@@MastaKraftprod been using mpcs for a very long time. I am sure they will bring the workflow back to something near. At this point I see how they want you to use them and it is much faster once we old heads understand. One other way is to point midi tracks to the existing tracks. Or use a submix track for FX so that duplicating the track does not cause your fx problem. I place fx on individual pads so this does not matter.
Arranger workflow isn’t for everyone, that’s for sure. But it could use some further refinement - for instance, we absolutely need more markers - 6 just isn’t enough. Markers are key for navigating a production, and you can easily fill up the 6 and are stuck manually adjusting loop sections to work on for the rest. Copy/paste is a major PITA as well - we need MIDI blocks in visual containers that we can simply hold-press to copy/paste and/or drag/move, just like any other DAW. Those 2 changes would elevate Arranger big time.
the sounds you used in this video can I find them in your drum kits on the site? can you tell me exactly which one to buy to have the same kick and snare and hat
thats not from the soundtrack of the matrix, its a track by Rob Dougan and was released before the matrix, that was just featured for a short sequence.
Yes, you are absolutely right! It is actually so. That’s why I said “some of you might know it from the soundtrack to matrix” Because with all respect to Doughan, much more people “have heard it from matrix”
All respect to Paul C, but it was Dooley O, Stezo's cousin and revered CT hip-hop legend, who discovered the drum break. He told the story of it on my old radio show in the mid-00's.
It's difficult to explain shortly, but the arranger actually makes it much easier to compose music that has things like pick up beats, phrases that go over the bar line, or compositions that have less loop based format. I play my own parts on keys/guitar/bass and I sample/resample myself to develop ideas, but it's mostly based on my skills as a keyboardist. This sort of approach is difficult to achieve with the rigidity of the old sequence workflow, unless you do the "one sequence workflow" which is also improved immensely by the new sequencer work flow with the ability to copy bars and merge to the end or within the structure of the song, etc. This is something I think Akai took into consideration especially because they've included and developed more plugins and better audio track functionality. Also, we need odd time signatures again haha.
Personally with how I make music, playing all of my own parts on a keyboard or with guitar, this isn't part of my workflow, but I can see how some workflows would be changed negatively by this. My bigger issued with MPC 3 is that they got rid of odd time signatures. That was the main reason why I got rid of the Akai Force, even though I enjoyed pretty much everything else about it.
Impressive but at the same I can imagine this exact same MPC design with the computing power of a MacBook Pro (lots of ram and Apple M3 CPU) and a 2 terabytes of storage. The technology is there Edit: Hi 👋 I appreciate the video, quality images,,editing and awesome beat. Thanks. Myself I spent most of my time on an ASR 10 back in 2000, bought an MPC 2000 XL in 2005 who became the main sequencer of the ASR 10. I have worked with all MPCs up to the Renaissance, which I found to be beautifully built. I fell in love with it but at the same time it was at this period I started to get tired of hip-hop. I was a big fan of J Dilla I saw him in Paris during his last tour. .. Anyway, Peace out
Stacked variations of tracks is how I work & MPC3 has pretty much ruined it :( Working with sequences just doesn't work for me. With stacked tracks you can bring in variations of instruments without waiting for the sequence to complete and, using track mutes, you can create songs that sound more fluid and natural.
Accessing Program Edit was never a problem for me with the MPC Live 2 because you can assign it to Menu + Pad 4. With these buttons so close to each other you open Program/Track Edit with a single finger stroke.
Of course, I did the same thing, but isn’t it just strange that in all other mpcs there is a dedicated button, but on the most popular live 2 model there isn’t 🥲
@@MastaKraftprod Agreed. The designers probably overlooked its importance as a production machine at the time, focussing too much on the performing side of the hardware.
I would get the LIve 2 in a heartbeat but the black color makes no sense unless you carry a spotlight around. The retro edition costs already 2k on reverb because of the demand.
MPC didn't cost 2k even when it came out. You don't need a flashlight. After playing around with the MPC for a while, you'll find yourself hitting buttons by memory.
For whatever reason Akai either discontinued it or stopped manufacturing them. So they’re getting rare, hence the reason why people are re-selling them for above market prices
been using the one+ for 3 weeks love it i learned the work flow in a few hours very easy to use i put of getting one for a long time cause i though learning the workflow would be hard but it was straight forward like the circuit rhythm or the p.o ko33 very simple id advice every one who is thinking of getting one to get it dont be put of with the work flow cause its a walk in the park especially if u already have either daw experience or other sampler synth or groovebox experience
MPC 2.x: 1. Load a drum program 2. Assign that drum program to 128 tracks Result - very little memory and cpu is used. MPC3.x 1. Attempt to load single program to multiple tracks using the [LOAD TO NEW TRACK] function. Result - You will max out the CPU and RAM attempting to load the sample program multiple times.
I think Akai is lessening the legacy of the MPC by attempting to make it more like a DAW. Its corky workflow (that we have adapted to) is what makes it an MPC.
