options are available for
16 Levels.

Five extra chord progressions have also been added to Pad Perform > Progressions.
Pad Perform mode also now supports user-created pad note
maps by selecting the Custom type. After this option is selectedin the Pad Perform mode window:
1. Tap the Edit Note Map button to begin editing.
2. Tap a pad or use the Pad field to select a pad.
3. Use the MIDI Note field to set the desired note.
4. When you are finished editing, tap Close, the X, or
anywhere outside the window.
You can also choose from three presets: Chromatic C1,
Chromatic C2, or Classic MPC.

482

Track MIDI Perform Settings
The MPC Track View has been redesigned and you can now edit a MIDI track’s MIDI perform settings, making iteasier to control multiple tracks at the same time on the same controller.
To open the Track MIDI Perform Settings window:
1. Open Track View by pressing Menu, and then tapping Track View.
2. Tap the Filter button under Solo for the desired MIDI track.
3. In the window that appears, you can adjust the following settings:• Note Range: This determines the Note Min and Note Max range that passes MIDI. Notes outside thisrange will not be heard in the track. You can also adjust this directly from Track View by using theKeyrange fields. Tap Learn and press the desired note for the Min and Max values.
• Velocity Range: This determines the Velocity Min and Velocity Max that passes MIDI. Velocities
outside this range will not be heard in the track.
• MIDI CC Filter: Check these boxes to allow the listed MIDI Control Change messages to pass throughthe track. When unchecked, the MIDI CC message type will be ignored by the track. You can filter thefollowing MIDI CC messages:
CC1 Modulation

CC65 Pmento (Portamento) On/Off

CC2 Breath

CC66 Sost (Sostenuto) On/Off

CC3 Undefined

CC67 Soft Ped (Soft Pedal) On/Off

CC4 Foot

CC68 Legato Switch

CC5 Portamento

CC128 Pitchbend

CC7 Volume

CC130 Program Change

CC10 Pan

CC129 Channel Pressure

CC11 Expression

CC131 Aftertouch

CC64 Sustain On/Off

MIDI Control Mode Updates
MIDI Control Mode now has two additional toolbar items:•

Use the MIDI Output Port field to set where outgoing MIDI is sent without having to leave the MIDI Control
Mode page. This is the same setting as found in Preferences > MIDI/Sync > Output Ports > MIDI Control
Mode.

•

Tap the I/O icon to open the MIDI Monitor, where you can view incoming and outgoing MIDI messages.

Workflow Improvements and Enhancements
The AIR DrumSynth-Multi plugin instrument effect now has assignable mute groups. The accompanying factory
presets have been updated to use them.
MPC now supports Ableton Link v3. Go to Preferences > MIDI / Sync > Sync Receive and enable the Ableton
Start/Stop Sync parameter to sync the MPC transport with other Ableton Link devices.
A new setting has been added to Preferences > Hardware > General to set the Shift + Q-Link button behavior toeither open the Q-Link Edit window or Cycle Backwards.
References to Master have been renamed Global or Main.
483

The Drum Program note map is now Chromatic starting from C1 by default.
The Project popup now has an Audition function key.
Arpeggiator settings and XYFX location are now saved and recalled with your MPC project.
In Program Edit mode, you can now tap the keyboard-plus icon at the top of the screen to quickly convert a drum
sample to a new keygroup program.
The Slice assigned to a drum pad layer can now be automated.
Plugin instruments will now show a loading progress bar on the touchscreen for presets.
Changing an “unused” track’s program no longer makes it used.
When selecting the User Template option on the Demo screen, a popup now indicates where to set a template in
the Preferences menu if one has not already been set.

484

Updates in MPC 2.11.6
New Features
AIR Flavor Pro and Mini D
MPC now supports the AIR Flavor Pro and AIR Mini D plugins, which are available for purchase at thempcstore.com.

AIR Flavor Pro is the brand-new flagship lo-fi multi-effects plugin, designed to manipulate samples, melodies, loops,
and instruments to the extreme for today’s modern lo-fi sound. Flavor Pro transforms the MPC standalone effects
experience to a whole new future/retro landscape.
At the heart of Flavor Pro’s ingredients are six powerful effects modules providing immersive lo-fi control withunlimited possibilities. Add instant-color effects ranging from pitch flutter, tape saturation, tape dropouts, distortion,and drift, to 12/8-bit sampling, vinyl rumble, hum, pops, and crackle emulations. Whatever your musical style, Flavor
Pro’s powerful multi-effects layout allows instant vintage magic and manipulation of your production in a fast andcreative way.

AIR Mini D is a faithful reproduction of the classic analogue mono-synth. Effortlessly create thunderous bass orsearing leads using this tried and tested classic subtractive synth layout. Use the extended four-voice polyphony andeffects to play pads, plucks, and keys patches like you never could on the original.
•

8 oscillator waveforms.

•

Choose between two different filter models, a classic ladder filter emulation or AIR’s own modern filter for adifferent sonic flavor with feedback and modelled distortion.

•

Multiple LFO shapes with 19 selections including ramps, sine, square, triangle, random, and steps.

•

Legato, Retrigger, Unison and the option to use Mini D as up to a four-voice polyphonic synthesizer for
luscious pads and plucks.

•

Last, First, High and Low Note Priority options.

•

Built-in AIR effects including AIR Chorus, AIR EQ and AIR Delay.

•

Appears in MPC Sounds mode and includes over four hundred inspiring patches.

Workflow Improvements
On the Activate Plugins page of the Preferences menu, uninstalled plugins will show an instrument or effect icon toindicate the plugin type.

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Updates in MPC 2.11.7
New Features
VST Preset Loading
You can now load presets saved in VST versions of MPC plugins into the internal versions for MPC standalone.

To load a preset:
1. Open the plugin instrument or insert effect.
2. Tap the folder icon at the top of the screen.
3. Use the file browser to locate and load the saved preset.

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Updates in MPC 2.11.9
New Features
MPC X Special Edition Support
MPC 2.11.9 adds support for the Akai Professional MPC X Special Edition hardware.
Note: Mentions of the features and functions of MPC X hardware throughout this guide also apply to the MPC X
Special Edition unless otherwise noted.

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Updates in MPC 2.11.12
New Features
MPC One+ Support
MPC 2.11.12 adds support for the Akai Professional MPC One+ hardware.
Note: Mentions of the features and functions of MPC One hardware throughout this guide also apply to the MPC
One+ unless otherwise noted.

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