Akai MPC Studio Black // In-depth Sampling Tutorial // Akai MPC Studio Black

by: Tony L Brown

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how's it going YouTube I trust you're all well Tony Brown here again with another Akai MPC sampling video and in this video I am going to take you through a process of finding a sample chopping it up and making a beat and this is another installment for the pad Bank flippy challenge and if you're not aware of what the pad bank is it's a online community that I'll run for sample-based beat makers and producers and each week we post a sample and we flip it and submit a beat and then we all vote to see which one's the best so let's check out this week's sample and also in this video I am going to take you through my entire sampling process as a few of you have asked for a bit more of an in-depth insight into chopping up the samples so let's get into it so with the Flippa challenge you'll see here in the group the sample is posted as a youtube link and also as an mp3 file in Dropbox so the options are we can either go to youtube and sample the video from YouTube or if you'd rather have it straight as a mp3 file we can click on this link here and it will open up in Dropbox and we can download that file and drag it straight into the MPC in terms of sampling from YouTube if you don't know how to do that on the MPC software I've got another video which I'll link to above which will talk you through the entire process of how you can do that but in this case I've already downloaded the track as an mp3 file I've got it here and I'm literally going to drag this straight into the MPC software so this is the entire track I'm just going to grab it and drag it in here and drop it and then you'll see if I go to all samples there is if I go to sample edits there's the track that's the entire track there now before I start one normal process is I will bounce this stereo track down to a mono track and that's simply just to save space when sampling so what I'll do I'll go down here to mono stereo to mono I'll click that and the function is you want to go from stereo to mono and it says here so now that's asking where do you want the source to come from do you want to take the left channel and make it a mono sample do you want to take the right channel and make that a mono sample or do you want to take both which is some and make everything so basically bounce it down or mix it down to one mono sample and there's a few reasons why you might want to do left or right on some recordings the left channel may contain part of the recording that is not found on the right channel so it's a good way to separate sounds within the sample so for example you might find on certain tracks it's been recorded in a way where the left side of the channel only has the drums and the bass line and you might find the right side has a lead guitar and some keys that'll be great because it helps you to separate those sounds and use them as individual samples but in this case I'm going to go to some and I'm going to bounce the whole thing down to a mono sample so I could do it and you'll see it hasn't done anything here but if you go to all samples and look over here you'll see it's got a second version so it doesn't destroy the first original sample it will keep that but it will give you a mono sample now I haven't actually looked into the sample yet so I don't know where this beats going to go then or how we're going to work with this I'm going to go through the sample and I'm going to cut out the segments that are Duncan tend to use now what I usually call this is a sample montage and it creates a sample montage so I'm basically going to go through the whole thing and just chop out the pieces or discard or delete the pieces that I don't intend on using so the way I do that is I'll use my start and end points and just basically drag them to the areas that I'm thinking I'm not necessarily going to user [Music] if you look on this screen here you'll see each part now represents a different play function for the sample so I'm in cream mode and I'm actually using play from end so this pad I'm hitting now it's causing a sample to play from the end point after the end point so I'm doing that so I can line up where I want my shop to end so we've got the start point which is that I'm going to tighten it up a little bit so you can see I've zoomed in there I'm going to tighten up so that chop starts right on the kick I like to give myself a bit of breathing space either side so I'm going to chop it up again later and then I'm going to go to the end point zoom in again and you'll see my end point there zoom in so that's now playing from the end point so I know that is right on the kick so I'm going to cut that I'm actually going to go to delete don't use discard discard will cut the pieces either side and keep this highlighted space what you want to do is delete you want to delete the highlighted space so I've got to delete then it says are you sure yes we are sure and it's gone so we've cut that piece out so I'm just going to discard this end piece here as well just discard that okay just all that nice tidy beginning [Music] quite a bit of something else let's move into again okay I want to take you from this kick now get rid of this see basically what I'm looking to do is to get rid of the core vocals and main vocals if I want to sample those I'm going to go back and sample them again so let's say I wanted to use those core vocals in the B to make down the line I'll go back and reuse those but for this sample montage I'm going to cut out the core vocals I'll keep some of the ad-libs I'll keep some of the backing vocals and whatever the Hoos and ours but I want to get rid of the main the main vocals okay there's a nice little break there I'm going to keep that when I go from this snare here nice and clean I'm going to zoom right in I'm at my end point get that snare dirt nice little clean break there okay so again I'm going to discard all this here sorry I'm going to delete all this here so again deletes so once I found my start points I know that I'm going to cut off start point so now I'm going to cut from there I then switch to using the end points to find my mixed point [Music] someone keep dragging it across

wait chicken is a little clean break there start it from the kick order snare

Candace use my zoom there zoom into the kick wait nice little clean break there again wait I know I'm gonna in that at that snare so again delete that that's gone so now I know I can zoom welcome scrub straight in wait wait so I'm gonna take it from this now after that snare [Music] so don't mind keeping those that bit of a vocal they're not my keeping a little little bit I only use use that somewhere bass riff there I wanna keep I think [Music] okay so let's lose all that and then the rest of it is kind of a instrumental break down with some xylophones or glockenspiels and I'm trying to keep all these up there after that snare after this snare we're going to get rid of this [Music] I can see that's going to run straight to the fade-out so I'm going to delete all of that and then there we have it there's our sample montage so let's see what we've got [Music] but most of the intro [Music] okay the next step really is a few little processing things so I'm going to normalize it so I've selected all of it and I'm going to click normalize which is already a pretty good level anyway that didn't make much of a difference now what I'm going to do is I'm going to consider time stretch in it but before I do that what I do is make a copy of the sample so I'm going to go I'm gonna select my sample which is ISA I'm actually going to rename it first I'm gonna rename this to Mont one just so I know it's montage one and then I'm going to copy it I'm going to go down into copy do that and you'll see we've now got montage one and montage - now I'm going to play about with it so first things first I want to go to time stretch and I'm going to speed it up so let's go to 1:30 so you'll see I've done that on the hardware okay so it's been processed let's um listen [Music]

[Music] now one thing you will notice is when I comb stretched it it's changed the quality of the sample quite significantly as well you can see the levels have gone down it wasn't as high for about two montage one look at the difference there look how big the wav files are compared to montage two which has just been time stretched so be aware of that when you're time stretching samples it does change the quality of the samples when you pitch it when you speed it up time to stretch it up time stretch it down or pitch it it does change the quality of the sample so I'm going to undo that and I'm going to try it again but I'm going to go down this time I'm going to go down to 70 so I'm changing the ratio down to 70 from 100 to 70 so we're going down 30% again you can see it's changed the quality of the sample it's reduced the volume significantly [Music] and you can probably hear this kind of a gritty sound behind you a few reasons for that one one of the main reasons is because it's taken from an mp3 so see an mp3 has already been compressed if it was a WAV file it would be a much higher quality file you probably wouldn't get that that gritty grainy sound [Music] okay I'm going to undo that again I'm going to change it again from one hundred percent down to 80 let's do that [Music] alright so I kind of like the tempo that I prefer to have it slower than faster because when I chop it up it'll give me a bit more space in between the chops now what I'm going to consider is pitch shift in it so I'm going to hit pitch shift and I'm going to use the hardware just to scroll up to about three now the pitch shift is quite sensitive so the starting point by default will be zero I'm going to pitch it up three points now listen to the difference this makes [Music] okay so what I'm going to do with this now is I'm going to normalize it [Music] okay so I've kind of got this to the point where I want it and I'm ready to chop it up so I'm going to go to chop and what I'm going to do is use manual I'm going to leave on manual and I'm basically going to chop it up on every hi-hat so let's do it [Music] okay that's done I actually didn't think I'd have enough pads to catch all that but I've got two pegs left so all the banks are fall from a right the way to H they're all full and we've got two pads list so let's go back now and have a look what we've got so you would have seen I was hitting the pads it was placing the chop on the sample and also assigning me to that pad at the same time which is one thing I love about the MPC it just makes it real quick so now all you need to do you just go through and tighten up these chops so you'll see of zoomed in I'm hitting the pad and I'm just tightening up the start point [Music]


and it stands at the moment I'm using the mouse to do this we can also use the curing buttons yeah just whatever you prefer whatever you think moves were quickest

now what I will say is there's no right or wrong place to start these samples it all comes down to how you're thinking of using a sample what your ears are telling you and where you believe it's best placed to be chopped as a starting point what I usually do is like in in the case of this sample I'll usually go to the start of each kick snare or hi-hat and I use that as mum as my starting points as I begin to go through the sample and go through the chops and actually put the beat together I might start moving things but at this stage you can see I'm going at the beginning of each each kick I huh

oh snap

okay so that's all the chops neatened up the next stage now is to basically bounce this down to a program and I've explained it before in another video but I'm spending in here you've got a few options the option I always go for is this option here non-destructive convert so I'm going to convert all these chops into a new program so I'm going to click this do it and you'll see it's created a new program here which is named the same name as the sample just chopped up so now if you go to our main screen just drag this into here you're basically place all those chops on your pod v2 you [Music] okay so let's just go through a few program tips now so what I usually do with my programs is once I've got all my samples lay down on my pads I'll go to my program edit window which is this option up here to pee with the pencil or you can just literally hit program edit on the hardware and then I'll come down here to this decay option and what this does is it takes it basically fades out at the end of that shop so if you listen at the end of some of those chops there's a little spill or a little bit of speech at the end so by putting some decay on there it basically kills you just fade out gives it a nice clean end [Music] so I do by default it used to go between 40 and 50

so basically hit the pad and use the mouse to scroll up on that knob there if there was one addition I'd love to add to the MPC software it would be to be able to set this decay to 50 and copied to all the pads I would love to be able to do that if anyone knows if you can do it please comment message me and let me know yes Tony you can do it but right now I've searched and I can't seem to find a way to do it so it's it's your case of just going to each pad hitting the pad and setting the parameters manually I've done that many times I know that I can scroll up on the mouse four times a technique to around the region that I want it to be

okay so that's not doing [Music] okay so the next thing I'd like to do is to put a bit of compression on the entire program let's take a bit of compression on here so this is on the entire program Isis and then I also add some chorus and also add a little bit of delay

[Music] so there you go that's more of a in-depth look in how I sample chopped up and create more programs so I'm going to leave this tutorial here and get on and make this beat I just you found this video useful if you did then give me a thumbs up make sure you like and subscribe for many more beat making and sampling videos and if you haven't already done so make sure you check out the pad bank.com and apply to join the pad Bank which is my online community for beat makers samplers and producers in the meantime I'll see you again in another video all the best

More from this creator:
Akai MPC Studio Black in-depth Sampling Tutorial: Akai MPC Studio Black In my Private Producers Community - The Pad Bank, We have a weekly sample challenge called Flip It. In this video I give you an in-depth Sampling Tutorial using the Akai MPC Studio Black. ===================================== Join The Pad Bank (Drum Samplers Hangout): http://www.ThePadBank.com

===================================== I had an Akai MPC 2000 back in 1997, but in 2003/4 I stopped sampling and started using Reason / Cubase to make beats. In 2007 I stopped producing altogether. Now in October 2016, almost 10 years later, I've just got myself an Akai MPC Studio Black, and started making sample based beats again. Follow my journey as I share my learning. Soundcloud: https://soundcloud.com/mrbrownhq

----------------------------------------- http://akaipro.com/akai/


About the Akai MPC: The MPC Studio Black is a fresh take on the top-selling original, MPC Studio. Akai made the Studio look cooler than ever by introducing a sleek and stylish black brushed-aluminum body. To elevate the parameter editing experience, the master encoder wheel as well as the Q-Link knobs have been raised and made larger. The 16 MPC pads are now thicker and more responsive, inspiring greater expression in performance and programming. Legendary MPC Production on Your PC or Mac The Studio Black fuses legendary MPC production with the processing power of your computer. Its compact design is a minuscule 1.5” thin. Weighing in at less than two pounds, the Studio Black easily fits into a laptop bag or backpack. Its USB-powered and includes the powerful MPC Software for Mac and PC with 128-track sequencing capability. Equipped with the legendary MPC workflow, MPC Swing, plus powerful features such as “lazy” chop, you'll be producing great music in no time. A large LCD screen (360 x 96 dot graphic LCD) allows you to make tracks without having to look at your computer. Included MPC Software Featuring 128-track sequencing capability and up to eight pad banks--more than any other MPC ever—the included MPC Software delivers a massive 7GB+ sound library, including all the sounds of the classic MPC3000 and including 2 MPC Expansions. Instant mapping and real-time adjustment of VST plugins lets you record each track as an MPC drum program, Keygroup program, or VST/AU plugin. Use MPC Software alone as your main creation tool or seamlessly call it up in your favorite DAW as a VST, RTAS, or AU plugin. MPC Software supports WAV, MP3, AIFF, REX, and SND, as well as samples and sequences from any MPC ever made, and it's compatible with both Mac and PC.
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