Akai MPC Ren

User Guide
English
Manual Version 1.9.3

Table of Contents
Introduction............................................................................................................................................... 12
System Requirements and Product Support ................................................................................... 12
About This User Guide ....................................................................................................................... 13
Important Notes .................................................................................................................................. 14
Installation ........................................................................................................................................... 14
®
Windows ........................................................................................................................................ 14
® ®
Mac OS X ...................................................................................................................................... 15
Unlocking the MPC Software .......................................................................................................... 16
MPC Hardware Overview ........................................................................................................................ 17
MPC Renaissance ............................................................................................................................... 17

Top Panel ........................................................................................................................................ 17
Front Panel ...................................................................................................................................... 23
Rear Panel ....................................................................................................................................... 23
MPC Studio .......................................................................................................................................... 25

Top Panel ........................................................................................................................................ 25
2
Quick Start / Tutorial ................................................................................................................................ 31
Starting Up ........................................................................................................................................... 31
Creating a Drum Kit ............................................................................................................................ 32
Recording a Drum Sequence ............................................................................................................. 33
Organizing Samples and Editing Note Events ................................................................................. 34
Making Basic Sound Edits ................................................................................................................. 36
Recording a Bass Track ..................................................................................................................... 37
Creating a Song .................................................................................................................................. 41
Exporting the Song ............................................................................................................................. 41
Other Features Explained................................................................................................................... 42

Step Sequencer ............................................................................................................................... 42
Drum Loops and Chop Mode .......................................................................................................... 43
Pad Muting and Track Muting ......................................................................................................... 46
Sample Recording ........................................................................................................................... 48
Sample Editing ................................................................................................................................ 49
Recording Automation with the Q-Link Knobs................................................................................ 50
Using MPC as a Plugin .................................................................................................................... 51
3
Operation (Software) ................................................................................................................................ 52
General Features ................................................................................................................................. 53

Adjusting the Controls ..................................................................................................................... 53
Program Types ................................................................................................................................ 55
About Programs ............................................................................................................................................. 55
Drum Programs.............................................................................................................................................. 55
Keygroup Programs ....................................................................................................................................... 57
Plugin Programs ............................................................................................................................................. 59
MIDI Programs ............................................................................................................................................... 63
Browsers.......................................................................................................................................... 64
File Browser ................................................................................................................................................... 64
Expansion Browser ........................................................................................................................................ 67
Mode Tab Section ........................................................................................................................... 69
Transport Section ............................................................................................................................ 73
Grid View ......................................................................................................................................... 77
Entering and Editing Note Events .................................................................................................................... 82
Recording Automation .................................................................................................................................... 85
Manually Entering and Editing Automation ...................................................................................................... 88
List View .......................................................................................................................................... 89
Entering and Editing Events ............................................................................................................................ 91
Entering Automation ....................................................................................................................................... 94
Editing Automation ......................................................................................................................................... 94
Software Menus .............................................................................................................................. 95
File Menu ....................................................................................................................................................... 95
Edit Menu ...................................................................................................................................................... 98
Metronome Menu ......................................................................................................................................... 106
Time Correct Menu ...................................................................................................................................... 107
Tools Menu .................................................................................................................................................. 109
View Menu ................................................................................................................................................... 110
Help Menu ................................................................................................................................................... 111
4
Main Mode ......................................................................................................................................... 112
Q-Link Section ............................................................................................................................... 113
Program Mode ............................................................................................................................................. 114
FX Mode ...................................................................................................................................................... 116
Pad Bank Section .......................................................................................................................... 117
Sequence Section ......................................................................................................................... 118
Track Section................................................................................................................................. 120
Drum Programs and Keygroup Programs ..................................................................................................... 121
MIDI Programs ............................................................................................................................................. 121
Plugin Programs ........................................................................................................................................... 123
Program Channel Strip .................................................................................................................. 124
Project Information ........................................................................................................................ 126
Program Edit Mode ........................................................................................................................... 129

Master Section .............................................................................................................................. 131
Simultaneous Play Section (Drum Programs Only) ....................................................................... 133
Mute Target Section (Drum Programs Only) ................................................................................. 133
Keygroup Play Modes Section (Keygroup Programs Only) .......................................................... 134
Key Group Section (Keygroup Program Only)............................................................................... 135
Edit Layers Section........................................................................................................................ 137
Filter Section.................................................................................................................................. 141
Anatomy of an Envelope ............................................................................................................................... 143
Pad Play Modes Section (Drum Programs Only) .......................................................................... 144
Velocity Sensitivity Section ........................................................................................................... 145
LFO Section ................................................................................................................................... 146
Controller Mod Section (Keygroup Program Only) ........................................................................ 147
Insert Effects Section .................................................................................................................... 148
Pad/Keygroup Audio Route Section ............................................................................................. 149
Program Edit Mode for MIDI Programs and Plugin Programs ...................................................... 149
5
Program Mixer Mode ........................................................................................................................ 150
Show/Hide Buttons ....................................................................................................................... 151
Routing .......................................................................................................................................... 152
Levels ............................................................................................................................................ 152
Pad (Drum Programs only) ............................................................................................................ 153
Panning.......................................................................................................................................... 153
Mute and Solo ............................................................................................................................... 153
Automation (Program Channel strip only) ..................................................................................... 154
Effects............................................................................................................................................ 155
Insert Effects ................................................................................................................................................ 155
Send Effects ................................................................................................................................................ 155
Track Mixer Mode ............................................................................................................................. 156

Show/Hide Buttons ....................................................................................................................... 157
Program Assignment ..................................................................................................................... 158
Levels ............................................................................................................................................ 159
Panning.......................................................................................................................................... 161
Mute and Solo ............................................................................................................................... 162
Automation (Program Channel strips only).................................................................................... 163
Effects............................................................................................................................................ 164
Insert Effects ................................................................................................................................................ 164
Send Effects ................................................................................................................................................ 164
Master Effects .............................................................................................................................................. 165
Track View Mode .............................................................................................................................. 166
6
Next Sequence Mode ....................................................................................................................... 168
Triggering Sequences................................................................................................................................... 169
Sequence Playlist .......................................................................................................................... 169
Pad Bank Section .......................................................................................................................... 170
Next Sequence Section ................................................................................................................. 171
Sample Record Mode ....................................................................................................................... 173

Setting Up to Record with MPC Renaissance .............................................................................. 174
Waveform Display ......................................................................................................................... 175
Record Controls ............................................................................................................................ 176
Threshold ..................................................................................................................................................... 176
Record Arm ................................................................................................................................................. 176
Input Source ................................................................................................................................................ 177
Input Monitor................................................................................................................................................ 177
Sample Length ............................................................................................................................................. 177
Sample Rec and Sample Stop ...................................................................................................................... 178
Direct Record ............................................................................................................................................... 179
7
Sample Edit Mode ............................................................................................................................. 181
Waveform Display ......................................................................................................................... 183
Trim Mode ..................................................................................................................................... 185
Edit Section.................................................................................................................................................. 185
Pad Section ................................................................................................................................................. 187
Settings Section ........................................................................................................................................... 188
Process Section ........................................................................................................................................... 190
Project Information ....................................................................................................................................... 192
Chop Mode .................................................................................................................................... 193
Edit Section.................................................................................................................................................. 194
Pad Section ................................................................................................................................................. 196
Settings Section ........................................................................................................................................... 197
Chop To Section .......................................................................................................................................... 199
Process Section ........................................................................................................................................... 200
Project Information ....................................................................................................................................... 203
Song Mode......................................................................................................................................... 204

Sequence Playlist .......................................................................................................................... 205
Pad Bank Section .......................................................................................................................... 207
Song Section ................................................................................................................................. 207
Edit Step Section ........................................................................................................................... 208
Step Section .................................................................................................................................. 209
8
Pad Mute Mode ................................................................................................................................. 210
Pad Mute ....................................................................................................................................... 211
Pad Group ..................................................................................................................................... 213
Track Mute Mode .............................................................................................................................. 215

Track Mute..................................................................................................................................... 216
Track Group................................................................................................................................... 218
Step Sequence Mode ....................................................................................................................... 220

Pad Section ................................................................................................................................... 221
MIDI Control Mode............................................................................................................................ 223
Effects ................................................................................................................................................ 226

Overview ........................................................................................................................................ 226
Insert Effects.................................................................................................................................. 227
Pad/Keygroup Effects .................................................................................................................................. 227
Program Insert Effects .................................................................................................................................. 229
Send Effects .................................................................................................................................. 232
Master Effects ............................................................................................................................... 236
Operation (Plugin) ................................................................................................................................... 237

Differences Between Plugin and Standalone Usage ..................................................................... 237
9
Appendix ................................................................................................................................................. 238
Keyboard Shortcuts .......................................................................................................................... 238

File Menu ....................................................................................................................................... 239
Edit Menu ...................................................................................................................................... 239
Time Correct Menu ........................................................................................................................ 240
Tools Menu .................................................................................................................................... 240
View Menu ..................................................................................................................................... 241
Transport Controls......................................................................................................................... 241
Miscellaneous ................................................................................................................................ 241
Effects and Parameters .................................................................................................................... 242

Reverbs ......................................................................................................................................... 242
Delays ............................................................................................................................................ 247
Flangers ......................................................................................................................................... 253
Chorus ........................................................................................................................................... 254
Autopans ....................................................................................................................................... 255
Tremolos ........................................................................................................................................ 256
Phasers .......................................................................................................................................... 257
HP (High-Pass) Filters ................................................................................................................... 258
LP (Low-Pass) Filters ..................................................................................................................... 260
Parametric EQs.............................................................................................................................. 262
Distortions ..................................................................................................................................... 264
Compressors ................................................................................................................................. 267
Bit Reducers .................................................................................................................................. 271
Other .............................................................................................................................................. 272
10
Glossary ............................................................................................................................................. 274
Trademarks and Licenses ................................................................................................................ 280
Addendum for MPC v1.8 ........................................................................................................................ 281
Addendum for MPC v1.9 ........................................................................................................................ 354
Addendum for MPC v1.9.2 ..................................................................................................................... 373
Addendum for MPC v1.9.3 ..................................................................................................................... 386
11
Introduction
Thanks for choosing the MPC! Fusing Akai Professional's legendary MPC layout and workflow with the
power of your computer, MPC software is an unrivaled instrument for music production.
MPC Renaissance is a fully integrated hardware-software system, allowing you to create using classic
hardware controls and an integrated pop-up display, while its exclusive MPC software empowers you
with unprecedented, expandable production capabilities on your Mac or PC.
MPC Studio offers the most streamlined MPC experience yet. At under one-inch thin, with low-profile
controls and a brushed aluminum body, it's made to move. MPC Studio merges real MPC pads, iconic
workflow, and the same MPC software used by MPC Renaissance to give you a fully integrated portable
production solution.
Welcome to the MPC family.
The Akai Professional Team
System Requirements and Product Support
For complete system requirements, compatibility information, and product registration, visit the Akai
Professional website: akaipro.com.
For additional support, visit akaipro.com/support.
12
About This User Guide
This manual was written to help you get familiar with the MPC hardware and software.
For consistency and to help prevent confusion, the terminology throughout is based on the MPC
parameter names. You will find the various terms explained in the Appendix > Glossary chapter at the
end of this manual.
We also used a uniform set of symbols to show topics of particular interest or significance:
Information: Important or helpful information on a given topic.
Hardware: How to use a software feature with your MPC hardware's controls. Note that these
paragraphs are not the only parts of the manual that mention the MPC hardware!
All buttons, controls, and parameters are highlighted in bold characters throughout the manual.
Examples: Press the Prog Edit button.
Turn the Level dial.
Click the Trig menu.
Specific settings or values are indicated in italic characters.

Examples: The Velocity ranges from 0 to 127.
Set your Sample Play to One-Shot or Note-On.
Click the Pad Audio Route menu, and select Out 1,2.
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, please see
the Installation section.
To learn more about using send effects, please see the Effects > Send Effects
chapter.
13
Important Notes
• Read the included Akai Professional Safety & Warranty Manual before using the MPC hardware.
• Before getting started and connecting devices to the MPC hardware or turning the hardware on/off,
make sure all devices are switched off.
• Before connecting the MPC hardware to your computer, install the drivers and software. Visit
akaipro.com to download the latest versions (recommended), or insert the included DVD. Refer to
the Installation section for more information.
Installation
Before installing the MPC software, make sure your computer meets the system requirements described
at akaipro.com. This applies whether you'll use MPC software as your host software or as a plugin.
Windows®
From a DVD:
1. Power on your computer and operating system, and insert the DVD into your DVD drive. If you have
enabled the Autostart function in Windows, the installer will start automatically and you can
proceed with Step 5 below. If not, please proceed as follows:
2. Launch the Explorer or open the window My Computer.
3. Double-click the icon for the drive that holds the DVD.
4. Double-click the MPC installer icon. This launches a special installation program.
5. Follow the on-screen instructions.
Important: After installing the MPC software, you need to unlock the program on your computer.
Please refer to Unlocking the MPC Software.
14
From a downloaded installer file:
1. Open the folder where the downloaded .zip file is located.
2. Double-click the file to extract it.
Mac® OS X®
From a DVD:
1. Power on your computer and operating system, and disable any system activity monitoring
software or extension. Then, insert the DVD into your computer's DVD drive.
2. If required, double-click the MPC icon to view the DVD's contents.
From a downloaded installer file:

1. Open the folder where the downloaded .zip file is located.
2. Double-click the file to extract it.
15
Unlocking the MPC Software
Follow these steps to unlock the MPC software before using it.
1. Connect your MPC hardware to a USB port on your computer. If you are using MPC Renaissance,
connect it to a power source, too.
2. Power on the MPC hardware.
3. Open the MPC software.
4. In the dialogue box that appears, click Unlock Now.
5. Enter your information in the window that appears.
6. If your computer is connected to the Internet, click Unlock Now, and enjoy your MPC!
If your computer is not connected to the Internet, follow these additional steps:
7. Click Use Web Form.
8. The window that appears will have your name, serial number, and software ID number. Click Save
Details to save this information as a .txt file, or copy the information from each field into another file
of your choosing.
9. On a computer connected to the Internet, go to authorizations.akaipro.com/MPC, enter the
copied information, and click Unlock My MPC.
10. Copy the unlock code from the window that appears.
11. In your MPC software, go to the window from Step 5 and click Enter Code.
12. Enter your name and the unlock code generated by the webpage.
13. Click Unlock, and enjoy your MPC!
16
MPC Hardware Overview
This chapter explains the features and functions of your MPC hardware: the MPC Renaissance or the
MPC Studio.
MPC Renaissance
Top Panel
1
47
43 44 45 46
11 11 11 11
13 14 24 25 26 12 2 2 2 2 2 2 27 19 20 21 22 23
28 29 30 31 32
8 8 8 8 10 10 10 10
16 18 7 4
8 8 8 8 10 10 10 10
17 6 5 5
8 8 8 8 42 3
10 10 10 10
8 8 8 8 38 38 40 39 39
10 10 10 10
36 37 35 33 34
9 41 15
17
Navigation and Data Entry Controls
1. Display: This LCD shows all the information relevant to MPC Renaissance's current operation.
Much of this information is also shown in the software. Use the Cursor Buttons to navigate
through the display, and use the Data Dial, and -/+ buttons to adjust the currently selected
setting/parameter. Use the Mode buttons to change what page is shown, and use the Function
Buttons to change what tab is shown.
Note: You can adjust the display contrast by holding down Shift and turning the Data Dial.
2. Function Buttons: Press one of these buttons to select its corresponding tab, shown above the
button in the display.
3. Cursor Buttons: Use these buttons to navigate through the fields of menus and options shown in
the display.
4. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values
of the selected field in the Display.
5. -/+: Press these buttons to increase/decrease the value of the selected field in the display.
6. Numeric Keypad: If the selected field in the Display is a number, use these numbered buttons as a
standard numeric keypad to enter a value. Press the keypad's Enter to enter it.
7. Undo / Redo: Press this button to undo your last action. Hold down Shift and press this button to
redo the last action you undid.
Pad and Q-Link Knob Controls

8. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The
LEDs surrounding each knob indicate the knob's current position.
9. Q-Link Trigger: Hold this button down, then touch one of the Q-Link Knobs to make that knob's
parameter's value jump to its minimum or maximum (depending on the Trig parameter in the
software).
10. Pads: Use these pads to trigger drum hits or other samples in your software. The pads are velocity-
sensitive and 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). To disable (or re-enable) these lights, press Pad Assign then
F6 (Velo Col).
18
11. Pad Bank Buttons: These 4 buttons switch among Pad Banks A–H. Between these 8 banks with
16 pads per bank, you can access up to 128 MIDI events using the pads.
12. Pad Assign / Pad Copy: Press this button to assign a sample to a pad. In the display, the 4 x 4
grid that appears represents the 16 pads. Use the Cursor Buttons to navigate through the grid,
and use the Data Dial or -/+ buttons to select a Program (when the Program field is highlighted) or
a sample (when a pad is highlighted).
You can use this button to copy the samples and parameters from one pad to another. Hold Shift
and press this button to open the Copy Pad window. In the From Pad field, press the "source"
pad. Use the Cursor Buttons to select the To Pad field, and then press the "destination" pads.
Press F5 (Do It)—the samples and parameters will be copied automatically from the source pad to
the destination pad.
13. Full Level / Half Level: Press this button to activate/deactivate Full Level. When activated, the
pads always play back at a maximum velocity (127), no matter how hard or soft you press them.
Hold down Shift and press this button to activate/deactivate Half Level. When activated, the pads
always play back at half-velocity (63).
14. 16 Level: Press this button to activate/deactivate 16 Level. When activated, the last pad that was
pressed 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 a specific value (ascending in value from
the lowest to highest pad), regardless of how hard you press each pad. In the software, in the
window that appears, click the Type menu to select the parameter: Velocity, Tune, Filter, Layer,
Attack, or Decay.
You can change the pad by clicking the Pad drop-down menu in the window that appears.
Alternatively, you can press and hold the 16 Level button, press the desired pad, and then release
both.
15. Note Repeat / Latch: Hold this button down and press a pad to retrigger that pad's sample at a
rate based on the current Tempo and Time Correct settings (the available Time Correct settings will
appear in the display, which you can select with the Function Buttons). Hold down Shift and press
this button to latch the Note Repeat feature. Alternatively, press the Note Repeat button twice in
succession. When latched, the button does not need to be held down for Note Repeat to be
activated. Press Note Repeat once more to unlatch it.
19
Mode / View Controls
16. Shift: Hold this button down to access some buttons' secondary functions (indicated by orange
writing). You can also double-press it to "latch" it for a few seconds. To unlatch it, press it once
more or wait a few seconds for it to unlatch automatically.
17. Main / Track: Press this button to enter Main Mode in the display and software. Hold down Shift
and press this button to enter Track View Mode in the display and software.
18. Browser / Save: Press this button to view the File Browser in the display. Hold down Shift and
press this button to save the current Project (including its samples, Programs, Sequences, and
Songs).
19. Prog Edit / Q-Link: Press this button to enter Program Edit Mode in the display and software. Hold
down SHIFT and press this button to assign a parameter to a Q-Link Knob: use the Cursor
Buttons to select the desired Q-Link Knob, then use the Data Dial or -/+ buttons to select the
desired parameter.
20. Prog Mix / Track Mix: Press this button to enter Program Mixer Mode in the display and software.
Hold down Shift and press this button to enter Track Mixer Mode in the display and software.
21. Seq Edit / Effects: Press this button to enter Sequence Edit Mode. Hold down Shift and press this
button to enter the Effects page on the hardware, where you can select and route effects as well as
edit effects' parameters.
22. Sample Edit / Sample Rec: Press this button to enter Sample Edit Mode in the display and
software. Hold down Shift and press this button to enter Sample Record Mode in the display and
software.
23. Song / Other: Press this button to enter Song Mode in the display and software. Hold down Shift
and press this button to enter MIDI Control Mode, which lets you edit various MIDI parameters for
the pads, Q-Link Knobs, and certain buttons on your hardware while in this mode.
24. Step Seq: Press this button to enter Step Sequence Mode in the display and software.
25. Next Seq: Press this button to enter Next Sequence Mode in the display and software.
26. Track Mute / Pad Mute: Press this button to enter Track Mute Mode in the display and software.
Hold Shift and press this button to enter Pad Mute Mode in the display and software.
20
27. Window / Full Screen: When this button is lit, it means the selected field in the display contains
additional functions; press this button to access them. Use the Function Buttons, Cursor Buttons,
and Data Dial or -/+ buttons to execute (or cancel) these additional functions.
Hold Shift and press this button to switch between Full Screen and Half Screen Modes in the
software. In Full Screen Mode, the workspace occupies the whole window. In Half Screen Mode,
the parameter controls (Q-Link Knobs, pads, Sequence and Track information, Project Information,
etc.) are shown underneath the workspace.
28. Project / Folder 1: Press this button to view only Project files in the File Browser. Hold down Shift
and press this button to select the File Browser's Folder 1 shortcut.
29. Sequence / Folder 2: Press this button to view only Sequence files in the File Browser. Hold down
Shift and press this button to select the File Browser's Folder 2 shortcut.
30. Program / Folder 3: Press this button to view only Program files in the File Browser. Hold down
31. Sample / Folder 4: Press this button to view only Sample files in the File Browser. Hold down Shift
32. No Filter / Folder 5: Press this button to view all files in the File Browser. Hold down Shift and
press this button to select the File Browser's Folder 5 shortcut.
Transport and Recording Controls

33. Play: Press this button to play the Sequence from the audio pointer's current position.
34. Play Start: Press this button to play the Sequence from its start point.
35. Stop: Press this button to stop playback.
36. Rec: 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.
37. 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.
38. < / > ( |< / >| ): Use these buttons to move the audio pointer left/right, one step at a time. Hold
Locate and press one of these buttons to move the audio pointer to the previous/next event in the
Sequence Grid.
21
39. << / >> (Start / End): Use these buttons to move the audio pointer left/right, one bar at a time. Hold
Locate and press one of these buttons to move the audio pointer to the start or end of the
Sequence Grid.
40. Locate: Hold this button down to activate the secondary functions of the < / > and << / >> buttons
(i.e., |< / >| and Start / End, respectively).
41. Erase: As a Sequence is playing, hold this button down and press a pad to delete the note event
for that pad at the current playback position. This is a quick way to delete note events from your
Sequence without having to stop playback.
42. Tap Tempo: Press this button in time with the desired tempo to enter a new tempo (in BPM) in the
software.
I/O and Level Controls

43. Mic In / Phono In Switch: Use this switch to select the Mic In or Phono In jacks on the rear panel.
If you are using a mic or other line-level audio source connected to the Mic In jacks, select Mic In.
If you are using a phono-level device like a turntable connected to the Phono In jacks, select
Phono In.
44. Rec Gain: Use this knob to adjust the gain of the incoming signal from the Mic In or Phono In
jacks on the rear panel. Monitor the recording level by viewing the level meter (LEDs) above the Mic
In / Phono In Switch. Be careful when setting this knob at higher levels, which can cause the
signal to distort.
45. Direct Mon: Use this knob to adjust the balance between the Input and Comp signals in the
headphones. The Input signal consists of the Mic In or Phono In jacks—turn the knob all the way
to Input for zero-latency direct monitoring. The Comp signal is the normal software playback.
When not recording, we recommend turning this knob all the way to the Comp position.
46. Main Volume: Use this knob to adjust the volume level of the Stereo Out jacks.
47. Vintage Mode: Press this to toggle through the available Vintage Modes. The MPC3000 and
MPC60 settings emulate the sounds of those classic MPCs, while the Other setting emulates the
sound of vintage sampling drum machines. When none of the LEDs are lit, Vintage Mode is off.
22
Front Panel
1. Footswitch Inputs: Connect optional 1/4" TS

footswitches to these inputs.
2. Mix Knob: Use this knob to adjust the balance 1 1 2 3 3 4
between the Main and Assign signals in your
headphones. The Main signal is the Stereo Outs.
The Assign signal is the Assignable Mix Outs 1 and 2.
3. Headphones: Connect your headphones (not included) to one of these standard TRS outputs (1/8"
or 1/4"). Use the Mix Knob to determine what signal is heard in the headphones.
4. Headphones Volume: Use this knob to adjust the headphone volume.
Rear Panel
14 2
9 9 12 16 16 16 16 15 15 8 5
10 11 13
6 7 4 1 3
1. Power Input: Connect a 12V DC, 2A power adapter (center pin positive) to this jack then into an
electrical outlet.
2. Power Adapter Restraint: You can secure a power adapter cable to this restraint to prevent it from
accidentally unplugging.
3. Power Switch: Turns MPC Renaissance's power on/off.
4. Computer USB 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 Renaissance to send/receive
MIDI and audio data to/from the MPC software.
5. USB Hub Outputs: You can connect additional USB devices (controllers, hard drives, etc.) to these
powered, high-speed USB 2.0 ports. In addition to being an audio interface, these ports allow MPC
Renaissance to function as a powered USB hub when it is powered on.
23
6. Stereo Out: Connect these 1/4" TRS outputs to your speaker system (not included). The signal
sent out of these outputs is the main mix. In the MPC software, you can set what is routed to these
outputs in the Program Mixer tab, by selecting 1,2 as the Out for one pad or multiple pads.
7. Assignable Mix Out: Connect these 1/4" TRS outputs to an external mixer (not included). The
signal sent from these outputs is full-volume (0 dB). In the MPC software, you can set what is
routed to these outputs in the Program Mixer tab, by selecting 3,4 as the Out for one pad or
multiple pads.
8. S/PDIF In/Out: Use standard RCA cables to connect these jacks to devices that can send/receive
digital audio.
9. Mic In: Connect an external sound source or microphone to these jacks using standard 1/4" TRS
or XLR cables. Make sure to set the Mic / Line Switch appropriately.
10. Mic / Line Switch: Set this switch appropriately for the device you connected to the Mic In jacks. If
your sound source is a microphone, set it to Mic. If your sound source is a line-level device, like an
external mixer or keyboard, set it to Line.
11. Phantom Power Switch: This switch activates and deactivates phantom power. When activated,
phantom power supplies +48V to both Mic In inputs. Please note that most dynamic microphones
do not require phantom power, while most condenser microphones do. Consult your microphone's
documentation to find out whether it needs phantom power.
12. Phono In: Connect these RCA inputs to an external sound source (e.g., a turntable, CD player,
etc.). Make sure to set the Phono / Line Switch appropriately.
13. Phono / Line Switch: Flip this switch to the appropriate position, depending on the device
connected to the Phono In jacks. If you are using phono-level turntables, set this switch to Phono
to provide the additional amplification needed for phono-level signals. If using a line-level device,
such as a CD player or sampler, set this switch to Line.
14. Ground Terminal: If you connected a phono-level turntable to the Phono In jacks and are hearing
a low hum or buzz, this 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 be connected to the grounding terminal.
15. MIDI In: Use a five-pin MIDI cable to connect the MIDI Out of an optional external MIDI device to
the MIDI In of MPC Renaissance.
16. MIDI Out: Use a five-pin MIDI cable to connect the MIDI Out of MPC Renaissance to the MIDI In of
an optional external device.
24
MPC Studio
Top Panel
3 4 1 2
13
5
16 16 16 16 17
12 18 19 29 30 31
6 6 6 6 6 6
24 25 26 27 28
12
33 34 35 36 37
10
12 22 8
23
15 21 5 5 32
12
47 7 11
14
46 43 43 45 44 44
20 41 42 40 38 39
25
Power and I/O
1. Computer USB 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
and audio data to/from the MPC software.
2. Power Switch: Turns MPC Studio's power on/off.
3. MIDI In: Use the included 1/8"-MIDI adapter and a five-pin MIDI cable to connect the MIDI Out of
an optional external MIDI device to the MIDI In of MPC Studio.
4. MIDI Out: Use the included 1/8"-MIDI adapter and a five-pin MIDI cable to connect the MIDI Out of
MPC Studio to the MIDI In of an optional external device.
Important: Do NOT connect audio devices (e.g., headphones, monitors, etc.) to the 1/8" MIDI In or
MIDI Out jacks. Use the included 1/8"-MIDI adapters to connect MIDI devices only.
Navigation and Data Entry Controls

5. Display: This LCD shows all the information relevant to MPC Studio's current operation. Much of
this information is also shown in the software. Use the Cursor Buttons to navigate through the
display, and use the Data Dial, and -/+ buttons to adjust the currently selected setting/parameter.
Use the Mode buttons to change what page is shown, and use the Function Buttons to change
what tab is shown.
Press and hold Shift and turn the Data Dial to adjust the contrast of the display.
6. Function Buttons: Press one of these buttons to select its corresponding tab, shown above the
button in the display.
7. Cursor Buttons: Use these buttons to navigate through the fields of menus and options shown in
the DISPLAY.
8. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values
of the selected field in the display.
9. -/+: Press these buttons to increase/decrease the value of the selected field in the display.
10. Numeric: If the selected field in the display is a number, you can press Numeric and use the pads
as a standard numeric keypad to enter a value. The numbers are printed in green above the pads.
11. Undo / Redo: Press this button to undo your last action. Hold down Shift and press this button to
redo the last action you undid.
26
Pad and Q-Link Knob Controls
12. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The
knobs can control one column of parameters at a time. Use the Scroll Knob above them to change
which column or row of parameters they currently control.
In modes where the display shows a "4 x 4" array of
parameters, you will see an additional indicator on the
top or left side of the array, indicating the currently
controlled row/column.
Row 1 Row 2 Row 3 Row 4
The Q-Link Knobs control columns of parameters in
Main Mode, Program Edit Mode, Track View Mode,
Sample Edit Mode, and Step Sequence Mode.
The Q-Link Knobs control rows of parameters in Column 1 Column 2 Column 3 Column 4
Program Mixer Mode and Track Mixer Mode.
13. Scroll Knob: Use this knob to change which column of parameters the Q-Link Knobs currently
control.
14. Q-Link Trigger: Hold this button down, then touch one of the Q-Link Knobs to make that knob's
parameter's value jump to its minimum or maximum (depending on the Trig parameter in the
software).
15. Pads: Use these pads to trigger drum hits or other samples in your software. The pads are velocity-
sensitive and 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). To disable (or re-enable) these lights, press Pad Assign then
F6 (Velo Col).
If the selected field in the display is a number, you can press Numeric and use the pads as a
standard numeric keypad to enter a value. The numbers are printed in green above the pads.
16. Pad Bank Buttons: These 4 buttons switch among Pad Banks A–H (press and hold Shift to access
Banks E–H). Between these 8 banks with 16 pads per bank, you can access up to 128 MIDI events
using the pads.
27
17. Pad Assign / Pad Copy: Press this button to assign a sample to a pad. In the display, the 4 x 4
grid that appears represents the 16 pads. Use the Cursor Buttons to navigate through the grid,
and use the Data Dial or -/+ buttons to select a Program (when the Program field is highlighted) or
a sample (when a pad is highlighted).
You can use this button to copy the samples and parameters from one pad to another. Hold Shift
and press this button to open the Copy Pad window. In the From Pad field, press the "source"
pad. Use the Cursor Buttons to select the To Pad field, and then press the "destination" pads.
Press F5 (Do It)—the samples and parameters will be copied automatically from the source pad to
the destination pad.
18. Full Level / Half Level: Press this button to activate/deactivate Full Level. When activated, the
pads always play back at a maximum velocity (127), no matter how hard or soft you press them.
Hold down Shift and press this button to activate/deactivate Half Level. When activated, the pads
always play back at half-velocity (63).
19. 16 Level: Press this button to activate/deactivate 16 Level. When activated, the last pad that was
pressed 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 the values shown in the diagram on the
right, regardless of how hard you press them. In the software, in the window that appears, click the
Type menu to select the parameter: Velocity, Tune, Filter, Layer, Attack, or Decay.
You can change the pad by clicking the Pad drop-down menu in the window that appears.
Alternatively, you can press and hold the 16 Level button, press the desired pad, and then release
both.
20. Note Repeat / Latch: Hold this button down and press a pad to retrigger that pad's sample at a
rate based on the current Tempo and Time Correct settings (the available Time Correct settings will
appear in the display, which you can select with the Function Buttons). Hold down Shift and press
this button to latch the Note Repeat feature. Alternatively, press the Note Repeat button twice in
succession. When latched, the button does not need to be held down for Note Repeat to be
activated. Press Note Repeat once more to unlatch it.
Mode and View Controls

21. Shift: Hold this button down to access some buttons' secondary functions (indicated by orange
writing). You can also double-press it to "latch" it for a few seconds. To unlatch it, press it once
more or wait a few seconds for it to unlatch automatically.
22. Main / Track: Press this button to enter Main Mode in the display and software. Hold down Shift
and press this button to enter Track View Mode in the display and software.
28
23. Browser / Save: Press this button to view the File Browser in the display. Hold down Shift and
press this button to save the current Project (including its samples, Programs, Sequences, and
Songs).
24. Prog Edit / Q-Link: Press this button to enter Program Edit Mode in the display and software. Hold
down Shift and press this button to assign a parameter to a Q-Link Knob, use the Cursor Buttons
to select the desired Q-Link Knob, then use the Data Dial or -/+ buttons to select the desired
parameter.
25. Prog Mix / Track Mix: Press this button to enter Program Mixer Mode in the display and software.
Hold down Shift and press this button to enter Track Mixer Mode in the display and software.
26. Seq Edit / Effects: Press this button to enter Sequence Edit Mode. Hold down Shift and press this
button to enter the Effects page in the display, where you can select and route effects as well as
edit effects' parameters.
27. Sample Edit / Sample Rec: Press this button to enter Sample Edit Mode in the display and
software. Hold down Shift and press this button to enter Sample Record Mode in the display and
software.
28. Song / Other: Press this button to enter Song Mode in the display and software. Hold down Shift
and press this button to enter MIDI Control Mode, which lets you edit various MIDI parameters for
the pads, Q-Link Knobs, and certain buttons on your hardware while in this mode.
29. Step Seq: Press this button to enter Step Sequence Mode in the display and software.
30. Next Seq: Press this button to enter Next Sequence Mode in the display and software.
31. Track Mute / Pad Mute: Press this button to enter Track Mute Mode in the display and software.
Hold Shift and press this button to enter Pad Mute Mode in the display and software.
32. Window / Full Screen: When this button is lit, it means the selected field in the display contains
additional functions; press this button to access them. Use the Function Buttons, Cursor Buttons,
and Data Dial or -/+ buttons to execute (or cancel) these additional functions.
Hold Shift and press this button to switch between Full Screen and Half Screen Modes in the
software. In Full Screen Mode, the workspace occupies the whole window. In Half Screen Mode,
the parameter controls (Q-Link Knobs, pads, Sequence and Track information, Project Information,
etc.) are shown underneath the workspace.
33. Project / Folder 1: Press this button to view only Project files in the File Browser. Hold down Shift
29
34. Sequence / Folder 2: Press this button to view only Sequence files in the File Browser. Hold down
35. Program / Folder 3: Press this button to view only Program files in the File Browser. Hold down
36. Sample / Folder 4: Press this button to view only Sample files in the File Browser. Hold down Shift
37. No Filter / Folder 5: Press this button to view all files in the File Browser. Hold down Shift and
press this button to select the File Browser's Folder 5 shortcut.
Transport and Recording Controls

38. Play: Press this button to play the Sequence from the audio pointer's current position.
39. Play Start: Press this button to play the Sequence from its start point.
40. Stop: Press this button to stop playback.
41. Rec: 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.
42. 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.
43. < / > ( |< / >| ): Use these buttons to move the audio pointer left/right, one step at a time. Hold
Locate and press one of these buttons to move the audio pointer to the previous/next event in the
Sequence Grid.
44. << / >> (Start / End): Use these buttons to move the audio pointer left/right, one bar at a time. Hold
Locate and press one of these buttons to move the audio pointer to the start or end of the
Sequence Grid.
45. Go To: Hold this button down to activate the secondary functions of the < / > and << / >> buttons
(i.e., |< / >| and Start / End, respectively).
46. Erase: As a Sequence is playing, hold this button down and press a pad to delete the note event
for that pad at the current playback position. This is a quick way to delete note events from your
Sequence without having to stop playback.
47. Tap Tempo: Press this button in time with the desired tempo to enter a new tempo (in BPM) in the
software.
30
Quick Start / Tutorial
This chapter should help you to familiarize yourself with some basic MPC features. To get the most out
of this tutorial, we recommend reproducing each of the described steps.
The MPC hardware's display reflects what it is controlling in the software, but due to space and
character limitations, the hardware display is slightly different (e.g., parameter names may be
abbreviated, the layout may be different or spread across multiple tabs, etc.).
Hardware:
• You can navigate through the MPC hardware display by using the MPC hardware's Cursor
Buttons. When a parameter is selected, you can change it by turning the hardware's Data Dial or
using the -/+ buttons.
• When the MPC hardware display shows a series of parameters that cannot be selected with the
Cursor Buttons, that means it is showing you what the Q-Link Knobs are controlling. When you
touch a Q-Link Knob, the parameter's name and setting will appear in the upper-right corner of the
hardware display. Turn the knob to adjust it (If the Q-Link Knob does not control any parameter in
the display, this area will show the Q-Link Knob number and no text).
MPC Studio users: MPC Studio's Q-Link Knobs control one column of parameters at a time. Whenever
this manual instructs you to use the Q-Link Knobs to adjust parameters, you can use the Scroll Knob
(above the Q-Link Knobs) to move through the different columns.
On the following pages we will create a short song to show you important aspects of using the MPC
software in conjunction with the MPC hardware. Let's get started!
Starting Up
1. Power on your computer, and make sure the MPC hardware driver and software are both properly
installed on your computer.
2. Connect your MPC hardware to your computer with a standard USB cable and power it on. After
that, open the MPC software.
Now, you're ready to go!
31
Creating a Drum Kit
Let's start by making a simple drum kit.
The Browser display of the MPC hardware.
Hardware:
1. Press the Browser button and use Cursor Buttons to navigate to where your drum sounds are
located:
• Use the Up or Down Cursor Buttons to move through a list
• Use the Right Cursor Button to enter a selected folder,
• Use the Left Cursor Button to go to the previous folder.
2. To preview a selected sound, press the F3 button (Play). You can also activate the Auto Preview
option with the F2 button (Auto).
3. First, let's load a bass drum. Press Pad 1 to select it. The pad will be lit in green. Navigate to a bass
drum sample you like and press F6 (Open) to assign it to the selected pad. Now, you can press
Pad 1 to play the bass drum sample.
4. To create a simple drum set, repeat the above steps for other pads. We recommend loading a
snare drum, a closed hi-hat, and an open hi-hat. Feel free to add a crash cymbal, too.
Now that your drum kit is set up, you can record a drum Sequence!
32
Recording a Drum Sequence
Let's record a drum Sequence.
Hardware:
1. Press the Rec button to activate Record Mode.
2. To start the actual recording, press the Play button. The pre-count will count one measure before
the software starts to record. We recommend recording only one sound (pad) at a time, especially if
you are not familiar with playing on the pads.
3. Play a simple bass drum pattern. The note events you just recorded will automatically be placed in
the grid (in this case, on 16th notes). The initial measure length is two bars. After the two bars, the
recording will enter Overdub Mode automatically; the Sequence plays again from the beginning and
keeps looping, allowing you to record further notes. Don't stop the recording!
4. Play the snare drum part, then a hi-hat part.
5. When you're done recording, press the Stop button.
6. To repeat the recording, keep in mind that the pads you play in your new recording will
automatically replace existing notes played with the same pads. To prevent this, you can start
again from Step 1 but press the Overdub button instead of the Rec button; Overdub lets you
record additional note events over the existing Sequence.
7. The Undo button functions differently while in Record Mode. 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).
8. Want to add a crash cymbal? In this case, it is easier to create it directly in the software by clicking
the desired position in the grid, in the same row as the crash sample.
33
Organizing Samples and Editing Note Events
We recommend naming and editing your files before recording any further. Let's use the software, which
is easier for editing.
The collection of drum samples you loaded earlier (and their respective pad assignments) are arranged
in a Program. Let's rename the exisiting Program as we'll want to create more Programs later on. Right-
click Program 001 in the Project Information panel, and select Rename. Name the Program (e.g.,
Drums), and click OK.
Right-click the name of a sample (e.g., Bassdrum-01), and select Rename. Enter a suitable name for the
sample (e.g., Bass Drum 1 or Kick 1). Repeat this for the other samples in the Program. This will help
keep your Program organized as you add more samples to it.
34
In the grid, you can see your recorded note events. Click and drag a note to move it to a different
position. By default, you can position notes only by quantization values, defined by the Time Correct
value. You can change the value by clicking the Time Correct drop-down menu. We recommend
working with 8 or 16 values. Hold down your keyboard's Shift key and use the arrow keys to nudge
events without restricting ("snapping") them to the grid.
Hold down your keyboard's Control key (Windows) or  key (Mac OS X) and click and drag a note to
copy it. Double-click a note to delete it.
Velocity data can be easily edited in the velocity lane below the grid. Click a note event or place the
mouse over a velocity bar in the lane. A small round handle will appear at the top of the velocity bar.
Move the mouse vertically to change its value.
35
Making Basic Sound Edits
Let's make sure the samples are properly tuned and have good levels.
Hardware:
1. Press the Prog Mix button to enter Program Mixer Mode.
2. Press the F1 button (Level) to control the volume for each pad. You can use the hardware's Q-Link
Knobs as well as the corresponding faders in the software. Adjust the levels of each pad to suit
your taste.
3. Press F2 (Pan) to control the stereo panning for each pad. You can use the hardware's Q-Link
Knobs as well as the corresponding Pan knob in the software. We recommend spreading the
panning of the bright sounds (e.g., cymbals, snare drum) a little.
4. The snare drum needs a small amount of reverb to give it a more spatial sound. Press F5 (Insert) to
view the Insert Effect tab. Use the Cursor Buttons to navigate to the snare sample's pad (here,
A02). Using the Data Dial, select the desired effect, and press F4 (Select) to load it. Let's try
Reverb Medium.
5. Could the bass drum use some tuning? Press the Prog Edit
button and press Pad 1 to select the bass drum. Press F2
(Samples) and use the Q14 and Q15 Q-Link Knobs to tune
the sound. You can also use the corresponding Semi and
Fine parameter in the Layer section of the software.
36
Recording 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
sound chromatically, so this will be slightly different than setting up the drum kit.
Adding a bass line over the drum part means we need to add a new Track. A Track is simply a layer of a
Sequence; you can have multiple Tracks in a single Sequence (e.g., a drum Track, a bass Track, a piano
Track, etc.), and they all play simultaneously when you play the Sequence.
First, select a new Track. Go back to Main Mode and select Track 2 (unused) in the Track drop-down
menu above the grid.
Hardware: Press the Main button and then press the F4 button (Track+) to move to the next Track.
Let's create a new Program to assign to this empty Track:

1. In the Track Section in the lower half of the window, click the + button next to the Program drop-
down menu.
2. In the Project Information on the right, right-click the new Program (Program 001) and enter a
name (e.g., Bass).
3. Back in the Track Section, click the Type drop-down menu and select Keygroup. This is necessary
because we want to play the bass sound chromatically with the pads.
Now, let's load a bass sound:

1. Click the File Browser's drop-down menu for
an overview of your hard disk structure and
select a location. Double-click any displayed
folder in the File Browser to open it.
2. Locate and select a bass sample. Click the Preview button to preview any selected audio
sample.
3. Double-click a sample to add it to the Project. (Keep in mind that the sample is not yet assigned to
a pad.)
37
Let's continue to set up the Keygroup Program:
1. Click the Program Edit tab to enter Program Edit Mode.
Hardware: Press the Prog Edit button to enter Program Edit Mode.
2. In the Layer section, click the Layer 1 drop-down menu and
select the bass sample you just loaded (you'll see your drum
samples in this list, as well). Because you're working with a
Keygroup Program instead of a Drum Program, this sample is
now playable across all pads.
Tip: On your MPC hardware, 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 other
pads to play your sample chromatically.
Let's add a second layer and set the Layers' velocity ranges so our bass sounds different when played
at a higher velocity (as a real bass would):
1. Go back to the File Browser and select a different bass sample that sounds similar but a little bit
brighter.
2. Double-click a sample to add it to the Project.
3. Back in the Layer section, click the Layer 2 drop-down menu and select the new bass sample.
Press a pad—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.
4. Set Layer 1's Velocity slider to
cover the velocity range from 0 to
80, and set Layer 2's Velocity slider
to cover the range from 81 to 127.
Now when you press a pad, the lower
velocities will trigger the Layer 1 sample
only, while higher velocities will trigger
the Layer 2 sample only.
38
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.
39
Once you've recorded it, let's tweak it a bit in the Filter section of the Program Edit menu. For this, let's
use the MPC hardware.
Hardware:
1. Press Prog Edit to enter Program Edit Mode, and press F4 (Flt Env) to
enter the Filter page.
2. Turn Q-Link Knob 13 to select a filter for the Filter Type field. We
recommend working with the Low 4 type, to start.
3. Turn the Cutoff and Reso (Resonance) knobs (Q-Link Knobs Q14 and
Q15) until your bass sample sounds perfect to you.
4. Use the Q-Link Knobs Q1 to Q4 to set the Amp Atk (Amplifier
Envelope Attack) and Amp Rel (Amp Envelope Release). These control
the overall level characteristics of the sound.
5. Do you want to add an effect (e.g., Chorus)? Press F6 (Effects) and
select the desired effect type for your bassline. (Remember to turn the
Inserts parameter in the upper-right corner of the display to On.)
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.
40
Creating a Song
This 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 in this chapter)!
Click the Song tab to open Song Mode. Each of the Sequences
you've created in this Project is assigned to a pad.
Click and drag a pad with the desired Sequence onto the
Sequence Playlist to the left of the pads. Alternatively, if you
prefer viewing a horizontal timeline, you can click and drag it
onto the workspace above the pads.
As a Song plays, it moves through the each Step, which has a Sequence you assigned. Each Sequence
may (or may not) be repeated, determined by the value in the Repeats (Rpts) column (a Rpt value of 1
means the Sequence will play through only once).
Each step can be set to play its Sequence at an independent tempo, determined by the value in the
BPM column. The Bars column indicates the length of the Sequence for that step.
Click any drop-down menu in the Sequence column to select a new Sequence for that step. Click and
drag up or down on a Rpts value to change it.
Exporting the Song
Want to share your new Song with your friends? All you need to do is export it.
While in Song Mode, click the File menu, select Export, and select As Audio Mixdown.
In the Audio Mixdown window, select your mixdown settings.
• Set the Start field to 1, and set the End field to the last bar of your Song.
• As the Song will likely be uploaded to the Internet, select the mp3 file format option.
• Choose a save location.
Click Export to start exporting the Song.
To learn more about the Audio Mixdown options, please see General Features > Software Menus >
File Menu.
41
Other Features Explained
This chapter describes various advanced features. These sections explain how to perform these
operations by using mostly the MPC hardware, but all of them are also possible in the software. For a
fuller explanation of these features, please refer to their corresponding sections in the Operation
(Software) chapter.
Step Sequencer
You've already learned how to record note events on a Track, but you can quickly enter note events in
Step Sequence Mode by using the pads as "step buttons," simulating the experience of a traditional
step-sequencer-style drum machine.
Hardware:
1. Press Step Seq to enter Step Sequence Mode.
2. Start a new Track by using the Cursor Buttons to select the Trk field and use the Data Dial or -/+
buttons to select an unused Track. Let's use Track 04.
3. Use the F2 (Bar-) and the F3 (Bar+) buttons to select the bar whose steps you want to create or
edit.
4. Use F5 (Pad-) and F6 (Pad+) to select the pad whose steps want to create or edit. The pad number
and its sample name will appear in the upper-right corner of the display. Alternatively, you can use
the Cursor Buttons to select the Pad field in the upper-right corner and use the Data Dial or -/+
buttons to select a pad.
5. Press the Play button to start your Sequence.
• 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.
• Press an unlit pad to enter a note event at that step. The pad will light up with a color
corresponding to its velocity.
• Click a lit pad to delete the note event from that step. The pad will be unlit.
See the Step Sequence Mode chapter to learn more about this feature.
42
Drum Loops and 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 File Browser to locate a drum loop on your hard disk (the loop does not have to match the
tempo of anything in the Project). Double-click the desired drum loop to add it to the current Program.
Hardware:
1. Press the Sample Edit button to enter Sample Edit Mode.
2. Use the Data Dial to select the loaded drum loop. You can scroll through all loaded samples seen
the top of your MPC hardware display.
3. Press F1 (Chop) to enter the Chop Mode where the drum loop will be cut into slices.
4. Use the Cursor Buttons to select the Threshold parameter, and use the Data Dial or -/+ buttons
select a value. The higher the value, the more slices will be created. Be sure to select a value so
that every transient peak of the drum loop has a corresponding a slice marker.
Tip: Press F4 (Audition) to play the created slices with the pads. Each slice will be automatically
assigned to a pad: Pad A01 plays Slice 1, Pad A02 plays Slice 2, etc.
43
Hardware:
Now, let's create a new Program containing all of these slices as individual samples. It will also
automatically create corresponding note events to play back these slices sequentially.
1. Press F5 (Convert) to enter the Convert Slices page.
2. Use the Cursor Buttons to select the following parameters and use the Data Dial or -/+ buttons
select the value indicated as follows: Convert to Sliced Samples, Crop Samples to On, Create
New Program to On, Create Events to On, and Program to the same Program the original drum
loop was from.
3. Press F6 (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.
4. Press Play and listen to how the drum loop matches your Song tempo now.
44
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. Click the T Correct
drop-down menu to use Time Correct 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 each slice or sample in Program Edit Mode. You can add effects for slices or use the filter
function to change the frequency range of a selected slice. There are almost no limits to what you can
do.
See Sample Edit Mode > Chop Mode to learn more about this feature.
45
Pad Muting and 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.
The Pad Mute display of the MPC hardware.
Hardware:
1. Select your basic drum Track.
2. Press and hold the Shift button and press the Track Mute / Pad Mute button to enter Pad Mute
Mode.
3. Press Play to play the Sequence.
4. Mute a pad by pressing it once. The muted pad will be lit red. You can mute multiple pads at the
same time.
5. To mute pads on another Track, press Shift + Main / Track and press F3 (Track-) or F4 (Track+)
to switch between the recorded Tracks. Press Shift + Track Mute / Pad Mute again to perform the
desired mutes.
46
You can also mute entire Tracks by using the similar Track Mute function.
The Track Mute display of the MPC hardware.
Hardware:
1. Press the Track Mute button to enter Track Mute Mode.
2. Press Play to play the Sequence.
3. Mute a Track by pressing the corresponding pad once. The muted pad will be lit red. You can mute
multiple pads at the same time.
4. To mute a Track only at precise note intervals ("quantizing" your mutes, essentially), you can set a
musical timing value by pressing the F4 button (Time Div). Use the Data Dial or -/+ buttons to set
a musical value (e.g., 1 bar). Press F4 (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 bar. This lets you
test musical combinations of patterns—the stage preliminary to building a Song structure.
47
Sample 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 Renaissance or to
your computer's audio interface.
MPC Studio users: This section describes recording using MPC Renaissance as your sound card. MPC
Studio cannot be used in this way, but you can use a separate audio interface connected to your
computer to record audio.
The Sample Record display of the MPC hardware.
Hardware:
1. Press and hold the Shift button and press the Sample Edit / Sample Rec button to enter Sample
Record Mode.
2. Connect a suitable microphone to a Mic In jack of your MPC Renaissance. Make sure to set the
input switch to Mic.
3. Set the Mic In / Phono In switch on the top panel to Mic In and turn up the Rec Gain dial. In the
software you should now see the input signal. Make sure that the signal gain does not exceed the
maximum level (the top input level display segment should be hardly lit).
4. Use the Cursor Buttons to select the Threshold parameter and use the Data Dial or -/+ buttons to
set it to a fairly low level (e.g., -70 dB).
5. Press F6 (Record) and sing/say/shout something into the microphone. Recording starts
immediately when the input signal level reaches the threshold value.
6. Press F6 (Stop) again, to stop recording.
If you're happy with your recording, name the new sample in the software in the window that appears
when you stop recording. You should also assign the sample to an unused pad. Simply press the pad to
assign the sample! After that, click Keep.
See the Sample Record Mode chapter to learn more about this feature.
48
Sample Editing
Select the sample in the Project Information and right-click it. In the drop-down menu, select Edit.
Sample Edit Mode will open.
Hardware:
1. Press F2 (Trim) to enter Trim Mode.
2. Use Q-Link Knobs Q1, Q5, Q9, or Q13 to define a suitable start point for your sample.
3. Use Q-Link Knobs Q2, Q6, Q10, or Q14, to define a suitable end point for your sample.
4. To hear your edits, press Pad A15 to play the sample from the new start point to the new end point.
The Process Sample display of the MPC hardware.
Let's apply some transformations to the sample.
Hardware:
1. Press F6 (Process) to enter the Process Sample window.
2. With the Data Dial or -/+ buttons you can select the desired option. Let's try Pitch Shift to change
the overall pitch of your sample.
3. Use the Cursor Buttons to select the Pitch parameter and set it to 5.0. This will transpose the
sample by 5 semitones without affecting the sample's length.
4. Press F5 (Do It) to finalize the edit process.
See the Sample Edit Mode chapter to learn more about this feature.
49
Recording Automation with the Q-Link Knobs
Automating various parameters is a good way to add some motion and dynamism to your Sequences.
1. In the software, click the Main Mode tab to open Main Mode. Press a pad that has a sample
assigned to it.
2. In the Q-Link section, click the Prg button.
3. Turn Q-Link Knob Q1 to activate it for assignment.
4. Click the Pad menu and select the pad you pressed earlier.
5. Click the Change menu and select Real Time, and then click the Param menu and select Tuning.
6. Repeat Steps 3-5 for Q-Link Knob 2. Assign it to the same pad, and select Real Time as the
Change, but select Pan for the Param menu.
7. On the Program Channel strip, click the Automation button (curve icon, under the Mute
button) until it turns red and has a W.
8. Record the automation using your MPC hardware:
Hardware:
1. Press the Overdub button to arm your automation recording. Press Play to start it.
2. Use Q-Link Knobs Q1 and Q2 to record filter movement as desired.
3. Press Stop to finish the automation recording.
Want to see what you've recorded? In the software, to the left of the velocity lane under the grid, under
the Automation menu, click Tuning or Pan. The automation curve will appear in the lane. If part of the
curve is still not quite what you want, select the Pencil Tool in the upper-left corner and draw in your
own automation curve.
See General Features > Grid View > Recording Automation and Manually Entering and Editing
Automation to learn more about this.
50
Using MPC as a Plugin
If you're working with other audio software, you can use the MPC software as an instrument plugin (VST,
AU, RTAS, or AAX format) within your host software. The MPC plugin offers the same features and
functionality as the standalone software version but with some notable differences, which are discussed
in the Operation (Plugin) chapter.
Note: To learn how to load and use an instrument plugin in a host application, please refer to the
corresponding chapter of your host application's manual.
51
Operation (Software)
This chapter explains the complete features and functions of the MPC software.
Important: When using the MPC software as a plugin, its features and functions are very similar to how
it is described in this chapter but with some notable differences, discussed in the Operation (Plugin)
chapter.
Remember:
• In this manual, whenever the MPC hardware can be used to control a parameter or a function, this
is explained separately in a light-red box labeled Hardware, MPC Renaissance, or MPC Studio
(as below on this page). Note that these paragraphs are not the only parts of the manual that
mention the MPC hardware!
• We strongly recommend using the MPC hardware to control the software as its intuitive and fast
operation will greatly enhance your workflow.
Hardware:
• The MPC hardware display reflects what it is controlling in the software, but due to space and
character limitations, the hardware display is slightly different (e.g., parameter names may be
abbreviated, the layout may be different or spread across multiple tabs, etc.).
• You can navigate through the MPC hardware display by using the MPC hardware's Cursor
Buttons. When a parameter is selected, you can change it by turning the hardware's Data Dial or
using the -/+ buttons.
• When the display shows a series of parameters that cannot be selected with the Cursor Buttons,
this means that the display is showing you what the Q-Link Knobs are controlling. Touch a Q-Link
Knob, and the parameter's name and setting will appear in the upper-right corner of the hardware
display. Turn the knob to adjust it (If the Q-Link Knob does not control any parameter in the
display, this area will show the Q-Link Knob number and no text).
• 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 are acceptable.
• When the Window button lights up red, it means the currently selected field in the MPC hardware
display contains a secondary window. Press the Window button to open that window, and adjust
any settings or parameters as desired.
52
General Features
Adjusting the Controls
Tip: If you use a computer mouse with scroll wheel, you can use it to affect some of these controls:
place your mouse pointer over the control and use the scroll wheel to change it. If you hold down your
keyboard's Shift key while doing this, you can increase the resolution.
The MPC software uses the following types of control elements:
Knobs
To set a value, click the knob, hold the mouse button, and drag the knob up
and down. Alternatively, you can edit values by using your mouse scroll
wheel.
Parameter Values
To set a value, click and hold the mouse button on the field, and drag the
mouse up and down.
Drop-Down Menus
Click the downward arrow () to open a drop-down menu
where you can select the desired setting or parameter.
53
Switches
Switches are represented by "LEDs." If a function is active, its LED will be lit
red. To activate a function, click it. Any other LEDs in its set will be
automatically deactivated.
Buttons
Click a button to activate or deactivate its function. Buttons are red when
they are activated.
Envelope Displays
Click the respective "handle" of an envelope and drag into the desired
direction to change an envelope parameter.
Pencil and Select Box Icons

Clicking this icon will switch between Draw Mode (the Pencil Tool) and Select Mode
(the Select Box tool).
Draw Mode:
• Click once on an empty square in the grid to place a note event in that square.
• Double-click a note event to erase it.
Select Mode:
• Click and drag the box over note events on the grid to highlight them.
• Double-click an empty square in the grid to add a note event.
54
Program Types
About Programs
A Program is a file that contains (1) a list of all samples used and (2) the
settings for each sample (i.e., pad assignments, loop points, pitch tuning,
effects, etc.) Program Edit Mode lets you edit and assign samples. A single
Project can hold a total of 128 Programs.
There are two kinds of Programs that use samples as their sound source:
Drum Programs (used mostly for creating drum parts and quickly and easily
assigning samples to pads) and Keygroup Programs (in which you can
assign one or more samples to one or more keys and play them
chromatically with a MIDI keyboard or the MPC hardware pads). Two other kinds of Programs use MIDI
data only: Plugin Programs and MIDI Programs. This section covers how to create each Program type.
To learn about editing your Programs to your preference, see the Program Edit Mode chapter.
Drum Programs
To create a Drum Program in the software:

1. Click the Main Mode tab to enter Main Mode.
2. In the Track Section, click the Type drop-down menu and select Drum.
3. If the Project does not contain a Drum Program yet, a new Drum
Program will automatically be added to the Project.
If the Project already contains a Drum Program, click the + button next to the Program drop-down
menu.
4. Click the name in the Program drop-down menu, and enter an appropriate Program name.
Hardware: To create a Drum Program:
1. Press Main to enter Main Mode.
2. Use the Cursor Buttons to select the Pgm field, and then press the Window button.
3. In the Edit Program window that appears, press F3 (New) to create a new Program.
4. Use the Data Dial or -/+ buttons to select Drum as the Type, and then press F5 (Do It) to confirm
or F4 (Cancel) to cancel.
55
To load samples into a Drum Program, click and drag a sample onto the desired pad (in the pad display
or its row in the grid) from one of the following locations:
• the File Browser
• the Project Information
• your computer's Explorer (Windows) or Finder (Mac OS X)
The sample will be assigned to the corresponding pad.
Tip: By following the same process described earlier, you can also load an entire folder of samples into a
Program by dragging the folder onto a pad. Each sample will be assigned to a pad in alphabetical order,
starting from the "destination" pad and ascending from there, one sample per pad.
Hardware: Press the Browser button. Choose a pad you want to assign a sample to. Locate the
desired sample and press F6 (Open) to load it. The sample is now "placed" on that pad.
Hardware: Press the Prog Edit button, and then press F1 (Master). With the Q9, Q5, and Q1 Q-Link
Knobs, you can assign additional samples to the selected pad. You can assign up to four samples per
pad (one for each Layer).
In the software, click the Program Edit tab. With the Sample drop-down menus of Layer 2 to Layer 4,
you can assign additional samples to the selected pad. You can assign up to four samples per pad (one
for each Layer).
Remember: A Drum Program holds 128 pads: 16 pads across eight banks.
56
Keygroup Programs
To create a Keygroup Program in the software:

2. In the Track Section, click the Type drop-down menu and select
Keygroup.
3. If the Project does not contain a Keygroup Program yet, a new
Keygroup Program will automatically be added to the Project.
If the Project already contains a Keygroup Program, click the + button next to the Program drop-
down menu.
4. Click the name in the Program drop-down menu, and enter an appropriate Program name.
Hardware: To create a Keygroup Program:
4. Use the Data Dial or -/+ buttons to select Keygroup as the Type, and then press F5 (Do It) to
confirm or F4 (Cancel) to cancel.
To load samples into a Keygroup Program:

1. In the File Browser, double-click the desired sample. The sample is now loaded in the current
Project.
2. Click the Program Edit tab.
3. Click Layer 1's Sample drop-down menu to select and assign a sample to the Keygroup Program.
The loaded sample can now be played chromatically with the pads or a connected MIDI keyboard.
Hardware:
1. Press the Browser button.
2. Locate the desired sample and press F6 (Open) to load it. The sample is now loaded into the
current Project.
3. Press Prog Edit.
4. Press the F1 (Master) button and use Q-Link Knob Q13 to assign the sample to the Keygroup
Program.
57
In the software, click the Program Edit tab. With the Sample drop-down menus for Layer 2 to Layer 4,
you can assign up to four samples (loaded into the Project Information beforehand) to create velocity
layers or make other layer-dependent adjustments.
Hardware: Press the Prog Edit button. Press F2 (Samples). With the Q9, Q5, and Q1 Q-Link Knobs,
you can load additional samples to your existing one. These samples are placed in up to four Layers.
To create complex Keygroup Programs, you can add more Keygroups (up to 128). This is useful when
working with multi-samples (e.g., when programming a real piano).
Remember: A Keygroup Program offers up to 128 Keygroups, and each Keygroup can hold up to four
samples (Layers 1 to 4). This is a total of 512 samples.
58
Plugin Programs
A Plugin Program lets you send your Tracks' MIDI data to a loaded
plugin. This lets you set multiple Tracks to use the same plugin instead
of loading an instance of a plugin on every Track (which can be
cumbersome and CPU-intensive).
To create a Plugin Program:

2. In the Track Section, click the Type drop-down menu and select
Plugin.
3. If your Project already contains the desired plugin, click the Program drop-down menu to select it.
If your Project does not contain the desired plugin yet:
1) Click the + icon next to the Program drop-down menu. A new Program name (Plugin ###) will
appear, which you can click to edit.
2) Click the Plugin drop-down menu. In the window that appears, you can click checkboxes to
re-order your list of plugins: Sort by type or Sort by manufacturer.
3) Select the desired plugin from the list, and click Select to select it or Close to cancel. Click
the e button to open the user interface of the loaded plugin.
Remember: You have to specify the disk directory where your plugins are located. This can be
done in the software's Preferences. See Software Menus > Edit Menu > Preferences: Plugins
Tab for more information.
4. To enter a Program name, click the name in the Program drop-down menu, and type a name.
To select the MIDI channel the Program will use, click the MIDI Ch drop-down menu and select
one (from 1 to 16). Use this setting when you are working with a virtual instrument that supports
multi-mode.
To select a preset for your plugin (if any), click the Preset drop-down menu.
59
Hardware: To create a Plugin Program:
4. Use the Data Dial or -/+ buttons to select Plugin as the Type, and then press F5 (Do It) to confirm
or F4 (Cancel) to cancel.
5. Use the Cursor Buttons to select the Plg field.
6. Use the Data Dial or -/+ buttons to select the desired plugin, and then press F4 (Select) to confirm
or F3 (Back) to cancel.
7. To select the MIDI channel the Program will use, use the Cursor Buttons to select the Ch field, and
use the Data Dial or -/+ buttons to select one (from 1 to 16).
• To select a preset for your plugin (if any), use the Cursor Buttons to select the Plg field, and then
press the Window button. Use the Data Dial or -/+ buttons to select the desired preset, and then
press F5 (Select) to confirm or F4 (Close) to cancel. You can also press F2 (AutoSel) to load each
preset immediately as you select it.
Selecting the Plg field in the Main Mode of the MPC hardware display.
Preset selection for Plugin Programs in the MPC hardware display.
60
To adjust the volume and panning of a Track using the Plugin Program, click the Track
Mixer tab to enter Track Mixer Mode, and adjust that Track's volume slider or pan knob,
respectively. (If the Track channel strips are not shown, click the Show Tracks icon on
the left edge of the window.)
By default, the volume and pan values will initially appear as ?, indicating the Program is
not sending any volume or pan changes.
The volume and panning of the Plugin Program itself will appear (and can be adjusted) as
normal.
Important:
If you copy a Sequence, the volume and pan values will be copied with that Sequence. If
you move to a new Sequence and put the same Plugin Program on a new Track, though,
these values will appear as ?, as described above.
By default, some plugins do not support MIDI volume and pan. In this case, adjust
volume levels and panning on the Track.
Hardware: To adjust the volume and panning of a Track using the Plugin Program or the Plugin Program
itself:
1. Press Shift + Prog Mix / Track Mix to enter Track Mixer Mode.
2. Use the Cursor Buttons to highlight the Mixer field at the top of the display
3. Use the Data Dial or -/+ buttons to switch between Track and Programs.
• Track will show the information for the Track channel strips.
• Programs will show the information for the Program channel strips.
4. Press F1 (Level) or F2 (Pan) to select the desired tab.
5. Use the Q-Link Knobs to adjust the volume levels or pan settings of your Tracks or Plugin
Programs.
61
Tracks in Track Mixer Mode in the MPC hardware display.
Programs in Track Mixer Mode in the MPC hardware display.
62
MIDI Programs
To create a MIDI Program:

2. In the Track Section, click the Type drop-down menu and select Midi.
3. If the Project does not contain a MIDI Program yet, a new MIDI Program
will automatically be added to the Project.
If the Project already contains a MIDI Program, click the + button next
to the Program drop-down menu.
4. Click the name in the Program drop-down menu, and enter an
appropriate Program name.
Hardware: To create a MIDI Program:
4. Use the Data Dial or -/+ buttons to select Midi as the Type, and then press F5 (Do It) to confirm or
F4 (Cancel) to cancel.
Unlike Drum Programs and Keygroup Programs, which use samples imported into the software, your
MIDI Program will send MIDI messages to an external sound module (a connected drum machine, synth,
etc.). You will need to set up the MIDI Program to do this properly. See Main Mode > Track Section for
more information on how to properly configure your MIDI Program.
To adjust the volume and panning of a Track using the MIDI Program, click the Track
Mixer tab to enter Track Mixer Mode, and adjust that Track's volume slider or pan knob,
respectively. (If the Track channel strips are not shown, click the Show Tracks icon on
the left edge of the window.)
By default, the volume and pan values will initially appear as ?, indicating the Program is
not sending any volume or pan changes.
Important: If you copy a Sequence, the volume and pan values will be copied with that
Sequence. If you move to a new Sequence and put the same MIDI Program on a new
Track, though, these values will appear as ?, as described above.
63
Browsers
File Browser
The File Browser lets you navigate through your computer's internal
and external hard disks to load samples, Sequences, Songs, etc.
Using filter buttons and user-definable folders, you can easily adapt
the File Browser to your preferred workflow. You can also preview
(audition) your samples before loading them and set the preview
volume.
In the software, the File Browser is in the left area of the window.
Show or hide it by clicking the triangle button ( or ) in the lower-left
corner of the window. Alternatively, click the View Menu and select
File Browser, or press Shift+B on your computer keyboard.
Hardware: To enter the File Browser, press the Browser button.
To get the most efficient use of the File Browser, set the file path to
your hard disk(s) first. There are five Folder Buttons labeled 1 to 5 at
the top of the File Browser. Here, you can select up to five locations
on your hard disk(s) to give you quick access to your files.
Note: The File Browser does not display irrelevant files (e.g., text
documents, spreadsheets, pictures, etc.).
To set the file path:

1. Click the File Browser's drop-down menu. You'll see an overview
of your hard disk structure, which looks quite similar to the
Explorer (Windows) or the Finder (Mac OS X).
2. Select the desired location. The folder's content will appear in the
File Browser.
3. Press and hold your computer's Shift key and click one of the
Folder Buttons (1–5) at the top of the File Browser.
Now, when you click that Folder Button again, the File Browser
will display that folder's content immediately.
64
You can filter the displayed files with the filter buttons. The selected buttons will light red. Click No Filt to
switch the filter function off. Click Proj. to show only Project files. Click Seq. to show only Sequence
files. Click Prog. to show only Program files. Click Sample to show only audio files.
To load a Project, double-click its corresponding .xpj file in the File Browser.
To load a single sample or multiple samples into a Project, click and drag the files onto the Pad Bank
Section, the grid, or the Project Information. You can select a single file or multiple files in the following
ways:
• To select a single file in the File Browser, click it.
• To select multiple adjacent files in the File Browser, click the first file, press and hold your
keyboard's Shift key, and then click the last file. All files between (and including) those two files will
be selected.
• To select multiple files in the File Browser that are not adjacent, click the first file, press and hold
your keyboard's Control key (Windows) or  key (Mac OS X), and then click any additional file(s)
you want to select. Release the Control key or  key when you have finished selecting the files.
• To load a track from an audio CD into your Project, click and drag it from the File Browser onto the
software window.
Tip: You can also click and drag files from your computer's Explorer (Windows) or Finder (Mac OS X)
instead of from the File Browser.
Hardware:
• Use the following buttons for the File Browser filter functions: No Filter to deactivate the filter (same
as the No Filt button in the software), Project for Project filter, Sequence for Sequence filter,
Program for Program filter and Sample for sample filter.
• Use the Shift button and the five Folder buttons to select the desired location on your hard disk.
• Once a location is selected, you can select any file with the Data Dial, the -/+ buttons or the
Cursor Buttons.
• Use the left and right Cursor Buttons to enter or exit a folder.
• Press the F6 button (Load) to load a sample on the selected pad.
65
With the Parent Directory arrow button (, in the software, to the right of the file path)
you can exit the current folder.
Hardware: Use the left and right Cursor Buttons to enter or exit a folder.
In the software, the Preview button (horn icon) is located below the File Browser.
Hardware: Press the F3 (Play) button to preview any selected audio sample.
Important: Only audio samples can be previewed. Also, make sure that your audio
hardware is connected properly to listen to the audio file.
Click and drag the meter below it to set the preview volume. Press and hold Alt
(Windows) or Option (Mac OS X) on your computer keyboard and click the meter to
return it to its default position.
Hardware: Press and hold the F4 (Volume) button to show the current preview volume.
Use the left or right Cursor Buttons to select the value before the decimal place (for
coarser volume adjustment) or the value after the decimal place (for finer volume
adjustment). Use the Data Dial or -/+ buttons to adjust the value. You can also use the
numeric buttons to enter a desired value and confirm it by pressing Enter.
Adjusting the Audition Volume in the MPC hardware display.
In the software, click the Auto Preview button to activate or deactivate the automatic
preview function. When Auto Preview is active, each time an audio file is selected, it will
play automatically. This is useful when scrolling through a list of samples (i.e.,
comparing different snare drum sounds without having to load or manually preview
them).
Hardware: Press the F2 (Auto) button to activate or deactivate Auto Preview. When
Auto Preview is active, each time an audio file is selected, it will play automatically.
66
Expansion Browser
In the software, the Expansion browser contains any

available MPC Expansions you have installed.
To view the Expansion Browser, click the Expansion button,
click the Expansion button located below the File Browser.
To return to to the traditional File Browser, click it again.
To select an Expansion plugin in the Expansion Browser,
click its title.
To view the available patches/presets of that Expansion
plugin, click Patches below the Expansion title.
To load a patch/preset immediately in the current Plugin
Program (or in a new Plugin Program, if you are currently
using a different Program type), simply double-click the
name of a patch/preset.
Hardware: To view the available patches of an Expansion
and load a patch to a new or existing Plugin Program:
2. Use the Cursor Buttons to select the Pgm field.
• To select an existing Plugin Program, use the Data Dial
or -/+ buttons to select it.
• To create a new Plugin Program, press the Window
button, press F3 (New), use the Data Dial or -/+
buttons to select Plugin, and then press F5 (Do It).
3. Back on the Main Mode screen, use the Cursor
Buttons to select the Plg field.
4. If the Plg field already contains the desired plugin name,
skip to the next step.
• If the Plg field does not already contain the desired
Plugin name, use the Data Dial or -/+ buttons to select
it, and then press F4 (Select) to confirm.
67
5. With the Plg field still selected, press the Window button.
6. Use the Data Dial or -/+ buttons to select the desired preset, and then press F5 (Select) to confirm
or F4 (Close) to cancel. You can also press F2 (AutoSel) to load each preset immediately as you
select it.
Selecting the Plg field in the Main Mode of the MPC hardware display.
Preset selection for Plugin Programs in the MPC hardware display.
68
Mode Tab Section
The Mode Tab Section contains tabs that let you switch between the software modes as well as further
control for selecting Programs, Sequences, Songs, etc. depending on the selected mode tab on the left.
This section is always visible.
The different modes are described in detail in the following sections of this chapter.
To select a mode within the software, click the corresponding tab.

Hardware: To select a mode, press the corresponding button.
Tip: On your computer keyboard, press and hold Ctrl (Windows) or  (Mac OS X) and then
press 1-10, - (minus sign), or = (equal sign) to select a mode.
Main Mode Next Sequence Mode Track Mute Mode
Program Edit Mode Sample Record Mode Step Sequence Mode
Program Mixer Mode Sample Edit Mode MIDI Control Mode
Track Mixer Mode Song Mode
Track View Mode Pad Mute Mode
69
Depending on the selected mode, some Mode Tab Section menus and functions can change:
Click the Program drop-down menu to select one of your Programs in the
currently loaded Project. A Project can hold up to 128 Programs. The Program
drop-down menu is available only when Program Edit or Program Mixer tab is
selected.
Hardware: Press the Prog Edit button and use the Data Dial or the -/+ buttons
to select the desired Program. This can also be done in the Pgm field on the
Main window.
Cilck the Seq (Sequence) drop-down menu to select one of your Sequences in
the currently loaded Project. A Project can hold up to 128 Sequences. The
Sequence drop-down menu is available only when Main, Program Mixer,
Track Mixer, Track View, or Step Sequence tab is selected.
Hardware: Press the Step Seq button and use the Cursor Buttons to select
the Seq field. Use the Data Dial or the -/+ buttons to select the desired
Sequence.
Click the Track drop-down menu to select one of your Tracks in the currently
loaded Sequence. Alternatively, press Ctrl+[ or Ctrl+] (Windows) or +[ or +]
(Mac OS X) to move to the previous or next track, respectively. A Sequence can
hold up to 128 Tracks. The Track drop-down menu is only available when
Main, Program Mixer, Track Mixer, Track View, or Step Seq tab is selected.
Hardware: Press the Main button and use the Cursor Buttons to select the
Trk field. Use the Data Dial or the -/+ buttons to select the desired Track. You
can also use the F3 (Track-) or F4 (Track+) buttons on the Main Mode page.
Click the Song drop-down menu to select one of your Songs in the currently
loaded Project. A Project can hold up to 32 Songs. The Song drop-down menu
is only available when the Song tab is selected. See the Song Mode chapter
for more information about Songs.
Hardware: Press the Song button and use the Cursor Buttons to select the
Song field. Use the Data Dial or the -/+ buttons to select the desired Song.
70
Click the Global Automation button to switch Automation for all Programs
between Off, Read (R), and Write (W).
• Set this to Off to set all Programs to ignore automation data. If you have
already recorded or entered automation, clicking the button will switch
between Read (R) and Write (W) only, but you can override this and set it
to Off by pressing and holding Shift on your computer keyboard while
clicking the button.
• Set this to Read (R) to set all Programs to read automation data but not
record any additional automation over it, though you can still manually
edit and enter automation. (Think of this as a protective feature to
prevent accidental changes to your automation while recording.)
• Set this to Write (W) to set all Programs to record automation. (If you
have any Q-Link Knobs assigned to automatable parameters, make sure
not to touch any accidentally while you are recording!)
Note: To set the automation for individual Programs, click the Automation button (curve icon) of that
Program's channel strip—under the Mute button—in Main Mode, Program Mixer Mode, Track Mixer
Mode, or Step Sequence Mode. Alternatively, click the Automation button (curve icon) in the upper-right
corner of the Master section of Program Edit Mode when the desired Program is selected.
Hardware: To set the Q-Link Trigger button to cycle through the automation states for just the Program
or globally, do the following:
1. Press Shift + Song/Other.
2. Press F1 (Prefs).
3. Use the Cursor Buttons to select the Auto button field
4. Use the Data Dial or -/+ buttons to set the field to Program or Global.
To learn more about automation, please see General Features > Grid View > Recording Automation
and Manually Entering and Editing Automation.
71
Click the Auto Scroll button to switch between Follow, Page, and Off.
• When set to Follow, depending on the zoom setting, the grid will scroll
along in the background, keeping the position marker centered.
• When set to Page, the grid display will "turn over" to follow the position
marker.
• When set to Off, the grid will not move at all.
Click the View button to switch between Split View and Full-Screen View.
• In Split View, the software window will show the grid in the upper half
and the mode-specific controls in the lower half.
• In Full-Screen View, the software window will show the grid only. This
view is useful if you are working with a lot of pads or Tracks and need to
view all of them simultaneously.
Hardware: Press the Shift + Window / Full Screen buttons to switch
between Split View and Full-Screen View.
The top LED next to the MPC logo is the MIDI In LED. It will light up to indicate
the software is receiving MIDI messages from your connected MPC hardware.
The bottom LED next to the MPC logo is the MIDI Out LED. It will light up to
indicate the software is sending MIDI messages out.
72
Transport Section
The Transport Section contains various transport controls (for playback and recording) as well as bar
and tempo displays, the master level, and a CPU meter. This section is always visible.
The CPU meter shows the computer CPU usage of the actual project. Keep in mind that
an excessive use of synthesis functions such as filter and effects will increase the CPU
usage.
Tip: If the CPU meter is very high, software response may slow down. Triple-clicking the
Stop button (in this Transport Section or on your MPC hardware) will send a "MIDI
panic" message. This will halt all messages the software is currently sending, and you
can resume normal operation.
With the Metronome dial, you can set the volume of your metronome click. Press and
hold Alt (Windows) or Option (Mac OS X) on your computer keyboard and click the knob
to return it to its default position.
In the software, next to the Metronome dial, click On to activate or deactivate the
metronome. It will light up red when active.
Hardware: Press the Main button and press F2 to enter the Click menu. Use the Cursor
Buttons to select the Metronome field. Use the Data Dial or the -/+ buttons to select
the desired metronome setting. You can switch between Off, Play, Record, and Record +
Play.
Please see Software Menus > Metronome Menu to learn more about the metronome
functions.
73
The bar and tempo display shows the actual position in bars, beats, and ticks.
Hardware: To navigate to a particular position in a Sequence, you can use the
< / > buttons to move one step at a time within a bar, or use the << / >>
buttons to move one bar at a time. You can also press the Main button and
use the Cursor Buttons to move between the bars, beats, and ticks values in
the Now field (at the top of the display) and use the Data Dial or the -/+
buttons to change the value. You can also use the numeric buttons to enter a
desired value and confirm it by pressing Enter.
You can change the Sequence's tempo by double-clicking the BPM value and
entering a value with your computer keyboard. You can also click and drag the
BPM value up or down to increase or decrease it.
Hardware: Use the Tap Tempo button to tap in the beats per minute of your
desired tempo. An amber LED will blink, indicating the current beats. You can
also press the Main button and use the Cursor Buttons to move to the Bpm
parameter. Select the desired value by using the Data Dial or the -/+ buttons.
You can also use the numeric buttons to enter a value and confirm by pressing
Enter.
74
Note: The transport controls can be found on the MPC hardware as well as in the software, so the
descriptions below apply to both.
Click the Rec button to put the software in Record Mode. The button's LED will light up red
indicate the Record process is armed. To start recording, press Play or Play Start. When the
Sequence starts to loop in Record Mode, it will switch to Overdub Mode.
Overdub allows you to add data to the existing data on the selected Track. It is additive and
non-destructive. It operates just like the Rec button, except that the recording will be in
Overdub Mode from the moment you press Play or Play Start.
Stop will stop playback or recording. Quickly pressing Stop three times will act as a "MIDI
panic" and shut off all voices and stop all audio processing. Stop will also cancel loading any
files that are being loaded—if you select a Project or Program by accident, press Stop to
abort and clear the loaded files.
Play will start playback from the current time position.
Play Start will start playback from the beginning of the Song or Sequence or from the First
Bar setting.
Hardware: The Undo button can be used differently during recording. Normally, pressing Undo will
undo the last event only (the button will be lit solid when there is an action that can be undone). While
recording, pressing Undo will erase all events since Play or Play Start was pressed (the Undo button
will flash in this case).
Tip: When using the MPC software as a plugin in host software, you can use your MPC hardware to
control your host software's transport. For instructions on how to set this up, click the Edit menu and
select Set Up MMC Control, which will open a separate PDF. This is available for certain host software
applications only.
75
Level controls the software's master output level.
MPC Renaissance users: The software's Level knob controls the volume
level of the audio before the MPC Renaissance's Main Volume dial. The
audio will then be sent out of the Stereo Outs on the rear panel.
The Vintage display directly below the output level meter indicates the
selected emulation mode.
MPC Renaissance: Press the Vintage Mode button to switch between the
different audio quality emulations. You can select the particular sonic
qualities of the MPC3000, the MPC60, Other and of course no emulation (no
LED will be lit).
76
Grid View
The grid is where you record, program, and edit your Sequences and arrange your Songs. The grid is
visible in Main Mode, Program Edit Mode, Program Mixer Mode, Pad Mute Mode, and Step Sequencer
Mode. Furthermore, the grid has two different appearances, depending on the selected Program type;
Drum Programs appear one way while Keygroup Programs, MIDI Programs, and Plugin Programs
appear another way.
If you are not already in Grid View, enter it by doing any of the following:
• Clicking the View Menu and selecting Grid Editor.
• Clicking the List View button just below the Mode Tab.
• Pressing Shift+G on your computer keyboard.
Note: The alternative to the Grid View is List View, explained in the following List View section. Click the
Show/Hide List button to switch between the two views.
Tip: Click the View button in the upper-right corner to switch between Split View and Full-Screen View.
This is ideal for working on Sequences in detail.
Hardware: Press the Shift + Window / Full Screen buttons to to switch between Split View and Full-
Screen View. This is ideal for working on Sequences in detail.
77
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.
Use the vertical window scroll bar right of the grid windows to move up and down. Under the scroll bar
is a slider that can adjust the "vertical zoom." Below the grid is a similar scroll bar and slider for
horizontal scrolling and zooming.
Hardware: To zoom vertically, press and hold the Shift button and use the up and down Cursor
Buttons. To zoom horizontally, press and hold the Shift button and use the left and right Cursor
Buttons.
For Drum Programs, click a pad name to hear it in the Program. For Keygroup Programs, Plugin
Programs, and MIDI Programs, click a key to hear that note in the Program.
Mute a pad by clicking its mute (M) button in the left column.
78
In the top-left corner of the grid are two buttons to switch between Draw Mode and Select Mode:
• By default, Draw Mode is active, indicated by the Pencil Tool icon. You can draw notes
by clicking the corresponding position in the grid. You can also use it to draw automation
curves in the velocity/automation lane underneath the grid.
• The Select Mode is indicated by the Select Box icon and lets you select one or more
notes by drawing a frame around them. Selected notes will have a white border.
Learn more about these modes under Pencil and Select Box Icons in the Adjusting the Controls part
of this chapter.
Duplicate note events by selecting them on the grid and then pressing Ctrl+D (Windows) or
+D (Mac OS X). The selected note events will be automatically copied and pasted, starting from the
step just after the last selected note event.
When Hitting Pads Select Events is selected, you can press a pad on your MPC hardware to
select all events on that pad in the currently shown Sequence.
Click Show/Hide List to switch between the Grid View and List View. See the following List
View section for an explanation of this view.
Click Undo (the red arrow) to undo your last action.
Click Redo (the green arrow) to redo the last action you undid.
79
In the upper-right corner of the
Grid View, there are some
menus and parameters you can
adjust:
• Click the Track drop-down menu to select one of the Tracks to view in the grid.
• Click and drag the Total Bars field up or down to change the selected Track's length. The default
setting is 2 bars. The maximum length is 999 bars.
• Click the Time Correct drop-down menu to select the note value to quantize to. Default is 1/16
(16th notes).
• Click and drag the Swing field up or down to set the amount of swing (from 50% to 75%) so you
can "shuffle" your beats—from subtle to extreme.
Hardware:
• Press the Main button and use the Cursor Buttons to select the Trk field. Use the Data Dial or the
-/+ buttons to select the desired Track. You can also use the F3 (Track-) or F4 (Track+) buttons.
• To change the number of bars, select the Bars parameter.
• To adjust the Time Correct and Swing, press the F1 button (T.C.) and use the Cursor Buttons to
select the Note field or Swing field. Use the Data Dial or the -/+ buttons to set the desired value.
Press F5 (Do It) to confirm the operation or press F4 (Close) to cancel it without making any
changes.
80
Across the top of the grid is a
blue strip that indicates where
you are in the Sequence:
• The number in the upper half is the bar number.
• The number in the lower half (of the first beat of the first bar) is the time signature. To change the
time signature, double-click in the measure bar and enter the desired signature in the drop-down
window.
• The red arrows () indicate the start and the end of a Sequence. When a Sequence is played back
using Play Start, the audio pointer will start playing from the first beat of the first bar. If the Loop
function is activated (in the Sequence panel underneath the grid), the Sequence will loop between
the beginning of the first bar and the end of the last bar. When creating a new Sequence, the first
bar will default to Bar 1.
You can change the start point and end point of a Sequence by adjusting the First Bar and Last
Bar parameters in the Sequence section below the grid. The red arrows in the measure bar will be
placed accordingly. For more information on this, please see Main Mode > Sequence Section.
The section under the grid is the

velocity/automation lane. Here, you
can edit MIDI velocity data of the
note events in the grid and/or create
and edit complex automation data
for various parameters. The default
parameter visible in the automation
lane is Velocity.
Learn more about velocity in Grid
View > Entering and Editing Note
Events.
Learn more about automation in Grid
View > Recording Automation as
well as Grid View > Manually
Entering and Editing Automation
parts of this chapter.
81
Entering and Editing Note Events
You can easily insert note events and data with your computer mouse.
Hardware: Press the Rec button to record-arm the software, and press the Play or Play Start button
when you're ready to record. The metronome will pre-count one measure before the recording starts.
Press the pads to record note events in the Sequence. Press the Stop button when you're finished
recording.
Tip: Whenever possible, we recommend recording note events with your MPC hardware's pads, which
are velocity- and pressure-sensitive, providing a faster and more intuitive recording process.
In the software, you can create or delete note events with the Pencil Tool (in Draw Mode) or with the
Select Box Tool (in Select Mode):
In Draw Mode:
• Click once on an empty square in the grid to place a note event in that square.
In Select Mode:
• Click and drag the box over note events on the grid to highlight them.
• Double-click an empty square in the grid to add a note event.
Click a note event to hear its corresponding pad.
You can delete a note event if it is selected by pressing Backspace or Delete on your computer
keyboard.
The length of note events depends on the Time Correct value (e.g., if set to 16, the note event length
will be a 16th note).
To shorten or extend a note event in steps corresponding to the Time Correct value, click and drag its
start point or or end point left or right.
82
Click and drag a note event to move it to another position (when multiple note events are selected, you
can move them all simultaneously). You can position note events only on quantization values defined by
the set Time Correct value (indicated by vertical lines in the grid), but if you hold down your keyboard's
Shift key while moving a note event, you can drag it to any position you like, regardless of the selected
Time Correct value.
Hold down Control (Windows) or  (Mac OS X) and move a note to duplicate it. You can also duplicate
note events by selecting them on the grid and then pressing Ctrl+D (Windows) or +D (Mac OS X). The
selected note events will be automatically copied and pasted, starting from the step just after the last
selected note event.
Use the copy-and-paste function to copy a note in the clipboard (Ctrl+C [Windows] or +C [Mac OS X])
and paste it automatically where the audio pointer is (Ctrl+V [Windows] or +V [Mac OS X]).
Tip: Press your MPC hardware's 16 Level button to activate/deactivate 16 Level. When activated, the
last pad that was pressed 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 the minimum, Pad 16 is the maximum), regardless of how hard you
press them. In the software, in the window that appears, click the Type menu to select the parameter:
Velocity, Tune, Filter, Layer, Attack, or Decay. You can change the pad by clicking the Pad drop-down
menu in the window that appears. Alternatively, you can press and hold the 16 Level button, press the
desired pad, and then release both.
83
Use the velocity lane to edit note
events' velocities.
Click a note event in the grid or
place the mouse over its velocity
bar in the lane. A small round
handle will appear at the top of
the velocity bar. Click and drag
the round handle up or down to
change the velocity. To increase
the resolution, hold Control
(Windows) or  (Mac OS X) on
your computer keyboard while
dragging.
You can also edit multiple note events' velocities simultaneously. Select multiple note events with the
Select Box tool, and then click and drag any one of their velocity bars up or down. To select all note
events for a single pad (Drum Program) or key of the virtual keyboard (Keygroup Program), click the
desired pad or key.
Tip: List View offers a different way to edit velocities. See the List View section of this chapter to learn
more.
84
Recording Automation
Tip: To make automating certain parameters easier, assign certain parameters to the Q-Link Knobs as
described in the next section rather than adjusting them in their respective modes. We also recommend
using your MPC hardware (especially the Q-Link Knobs) whenever possible.
1. Determine where the parameter you want to automate is—Main Mode, Program Mixer Mode, or
Track Mixer Mode—and click the Main Mode, Program Mixer Mode, or Track Mixer Mode tab to
enter that mode.
2. If the desired parameter is Program- or pad-related, click the Program's
Automation button (curve icon) until it turns red and has a W. This means the Program
is able to record (write) automation. In Main Mode and Track Mixer Mode, this button is
on the Program Channel Strip. In Program Mixer Mode, this is in the Master Section.
Program- or pad-related parameters include: Program Channel Strip controls, Pad/Keygroup
insert effects, Program insert effects, send effects, Master Semi Tune, Master Fine Tune, and all
pad parameters shown in Program Edit Mode.
If the desired parameter is Track-related, skip to the next step.
Track-related parameters include: Track Channel Strip controls, MIDI CC messages, Track
mutes, pad mutes, the 16-Level feature (on the MPC hardware), Aftertouch messages, Pitchbend
messages, Channel Pressure messages, Program Change messages, and parameters shown in the
Main Mode's Q-Link section's Param menu when set to Prg and Change is set to Note On.
3. Click the Overdub button, and then click Play to start automation recording. It is very important to
use the Overdub function; otherwise, this new recording will overwrite any data previously recorded
to that Track.
4. Move the desired control(s)
during the recording process.
The automation curve will
appear as you move the
control(s).
5. Click Stop you are finished recording.
Tip: After recording, we highly recommend clicking the Automation button on the
Program Channel strip so it turns green and has an R. This means the Program will read
automation but will not record any additional automation over it, though you can still
manually edit and enter automation.
85
Hardware: To record automation:
1. Determine where the parameter you want to automate is—Main Mode, Program Mixer Mode, or
Track Mixer Mode—and press Main, Prog Mix, or Shift + Prog Mix/Track Mix to enter that mode.
2. Use the Function Buttons to select the desired tab or window (if available), and/or use the Cursor
Buttons to select the parameter you want to automate.
3. If the desired parameter is Program- or pad-related, press the Q-Link Trigger button until it
flashes (you may need to press it twice).
• If the desired parameter is Track-related, skip to the next step. (Note that in Track Mixer Mode,
when the Mixer field is set to Tracks, you can record automation for the level and pan for the
currently selected Track only, not all 16 Tracks shown.)
4. Click the Overdub button, and then click Play to start automation recording. It is very important to
use the Overdub function; otherwise, this new recording will overwrite any data previously recorded
to that Track.
5. Move the corresponding MPC hardware control(s) during the recording process (depending on the
parameter(s) you are automating, the control(s) may include the Data Dial, -/+ buttons, and/or the
Q-Link Knobs). The automation curve will appear as you move the control(s).
6. Press Stop when you are finished recording.
• Tip: When you are done recording, we highly recommend pressing the Q-Link Trigger button until
it is lit solid. This means the Program will read automation but will not record any additional
automation over it, though you can still manually edit and enter automation.
To assign certain automatable parameters to the Q-Link Knobs:

2. Click and move a Q-Link Knob so that its number appears in the
QLink field in the Q-Link Section.
3. In the Q-Link Section:
Click FX if you want to automate an effect parameter. Click the
Effect drop-down menu to select an effect (which must be
already loaded). The available effects will be ordered by pad insert
effects, Program insert effects, send effects, and master effects.
Click Prg if you want to automate a real-time parameter. Click the Pad drop-down menu to select a
pad, and click the Change drop-down menu and select the type of change: Note On or Real Time.
4. Click the Param drop-down menu and select the parameter you want to automate.
5. Optional: If you want to record automation for multiple parameters simultaneously, repeat
Steps 2-4 for each additional parameter.
86
Hardware: To assign certain automatable parameters to the Q-Link Knobs:
1. Press the Shift + Prog Edit / Q-Link buttons.
2. Touch a Q-Link Knob so that its field is selected in the display.
3. To automate an effect parameter:
• Press F2 (FX Q).
• Press F4 (Edit), and then use the Data Dial or -/+ buttons to select an effect (which must be
already loaded). The available effects will be ordered by pad insert effects, Program insert
effects, send effects, and master effects.
• Press F4 (Close) when you are done.
To automate a real-time parameter:
• Press F1 (Prog Q).
• Press F4 (Edit), and then press the desired pad, or use the Cursor Buttons to select the Pad
field, and then use the Data Dial or -/+ buttons to select a pad.
• Use the Cursor Buttons to select the Change field, and then use the Data Dial or -/+ buttons
to select the type of change: Note On or Real Time.
• Press F4 (Close) when you are done.
4. With the Q-Link Knob still selected, use the Data Dial or -/+ buttons to select a parameter you
want to automate.
5. Optional: If you want to record automation for multiple parameters simultaneously, repeat the
instructions in Step 3 for each additional parameter.
The Program Q-Link Edit window of the MPC hardware display.
87
Manually Entering and Editing Automation
In the software, follow these

steps to manually enter or edit
automation in Grid View:
Tip: You can manually enter or
edit automation regardless of the
setting of the Automation button
on the Program Channel strip.
1. If you want to manually enter or edit automation for a pad in a Drum Program, select the pad whose
automation you want to enter or edit. Otherwise, skip to the next step.
2. To manually enter automation for a new parameter: To the left of the velocity lane, next to
Automation, click the triangle () and select a parameter. Depending on the Program type, you
can select parameters that affect the entire Track, the entire Program, or a specific pad.
Parameters that are dark blue already have automation, while parameters that are grey do not,
though you can still select them.
To edit existing automation: To the left of the velocity lane, under Automation, click the
desired parameter. Parameters with a green T icon affect the entire Track. Parameters with
a blue P icon affect the entire Program. Parameters with a red P icon are specific to the
current pad.
3. In the automation lane, you can enter or edit the automation points that make up the automation
curve.
To move an automation point, click and drag it. Dragging it up and down adjusts the parameter
amount, while dragging it left or right adjusts its location in time. The automation points will
automatically align with the grid set by your Time Correct setting, but you can hold the Shift key of
your computer keyboard while dragging the automation points to ignore this quantization.
To add a new automation point, double-click the desired location in the automation lane.
To delete an automation point, double-click it.
To draw a curve, use the Pencil Tool (Draw Mode) and click and drag it across the lane.
To adjust several adjacent automation points simultaneously, use the Select Box Tool (Select
Mode) to select them and then click and drag any one of the automation points as desired.
Tip: List View offers a different way to edit automation. See the List View section of this chapter to learn
more.
88
List View
In List View, you can perform the same

operations as in Grid View but with a different
interface/workflow.
List View is visible in Main Mode, Program Edit
Mode, Program Mixer Mode, Pad Mute Mode,
and Step Sequencer Mode.
If you are not already in List View, enter it by
doing any of the following:
• Click the View Menu and select List
Editor.
• Click the List View button just below the
Mode Tab.
• Press Shift+L on your computer
keyboard.
Hardware: To enter or exit List View, press
Shift + Step Seq.
Note: The alternative to List View is Grid View, explaind in the earlier Grid View section. Click the
Show/Hide List button to switch between the two views.
The Sequence for the Track will be shown as a list of note events, with the following parameters:
• #: The number of the note event.
• Time: The position of the note event in bars, beats, and ticks (identical notation to the clock in the
Transport Section). Hover the mouse over the value to see its equivalent in pulses. If multiple note
events occur at the same time, additional note events will be listed immediately below, but their
Time values will be greyed out.
• Pad/Note: The pad and/or corresponding MIDI note number. For Drum Programs, you will see the
pad number. For Keygroup Programs, Plugin Programs, and MIDI Programs, you will see the note.
• Length: The length of the note event in ticks.
89
• Velocity: The velocity of the note event with a velocity bar of corresponding color and length below
it.
• Mod Type: The type of modifier used on the note event via automation. See the Mod description
on this page in Entering and Editing Events to learn more.
• Value: The value of the modifier automation. See the Value description on this page in Entering
and Editing Events to learn more.
Hardware: In List View, the Sequence for the Track will be shown as a list of note events, with the
parameters listed above except for #. To set whether or not the list will scroll during playback, press
Window when any List View field is selected and use the Data Dial or -/+ buttons to select Off or Scroll.
List View in the MPC hardware display.
To show or hide specific parameter columns, right-click one of the parameter names, and select the
parameter column to show or hide. You can also choose to Auto-size this column or Auto-size all
columns to fit the contents.
The red arrow () on the left side of the list represents the audio pointer's current position. If your
Sequence is playing, the arrow will move accordingly.
Click Show/Hide List to switch between the Grid View and List View. See the previous Grid
View section for an explanation of this view.
Hardware: Press Shift + Step Seq to switch between the Grid View and List View.
Click Undo (the red arrow) to undo your last action.

Hardware: Press Undo to undo your last action.
Click Redo (the green arrow) to redo the last action you undid.
Hardware: Press Shift + Undo / Redo to undo your last action.
90
In the upper-right corner of the List View, there
are some menus and parameters you can adjust:
• Click the Track drop-down menu to select one of the Tracks to view in the grid.
• Click and drag the Total Bars field up or down to change the selected Track's length. The default
setting is 2 bars. The maximum length is 999 bars.
• Click the Time Correct drop-down menu to select the note value to quantize to. Default is 1/16
(16th notes).
• Click and drag the Swing field up or down to set the amount of swing (from 50% to 75%) so you
can "shuffle" your beats—from subtle to extreme.
Hardware: Press the Main button to enter Main Mode, and use the Cursor Buttons to select a field,
and use the Data Dial or the -/+ buttons to set the desired value:
• To change the current Track, select the Trk field. You can also press F3 (Track-) or F4 (Track+).
• To change the number of bars, select the Bars parameter.
• To adjust the Time Correct and Swing, press F1 (T.C.) and select the Note field or Swing field.
Press F5 (Do It) to confirm or F4 (Close) to cancel the operation.
In the lower-right corner of the List View, there are some icons
to let you insert, duplicate, or view events:
• Click the + icon and select the type of event to insert it.
• Click the page icon when an event is selected to copy and paste it immediately after it.
• Click the View drop-down menu and select the type of event to view it: All, Notes, Aftertouch, Track
Automation, Program Automation, Pitch Bend, Control Change, Program Change, Channel
Pressure, Solo/Mute, or Other.
Hardware: Use the Cursor Buttons to select the View field, and use the Data Dial or the -/+ buttons to
set the type of event. To insert or copy an event, please see Entering and Editing Events below.
Entering and Editing Events

To insert an event at the audio pointer's current position, click the + icon in the lower-right corner of the
List View and select the type.
Hardware: Press F4 (Insert) to open the Insert Event window. Use the Cursor Buttons to select the
Time, Type, or Pad(Note) fields, and use the Data Dial or -/+ buttons to set the value. Alternatively,
simply press the pad you want to use in the Pad(Note) field. Press F5 (Do It) to confirm or F4 (Close) to
cancel the operation.
91
In the software, the Pencil Tool and Select Box Tool will be greyed out as they are disabled in List View.
You can enter notes in List View only by playing the pads, but List View offers a different way to edit
your notes than in Grid View.
As in Grid View, you can do the following in List View:

• Click a note event to hear its corresponding pad.
• Delete a event if it is selected by pressing Delete or Backspace on your computer keyboard.
• To shorten or extend a note event (in ticks), click and drag its Length value left or right.
• Duplicate events by selecting them in the list and then pressing Ctrl+D (Windows) or +D (Mac OS
X). The selected events will be automatically copied and pasted to the same position (one note
event on top of another). Alternatively, click the page icon in the lower-right corner of the List View
to duplicate an event to copy and paste it immediately after it.
• Use the copy-and-paste function to copy an event (Ctrl+C [Windows] or +C [Mac OS X]) and
paste it automatically where the audio pointer is (Ctrl+V [Windows] or +V [Mac OS X]).
Hardware: (Use the Cursor Buttons in List View to select the desired note event.)
• To hear a note event's corresponding pad, press F6 (Play).
• To delete a selected event, press F2 (Edit) so it is highlighted, and then press F3 (Delete).
• To shorten or extend a selected note event (in ticks), select the Length field and use the Data Dial
or -/+ buttons to adjust its length.
• To copy and paste a selected event, press F2 (Edit) so it is highlighted, and then press F4 (Copy).
Use the Cursor Buttons to each Copy To (time) field, and use the Data Dial or -/+ buttons to set
the value. Press F4 (Do It) to confirm or F3 (Close) to cancel the operation.
Edit options in List View in the MPC hardware display.
Edit the velocity of a note event by clicking and dragging its Velocity value left or right.
Hardware: To adjust a selected note event's velocity, select the Vel field and use the Data
Dial or -/+ buttons to adjust its velocity.
92
To edit a specific event, double-click it, and a small window will appear
with a combination of the following options, depending on the Type:
• Time: The position of the event in bars, beats, and ticks (identical
notation to the clock in the Transport Section), each in a different
field. To change the value, either click and drag a field up or
down, or click it and enter a value using your computer keyboard.
Hardware: To adjust the position of a selected event, press F2 (Edit) so it is highlighted, and then
press F5 (Move). Use the Cursor Buttons to each Copy To (time) field, and use the Data Dial or -
/+ buttons to set the value. Press F4 (Do It) to confirm or F3 (Close) to cancel the operation.
Alternatively, press F4 (Nudge) to and use the Data Dial or -/+ buttons to adjust the Time.
• Type: The type of event. By default, this is a note event, but you can click the field and select any of
the options from the menu that appears:
o Note: A standard note event.
o Track: A modifier that affects the Track and can be automated. Dark blue parameters already
have automation, while grey parameters do not, though you can still select them.
o Program: A modifier that affects the Program and can be automated. Dark blue parameters
already have automation, while grey parameters do not, though you can still select them.
o Pad: A modifier that affects the pad and can be automated. Dark blue parameters already
have automation, while grey parameters do not, though you can still select them.
• Pad: The pad number. To change the pad, either click and drag the field up or down, or double-
click it and select the pad from a visual representation of all eight pad banks.
• Vel: The velocity of the note event. To change the value, either click and drag the field up or down,
or click it and enter a value using your computer keyboard.
• Len: The length of the note event in ticks. To change the value, either click and drag the field up or
down, or click it and enter a value using your computer keyboard.
• Mod: The type of modifier used in the event (through automation). Click the field and select one
from the menu that appears.
• Value: The modifier's value (through automation). Click and drag the bar left or right to set it.
Hardware: To set a selected event's pad, velocity, length, modifier, or value, select the Pad/Note, Vel,
Length, Mod Type, or Value field (respectively) and use the Data Dial or -/+ buttons to adjust it.
93
Entering Automation
To manually enter automation in List View, follow the same process described in Entering and Editing
Events above, but instead of Note, select the Track, Program, or Pad parameter you want to
automate. You can enter automation regardless of the setting of the Automation button on the Program
Channel strip.
Hardware: To manually enter automation in List View, follow the same process (for your MPC hardware)
described in Entering and Editing Events above, but instead of selecting Note as the Type, select
Program Automation, Program Mixer, or Track Automation, and select Parameter you want to automate.
Tip: To learn how to record automation in real time, please see Grid View > Recording Automation.
Editing Automation
To edit automation in List View:
1. If you want to edit automation for a pad in a Drum Program, select the pad whose automation you
want to enter or edit. Otherwise, skip to the next step.
2. To edit existing automation: Click and drag a Value slider of the desired
automation point to the left or right. For parameters with a center position,
the center is marked with a 0 and a vertical line.
Parameters with a green T icon affect the entire Track. Parameters with a
blue P icon affect the entire Program. Parameters with a red P icon are
specific to the current pad. Note events appear as gold note symbols
without a Value slider.
3. In the list, you can edit the automation points that make up the automation curve.
To move an automation point, double-click it in the list. In the small window that appears, click
and drag any of the Time fields up or down, or click one and enter a value using your computer
keyboard. This kind of adjustment will ignore your Time Correct setting (quantization), so it may
not be aligned with the grid if the adjustment is too subtle (e.g., only a few ticks).
To delete an automation point, click it, and then press Delete or Backspace on your computer
keyboard.
Hardware: To edit automation in List View, follow the same process (for your MPC hardware) described
in Entering and Editing Events above. The difference is that automation events will not have Length or
Velocity (Vel) parameters.
94
Software Menus
Some of the software's menu items let you access features that cannot be accessed with the MPC
hardware.
Important:
• The software menu organization differs between Windows and Mac OS X operating
systems.
• When loaded as plugin, the Menu button is the arrow icon located to the left of the Main
Mode tab.
File Menu
New Project creates an empty Project. Use this command when you want to start a Project from
scratch.
New From Template loads a user-defined Project template. We recommend creating a Project with the
basic settings that suit your needs and saving it as a Project template for easy access. See Software
Menus > Edit Menu > Preferences: Auto Load/Save Tab to learn how to set this template.
Tip: You can "bypass" or ignore the template by opening the MPC software while holding down your
computer's Shift key. This will open an empty Project instead of your selected Auto Load file.
Load Recent provides shortcuts to the last five files you have been recently working with. The list is
chronological with the most recent file at the top.
Save Project saves the current Project. In the window that appears, name your Project and select a
save location. The samples in the Project Information will be automatically saved with the Project. The
Project file (.xpj), and its information (samples, MIDI files, Program files, etc.) will be saved in a folder
with the same name on the same folder level.
Save Project As is identical to the Save Project function but lets you save the current Project with a
new name.
95
Save All Programs saves all Programs of your Project.
Save Current Program saves only the current Program.
Save Current Sequence saves only the current Sequence.
Save MIDI Control Scene saves your control map as set in MIDI Control Mode. See the MIDI Control
Mode chapter for more information about creating a control map.
Export lets you export your Project or Sequence data in various formats: a single Project Archive file,
MPC formats, a standard MIDI file, or as an audio mixdown file. Select the desired option from the sub-
menu.
• As Project Archive exports the entire Project as a Project Archive file (.xpa). In the window that
appears, enter a file name and set the save location. This option is useful when you want to transfer
a Project between different computers without dealing with its component files.
• As MPC1000/MPC2500 Seq exports the current Sequence so it can be read by an MPC1000 or
MPC2500.
• As MPC1000/MPC2500 Prg exports the current Program so it can be read by an MPC1000 or
MPC2500.
• As MPC5000 Seq exports the current Sequence so it can be read by an MPC5000.
• As MPC5000 Prg exports the current Program so it can be read by an MPC5000.
• As MIDI File exports the Sequence as a standard MIDI file (.mid). In the window that appears, enter
a file name and set the save location. This option is useful when you want to import your
Sequences into separate sequencer software or exchange your Sequences with another artist.
96
• As Audio Mixdown exports the Sequence or Song as an
audio file (if you are in Song Mode, this will affect the entire
Song; if you are in any other mode, this will affect the
current Sequence only). You can also access this command
by pressing Ctrl+Shift+E (Windows) or +Shift+E (Mac OS
X) on your computer keyboard. In the window that appears,
you can set the audio file's format:
o Audio Length lets you define the length of your audio
file with the Start bar and End bar, allowing you to
export a certain number of measures only. You can
also set the length of a "bounce tail" (Tail) in seconds,
which is useful when working with audio effects like
reverb or delay, whose sound may exceed the defined
export range.
o Render source lets you select between what part of the audio is rendered:
 Stereo output will render an audio output, which you can select by clicking the drop-down
menu under the checkbox.
 Separate programs will render an audio mixdown of each Program used in the Sequence
or Song.
 Explode tracks will render an audio mixdown of each Track used in the Sequence. Each
pad or keygroup must have their Pad Audio Route or Keygroup Audio Route set to
Program to be included in the audio mixdown. This feature does not work in Song Mode.
o The available Render options depends on your Render source. When Master inserts is
checked, the audio mixdown will include master effects. When Export returns is checked, the
audio mixdown will also export return buses.
When your Render source is set to Separate programs or Explode tracks, Master inserts is
bypassed, so this option is disabled.
o File format lets you select wav, aiff, or mp3 as the exported file format. For WAV and AIFF
files, you can select a Bit depth of 8-bit, 16-bit, 24-bit, or 32-bit, floating point. For MP3 files,
you can select a Bitrate of 128 kbps, 160 kbps, 192 kbps, or 320 kbps.
o Sample rate lets you select from 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz. In most cases, we
recommend selecting 44.1 kHz.
o Click Export to open a window where you can enter a file name and set the save location.
o Click Cancel to close the window without exporting.
97
Exit closes the software. If you have not saved any changes made to a currently open project, it will
prompt you to do so before quitting.
Mac OS X users: The Exit command is named Quit MPC and located in the MPC menu.
Edit Menu
Undo undoes the last action you performed. When there are no actions left to undo, the Undo command
will be unavailable and appear greyed out.
Redo undoes the Undo command. You can continue redoing actions until there are no items left to redo,
in which case, the Redo command will be unavailable and appear greyed out.
Important: If you perform a new action when the Redo command is available, you will no longer be able
to redo. In other words, as soon as you perform an editing action other than Undo, Redo is no longer
available.
History lets you view a list of previously executed

commands in the Command History window. As
you undo and redo commands, you can see your
current "position" in the list of commands in the
window.
To revert to a previous "state" in your Project,
click and drag the point just after the last step.
Any "undone" steps will be greyed out. You can
do the same to redo all the greyed-out steps, as
well.
Cut removes selected events from the grid and copies it to the clipboard. After cutting events, you can
paste or insert them at another location in the same or another Sequence.
Copy copies selected events from the grid to the clipboard without removing them. After copying
events, you can paste or insert them at another location in the same or another Sequence.
98
Paste lets you to paste the contents of the clipboard at the position marker's current location.
Select All selects all note events in the current Sequence and Track.
Deselect All deselects all note events in the current Sequence and Track.
Sequence provides options related to editing the current Sequence:

• Clear erases all Tracks and their note events from the current Sequence. After selecting this, click
Clear to confirm your choice or Cancel to cancel it. This operation cannot be undone.
• Export lets you export the current Sequence as a standard MIDI (.mid) file.
• Next Sequence selects the next Sequence. You can also press Ctrl+Shift+} (Windows) or
+Shift+} (Mac OS X) on your computer keyboard.
• Previous Sequence selects the previous Sequence. You can also press Ctrl+Shift+{ (Windows) or
+Shift+{ (Mac OS X) on your computer keyboard.
Track provides options related to editing the current Track:

• Clear erases all note events from the current Track. After selecting this, click Clear to confirm your
choice or Cancel to cancel it. This operation cannot be undone.
• Explode automatically 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 with the Track Name and pad name or number.
• Next Sequence selects the next Sequence. You can also press Ctrl+Shift+} (Windows) or
+Shift+} (Mac OS X) on your computer keyboard.
• Previous Sequence selects the previous Sequence. You can also press Ctrl+Shift+{ (Windows) or
+Shift+{ (Mac OS X) on your computer keyboard.
Hardware: In Main Mode, use the Cursor Buttons to select the Trk field, and then Window. Press F2
(Clear) to erase all note events from the current Track, F3 (Explode) to explode the Track, press F4
(Copy) to copy the Track, or press F5 (Close) to cancel the operation.
If you select F4 (Copy), use the Cursor Buttons to move between the Copy Contents of Track and
Over Contents of Track fields, and use the Data Dial or -/+ buttons to change the number. Press F5
(Do It) to copy the Track or press F4 (Back) to cancel the operation.
99
Preferences opens the Preferences window, which contains many customizable elements of the
software. Click the corresponding tab on the left to select it (e.g., MIDI or Sequencer). Click the OK
button to close the Preferences window. Preferences will be automatically saved.
Mac OS X users: Preferences is located in the MPC menu.
• Preferences: Audio Tab

o Audio Device Type and Device (Windows)
or Output and Input (Mac OS X): Click these
drop-down menus to select an audio
hardware driver in your computer system.
 Windows users: To use an MPC
Renaissance's inputs and outputs to
record and play audio (to and from your
computer), select ASIO as the Audio
Device Type and MPC Renaissance
ASIO Driver as the Device, and then
check In 1+2. Otherwise, you can
select an ASIO hardware driver of your
audio interface.
Tip: If you are using your computer's
internal soundcard, we recommend
downloading the latest ASIO4ALL driver
at asio4all.com.
 Mac OS X users: To use an MPC
Renaissance's inputs and outputs to
record and play audio (to and from your
computer), select MPC Renaissance as
the Output and Input, and then check
Input 1+2.
o Test: Click this button to play a test tone. This is for checking your audio output. Careful! You
should lower the volume on your audio system beforehand.
o Sample Rate: Click this to drop-down menu to select the desired sample rate for your Project.
This depends on the available sample rates of the type of MPC hardware you are using or of
your audio interface (i.e., select 96000 Hz only if your interface allows a 96 kHz sample rate).
100
o Audio Buffer Size: Click this drop-down meny to set your audio system's latency. Lower
values result in a more immediate playing response but also more CPU consumption. If you
are working with larger Projects, this may cause audible clicks and pops. Higher values are
more CPU-friendly but can produce more delay between pressing a pad and hearing the
corresponding sound. The ideal audio buffer size also depends on your computer's CPU
performance. Experiment with this to find the best setting for your system.
o Latency Adjust: If there is a delay in your audio system even after experimenting with the
Audio Buffer Size, click and drag this field up or down to set an offset (in milliseconds).
• Preferences: MIDI Tab

o Active Midi Inputs: These checkboxes
represent the active installed MIDI inputs on
your computer system.
Hardware: When the MPC hardware is
connected and powered on, the available ports
as well as the MPC public port are displayed.
o Midi Mapping: Click each drop-down menu to
define the Midi Out Port A to D. Here, you can
select the MIDI output your Sequencer data is
routed to.
Note: When using the MPC software as a
plugin, the only option you can select for your
Midi Out Port is your host software (DAW).
• Preferences: Plugins Tab

Here, you can select up to four locations on
your hard disk where the software will look for
installed VST or AU plugins that you can use as
insert or send effects in the MPC software.
Click the … button to the right of the field to
select a desired location. After selecting a new
location, we recommend using the Scan New
function. When you make settings for the first
time, you should click Rescan All to perform a complete scan of all selected plugin locations.
Mac OS X users: We recommend checking the Use AudioUnits option, enabling you to use
also the AudioUnit plugin format.
101
• Preferences: Auto Load/Save Tab
o Auto Load File: Click the … button to select
a Project (.xpj) or Program (.xpm) on your
hard disk to load automatically anytime the
software opens.
Tip: You can "bypass" or ignore the template
by opening the MPC software while holding
down your computer's Shift key. This will
open an empty Project instead of your
selected Auto Load file.
o Template File: Click the … button to select a Sequence template to load automatically
anytime you create a new Sequence.
o Auto Save: Click the Enabled box to turn Auto-Save on or off. Auto-Save sets the software to
save your Project at regular intervals. Click the Timeout drop-down menu to select the
interval.
• Preferences: Sequencer Tab

Here, you can activate or deactivate options
related to the software's sequencer.
o Instant Track Mute: If this option is disabled,
Note On messages will be ignored. This is
how legacy MPCs' track-muting worked. This
allows samples and notes that are playing to
finish playing their entire length. This is useful
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.
If this option is enabled, MIDI track volume is sent. This is useful when you want to have the
Track muted immediately. The loop will continue to play but at zero volume, allowing the loop
to continue playing when the Track is unmuted.
o Record Track Mute Events: If this option is enabled, Track Mute events are recorded only
when you are in Track Mute Mode. Timing Correct settings will affect the recorded position of
Track Mute events.
o Play Track Mute Events: If this option is enabled, Track Mute events are played back only
when you are in Track Mute Mode.
102
o Record Pad Aftertouch Events: If this option is enabled, pad aftertouch data (from MPC
hardware's pressure-sensitive pads) can be recorded.
o Place Events recorded during Count-In at start-point: If this option is 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.)
o Pulse Resolution: Click this drop-down menu to select the display resolution (in PPQN—
pulses per quarter note) of pulse values in certain areas of the software. Please note that this
setting affects the display resolution, not the software's timing
• Preferences: Hardware Tab

Here, you can set additional parameters
affecting the behavior of your MPC hardware.
Hardware: Press Shift + Song and then press
F1 (Prefs). Use the Cursor Buttons to select
the corresponding option, and use the Data
Dial or -/+ buttons to change it. Not all options
in the software's Hardware tab are available in
the MPC hardware display, and some options
are shown that are available in other tabs in the
software.
o Pad Threshold: Click this drop-down menu to select a threshold that must be exceeded to
trigger the pad.
o Pad Sensitivity: Click this drop-down menu to set how MIDI
sensitively your MPC hardware's pads respond to your Velocity
touch. At lower values, you need to use more force to
generate a high-velocity note. At higher values, it is easier
to generate high-velocity notes, even if you do not use
A
much force while pressing a pad. B
o Pad Curve: Click this drop-down menu to set how your C
D
playing is translated into velocity values, starting from A to
D. An A pad curve is essentially linear, while the B, C, and Applied
D pad curves are exponential. (See diagram to the right.) Force
103
o Footswitch 1 and Footswitch 2: Click these drop-down menus to select the functionality of
footswitches connected to your MPC hardware. You can select either transport commands
(e.g., Play or Stop) or trigger commands for pads and the Function Buttons.
o Pad Response: View the Velocity and Aftertouch meters when 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).
o Show Hardware Info: Click this button to open a window with information about your
connected MPC hardware (firmware version, driver version, etc.).
• Preferences: Sync Tab

Here, you can set various parameters
related to the software's synchronization:
o Receive: Click this drop-down
menu to select whether or not the
software receives MIDI Clock or
MIDI Time Code (MTC) from the
host software (when MPC is used as
a plugin) or from an external device
(connected to the MIDI In port of
the MPC hardware).
o Send: Click this drop-down menu to
select whether or not the software
sends MIDI Clock or MIDI Time Code (MTC) to the individual ports of the MPC hardware or
any connected MIDI interface. Make sure to check the port(s) over which you want to send this
information. You can select two MIDI devices connected to your computer to send MIDI Clock
or MTC data to. Select your device in each To drop-down menu below it.
o MTC Frame Rate: Check one of these boxes to set the frame rate for MIDI Time Code (MTC)
synchronization in FPS (frames per second). In most cases, you should select 25. The correct
frame rate is important, especially when working on film scoring projects.
o Device Control: Check either or both of these boxes to send or receive MIDI Machine Control
(MMC) to or from your MPC hardware's transport buttons. MMC sends only transport
commands; it does not include track-arming or more advanced features.
104
• Preferences: Registration Tab
Here, you can view your hardware
registration information (or unlock your MPC
software by clicking Unlock Now, if you
have not already done so).
• Preferences: Other Tab

Here, you can set various other MIDI and
audio parameters.
Hardware: Press Shift + Song and then
press F1 (Prefs). Use the Cursor Buttons to
select the corresponding option, and use
the Data Dial or -/+ buttons to change it.
Not all options in the software's Other tab
are available in the MPC hardware display,
and some options are shown that are
available in other tabs in the software.
o Tap Tempo: Click this drop-down
menu to set how many times you have to press your MPC hardware's Tap Tempo button until
the new tempo is recognized.
o Filter 'All Notes Off' CC: Check this box to filter out All Notes Off data. If you have connected
another device to your MPC hardware's MIDI In, checking this box will cause the software to
ignore "All Notes Off" ("MIDI panic") messages. That is, if a MIDI device sending MIDI
messages into the MPC hardware sends a MIDI panic message, the software will not stop all
notes and will continue as before (recording, for instance).
o Program Change: Click this drop-down menu to select what an incoming MIDI Program
Change message will change: a Program, Sequence, or Track.
105
o Vintage Mode: Click this drop-down menu to select an audio quality emulation for the
software's audio output. The software can emulate the particular sonic qualities of, for
example, the MPC3000 or MPC60, or of course no emulation (None).
o Sampling Bit Depth: Click this drop-down menu to set the bit depth of the audio recorded
from a sample.
o Multi Process Threads: Click and drag the number in this field up or down to set how many
cores of your computer's processor will be used to render audio. The available range depends
on your processor.
o Audition Auto Play: Click and drag the number in this field up or down to set how long a
sample will sound when auto-previewing it.
Metronome Menu
This menu contains all settings regarding the Metronome.
Count-In enables or disables the metronome pre-count 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.
Metronome offers the settings for the metronome.

• 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.
Rate lets you 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" stands for "triplet").
Sound lets you to select the sound that you want to hear for the metronome: Sidestick1, Sidestick2,
Clap, Metroclick, Shake, Tambourine, or MpcClick.
106
Time Correct Menu
Here, you can select Quantization settings.
Apply quantizes the currently selected note events. If no note events are selected, nothing will be
quantized.
Settings: Click this to open the Time Correct window with

the following functions. You can also open this window by
pressing Ctrl+Shift+K (Windows) or +Shift+K (Mac OS
X) on your computer keyboard.
• Time Division: Click a box to select the note value to
quantize to. Default is 1/16. You can select from
different quantizations, including triplet (T) values.
You can also do this with your computer keyboard by
pressing any number key (1-0) in the top row or the –
key to turn quantization off.
• Swing: Click and drag this field up or down to set the amount of swing from 50% to 75%. Swing
lets you "shuffle" your beats—from subtle to extreme.
• Shift Timing: Click and drag this field up or down to shift all note events by clock ticks.
• Window: Click and drag this field up or down to set how many notes around a quantize value will
be quantized. Any notes outside this range will not be quantized; notes inside will.
• Strength: Click and drag this field up or down to set how strictly notes will be quantized (i.e.,
shifted toward the quantize value). Lower values move notes a little bit towards the closest quantize
value, resulting in a less mechanical feel than a strict quantization (a higher value).
• Events: Click this drop-down menu select the target range for the time correction. You can apply
the time correction to All note events or to just the Selected ones. When Range is selected, you can
define the bars as well as the pads or keys that will be quantized. The selection is done on the MPC
hardware.
Hardware: When Range is selected, you can define the pads or keys to be quantized by pressing
their corresponding pads. Selected pads are shown in the Time Correct window. Use the Cursor
Buttons to select the Events Range parameter to select the range of bars for quantization.
Click Do It to apply the settings you made, or click Close to cancel without making any changes.
107
Lengths: Click this to open the Time Correct Note Lengths window. Its fields are identical to the Time
Correct Settings windows described above but with the addition of a Type drop-down menu.
Click the Type drop-down menu and select one of the following options:
• End: The end points of note events will be extended or cropped so they align with the closest Time
Division marker in the grid. The start points will remain untouched.
• Length: The end points of note events will be extended or cropped so the note event's length is a
multiple of the Time Division, regardless of where it is in the grid. The start points will remain
untouched.
• Legato: The end points of note events will be extended or cropped 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 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.
Click Do It to apply the settings you made, or click Close to cancel without making any changes.
Without legato applied. With legato applied.
108
Tools Menu
Delete Unused Samples deletes any samples not assigned to a pad from the Project.
Important: The samples will be deleted immediately from the project. The software will not ask for
confirmation or allow you to cancel, but you can undo this action (i.e., with the Undo command or
hardware button), if needed.
Tip: You can delete unused samples by clicking the trash can icon in the upper-right corner of the
Project Information, as well.
Show MIDI Keyboard shows or hides a piano keyboard at the bottom of the window, above the
Transport Section. You can also do this by pressing Ctrl+Shift+W (Windows) or +Shift+W (Mac OS X)
on your computer keyboard. You can use these keys to play or enter notes.
MIDI Keys enables or disables the use of your computer keyboard to enter or play a range of 17 MIDI
notes, starting from a C. You can also do this by pressing Ctrl+ W (Windows) or + W (Mac OS X) on
your computer keyboard. Press the [ or ] key on your computer keyboard to shift the range of playable
notes up or down (respectively) by one octave.
On standard US/American computer keyboard, use the A, S, D, F, G, H, J, K, L, and ; keys to play the
white keyboard keys, and use the W, E, R, T, Y, U, I, O, and P keys to play the black keyboard keys.
If the MIDI Keyboard is shown, the corresponding computer keyboard character will be shown above
each key (though you can still use MIDI keys even if it is hidden).
109
View Menu
Mode lets you select any of the 12 modes as an alternative to the mode tabs above it.
Tip: On your computer keyboard, press and hold Ctrl (Windows) or  (Mac OS X) and then press 1-10, -
, or = to select a mode.
Editor Full Screen lets you switch between Split View and Full-Screen View. This is the same as clicking
the View button in the upper-right corner o fthe window.
File Browser lets you show or hide the File Browser. You can also do this by clicking the triangle button
( or ) in the lower-left corner of the window or by pressing Shift+B on your computer keyboard.
Expansion Browser lets you show or hide the Expansion Browser when the File Browser is shown. You
can also do this by clicking the "arrows-in-an-X" button in the lower-left corner of the window or by
pressing Shift+E on your computer keyboard.
Grid Editor enters Grid View (described in the earlier Grid View section). You can also do this by
clicking the List View button just below the Mode Tab (if you are currently in List View) or by pressing
Shift+G on your computer keyboard.
List Editor enters List View (described in the earlier List View section). You can also do this by clicking
the List View button just below the Mode Tab (if you are currently in Grid View) or by pressing Shift+L
on your computer keyboard.
Minimize minimizes the MPC software window.
Full Screen maximizes the MPC software window.
110
Help Menu
MPC Help opens this PDF manual.

Mac OS X users: About MPC and Check for updates… are located in the MPC menu.
MPC Release Notes opens the documentation for changes and improvements in the current release.
Set Up MMC Control opens a PDF with instructions on how to allow your MPC hardware's transport
buttons to send MMC (MIDI Machine Control) messages from the MPC plugin to your host software.
This allows you to use your MPC hardware to control your host software's transport. This is available for
certain host software applications only.
Hybrid Instrument Help opens the Hybrid 3 User Guide PDF.
Check for Updates… checks online if a newer version of the software is available. You need an active
Internet connection to use this function.
Unlock MPC opens a window where you can enter information to unlock your MPC software (if you
have not already done so).
About MPC shows information about the software version.
111
Main Mode
Main Mode gives you an overview of the most-used functions.
To enter Main Mode in the software, do one of the following:

• Click the Main Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Main.
• On your computer keyboard, press Ctrl+1 (Windows) or +1 (Mac OS X).
Hardware: Press the Main / Track button.
Important: The MPC hardware cannot display as many parameters at the same time as the software.
Some of the MPC hardware functions are located on different pages than in the software.
112
Q-Link Section
Here, you can set the functionality of the Q-Link Knobs.

The Q-Link section can work in two modes: Program Mode (Prg) and FX
Mode.
• Program Mode: The 16 Q-Link Knobs control specific Program
parameters of the selected Program.
• FX Mode: The 16 Q-Link Knobs can be assigned to the parameters of
used effects.
By switching between these two modes, you are able to define two
parameters for each knob. This offers maximum flexibility when controlling
parameters in real time.
Hardware:
• Access the Q-Link Section by pressing Shift + Prog Edit / Q-Link.
• Touch the top of a Q-Link Knob to select it.
• Press F1 (Prog Q) to switch to Program Mode. Press F2 (FX Q) to switch to FX Mode.
• Press F4 (Edit) to change further parameters, described later in this section.
• Use F5 (Params) to see what parameter each of the 16 Q-Link Knobs controls. Pressing F6
(Values) displays the parameter value of each Q-Link Knob.
Important: The MPC Renaissance has 16 Q-Link Knobs,
allowing direct access to all 16 parameters, whereas the MPC
Studio is equipped with 4 Q-Link Knobs which need to be
assigned to the corresponding Q-Link Knob column or row
Row 1 Row 2 Row 3 Row 4
with the Scroll Knob above the Q-Link Knobs.
In modes where the display shows a "4 x 4" array of
parameters, you will see an additional indicator on the top or
left side of the array, indicating the currently controlled
Column 1 Column 2 Column 3 Column 4
row/column:
• The Q-Link Knobs control columns of parameters in Main Mode, Program Edit Mode, Track View
Mode, Sample Edit Mode, and Step Sequence Mode.
• The Q-Link Knobs control rows of parameters in Program Mixer Mode and Track Mixer Mode.
113
Program Mode
Click the Prg button to activate the Q-Link Knobs' Program

Mode. To assign a parameter to a Q-Link Knob in the
software:
1. Click a Q-Link Knob and move the mouse to select it
for assigning. The Qlink field will show the number of
the selected knob.
Hardware: Touch the top of a Q-Link Knob to select
it.
2. Click the Trig drop-down menu and select Min or Max. When you hold down the Q-Link Trigger
button on your MPC hardware and touch the top of one the Q-Link Knobs, the corresponding
parameters will jump to either its minimum (Min) or maximum (Max) value.
Hardware: Use the Cursor Buttons to select the Touch To field, and then use the Data Dial or -/+
buttons to select Min or Max.
3. Click the Pad drop-down menu and select the desired pad you want to control. We recommend
using Q1 for Pad A01, Q2 for Pad A02 etc., so your controller mapping is easy to remember.
4. Click the Change drop-down menu to select the condition for changing a parameter. In most
cases, you should select Real Time, which changes the sound immediately when the Q-Link Knob
is moved. If Note On is selected, the Q-Link Knob's position will affect the sound only when its
corresponding pad is pressed.
5. Click the Param (Parameter) drop-down menu and select the parameter you want to assign to the
Q-Link Knob:
o Sample Layer allows you to switch between Sample Layers 1 to 4. To use this function, each
layer must have an assigned sample with distinct (non-overlapping) velocities. See Program
Edit Mode > Edit Layers Section to learn how to set sample layer velocities.
o Tuning controls the sample's pitch.
o Filter Cutoff controls the cutoff frequency of the filter. (Select a pad's filter type in Program Edit
Mode.)
o Filter Resonance controls the resonance value of the filter.
o Filter Env Amount controls the envelope amount of the filter.
114
o Qlink Pan controls the sample's panning position in the stereo field.
o Level controls the sample's volume level.
o Env Attack controls the attack time of the Amp Envelope.
o Env Decay controls the decay time of the Amp Envelope.
o Env Release controls the release time of the Amp Envelope
o Send 1 to 4 controls the corresponding FX send levels for the selected pad.
If Midi is selected in the Instrument Section, The Q-Link

Knobs' Program Mode will look slightly different. To control a
desired parameter of an external sound generator by MIDI,
you can define a MIDI CC (MIDI Control Change). This can be
any MIDI Control Change from 1 to 128 for every Q-Link
Knob. Make sure that your external MIDI device is able and
set to recognize MIDI control change data.
115
FX Mode
Click the FX button to activate the Q-Link Knobs' FX Mode.

To assign a parameter to a Q-Link Knob in the software:
1. Click a Q-Link Knob and move the mouse to select it for
assigning. The Qlink field will show the number of the
selected knob.
Hardware: Touch the top of a Q-Link Knob to select it.
2. Click the Trig drop-down menu and select Min or Max. When you hold down the Q-Link Trigger
button on your MPC hardware and touch the top of one the Q-Link Knobs, the corresponding
parameters will jump to either its minimum (Min) or maximum (Max) value.
Hardware: Use the Cursor Buttons to select the Touch To field, and then use the Data Dial or -/+
buttons to select Min or Max.
3. Click the Effect drop-down menu and select one of the effects, which have previously been loaded.
Note: You have to load an effect before its parameters can be assigned to the Q-Link Knobs. All
effects loaded to the pads or to the Track, independent from their routing, can have their parameter
assigned. See the Effects chapter for more information about loading effects.
4. Click the Param (Parameter) drop-down menu and select the parameter you want to assign to the
Q-Link Knob. The available parameters depend on the selected effect.
116
Pad Bank Section
The Pad Bank section lets you select a pad to edit (16 pads
across eight banks).
In the software, click the desired pad to select it. To select a
different bank, use the Bank buttons above the pads to specify a
bank from A to H.
Hardware: Press a pad to select it. To select a different bank,
use the Pad Bank buttons to specify a bank from A to H.
117
Sequence Section
The Sequence section gives you an overview of parameters relevant to

the current Sequence.
In the software, click the Sequence drop-down menu and select a
Sequence or click the  icon in the lower-right corner of the drop-down
menu and select an unused Sequence from the list that appears.
Hardware: Move the cursor to Seq and use the Data Dial or the -/+
buttons to select the desired Sequence.
Click the Loop button to switch the Sequence's loop function On or Off.
The loop points are defined by the First and Last Bar values. With the First Bar and Last Bar you can
set the corresponding bar position pointer (e.g., to create a cycle for a loop). Keep in mind that the Last
Bar value depends on the total length of the Sequence.
Hardware: Use the Cursor Buttons to select the Loop field and use the Data Dial or the -/+ buttons to
turn the loop On or Off. With the Loop field still selected, press the Window button. Then, use the
Cursor Buttons to select the field for First Bar, Last Bar, or Number of Bars, and then use the Data
Dial or the -/+ buttons to select the desired numbers.
Click the Total Bars field to set the total number of bars.
Hardware: Use the Cursor Buttons to select the Bars field, and then use the Data Dial or the -/+
buttons to set the desired bar length of your Sequence. You can set up to 999 bars.
Click the T Correct (Time Correct) drop-down menu and select the note quantization value.
Hardware: Press the F1 button (T.C.) to edit the Time Correct value.
Click the Time Sig field to change the time signature for your Sequence.
118
Click the BPM field to set the desired tempo in beats per minute.
Hardware: Use the Cursor Buttons to select the Bpm field, and use the Data Dial or the -/+ buttons to
set the desired tempo in BPM (beats per minute).
Click the Swing field to change the groove of your Sequence. Values range from 50% to 75% and let
you "shuffle" your beats—from subtle to extreme.
Hardware: Press F1 (T.C) to locate the Swing parameter. It can be changed by using the Data Dial or
the -/+ buttons to set the desired value.
119
Track Section
The Track section gives you an overview of various parameters

regarding the selected Track.
In the software, click the Track drop-down menu and select the desired
Track.
Hardware: Use the Cursor Buttons to select the Trk field, and use the
Data Dial or the -/+ buttons to select the desired Track. You can also
press F3 (Track-) or F4 (Track+) to switch to the desired Track or type
in the number with the number keys.
In the upper-right corner of the Track section, an icon will indicate whether the
Track is using a Drum Program, Keygroup Program, MIDI Program, or Plugin
Program.
Click the Velocity display to change the overall velocity of the selected Track. This determines how
loudly or quietly a Track plays relative 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, up to a full
velocity level of 127.
Hardware: Use the Cursor Buttons to select the Vel% field, and use the Data Dial or the -/+ buttons to
edit the overall velocity of the selected Track in percent.
Click the M button to mute the selected Track. Click the S button to solo the selected Track. When a
Solo is activated from the Main page, the Solo function follows the current Track. In other words, if you
have soloed Track 1, and turn to Track 2, now Track 2 will be soloed.
Hardware: Press F5 (Mute), to mute or unmute the selected Track. Press F6 (Solo) to solo or unsolo the
selected Track.
Click the Type drop-down menu to select what kind of Program the Track will use: a Drum Program,
Keygroup Program, Midi Program or a Plugin Program.
120
Drum Programs and Keygroup Programs
Click the Program drop-down menu to select which Program you want to use. To create a new
Program, click the + icon next to the drop-down menu.
MIDI Programs
When the Track's Program Type is set to Midi, the Track Section will
look slightly different from other Programs:
Click the Port drop-down menu and select the desired MIDI port. This
is where the Sequence data will be sent. The drop-down menu shows
you the available MIDI ports as set in the MIDI tab of the Preferences
window. For more information, see Software Menus > Edit Menu >
Preferences: MIDI Tab.
Click the MIDI Ch drop-down menu to select the MIDI channel (from 1 to 16) you want to send MIDI
messages over.
Click the Prog Ch drop-down menu to select a MIDI Program Change message (from 1 to 127 or Off).
This is useful for selecting a particular preset in your MIDI sound module.
Click the Bank drop-down menu to select a Bank Select or Bank MSB (Most Significant Byte) message
(from 0 to 127 or Off).
Click the LSB drop-down menu to select a Bank LSB (Least Significant Byte) message (from 0 to 127).
121
Hardware:
1. Use the Cursor Buttons to select Port and then use the Data Dial or -/+ buttons to select the
desired MIDI port. This is where the Sequence data will be sent.
2. Use the Cursor Buttons to select Ch and then use the Data Dial or -/+ buttons to select the MIDI
channel (from 1 to 16) you want to send MIDI messages over.
3. Use the Cursor Buttons to select PC and then press the Window button.
4. In the Program Change window that appears, use the Cursor Buttons to select the field and use
the Data Dial or -/+ buttons to select the setting(s) of the following:
• Set the Program Change message from 0 to 127 or to Off.
• Set Bank Enable to On.
• Set the Bank MSB (Most Significant Byte) and Bank LSB (Least Significant Byte) message from 0
to 127 or to Off.
5. Press F4 (Close) to close the window.
The Program Change window in the display of the MPC hardware.
122
Plugin Programs
When the Track's Program Type is set to Plugin, the Track Section will
look slightly different from other Programs:
If your Project already contains the desired plugin, click the Program
drop-down menu to select it. In the window that appears, you can click
checkboxes to re-order your list of plugins: Sort by type or Sort by
manufacturer. Click Select to load the selected plugin or Close to
If you want to add a new plugin to the Project, click the + icon next to the Program drop-down menu. A
new Program name (Plugin ###) will appear in the Program drop-down menu (you can click it to enter a
new name for it). Then, click the Plugin drop-down menu, select the desired plugin from the list, and
click Select to select it or Close to cancel. Click the e button to open the user interface of the loaded
plugin.
Click the MIDI Ch drop-down menu to select a MIDI channel (from 1 to 16) the Plugin Program will use.
Use this setting when you are working with a virtual instrument that supports multi-mode.
Click the Preset drop-down menu to select a preset for your plugin.
123
Program Channel Strip
The channel strip for the Program lets you use mixer controls directly from Main Mode.
This is the same as the Program Channel strip shown on the right-most side of the
window in Program Mixer Mode.
Tip: See Effects > Overview to learn more about how insert and send effects work in the
software.
• Insert: Click this to view the insert effect slots for the Program.
• Send: Click this to view the levels for the send effects for the Program. Click and
drag a knob up or down to set the effect level for that Return slot.
Important: To use a send effect, you have to load an effect into the corresponding
send effect slot on the right side of the window in Track Mixer Mode. See the Track
Mixer Mode chapter to learn more.
• Inserts On/Off: Click this button to enable or disable the Program's insert effects.
• Insert Slots: Click the downward arrow () of the slot you want to assign an effect
to. Select an effect from the window that appears.
Tip: Move an effect from one slot to another by clicking and dragging it. Copy an
effect from one slot to another by holding Ctrl (Windows) or  (Mac OS X) while
clicking and dragging it.
Double-click a loaded effect name to open its graphic user interface for more
detailed editing.
• Routing: Select the desired output (e.g., Out 1,2) to route the audio signal directly to
this output.
• Pan: Click this knob and drag it up or down to set the position.
• Solo: Click this button (S) to solo it, muting all other channels.
• Mute: Click this button (M) to mute it.
124
• Automation: Click the Automation button on Program Channel strip to switch its Automation
between Off, Read (R), and Write (W).
o When set to Off, the Program will ignore automation data. If you have already
recorded or entered automation, clicking the button will switch between Read (R) and
Write (W) only, but you can override this and set it to Off by pressing and holding
Shift on your computer keyboard while clicking the button.
o When set to Read, the Program will read automation data but will not record any
additional automation over it, though you can still manually edit and enter automation.
(Think of this as a protective feature to prevent accidental changes to your
automation while recording.)
o When set to Write, 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!)
Hardware:
Press the Q-Link Trigger button to switch the Automation between Off (the button will be unlit),
Read (the button will be lit solid), and Write (the button will flash).
If you have already recorded or entered automation, pressing the Q-Link Trigger button will switch
between Read and Write only, but you can override this and set it to Off by pressing and holding
the Shift button while pressing the Q-Link Trigger button.
To set the Q-Link Trigger button to cycle through the automation states for just the Program or
globally, do the following:
Tip: Set all Programs to the same Automation setting by clicking the Global Automation button in
the upper-right corner of the software window.
• Level: Click the channel fader and drag it up or down to set the level. The level meter to the right of
the fader provides a visual indication of the level. Press and hold Alt (Windows) or Option (Mac OS
X) on your computer keyboard and click a fader to return it to its default position.
125
Project Information
The Project Information shows the Project name as well as all Programs and samples loaded into the
software's current project.
You can simply drag and drop a sample from the Project Information onto any pad to assign it. How a
sample can be played and edited depends on the Program. Refer to General Features > Program
Types for more information.
126
The Programs list displays all available Programs in the Project. Click the
arrow next to it to expand or collapse the list.
Next to each Program in the list, an icon will indicate whether it is a Drum
Program, Keygroup Program, MIDI Program, or Plugin Program (for Plugin
Programs, the plugin name is in grey on the right side of the column).
Right-click a Program to open a menu with the following options:
• Duplicate makes a copy of the selected Program and adds a -1 to the
Program name.
• Duplicate to New Track makes a copy of the selected Program onto a
new Track and adds a -1 to the Program name.
• Delete deletes the selected Program. To avoid accidental deletion, a
window opens for you to confirm or cancel the operation.
• Save saves the current Program to your hard disk. A dialog window
opens automatically where you can select a save location. Samples
will automatically be saved with a Program.
• Rename opens a window where you can rename your Program.
Hardware: Press the Window button to open the Edit Current Program display page:
• Press F2 (Delete) to delete the selected Program. To avoid accidental deletion, a window opens for
you to confirm or cancel the operation.
• Press F3 (New) to create a new Program. Use the Data Dial or -/+ buttons to select the type of
Program you want to create, and then press F5 (Do It) to confirm or F4 (Cancel) to cancel.
• Press F4 (Copy) to make a copy of the selected Program. This also adds a -1 to the new Program
name.
• Press F5 (Close) to close the Edit Current Program display page.
The above operations can also be done for Sequences (Seq) and Tracks (Trk).
127
The Sequences list displays all available Sequences in the Project. Click
the arrow next to it to expand or collapse the list.
Under each Sequence is a list of Tracks used in that Sequence. Next to
each Track, an icon will indicate whether it uses a Drum Program, Keygroup
Program, MIDI Program, or Plugin Program (for Plugin Programs, the plugin
name is in grey on the right side of the column).
The Sample column displays the available samples. Select All Samples to
view all samples in the Project, or select a Program or Sequence below to
view the samples in that Program or Sequence only. Double-click a sample
in the Sample column to load it in Sample Edit Mode.
Right-click a Sample to open a menu with the following options:
• Delete deletes the selected sample. To avoid accidental deletion, a
window opens for you to confirm or cancel the operation.
• Save saves the current sample to your hard disk. A dialog window
opens automatically where you can select a save location.
• Rename opens a window where you can rename the selected sample.
This does not affect the original file's name.
• Edit opens Sample Edit Mode for the selected sample. For more
information, please refer to the Sample Edit Mode chapter.
Click the trash can icon in the upper-right corner of the Project Information to delete
samples from the Project. In the window that appears, you can select Purge Unused
Samples, which deletes any samples not assigned to a pad from the Project, or Delete All
Samples, which deletes all samples within the Project. Click Do It to proceed or Close to
cancel without deleting anything.
Important: You can undo this deletion (i.e., with the Undo command or hardware button), if
needed.
128
Program Edit Mode
Program Edit Mode contains all parameters for editing your Programs.
For Drum Programs and Keygroup Programs, this mode includes the parameters of each Layer as well
as all synthesis parameters and insert effect settings. These two Program types will have different
parameters due to how they are set up (Drum Programs have fewer parameters than Keygroup
Programs).
For MIDI Programs or Plugin Programs, skip to Program Edit Mode for MIDI Programs and Plugin
Programs for more information.
For more general information on the differences between these four kinds of Programs, please see
General Features > Program Types.
MPC Renaissance users: All parameters of Program Edit Mode are arranged in a grid of up to 16
parameters. These parameters correspond to the 16 Q-Link Knobs of the MPC Renaissance. The "4 x
4" grid lets you adjust the parameters shown in MPC Renaissance's display, quickly and intuitively.
MPC Studio users: MPC Studio has four Q-Link Knobs which can be assigned to the corresponding
Q-Link Knob column with the Scroll Knob above the Q-Link Knobs.
129
To enter Program Edit Mode in the software, do one of the following:
• Click the Program Edit Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Program Edit.
Hardware: To enter Program Edit, press the Prog Edit button.
Drum Programs: To select a Drum Program for editing, select the desired pad first. Do one of the
following:
• In the software, click the desired pad in Main Mode.
• In the software, click the pad row in the grid in Program Edit Mode.
• In the software, click the pad in the Edit Zones area, under the Edit Layers section.
• On your MPC hardware, press the desired pad.
130
Master Section
In the Master Section, you can set the playback mode and tuning for
the overall Program.
Mode 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(s), 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).
Semi lets you transpose the selected Program up to 36 semitones up

or down.
Fine provides fine-tuning of the Program by fractions of a semitone up

or down.
Trans (only available for Keygroup Programs) shifts the pitch of

sample up to 36 semitones up or down. This function is identical to
the Semi knob; it does not affect the transposition of any connected
MIDI controller hardware.
Hardware: To edit the Master Section, press the F1 button. Use the
Q13, Q14, and Q15 Q-Link Knobs for direct access to the
parameters. Remember that Drum Programs offer fewer parameters
than Keygroup Programs.
131
Click the Automation button to switch the Program's Automation between Off, Read (R), and Write (W).
• When set to Off, the Program will ignore automation data. If you have already recorded or
entered automation, clicking the button will switch between Read (R) and Write (W) only,
but you can override this and set it to Off by pressing and holding Shift on your computer
keyboard while clicking the button.
• When set to Read (R), the Program will read automation data but will not record any
(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 have any Q-Link Knobs
assigned to automatable parameters, make sure not to touch any accidentally while you
are recording!)
Hardware:
Press the Q-Link Trigger button to switch the Program's Automation between Off (the button will
be unlit), Read (the button will be lit solid), and Write (the button will flash).
132
Simultaneous Play Section (Drum Programs Only)
The Simultaneous Play section lets you set up to four pads that can
be triggered by pressing one pad only. Use this function to trigger a
stack of sounds (e.g., layered bass drums).
Hardware: To select the pads for Simultaneous Play, press the F1
button (Master). Use Q-Link Knobs Q5–Q8 to select the
corresponding pads. This function is available only in Drum Programs.
Mute Target Section (Drum Programs Only)
For the currently selected pad, you can select up to four pads (in the
same program) as Mute Targets. When the pad is played, it will
immediately silence its Mute Targets. Click each Pad drop-down menu
to select the desired Mute Target.
Hardware: To select the Mute Target pads, press the F1 button
(Master). Use Q-Link Knobs Q1–Q4 for selecting the corresponding
pads. This function is only available in Drum Programs.
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. For more information about Mute Groups, see Keygroup Play Modes Section (for
Keygroup Programs) and Pad Play Modes Section (for Drum Programs) in this chapter.
133
Keygroup Play Modes Section (Keygroup Programs Only)
Here, you can set the behavior for each pad's samples in a Keygroup
Program.
Mute Groups let you 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.
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 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-On: The sample will play only as long as the pad is held. This is better for longer samples so
you can control a sound's duration by pressing and holding its corresponding pad.
Hardware: To edit the Keygroup Play Modes parameters, press the F1 button (Master). Use Q-Link
Knobs Q9–Q11 for direct access of all three parameters. These parameters are available only in
Keygroup Programs.
134
Key Group Section (Keygroup Program Only)
Here, you can set additional Keygroup Program parameters.
Tips:
• The loaded sample's root key will determine where the original pitch
is located. For example, if the root key is C3, the original sample is
located at Pad D13.
• In a Keygroup Program, you can also use the pads on your MPC
hardware to play samples assigned to Keygroups. The 128 pads
(A01 to H16) correspond to MIDI notes from from note number 0 to
127, allowing you to easily play a melody with a single sample over
a wide range.
KG Select (Keygroup Select) lets you select a specific Keygroup for editing. This parameter works in
conjunction with the No. KG (Numbers of Keygroups) parameter in the Edit Layers section, which lets
you create up to 128 Keygroups within one Keygroup Program. A default Keygroup Program contains
only one single Keygroup. When you have created more than one Keygroup with No. KG, use KG Select
to select any Keygroup for editing. All selects all available Keygroups of a Keygroup Program for
simultaneous editing.
Keytrack allows you to switch a sample's automatic transposition on or off. If this is off, you will always
hear the same pitch of the sample, no matter which note is triggered by pads or a connected MIDI
keyboard.
Level controls the overall volume level of the loaded sample(s).
Pan controls the overall panning of the loaded sample(s) in the stereo field.
135
Note Range lets 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.
Tip: Set the Lo parameter to A0 and the Hi parameter to C8 to emulate the range of a standard 88-key
piano.
Semi lets you transpose the sample 36 semitones up or down, while Fine provides fine-tuning of each
layer by fractions of a semitone 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 Layer parameters control the settings for each layer (up to 4).
Hardware: To edit the Key Group parameters, press the F1 button (Master). Use Q-Link Knobs Q1–Q8
for direct access of all parameters. These parameters are available only for Keygroup Programs.
136
Edit Layers Section
Each pad can trigger up to four samples,

which are assigned in four individual layers.
Each layer has separate parameters for
Sample, Semi, Fine, Level, Pan and
Velocity. Keygroup Programs also have a
Root Note parameter.
Note: For easier recognition, Drum Program
controls are colored in blue while Keygroup
Programs are colored in red.
Click the Sample drop-down menu to select

the sample file for that layer. Remember that
the sample has to be loaded into the Project
Information beforehand. For information on
how to load samples into a Project, please
see General Features > Browsers > File
Browser and General Features > Program
Types earlier in this manual.
Tip: For Drum Programs, you can click and
drag a sample from the File Browser, your
computer's Desktop, or your computer's
Explorer (Windows) or Finder (Mac OS X)
directly onto a pad to load it to Layer 1.
137
Semi lets you transpose the selected layer 12 up to semitones up or down.
Fine provides fine-tuning of each layer by fractions of a semitone.
Level lets you adjust the each layer's volume, letting you control the "balance" of the samples assigned
to the pad.
Hardware: To edit the first 16 Layer parameters located on the left of the vertical separation lines in the
Layers section, press the F2 button (Samples). Use the Q-Link Knobs for direct access of their
respective Edit Layers parameters. Remember that Drum Programs have fewer parameters than
Keygroup Programs.
Pan adjusts the stereo placement of the respective layer.
Velocity defines the velocity range of each layer. Set the values by doing one of the following:
• In the software, click in the segment chain on the right side of the Layer area and drag its left and
right ends to the desired values.
• On your MPC hardware, press the F3 button and changed the displayed values with the Data Dial
or -/+ buttons.
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 of each 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 mid-range velocities
trigger the medium-force sample, and only high velocities trigger the high-force sample.)
Root Note (available for Keygroup Programs only), you can set the root key of each loaded sample.
Hardware: To edit the second 16 Layer parameters located on the right of the vertical separation lines in
the Layers section, press the F3 button (Layer 2). Use the Q-Link Knobs for direct access of their
respective Edit Layers parameters. Remember that Drum Programs have fewer parameters than
Keygroup Programs.
138
The virtual keyboard (available for Keygroup Programs only) shows the Note Range, which can be set in
the Key Group section. You can also drag the left or right range with your computer mouse.
Click the red bar above the virtual keyboard to set the overall key range for the selected Keygroups.
No. KG (Number of Keygroups) lets you create up to 128 Keygroups within a Keygroup
Program. This is very useful when 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 4 possible velocity layers). A single
Keygroup can be edited by using the KG Select parameter in the Key Group section.
Alternatively, you can select All Keygroups for simultaneous editing.
139
Edit Zones (only available in Drum Programs) displays an overview of any selected pad(s). Click one of
the checkboxes on the right to select how the selected pads will be edited. In the software, you can
select pads directly in Program Edit Mode by clicking with your computer mouse. On your MPC
hardware, you can select pads by striking them.
• Current: Only the currently active pad (the purple square with an orange border) can be edited.
• Multiple: All selected pads (squares with an orange border; the purple square is the active one) can
be edited simultaneously.
• All: All pads can be edited simultaneously.
Hardware: To select the Edit Zones setting:

1. Enter Program Edit Mode by pressing the Prog Edit button.
2. On any of the tabs (selectable with the Function Buttons), use the Cursor Buttons to select any
field except: Flt Atk, Flt Hld, Flt Dec, Flt Sust, Amp Atk, Amp Hld, Amp Dec, Amp Sust, Dec
Type, or a loaded effect name.
3. Press the Window button.
4. In the window that appears, use the Data Dial or -/+ buttons to set the Edit Mode field to Current,
Multiple, or All.
• If you select Multiple, press the pads you want to select. Use the Pad Bank button to view other
pad banks.
5. Press F4 (Close) when you are done.
• 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 will automatically change to Multiple.
140
Filter Section
The Filter Type drop-down menu lets you select a filter for the selected pad.
See Appendix > Glossary > Filter for an explanation of the available filter
types.
Cutoff controls the cutoff frequency for low-pass and high-pass filter types
or the center frequency for band-pass and band-stop filter types.
Reso controls 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 a strong audible boost around the
cutoff frequency.
Env determines 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
of the filter Cutoff over time.
Tip: To give a sound a more distinctive attack, increase the Env setting and set low Atk and Decay
values as well as a medium-low Sust 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 sound much more "alive" with low Env settings and a high Atk value, resulting in
a slight fade-in of the higher frequencies.
The Modulation Sources set the amount for different modulation. The following modulation sources are
available:
• V>Start (Velocity  Start, for Drum Programs only) sets how much velocity is needed (for a
triggered pad or key) to modulate the sample startpoint.
• Kbd>Flt (Keyboard  Filter, for Keygroup Programs only) sets how much the keyboard’s tracking
(MIDI notes played by the keygroup program) modulates the filter cutoff frequency.
141
• V>Atk (Velocity  Attack) sets how much velocity is needed (for a triggered pad or key) to
modulate the Attack phase for the Amp envelope.
• V>Env (Velocity  Envelope) enables velocity information to control the amount of the filter
envelope's effect on the cutoff frequency.
• V>Flt (Velocity  Filter) uses the velocity of a pad or key to modulate the cutoff frequency directly.
The Filter Envelope controls affect the filter frequency. The knobs control the envelope shape or time-
variant modulation output. Adjust envelope's influence on the filter frequency with the Env knob. See the
following Anatomy of an Envelope below to learn about the envelope parameters.
The Amp Envelope controls affect level changes over time. The knobs control the envelope shape or
time-variant modulation of a sound's level. See the following Anatomy of an Envelope below to learn
about the envelope parameters.
Hardware:
To edit the Filter, Filter Envelope, and Amp Envelope parameters, press the F4 button (Flt Env). Use
the Q-Link Knobs for direct access of all 16 parameters.
To set the Filter Envelope type or Amp Envelope type, press the Window button while on the Flt Env
tab. Use the Cursor Buttons to select the Filter Envelope or Amp Envelope, and use the Data Dial or -
/+ buttons to select AD or AHDS. See the following Anatomy of an Envelope below to learn more about
the envelope parameters.
142
Anatomy of an Envelope
An envelope creates a variable control signal. It can be used, for instance, to modulate the filter settings
of a sound over a given period of time.
For Drum Programs, the software offers two envelope types comprised of separately controllable
parameters. Click the AD box to check or uncheck it, letting you switch between two envelope types:
AD (checked) or AHDS (unchecked).
For Keygroup Programs, the software offers only AHDS envelopes.
With AHDS envelopes, the following happens when you trigger a

sample:
1. Within the period of time you have defined with the Attack (Atk)
parameter, 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 or key is released.
With AD envelopes, the following happens when you trigger a sample:

1. Within the period of time you have defined with the Attack (Atk)
parameter, 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 drop-down menu to select Decay
From Start (the volume will start decreasing immediately after
reaching its maximum level) or Decay From End (the maximum
volume will be maintained for a hold phase until it reaches the
decay phase).
143
Pad Play Modes Section (Drum Programs Only)
Here, you can set the behavior for each pad's samples in a Drum
Program.
Mute Groups let you 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.
Tip: This feature is useful for programming realistic hi-hats, especially if only the open or closed hat
should be heard.
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 its layer's samples at random.
Sample Play determines how much of the sample is played. Note-On (only as long as the note is held).
• One-Shot: The entire sample will play from start to end. Use this when you want to play short sounds.
• Note-On: The sample will play only as long as the pad is held. This is better for longer samples so
you can control a sound's duration by pressing and holding its corresponding pad.
Pad Play lets you select between two options: 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(s), 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).
Hardware: To edit the Pad Play Modes parameters, press the F5 button (Lfo Mod). Use Q-Link Knobs
Q13–Q16 for direct access of all 4 parameters. These parameters are available only in Drum Programs.
144
Velocity Sensitivity Section
Here, you can set how much velocity affects various sound
parameters: Pitch, Filter Envelope Attack (Atk), Amplifier (Amp) and
Panning (Pan).
When you press a pad softly, only minimal modulation is applied.
When you press it harder, the modulation amount also gets stronger
depending on the setting of the corresponding dial.
Hardware: To edit the Velocity Sensitivity parameters, press the F5
button (Lfo Mod). Use Q-Link Knobs Q13–Q16 for direct access of
all 4 parameters. Remember that a Drum Program uses different Q-
Link Knobs than a Keygroup Program.
145
LFO Section
A low-frequency oscillator (LFO) generates a periodic waveform with an

adjustable frequency and shape which can be used for modulation
purposes.
Wave sets the LFO waveform. Click the drop-down menu and select
one of the following:
• Triangle (best suited for smooth modulations)
• Sine (best suited for smooth modulations)
• Square (interesting results with hard-panning modulations)
• Saw (can generate interesting filter or volume changes)
• Saw Down (can generate interesting filter or volume changes)
• Noise (generates random values and glides)
• S&H (samples a random value and holds it until the next value is generated)
Rate determines the LFO frequency when Sync is on. At lower values, it might take some time for the
LFO to complete a cycle, while higher values will come closer to audible range.
Sync will synchronize the LFO to the tempo, based on the rate selected in the drop-down menu. When
None is selected, Sync is off.
The LFO modulation Destinations determine the amount of effect of the LFO has on Pitch, Filter Cutoff
frequency (Filter), Volume (Amp) and Panning (Pan).
Hardware: To edit the LFO parameters, press the F5 button (Lfo Mod). For Drum Programs, use Q-Link
Knobs Q1–Q7 for direct access to all seven parameters. For Keygroup Programs, use Q-Link Knobs
Q5–Q12 for direct access to all seven parameters. (Remember that a Drum Program uses different
controls than a Keygroup Program.)
146
Controller Mod Section (Keygroup Program Only)
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 as well as aftertouch and
modulation wheel data.
Pitch Bend sets the range (in semitones) of a connected MIDI keyboard's pitch-bend wheel.
Whl>LFO (Wheel to LFO) determines how much a connected MIDI keyboard's modulation wheel affects
the LFO intensity.
Aft>Filt (Aftertouch to Filter Cutoff) determines how much a connected MIDI keyboard's aftertouch data
affects the filter cutoff.
Hardware: To edit the Controller Mod parameters, press the F5 button (Lfo Mod). Use Q-Link Knobs
Q2–Q4 for direct access of all three parameters. Remember that these parameters are available only in
Keygroup Programs.
147
Insert Effects Section
You can select up to four insert effects for each pad or keygroup or
for the entire Program. You can use various effects included in your
MPC software as well as other VST and AU plugins installed on your
computer.
To learn how to use insert effects in the MPC software, please see
Effects > Insert Effects.
Tip: For a list of all available MPC software effects and their
parameters, please see Appendix > Effects and Parameters.
Important:
When using keygroup insert effects, they will be applied to the entire
Keygroup Program. This is because a Keygroup Program uses the
same sound across all pads, as opposed to Drum Programs where
each pad can have its own insert effect.
If a pad's or keygroup's Pad Audio Route menu is set to anything
other than Program, then Program insert effect will not be applied to
that pad or keygroup.
148
Pad/Keygroup Audio Route Section
This menu lets you select where the audio for currently selected pad or
keygroup will be routed.
Click the drop-down menu, and select any one of the following outputs:
Program, Submix 1 to 8, or Out 1,2 to Out 31,32.
MPC Renaissance users: Out 1,2 are routed to the Stereo Out jacks.
Out 3,4 are routed to the Assignable Mix Out jacks.
When using a Drum Program, this lets you send each pad's audio to
separate outputs, if desired. When using a Keygroup Program, this will
determine where the audio of the entire Program is sent. This is because a
Keygroup Program uses the same sound across all pads, as opposed to
Drum Programs where each pad can have its own insert effect.
Important: If the a pad's Pad Audio Route menu is set to anything other
than Program, then Program insert effect will not be applied to that pad.
Program Edit Mode for MIDI Programs and Plugin Programs
For MIDI Programs and Plugin Programs, Program Edit Mode looks a bit
different. You will see an overview of all available parameters of your
loaded virtual instrument, including a corresponding rotary knob for
editing. We recommend editing a virtual instrument by using its own
graphical user interface, though.
To assign a parameter to one of the controls, click the drop-down menu
above the corresponding controller and select it from the drop-down
menu. In this way, you can easily set up arrangements of 16 knobs to be
controlled by your MPC hardware.
You can use Program Edit Mode to directly edit a set of parameters in a
section with your MPC hardware.
Hardware: To edit virtual instrument parameters, press the corresponding
F button (Page1 to Page6). Use the MPC hardware Q-Link Knobs for
direct access of all 16 parameters that are displayed. You can use the
Cursor Buttons to select a desired parameter location in the display and
change the parameter with the -/+ buttons or the Data Dial.
149
Program Mixer Mode
In Program Mixer Mode, you can set a Program's levels, stereo panning, routing, and effects.
For Drum Programs, this mode has a channel strip for each individual pad (of 128). For Keygroup
Programs, this mode has a channel strip for each individual Keygroup (up to 128). For MIDI Programs
and Plugin Programs, this mode has one channel strip.
For more information on how these Programs differ, please see General Features > Program Types.
To enter Program Mixer Mode in the software, do one of the following:

• Click the Program Mixer Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Program Mixer.
Hardware: To enter Program Mixer Mode, press the Prog Mix button.
150
Program Mixer Mode works like a regular audio mixer and offers various settings for each channel. All
channels' functionality is identical. If a sample has been assigned to a pad, its name is displayed below
the channel fader.
The channel strip on the right-most side of this area is the Program Channel strip (if visible). It works the
same way as described in Main Mode > Program Channel Strip. Any other channel strips whose
routing is set to Program will be routed to the Program Channel.
To view more mixer channels, use the scroll bar under the channel faders at the bottom of the window.
Show/Hide Buttons
In the software, the Channel View buttons on the left side of the pad channel strip area determine which
channel strips are visible.
• Click the first (top-most) button to show or hide the Program Channel strip, which is on the
right-most side of the channel strip area.
• Click the second button (Show all pads) to show all channel strips, whether or not their
pads have samples or events.
• Click the third button (Show pads with samples) to show channel strips whose pads
contain samples.
• Click the fourth button (Show pads with events) to show channel strips whose pads
contain events.
• Click the fifth button (Show pads with samples or events) to show channel strips whose
pads contain samples or events.
When Show pads with events or Show pads with samples or events is selected, you
can click the sixth (lower-most) button (Filter events in track/sequence) to show
channel strips for all events in the Track (T) or all events in the Sequence (S).
151
Routing
In the software, to set the routing for a channel:

1. Click Route button of the channel.
2. Click the drop-down menu just above the Pan knob.
3. Select the desired output (e.g., Out 1,2) to route the audio signal directly to this
output. (You need an audio interface that is equipped with more than two
outputs.)
Selecting Program will route the audio signal to the Program Channel, whose corresponding
channel strip is on the right-most side of this area (if visible).
Hardware: To set the routing for a channel:
1. Press F6 (Route).
2. Use the Cursor Buttons to select a pad. You can use the Pad Bank buttons to select different sets
of 16 channels.
3. Use the Data Dial or -/+ buttons to select the desired output. (MPC Renaissance users: Out 1,2
are routed to the Stereo Out jacks. Out 3,4 are routed to the Assignable Mix Out jacks.)
Levels
In the software, click the channel fader and drag it up or down to set the level. The
level meter to the right of the fader provides a visual indication of the level. Press and
hold Alt (Windows) or Option (Mac OS X) on your computer keyboard and click a
fader to return it to its default position.
Hardware: To set the level for a channel, press F2 (Level) and use the corresponding
Q-Link Knob for editing. You can use the Pad Bank buttons to select different sets of
16 channels.
152
Pad (Drum Programs only)
In the software, click a pad below the channel fader to trigger the corresponding pad.
Hardware: To trigger a pad's sample(s), press the corresponding pad.
Tip: You can load a sample onto a pad by dragging the file onto it.
Panning
In the software, click the channel's Pan knob and drag it up or down to set the position.
Hardware: To set the panning for a channel, press F3 (Pan) and use the corresponding Q-
Link Knob for editing. You can use the Pad Bank buttons to select different sets of 16
channels.
Mute and Solo
In the software, click the channel's Mute button (M) to mute it.
Hardware: To mute a channel, press F4 (Mute) and touch the top of the corresponding Q-Link
Knob to toggle between "mute" and "mute off." You can use the Pad Bank buttons to select
different sets of 16 channels.
Alternatively, you can click the Mute button (M) for the pad in the grid above to mute it.
To solo a channel, click its Solo button (S), which will mute all other channels. You can solo as
many channels as you like. To deselect solo, click the active solo button.
153
Automation (Program Channel strip only)
You can click the Automation button on Program Channel strip to switch its Automation between Off,
Read (R), and Write (W). (If the Program Channel strip is not shown, click the downward arrow icon to
the left of the pad channel strips.)
while recording.)
are recording!)
Hardware:
Press the Q-Link Trigger button to switch the Program's Automation between Off (the button will
be unlit), Read (the button will be lit solid), and Write (the button will flash).
154
Effects
Insert Effects
You can select up to four insert effects for each pad or keygroup or for the entire
Program. You can use various effects included in your MPC software as well as other
VST and AU plugins installed on your computer.
To learn how to use insert effects in the MPC software, please see Effects > Insert
Effects.
Important:
When using keygroup insert effects, they will be applied to the entire Keygroup Program. This is because
a Keygroup Program uses the same sound across all pads, as opposed to Drum Programs where each
pad can have its own insert effect.
If a pad's or keygroup's routing is set to anything other than Program, then Program insert effect will not
be applied to that pad or keygroup.
Tip: For a list of all available MPC software effects and their parameters, please see Appendix > Effects
and Parameters.
Send Effects
You can select up to four send effects for each pad or keygroup
or for the entire Program. You can use various effects included in
your MPC software as well as other VST and AU plugins installed
on your computer.
To learn how to use send effects in the MPC software, please
see Effects > Send Effects.
Important: To use a send effect, you have to load an effect into
the corresponding send effect slot in Track Mixer Mode.
Tip: For a list of all available MPC software effects and their
parameters, please see Appendix > Effects and Parameters.
155
Track Mixer Mode
In Track Mixer Mode, you can set the levels, stereo panning, and effects for each Track.
To enter Track Mixer Mode in the software, do one of the following:

• Click the Track Mixer Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Track Mixer.
Hardware: To enter Track Mixer Mode, press Shift + Prog Mix / Track Mix.
While Program Mixer Mode lets you control the mix of individual pads and sounds within a Program,
Track Mixer Mode lets you mix your Tracks within a Sequence. Up to 128 Tracks are available.
156
The upper half of the window shows narrow versions of the Tracks in that Sequence. They are for visual
reference only and are not editable.
The lower half of the window can contain two kinds of channel faders:
• Tracks, to the right of the grey Tracks separator (if Tracks are shown). Their functions are
described in the following sections of this chapter. By default used Tracks are named Track 01,
Track 02, etc.
• Programs, to the right of the grey Programs separator (if Programs are shown). These work the
same way as described in Main Mode > Program Channel Strip.
This section works like a regular mixer with various settings for each channel strip. You can use the
Tracks' channel strips and Program Channel strips together to create a good mix of the Sequences in
your Project.
The controls on the right-most side of this area are the Send Effects, Submix, and Master FX panels (if
visible).
To view more mixer channels, use the scroll bar under the channel faders at the bottom of the window.
Show/Hide Buttons
You can show or hide unused Tracks' channel strips (i.e., those with no note events) and/or plugins
through which your Tracks are routed:
• To show or hide the Send Effects, Submix, and Master FX panels, click the downward
arrow icon to the left of the channel strips.
• To show or hide all Tracks' channel strips, click the channel strip icon to the left of the
channel strips.
• To show or hide unused Tracks' channel strips, click the + icon to the left of the channel
strips or in the upper-left corner of the grid.
• To show or hide the Programs' channel strips for the Tracks, click the plug icon to the left
of the channel strips or in the upper-left corner of the grid.
• To show or hide unused Programs' channel strips for the Tracks, click the plug icon to the
left of the channel strips or in the upper-left corner of the grid.
157
Program Assignment
To select a Track's Program:

1. Click the downward arrow () of the drop-down menu above the Track's Pan
knob.
2. Select the Program you want this Track to use. The software will use this
Program to play the events in this Track.
158
Levels
In the software, click the Track fader and drag it up or down to set the MIDI volume
level (0–127). The level meter to the right of the fader provides a visual indication of the
level. Press and hold Alt (Windows) or Option (Mac OS X) on your computer keyboard
and click a fader to return it to its default position.
You can also set the levels of each Program within Track Mixer Mode by clicking and
dragging a fader for a Program Channel strip. (If the Program Channel strips are not
shown, click the plug icon to the left of the Track channel strips or in the upper-left
corner of the grid.)
Hardware:
To set the level for a Track:
1. Use the Cursor Buttons to select the Mixer field, and then use the Data Dial or -/+ buttons to set
it to Tracks.
2. Press the F1 button (Level) and use the corresponding Q-Link Knobs for editing. You can use the
Pad Bank buttons to select different sets of 16 Tracks.
• Important: Any automation you record in this mode will be for the current Track only, not for all 16
Tracks.
To set the level for a Program:
it to Programs.
2. Press the F1 button (Level) and use the corresponding Q-Link Knobs for editing. You can use the
Pad Bank buttons to select different sets of 16 Programs.
The Level tab's Tracks view in the Track Mixer Mode in the display of the MPC hardware.
159
The Level tab's Programs view in the Track Mixer Mode in the display of the MPC hardware.
Important: When the Mixer field is set to Tracks while recording automation, you can record automation
for the level and pan for the currently selected Track only, not all 16 Tracks shown.
Important: By default, some plugins do not support MIDI volume. In this case, adjust this at the plugin
Track.
Note: MIDI Programs' and Plugin Programs' levels will initially appear as ?. This
indicates that the Program is not sending any volume changes, which allows certain
plugins to load with their optimal default settings. If you copy a Sequence, the level
values will be copied with that Sequence. If you move to a new Sequence and put the
same MIDI Program or Plugin Program on a new Track, though, these values will
appear as ?.
160
Panning
In the software, click the Track's Pan knob and drag it up or down to set the position.
You can also set the panning of each Program within Track Mixer Mode by clicking and
dragging a Pan knob for a Program Channel strip. (If the Program Channel strips are not
shown, click the plug icon to the left of the Track channel strips or in the upper-left corner of the grid.)
Hardware:
To set the panning for a Track:
it to Tracks.
2. Press the F2 (Pan) and use the corresponding Q-Link Knobs for editing. You can use the Pad
Bank buttons to select different sets of 16 Tracks.
To set the panning for a Program:
it to Programs.
2. Press the F1 (Pan) and use the corresponding Q-Link Knobs for editing. You can use the Pad
Bank buttons to select different sets of 16 Programs.
Important: By default, some plugins do not support MIDI panning by default. In this case, adjust this at
the plugin Track.
Note: MIDI Programs' and Plugin Programs' pan values will initially appear as ?. This
indicates that the Program is not sending any pan changes, which allows certain plugins
to load with their optimal default settings. If you copy a Sequence, the pan values will be
copied with that Sequence. If you move to a new Sequence and put the same MIDI
Program or Plugin Program on a new Track, though, these values will appear as ?.
161
Mute and Solo
In the software, click the Track's Mute button (M) to mute it.
Hardware: To mute a channel, press F3 (Mute) and touch the top of the corresponding Q-Link
Knob to toggle between "mute" and "mute off." You can use the Pad Bank buttons to select
different sets of 16 Tracks.
To solo a Track, click its Solo button (S), which will mute all other Tracks. You can solo as many
Tracks as you like. To deselect solo, click the active solo button.
Alternatively, you can click the Mute button (M) or Solo button (S) for the horizontal track above to mute
or solo it.
You can also mute or solo each Program within Track Mixer Mode by clicking the M or S button for a
Program Channel strip. (If the Program Channel strips are not shown, click the plug icon to the left of the
Track channel strips or in the upper-left corner of the grid.)
Hardware:
To mute a Track:
it to Tracks.
2. Press the F3 (Mute) and use the corresponding Q-Link Knobs for editing. You can use the Pad
Bank buttons to select different sets of 16 Tracks.
To mute a Program:
it to Programs.
2. Press the F3 (Mute) and use the corresponding Q-Link Knobs for editing. You can use the Pad
Bank buttons to select different sets of 16 Programs.
162
Automation (Program Channel strips only)
You can click the Automation button on a Program Channel strip to switch its Automation between Off,
Read (R), and Write (W). (If the Program Channel strips are not shown, click the plug icon to the left of
the Track channel strips or in the upper-left corner of the grid.)
while recording.)
are recording!)
Hardware:
Press the Q-Link Trigger button to switch a Program's Automation between Off (the button will be
unlit), Read (the button will be lit solid), and Write (the button will flash).
163
Effects
Insert Effects
Because you can view Program Channel strips in Track Mixer Mode, you can select
up to four insert effects for each Program, just as you could in Program Mixer Mode.
You can use various effects included in your MPC software as well as other VST and
AU plugins installed on your computer.
To learn how to use insert effects in the MPC software, please see Effects > Insert
Effects.
Tip: For a list of all available MPC software effects and their parameters, please see Appendix > Effects
and Parameters.
Send Effects
Because you can view Program Channel strips in Track Mixer Mode, you
can select up to four send effects for each Program, just as you could
in Program Mixer Mode. You can use various effects included in your
MPC software as well as other VST and AU plugins installed on your
computer.
To learn how to use send effects in the MPC software, please see
Effects > Send Effects.
Important: To use a send effect, you have to load an effect into the
corresponding send effect slot in Track Mixer Mode.
Tip: For a list of all available MPC software effects and their parameters,
please see Appendix > Effects and Parameters.
164
Master Effects
You can load, edit, or remove up to four Master effects, which will be applied to the
entire Master mix. (If the Master Effects section is not shown, click the downward arrow
icon to the left of the Track channel strips.)
Tip: For a list of all available MPC software effects and their parameters, please see
Appendix > Effects and Parameters.
To load a Master effect:

1. In one of the four slots of the Master FX column, click the downward arrow ().
2. Select an effect from the menu that appears.
Hardware: To load and edit a Master effect:
1. Press Shift + Seq Edit / Effects.
2. Press F5 (Insert).
3. Use the Cursor Buttons to select the desired Insert effect slot.
4. Use the Data Dial or the -/+ buttons to open another page to select an effect. Click F4 (Select) to
load it, or click F3 (Back) to close the page.
Master Effects in the MPC hardware display.
165
Track View Mode
Track View Mode gives you an overview of the Tracks of each Sequence. Use this mode to edit
Tracks and Sequences simultaneously.
Tip: Use Track View Mode to switch quickly between Tracks in a Sequence. This allows for a faster
editing workflow.
To enter Track View Mode in the software, do one of the following:

• Click the Track View Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Track View.
Hardware: To enter the Track View mode, press Shift + Main / Track.
Track View Mode: Drum Program.
166
The upper half of the window shows narrow versions of the Tracks in that Sequence. They are for visual
reference only and are not editable.
The lower half of the window shows either the standard Grid View (as described in General Features >
Grid View) or the list view (as described in General Features > List View).
Select a Sequence by clicking the Seq drop-down menu in the upper-right corner of the window. The
Sequence's Tracks will appear in the upper half of the window. Select a Track to edit by clicking it. The
Track's grid and automation lane will appear in the grid in the lower half of the window.
167
Next Sequence Mode
Next Sequence Mode lets you trigger different Sequences simply by playing the pads. This is
useful for live performances, letting you change a Song's structure in real time.
To enter Next Sequence Mode in the software, do one of the following:

• Click the Next Sequence Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Next Sequence.
Hardware: To enter Next Sequence Mode, press the Next Seq button.
168
Triggering Sequences
During playback, select a Sequence to play next simply by pressing the corresponding pad. The number
and name of the selected Sequence will be displayed in the timeline in the upper half of the window. Use
the controls in the Pad Bank Section and Next Sequence Section to change or repeat Sequences in
real time.
Sequence Playlist
The Sequence Playlist window in Next Sequence Mode shows a

list-style overview of all used Sequences 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 Tempo column shows the tempo of a Sequence in beats
per minute.
169
Pad Bank Section
In the Pad Bank section, every pad is assigned to a Sequence,

starting from Pad A01 with Sequence 1 and ascending from there.
Used Sequences are shown with their names; unused Sequences
are shown as (unused). The selected pad will be green.
During playback, change the next Sequence by clicking and
holding the corresponding pad until the current Sequence ends. If
no other Sequence is selected, the software will repeat the current
Sequence indefinitely.
Hardware: Every pad is assigned to a Sequence, starting from
Pad A01 with Sequence 1 and ascending from there. Used
Sequences are shown with their names; unused Sequences are
shown as (unused). The selected pad will be lit green.
1. Start playback by pressing the Play button.
2. During playback, change the next Sequence by pressing the
corresponding pad until the current Sequence ends. The pad
that will play next will flash green.
3. If no other Sequence is selected, the software will repeat the
current Sequence indefinitely.
The Next Sequence section in the display of the MPC hardware.
170
Next Sequence Section
During the playback of a Sequence, the Next Sequence section gives

you the following options:
• Click Next Bar to change the Sequence at the beginning of the
next bar. This lets you select the next Sequence without having to
press a pad or button in perfect time.
• Click Sudden to switch to the next Sequence immediately—before
the software has finished playing the current Sequence. This is
useful in live performances if you need to switch to the next
Sequence instantly at a certain cue.
• Click Clear to delete the selected Sequence from the Sequence Playlist.
• Click Hold to repeat playback of the current Sequence until you click it again. This is useful for live
performances to prolong the playing of a Sequence, for example, to respond to the audience.
Hardware:
• Press F4 (Sudden) to switch to the next Sequence immediately—before the software has finished
playing the current Sequence. This is useful in live performances if you need to switch to the next
Sequence instantly at a certain cue.
• Press F5 (Hold) to repeat playback of the current Sequence until you click it again. This is useful for
live performances to prolong the playing of a Sequence, for example, to respond to the audience.
• Press F6 (Clear) to delete the selected Sequence from the Sequence playlist.
• Press F3 (Next Bar) to change the Sequence at the beginning of the next bar. This lets you select
the next Sequence without having to press a pad or button in perfect time.
The Next Sequence section in the display of the MPC hardware.
171
When playback is stopped, this section gives you the following options:
• Copy to Song opens a drop-down menu to select a Song the
Sequence playlist is copied to. To read more about Song Mode,
please see the Song Mode chapter.
• Erase Song erases the active Sequence Playlist.
Hardware: Press F1 (To Song) to copy your changes directly into a Song. In the Copy to Song window
that appears, use the Data Dial or -/+ buttons to select the Song number where you want to copy your
changes.
Project Information
This is identical to the Project Information in Main Mode. For more information, please see Main Mode >
Project Information.
172
Sample Record Mode
Sample Record Mode lets you record audio samples to use in your Tracks and Sequences. This
mode is divided in two main parts: the Waveform Display (which shows the waveform of a
sample after the recording process) and the Record Controls.
Important: To record audio, you need to connect an audio source to your MPC Renaissance or to your
computer's audio interface.
MPC Studio users: This section describes recording using MPC Renaissance as your sound card. MPC
Studio cannot be used in this way, but you can use a separate audio interface connected to your
computer to record audio.
To enter Sample Record Mode in the software, do one of the following:

• Click the Sample Record Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Sample Record.
Hardware: To enter Sample Record Mode, press Shift + Sample Edit / Sample Rec.
173
Setting Up to Record with MPC Renaissance
The following example describes the the sample recording procedure using the MPC Renaissance
hardware.
Hardware:
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 your audio source (e.g., a microphone, instrument, etc.) to the Mic In jacks of your MPC
Renaissance. If a connected microphone requires phantom power, make sure the Phantom Power
switch is set to On. Turn phantom power off when you are not recording. Alternatively, connect a
turntable or CD player to the Phono In jacks.
3. Set the Mic / Line switch on the rear panel as well as the Mic In / Phono In switch on the top
panel to match your source. Incorrect settings can produce unwanted distortion.
4. Set the Rec Gain knob to an appropriate input level.
5. Use the Cursor Buttons to select the record control parameters, described in detail below.
The Sample Record section in the display of the MPC hardware.
174
Waveform Display
The Waveform Display shows the entire waveform of your recorded sample with a timeline at the top.
While this is just for reference in Sample Record Mode, it is the focus of Sample Edit Mode. Please see
the Sample Edit Mode chapter to learn about editing your recorded samples.
175
Record Controls
The Record Controls offer all the relevant controls for recording.
Threshold
In Record Mode, the software automatically starts recording when the level of the incoming
source exceeds the Threshold (Thresh). If you set the threshold too high, the recording may
not start when you play the input source, or the start of the material you wanted to record
may be missing. If you set the threshold too low, the recording may start too early, before
you play the external source. Set this parameter to an appropriate level using the level
meter.
Use Q-Link Knobs Q3 and Q4 to define the maximum sampling time. You can record up to
20 minutes and 59 seconds. We recommend setting these to values that roughly match
your estimated recording duration.
Hardware: To adjust the Threshold, use Q-Link Knob Q1. Use Q-Link Knobs Q3 and Q4
to set the record time in Minutes and Seconds.
Click the Reset Peak button to reset the "peak hold", which shows the highest level of your
input signal as a red bar within the level meter.
Hardware: To reset the peak hold, press F1 or F2 (Reset Peak). The peak hold is shown as
a vertical bar within the Level Meter.
Record Arm
Use the Record Arm buttons to define which side of the incoming audio signal is
going to be recorded. You can select L for the left channel, R for the right channel or
both buttons for stereo recording.
Hardware: To select the input channel(s), use the Cursor Buttons to select the Mode
field and use the Data Dial or -/+ buttons to select Stereo, Left, or Right.
Tip: Deselect the right channel when you are recording to one channel only.
176
Input Source
The Input Source parameter defines whether you are going to record an external
audio signal (External) an internal signal from the software (Resample). A
Resample recording does not require an audio connection because the source is
within the software and is therefore 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.
Hardware: To select the sample input, use the Cursor Buttons to select the
Input field and use the Data Dial or -/+ buttons to select External or Resample.
Input Monitor
When input monitoring is on, the audio you hear in your headphones will be taken
before it reaches the software, ensuring zero latency. When input monitoring is
off, the audio you hear in your headphones will be taken after it is processed in
the software, so there may be some latency, but you will hear the audio source as
it sounds in the recording.
Click the Input Monitor button to control the incoming audio source through your
audio system.
Hardware: To activate the Input Monitor function, use the Cursor Buttons to select the Monitor field
and use the Data Dial or -/+ buttons to switch it to On.
Important: Make sure the Direct Monitoring, Input Monitoring, etc. control of your audio interface or
MPC Renaissance is set appropriately so you can hear the incoming signal rather than just the signal
from your computer.
Tip: To avoid possible clicks or feedback while input monitoring, reduce the level of the audio sources.
Sample Length
For reference, the Sample Length display shows you the length of your sample
during the recording procedure.
177
Sample Rec and Sample Stop
Important: To use the Assign to Pad function to assign the new sample directly to a pad after recording,
select the desired Track and Program before starting to record.
Click Sample Rec to record-arm the software, or click Sample Stop to stop the
recording process. If you do not click Stop, recording will continue to the end of the
previously set sample length.
After clicking Sample Rec, the recording will start once the incoming audio level
exceeds the Threshold parameter.
Hardware:
1. To start recording, press F6 (Record).
2. After that, the recording will start once the incoming audio level exceeds the Threshold parameter.
3. If recording has not begun yet, you can cancel the procedure by pressing F5 (Cancel) or start the
recording immediately by pressing F6 (Start).
4. To stop recording, press F6.
When the recording is finished, the Keep or Retry Last Sample

window appears:
• If you want to keep the recorded sample, enter a name in
the New Name field.
• Click the Track menu to select a Track to assign the
sample to.
• Click and drag the Assign to Pad field to select a pad to
assign the sample to.
Important: You need to have already selected the Track to
which you want to assign the pad. If the Track is not the
one you wanted, either move the sample to the desired
Track or Program later, or select Retry to start over.
• Click and drag the Root Note field to set where the
sample's original pitch will be on the keyboard.
• To save the sample, click Keep. To delete the recording
and start over, click Retry. To listen to the sample before
deciding, click Play.
178
Hardware: When the recording is finished, the MPC hardware's display will show new options. Use the
Cursor Buttons to select a field, and use the Data Dial or -/+ buttons to change the setting:
• Track: Select a Track to assign the sample to.
• Assign to Pad: Select a pad to assign the sample to. Alternatively, simply press the pad.
• Root Note: Sets where the sample's original pitch will be on the keyboard.
To save the sample, press F5 (Keep). To delete the recording and try again, press F2 (Retry). To listen to
the sample before deciding, press F4 (Play).
Tip: We recommend editing your recorded sample in Sample Edit Mode.
Keep or Retry Last Sample window in the MPC hardware display.
Direct Record
You can also record a sample as a Sequence is playing and automatically place the newly recorded
sample directly into the Sequence. This process is called Direct Record. This is helpful when you want to
record a sample that is at the same tempo as a specific Sequence.
To use Direct Record:

1. During playback of a Sequence, record a sample as you normally would (described above in
Sample Rec and Sample Stop).
2. When the Keep or Retry Last Sample window appears, click any of the following:
• Click and drag the Assign to Pad field to select a pad to assign the sample to.
• To automatically add the sample to the currently playing Sequence, check Add Event. (This
option is available only when using Direct Record.)
179
• To automatically place the sample as a note event at the start of the currently playing
Sequence, check At Start. (This option is available only when Add Event is checked.)
• To automatically place the sample as a note event where you began recording it in the
currently playing Sequence, leave At Start unchecked. (This option is available only when Add
Event is checked.)
• To delete the recording and start over, click Retry. To listen to the sample before deciding,
click Play. To save the sample, click Keep.
Hardware: When the recording is finished, the MPC hardware's display will show new options. Use the
Cursor Buttons to select a field, and use the Data Dial or -/+ buttons to change the setting:
• Track: Select a Track to assign the sample to.
• Assign to Pad: Select a pad to assign the sample to. Alternatively, simply press the pad.
• Add Event: Set this to Yes to automatically add the sample to the currently playing Sequence. (This
option is available only when using Direct Record.)
• At: Set this to Start to automatically place the sample as a note event at the start of the currently
playing Sequence. Set this to Trigger to automatically place the sample as a note event where you
began recording it in the currently playing Sequence (This field is available only when Add Event is
set to Yes.)
• Root Note: Sets where the sample's original pitch will be on the keyboard.
To save the sample, press F5 (Keep). To delete the recording and try again, press F2 (Retry). To listen to
the sample before deciding, press F4 (Play).
Project Information
Important: Newly recorded samples will be shown in the Sample area of the Project Information. To
use them in your Project, load them into Programs first.
180
Sample Edit Mode
Sample Edit Mode lets you edit samples using various functions.
To enter Sample Edit Mode in the software, do one of the following:

• Click the Sample Edit Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Sample Edit.
To select a sample to edit, click the Edit Sample drop-down menu in the left section below the
waveform display and select a sample from the Project.
Alternatively, you can click and drag a sample from the Project Information onto the Waveform Display.
You can also right-click a sample in the Project Information and select Edit. (You can select a sample
this way in any mode that shows the Project Information. When selecting a sample for editing, the
mode will change automatically to Sample Edit Mode.)
Hardware: To enter Sample Edit Mode, press the Sample Edit button. Use the Data Dial or the -/+
buttons to select a sample for editing. The selected sample is displayed at the top of the display.
The upper half of the window is the Waveform Display. The lower half contains the editing controls.
Sample Edit Mode can work in one of two ways: Trim Mode or Chop Mode. The options for each mode
are slightly different. Please refer to the Trim Mode or Chop Mode parts of the chapter to see how each
works.
181
182
Waveform Display
The Waveform Display is divided into two sections:

• The top of the display shows an overview of the entire sample waveform. A shaded rectangle
outlines the currently shown part of the sample.
• The main part of the display shows the "active" section of the sample waveform. Use the scroll bar
under the waveform to move through it.
To move the view, click and drag the shaded rectangle in the overview.
To zoom in, double-click the shaded rectangle in the overview. Alternatively, you can use the slider in the
lower-right corner of the Waveform Display.
To zoom out, press and hold Control (Windows) or  (Mac OS X) and double-click the shaded rectangle
in the overview. Alternatively, you can use the slider in the lower-right corner of the Waveform Display.
Hardware
To zoom in and out of the waveform, do one of the following:
• Press and hold Shift and use the left and right Cursor Buttons.
• Use Q-Link Knob Q4.
Use Q-Link Knob Q8 to scroll the Waveform Display.
183
In the main Waveform Display, a start point and end point are marked by green lines. These two points
define the portion of the sample data which will be played.
Click and drag either of these lines to move it. The most recently moved line will be red instead of green.
Click the sample timeline to switch between Time (in seconds and milliseconds) and Samples.
Tip: A recorded sample may have some silence at the beginning or end, which makes it difficult to time
it correctly in a 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 can enhance your production or performance.
184
Trim Mode
Edit Section
The Edit section contains controls to edit samples and to select

between Chop Mode or Trim Mode.
Hardware: Use the Data Dial or the -/+ buttons to select a sample for
editing. The selected sample name is shown at the top of your display.
In the software, click the Edit Sample drop-down menu and select the
desired sample.
The Q-Link Knobs can be used for various editing and viewing
functions:
• To zoom in or out of the sample, use Q-Link Knob Q4.
• To scroll the Waveform Display, use Q-Link Knob Q8.
• To adjust the start point of the sample, use Q-Link Knobs Q13,
Q9, Q5, or Q1. The smaller the Q-Link Knob number, the more
precise the adjustment of the start point.
• To adjust the end point of the sample, use Q-Link Knobs Q14,
precise the adjustment of the end point.
• To adjust the loop point of the sample, use Q-Link Knobs Q15,
precise the adjustment of the loop point.
• Alternatively, you can adjust the start point, loop point, or end
point by clicking the corresponding small arrows below the sample
timeline and moving them with your mouse.
185
Hardware:
• To zoom in and out of the waveform, do one of the following:
• Press and hold Shift and use the left and right Cursor Buttons.
• Use Q-Link Knob Q4.
• Use Q-Link Knob Q8 to scroll the Waveform Display.
• To adjust the start point of the sample, use Q-Link Knobs Q13, Q9, Q5, or Q1. The smaller the Q-
Link Knob number, the more precise the adjustment of the start point.
• To adjust the end point of the sample, use Q-Link Knobs Q14, Q10, Q6, or Q2. The smaller the Q-
Link Knob number, the more precise the adjustment of the end point.
• To adjust the loop point of the sample, use Q-Link Knobs Q15, Q11, Q7, or Q3. The smaller the Q-
Link Knob number, the more precise the adjustment of the loop point.
Tips:
• Remember that the loop start point cannot be placed before the start point of a sample.
• Click the waveform and hold the mouse button to play the edited sample.
• Click the sample timeline to switch between Time (in seconds and milliseconds) and Samples.
186
Pad Section
You can use the pads to play certain parts of the selected sample,
regardless of the selected Pad Bank.
Trigger the following playback options by pressing the corresponding
pad:
• Play Loop (Pad 13) plays the sample repeatedly from the loop
point to the end point.
• Play Loop Continuous (Pad 16) plays the sample as a
continuous loop. You can adjust the start point and end point
while it plays.
• Play Sample (One-Shot) (Pad 10) will play the whole sample as it
has been edited. Pressing the pad once will play the entire sample.
• Play Sample (Note On) (Pad 11) will play the whole sample as it
has been edited. Pressing the pad and holding it will play the part; releasing it will stop playback.
You can also click the Waveform Display to activate this function.
• Play All (Pad 9) plays the whole sample regardless of any edits.
• Play To Loop Start (Pad 14) plays the sample portion before the loop point.
• Play From Loop Start (Pad 15) plays the sample from the loop start point to the end of the sample
regardless of the end point. If the loop start point is identical to the end point, nothing will be played.
Pads 01-04 have the same respective functions as Pads 05-08, but Pads 01-04 play the sample part
as "One Shots" (pressing the pad once will play the entire part) while Pads 05-08 play the sample part
as "Note Ons" (pressing the pad and holding it will play the part; releasing it will stop playback):
• Play From Start (Pad 01 and Pad 05) plays the sample from the start point to the end of the sample
regardless of the end point. If the start point is identical to the end point, nothing will be played.
• Play To Start (Pad 02 and Pad 06) plays the sample portion before the start point. If the start point
is set to 0, nothing will be played.
• Play To End (Pad 03 and Pad 07) plays the sample portion from the start point to the end point.
• Play From End (Pad 04 and Pad 08) plays the sample part from the end point to the end of the
sample. If the end point is identical to the end of the sample, nothing will be played.
187
Settings Section
The Settings section lets you edit various parameters affecting playback
and loop functions.
In the software, edit the start point (Start), end point (End), or loop point
(Loop Start) by double-clicking the number in the field, and use your
computer keyboard to enter a value.
Hardware: Edit the start point (Start), end point (End), or loop point (Loop) by using the Cursor Buttons
to select the field and then using the Data Dial or the -/+ buttons to select a value. Alternatively, you can
enter a value by using the number buttons and confirming by pressing Enter.
The Sample Edit section in the display of the MPC hardware.
In the software, you can activate the loop and samples options by clicking the corresponding button:
• Loop activates the loop function, which will repeat the part of the sample between the loop point
and the end point.
• Snap to Zero activates the snap-to-zero function. For easier sample editing, the software will
"force" you to place a start point or end point only at "zero-crossings." This can help to avoid clicks
and glitches when playing a sample.
• Tune lets you transpose the sample based on its original pitch. The value range is two octaves, up
or down, in semitone steps.
• Root Note lets you select a root note for the sample. The root note defines which note will play the
sample at its original pitch when in a Keygroup Program.
• Loop Lock activates the Loop Lock option. The adjusting of the sample start point and the start
point can be linked, allowing simultaneous adjustments (e.g., when you need to find a loop with a
defined length).
188
Hardware:
• Press F4 (Loop) to activate the loop function, which will repeat the part of the sample between the
loop point and the end point.
• Press F3 (0 Snap) to activate the snap-to-zero function. For easier sample editing, the software will
"force" you to place a start point or end point only at "zero-crossings." This can help to avoid clicks
• Use the Cursor Buttons to select any of the following fields and use the Data Dial or the -/+
buttons to change the setting:
• Tune lets you transpose the sample based on its original pitch. The value range is two octaves, up
or down, in semitone steps.
• Root Note lets you select a root note for the sample. The root note defines which note will play the
sample at its original pitch when in a Keygroup Program.
• Loop Lock activates the Loop Lock option. The adjusting of the sample start point and the start
point can be linked, allowing simultaneous adjustments (e.g., when you need to find a loop with a
defined length).
189
Process Section
The Process section gives you various editing options for the selected
sample.
In the software, click the desired sample editing option (described below).
A new window will open (which may have some additional parameters). To
execute a selected option, click Do It, or cancel your changes by clicking
Cancel.
Tips:
• When the new window is open, you can click the Function menu to
select another edit option, if desired.
• All Start/End processes will only affect the part of the sample
between the start point and the end point. Bit Reduce and Stereo >
Mono will affect the entire sample regardless of its start point or end
point.
Hardware:
1. Press F6 (Process) to open the Process Sample page.
2. Use the Data Dial or the -/+ buttons to select the desired editing option (described below) in the
Function field. Some options have some additional parameters—use the Cursor Buttons to select
them and the Data Dial or -/+ buttons to adjust them.
3. To execute a selected option, press F5 (Do It), or cancel your changes by pressing F4 (Cancel).
The Process Sample display for Pitch Shift of the MPC hardware.
190
The following sample editing options are available:
• Discard deletes parts of the sample before the start point and after the end point.
• Delete deletes the part of the sample between the start point and end point and closes the gap
between them.
• Silence replaces the part of the sample between the start point and end point with silence.
• Extract deletes parts of the sample before the start point 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.
• Normalize increases a sample's level to the highest level possible without distortion. This is
essentially a kind of digital gain optimization, so you do not have to worry about excessive level
settings when working with Projects whose samples have a wide range of amplitudes.
• Reverse reverses the part of the sample between the start point and end point.
• Fade In sets a fade-in between the start point and end point of the sample. The following types are
available:
o Linear fades the audio in with a linear curve—a straight line between the start and end.
o Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out
towards the end.
o Exp fades the audio in with an exponential curve—slowly rising in the beginning and growing
steeper towards the end.
• Fade Out sets a fade-out between the start point and end point of the sample. The following types
are available:
o Linear fades the audio out with a linear curve—a straight line between the start and end.
o Log fades the audio out with a logarithmic curve—quickly rising at the start and flattening out
towards the end.
o Exp fades the audio out with an exponential curve—slowly rising in the beginning and growing
191
• Pitch Shift 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.
• Time Stretch lengthens or shortens the sample without changing its pitch. This is useful when you
want to match the durations of two samples with different pitches. You can enter the original tempo
of the sample and the desired tempo after processing.
Tip: To change the sample length in percent, set the original tempo to 100, and then set the new
tempo to the desired percentage (e.g., to lengthen the sample by 20%, set the original tempo to
100 and set the new tempo to 80).
• Gain Change raises or lowers the volume of the sample. You can adjust it up to 18dB, higher or
lower. This function is different than Normalize because it will allow volumes beyond clipping level.
This may be a desired effect, but remember to watch your output level!
• Copy saves a copy of the sample and adds a consecutive number after the sample name.
• Bit Reduce lowers the bit resolution of a sample, effectively reducing its degree of faithful
reproduction. You can reduce the bit rate down to 1 bit. (The sound is 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."
• Stereo > Mono converts a stereo sample to a new mono sample and saves it as a new sample
(with a name you enter) in your current Project. The following options are available:
o Left will convert the left channel only.
o Right will convert the right channel only.
o Sum will combine the left and right audio channels to a single mono channel.
Project Information
192
Chop Mode
The Chop section describes several functions unique to Chop Mode, in contrast to Trim Mode.
In Chop Mode, the sample will be divided into multiple regions called slices. There are three different
ways to use this function:
• Region divides a sample into several regions of equal length.
• BPM divides a sample into several regions based on the tempo (beats per minute).
• Threshold uses an adjustable detection algorithm that derives the number of regions created from
the volume levels present in the sample.
You can also manually insert a slice by clicking near the top of the Waveform Display, just under the light
grey sample timeline.
193
Edit Section
The Edit section contains controls to edit samples and to select

between Chop Mode or Trim Mode.
Hardware: Use the Data Dial or the -/+ buttons to select a sample
for editing. The selected sample name is shown at the top of your
display.
In the software, click the Edit Sample drop-down menu and select
the desired sample.
The Q-Link Knobs can be used for various editing and viewing
functions:
• Use Q-Link Knobs Q13, Q9, Q5, or Q1 to adjust the start point
of the sample. The smaller the Q-Link Knob number, the more
precise the adjusting of the start point.
• Use Q-Link Knobs Q14, Q10, Q6, or Q2 to adjust the end point
of the sample. The smaller the Q-Link Knob number, the more
precise the adjustment of the end point.
• Use Q-Link Knob Q15 to select a slice for editing.
• Use Q-Link Knob Q11 to set the threshold for slice detection (in
Threshold Mode), the number of regions (in Region Mode), or
the numbers of bars (in BPM Mode).
• Use Q-Link Knob Q8 to scroll through the waveform.
• Use Q-Link Knob Q7 to set the number of beats in BPM Mode.
(This Q-Link Knob has no function in Threshold Mode or Region
Mode.)
• Use Q-Link Knob Q4 to zoom in and out of the waveform.
• Use Q-Link Knob Q3 to set the Time Division in BPM Mode.
(This Q-Link Knob has no function in Threshold Mode or Region
Mode.)
194
Hardware: Press F1 (Chop) to enter Chop Mode.
• Use Q-Link Knobs Q13, Q9, Q5, or Q1 to adjust the start point of the sample. The smaller the Q-
Link Knob number, the more precise the adjustment of the start point.
• Use Q-Link Knobs Q14, Q10, Q6, or Q2 to adjust the end point of the sample. The smaller the Q-
Link Knob number, the more precise the adjustment of the end point.
• Use Q-Link Knob Q15 to select a slice for editing.
• Use Q-Link Knob Q11 to set the threshold for slice detection (in Threshold Mode), the number of
regions (in Region Mode), or the number of bars (in BPM Mode).
• Use Q-Link Knob Q8 to scroll through the waveform
• Use Q-Link Knob Q7 to set the numbers of beats in BPM Mode. (This Q-Link Knob has no function
in Threshold Mode or Region Mode.)
• Use Q-Link Knob Q4 to zoom in and out of the waveform
• Use Q-Link Knob Q3 to set the Time Division in BPM Mode. (This Q-Link Knob has no function in
Threshold Mode or Region Mode.)
195
Pad Section
When Audition in the Settings section is deactivated, trigger the

following playback options by pressing the corresponding pad:
• Play Loop (Pad 13) plays the sample from the loop point to the
end point repeatedly.
• Play All (Pad 16) plays the whole sample regardless of any
editings.
When Audition in the Settings section is activated, you can use the
pads can to play the different slices. Each slice is assigned to a pad
automatically, starting from Pad A01 with Slice 1 and ascending from
there.
If your sample contains more than 16 slices, use the Bank buttons to
switch through the pad banks to view all playable slices. Playing a slice
will also select it.
196
Settings Section
In the software, the Settings section lets you edit various parameters
affecting the start point and end point of your sample's slices:
• Snap to Zero activates the snap-to-zero function. For easier
sample editing, the software will "force" you to place a start point
or end point only at "zero-crossings." This can help to avoid clicks
• Slice is the number of the currently selected slice. To select a slice, either click it in the Waveform
Display or click and drag the Slice field up or down. (Remember that you have to create slices
before one can be selected.)
• Start and End define the start point and end point (respectively) of the current slice. Change these
values by doing any of the following:
o Click and drag a slice marker in the Waveform Display left or right.
o Click near the top of the Waveform Display to create a new slice marker there. Remember that
the start point of a slice is also the end point of the previous slice.
o Double-click the value in the field and type in a new one using your computer keyboard.
• When Audition is activated, you can use the pads can to play the different slices. Each slice is
assigned to a pad automatically, starting from Pad A01 with Slice 1 and ascending from there. If
your sample contains more than 16 slices, use the Bank buttons to switch through the pad banks
to view all playable slices. Playing a slice will also select it.
• With Link Slices activated, changing the start point of a slice will also change the end points of the
previous slice. Similarly, changing the end point of a slice will also change the start point of the next
slice. Turn Link Slices off if you are trying to create slices that use non-contiguous parts of the
sample.
• One Shot / Note On determines whether the pads play their respective slices as One Shots
(pressing the pad once will play the entire part) or as Note Ons (pressing the pad and holding it will
play the part; releasing it will stop playback).
197
Hardware: To adjust the settings in Chop Mode:
• Press F3 (0 Snap) to activate or deactivate to activate the snap-to-zero function. For easier sample
editing, the software will "force" you to place a start point or end point only at "zero-crossings."
This can help to avoid clicks and glitches when playing a sample.
• Press a pad to select its slice. Each slice is assigned to a pad automatically, starting from Pad A01
with Slice 1 and ascending from there. If your sample contains more than 16 slices, use the Pad
Bank buttons to switch through the pad banks to view all playable slices.
• Use the Cursor Buttons to select the Start field or End field, and then use the Data Dial or the -/+
buttons to set the value. Alternatively, you can enter a value by using the number buttons and
confirming by pressing Enter. Remember that the start point of a slice is also the end point of the
previous slice.
• Press F4 (Audition) to activate or deactivate Audition.
• Use the Cursor Buttons to select the Link field, and then use the Data Dial or the -/+ buttons to
turn Link Slices on or off.
• Use the Cursor Buttons to select the One Shot / Note On field, and then use the Data Dial or the
-/+ buttons to set it to One Shot or Note On.
The Sample Edit section in the display of the MPC hardware.
198
Chop To Section
The Chop To section determines the slicing process. You can select between three slicing modes:
• Threshold uses an adjustable detection algorithm that derives the
number of regions created from the volume levels present in the
sample.
Click and drag the Threshold field up or down to set the threshold
level. The higher the selected value, the more slices will be
created.
Click and drag the Min Time (Min Slice Time) field up or down to
set the minimum length of a slice in milliseconds.
• Regions divides a sample into several regions of equal length.
Click and drag the Num Regions field up or down to set the
number of regions you wish to divide the sample into. Usually, 16
is a good start for a single-measure loop.
• BPM divides a sample into several regions of equal length based
on its length and the current tempo (beats per minute).
Click and drag the Bars field up or down to set how many bars are
in the sample.
Click and drag the Beat field up or down to set how many beats
are in each bar.
Click and drag the Time Div field up or down to set a note
division; the slice markers will be placed according to this setting.
You can select 1/4, 1/8, 1/16, or 1/32. (In most cases, you should
set this parameter to 1/16.)
Hardware:
1. Use the Cursor Buttons to select the Chop To field.
2. Use the Data Dial or the -/+ buttons to set the mode (Threshold, Region, or BPM).
3. Use the Cursor Buttons to select the parameters for that mode, and use the Data Dial or the -/+
buttons to change the value.
199
Process Section
The Process section gives you various editing options for the selected
sample.
In the software, click the desired sample editing option (described below).
A new window will open (which may have some additional parameters). To
execute a selected option, click Do It, or cancel your changes by clicking
Cancel.
Tip: When the new window is open, you can click the Function menu to
select another edit option, if desired.
The following sample editing options are available:

• Silence replaces the part of the sample between the start point and end point with silence.
• Extract deletes parts of the sample before the start point 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.
• Normalize increases a sample's level to the highest level possible without distortion. This is
essentially a kind of digital gain optimization, so you do not have to worry about excessive level
settings when working with Projects whose samples have a wide range of amplitudes.
• Reverse reverses the part of the sample between the start point and end point.
• Fade In sets a fade-in between the start point and end point of the sample. The following types are
available:
o Linear fades the audio in with a linear curve—a straight line between the start and end.
o Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out
towards the end.
o Exp fades the audio in with an exponential curve—slowly rising in the beginning and growing
200
• Fade Out sets a fade-out between the start point and end point of the sample. The following types
are available:
o Linear fades the audio out with a linear curve—a straight line between the start and end.
o Log fades the audio out with a logarithmic curve—quickly rising at the start and flattening out
towards the end.
o Exp fades the audio out with an exponential curve—slowly rising in the beginning and growing
• Pitch Shift 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.
• Gain Change raises or lowers the volume of the sample. You can adjust it up to 18dB, higher or
lower. This function is different than Normalize because it will allow volumes beyond clipping level.
This may be a desired effect, but remember to watch your output level!
• Convert offers three ways of exporting the sliced sample:
o Patched Phrase creates a new sample based on your
edits and places it in the current Project.
o Sliced Samples creates individual samples from the slices
of the current sample.
If Crop Samples is activated, each slice results in a new
sample.
If Create New Program is activated, you will create a
new Program in which each slice results in a sample and
is automatically assigned to a pad. (If Create New
Program is selected, you also get the option to Create
Events.)
If Create Events is activated (available only when Create
New Program is activated), you will create a new
Program in which each slice results in a sample and is
automatically assigned to a pad. Furthermore, it will
automatically create a new Track in which each pad plays
its corresponding slice in ascending sequence by pad
number. The samples will be named with Sl and a
consecutive number attached to their original name.
201
o Assign Slice assigns a single slice to a selected pad.
Click Pad and select the desired pad. If Crop Samples is
activated, each slice results in a new sample. Click
Program to specify a Program to which you want to add
the assigned slice. The sample will be named with pp
attached to its original name.
Track with events after using the Sliced Samples > Create Events function.
202
Hardware:
1. Press F6 (Process) to open the Process Sample page.
2. Use the Data Dial or the -/+ buttons to select the desired editing option (described below) in the
Function field. Some options have some additional parameters—use the Cursor Buttons to select
them and the Data Dial or -/+ buttons to adjust them.
3. To execute a selected option, press F5 (Do It), or cancel your changes by pressing F4 (Cancel).
The Process Sample display for Pitch Shift of the MPC hardware.
Project Information
203
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 of which can have an
assigned Sequence as well as the number of times that Sequence will repeat.
To enter Song Mode in the software, do one of the following:

• Click the Song Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Song.
Hardware: To enter Song Mode, press the Song button.
204
Sequence Playlist
The Sequence Playlist Section (to the left of the pads in the
software) is the list of the steps of a Sequence.
Each step in a Song has:

• an assigned Sequence
• the tempo of the Sequence
• the number of bars in the Sequence
• how many times the Sequence plays
You can add a Sequence to the Sequence Playlist by clicking and dragging from a pad and dropping it
onto the list. You can also click and drag Sequences from the pads and drop them onto the workspace
in the upper half of the window, if you prefer working in a horizontal arrangement.
You can insert Sequences between existing Sequences, or you can replace Sequences by dragging a
Sequence directly over another.
The information for each step of a Sequence is shown in five columns:
• Step: Which "step" of the Song it is. Each Song can contain up to 999 steps.
• Sequence: The name of the Song's Sequences. Click a Sequence to open a drop-down menu
where you can select which Sequence should be in that step.
• Rpts (Repeats): How many times a Sequence will be played. Normally, a Sequence is played only
once, but you make it replay up to 999 times. Click the field and drag it up or down to change the
number. If you set it to Hld (Hold, the lowest/"minimum" value), the Sequence keep playing until
you stop playback.
• BPM: The tempo of a Sequence in beats per minute.
• Bars: The bar length of a Sequence.
205
Hardware: To manage the Sequence Playlist in Song Mode.
• Use the Cursor Buttons to select the Song field, and use the Data Dial or the -/+ buttons to select
the Song shown in the Sequence Playlist.
• Use the Cursor Buttons to select a Sequence in the Sequence column, and use the Data Dial or
the -/+ buttons to select which Sequence should be in that step.
• Use the Cursor Buttons to select the Rpts (Repeats) column, and use the Data Dial or the -/+
buttons to set how many times a Sequence will be played. Normally, a Sequence is played only
once, but you make it replay up to 999 times. If you set it to Hold (the lowest/"minimum" value), the
Sequence keep playing until you stop playback.
• Use the Cursor Buttons to select the Now field, and use the Data Dial or the -/+ buttons to
change the current position of the audio pointer in the Song. The arrow (>) in the Step column
indicates the current step in the Song.
Song Mode in the MPC hardware display.
206
Pad Bank Section
In the Pad Bank section, all Sequences are assigned to a pad. Unused
empty Sequences are marked (unused). You can use the Pad Bank
buttons to show the Sequences assigned to pads in other banks.
You can easily click and drag Sequences from this section and drop
them onto the Sequence playlist. You can also click and drag
Sequences from the pads and drop them onto the workspace in the
upper half of the window, if you prefer working in a horizontal
arrangement.
You can insert Sequences between existing Sequences, or you can
replace Sequences by dragging a Sequence directly over another.
Song Section
The Song section lets you name or select a Song or execute other
operations that affect the Song.
Click the Song drop-down menu to name the Song.

You can also click the downward arrow () to the right of the Song
name to open a drop-down menu where you can select another of the
32 Songs in the Project.
Click Convert > Seq to convert the current Song to a single Sequence.
Hardware: Press F4 (Convert) to convert the current Song into a single
Sequence.
Click Clear to delete all Sequences of the Song.

Hardware: Press F1 (Clear) to delete all Sequences of the Song.
207
Edit Step Section
The Edit Step section contains controls to add or delete steps from the
Song.
Click Insert Step to insert the selected Sequence (indicated by the lit
pad in the Pad Bank section) in the Sequence Playlist.
Hardware: Press F6 (Insert) to insert a Sequence under the selected
one.
Click Delete Step to delete the selected step from the Sequence
Playlist.
Hardware: Press F5 (Delete) to delete the selected Sequence.
208
Step Section
The Step section contains information about the current step in the
Sequence Playlist. Click and drag each field up or down to change its
setting.
• First Bar indicates where in the Song the step begins.
• Last Bar indicates where in the Song the step ends before moving
onto the next step.
• Total Bars indicates how many bars the step occupies in the
Song (this accounts for how many times the step's Sequence
repeats).
• Repeats indicates how many times the step's Sequence plays.
• Time Sig indicates the Sequence's time signature.
• BPM indicates the Sequence's tempo in beats per minute.
Hardware: When a Song is playing, the following buttons are available in the MPC hardware's display:
• Press F2 (Sudden) to switch to the next Sequence before the software has finished playing back
the current Sequence. This is useful in live performances, if you need to switch to the next
Sequence at a certain cue.
• Press F3 (Next) to jump to the next Sequence at the end of the current Sequence. These buttons
can be also used in conjunction with Hold to get the MPC out of a Hold Sequence.
Tip: To learn more about creating Songs, please see Quick Start / Tutorial > Creating a Song.
Project Information
209
Pad Mute Mode
Pad Mute Mode lets you easily mute pads within a Program or set Mute Groups for each pad.
To enter Pad Mute Mode in the software, do one of the following:

• Click the Pad Mute Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Pad Mute.
Hardware: To enter Pad Mute Mode, press Shift + Track Mute / Pad Mute.
210
Pad Mute
You 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, but probably more
convenient than, muting pads one at a time in the
grid.
In the software, do the following to use Pad Mute:

1. Click the Pad Mute button in the Mute
Section to activate it.
2. Click the desired bank (A–H) in the Bank
section or Pad Bank section.
3. Click a pad in the Pad Bank section to mute
or unmute its assigned sound. Muted pads
are lit red; unmuted pads are lit yellow.
Alternatively, you can click the the miniature
pads in Bank section. This section gives you
an overview of all 128 pads at the same time.
Unused pads are greyed out.
Time Correct lets you quantize Pad Mutes. This is useful when you want your mutes to line up with a
specific time division. Click the Time Correct drop-down menu and select a value from 1/16th (sixteenth
notes) to 2 bar (2 bars). For example, with Time Correct set to 1 bar, your mutes will always align with
the beginning of the measure immediately after you press the pad.
211
Hardware:
1. Press F1 (PadMute) to activate Pad Mute.
2. The 16 blocks in the display represent the 16 pads of the current bank. Press a pad to mute or
unmute its assigned sound. Use the Pad Bank buttons to switch between the 16 banks, if
necessary.
• Muted pads are lit red; unmuted pads are lit yellow. Unused pads do not show a sample name.
• Press F4 (Time Div) and use the Data Dial or -/+ buttons to edit the Time Correct value. Press F5
(T.C.) to activate or deactivate Time Correct.
The Pad Mute section in the display of the MPC hardware.
212
Pad Group
The 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 a particular group of sounds
or if you want to isolate specific sounds in various
combinations. You can create up to 16 different
Pad Groups.
In the software, do the following to use Pad

Groups:
1. Click the Pad Group button in the Mute
3. Click a pad in the Pad Bank section that you
want to assign to a Mute Group.
an overview of all 128 pads at the same time.
4. Click and drag the Pad field in the Mute
Section up or down to select the desired Mute
Group number.
When a pad in a Mute Group is selected, the
other pads in that same Mute Group will blink
yellow.
Time Correct lets you quantize Pad Mutes. This is useful when you want your mutes to line up with a
213
Hardware:
1. Press F2 (PadGroup) to activate Pad Group.
2. Press a pad to select it. Use the Pad Bank buttons to switch between the 16 banks, if necessary.
3. Use the Data Dial or -/+ buttons to select the desired Mute Group number.
• When a pad in a Mute Group is selected, the other pads in that same Mute Group will blink yellow.
The Pad Group section in the display of the MPC hardware.
Project Information
214
Track Mute Mode
Track Mute Mode lets you easily mute Tracks within a Sequence or set Track Mute Groups to
use with the pads.
To enter Track Mute Mode in the software, do one of the following:

• Click the Track Mute Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Track Mute.
• On your computer keyboard, press Ctrl+- (Windows) or +- (Mac OS X).
Hardware: To enter Track Mute Mode, press the Track Mute button.
215
Track Mute
You can mute or unmute individual Tracks in real

time by pressing the pads. 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
Track Mixer Mode.
In the software, do the following to use Track

Mute:
1. Click the Track Mute button in the Mute
3. Click a pad in the Pad Bank section to mute
or unmute its corresponding Track. Muted
pads are lit red; unmuted pads are lit yellow.
an overview of all 128 pads at the same
time. Unused pads are greyed out.
Click the Solo button to solo the selected Track only, muting all other Tracks.
Time Correct lets you quantize Track Mutes. This is useful when you want your mutes to line up with a
216
Hardware:
1. Press F1 (TrkMute) to activate Track Mute.
2. The 16 blocks in the display represent the 16 pads of the current bank. Press a pad to mute or
unmute its corresponding Track. Use the Pad Bank buttons to switch between the 16 banks, if
necessary.
• Muted pads are lit red; unmuted pads are lit yellow. Unused pads do not show a sample name.
• Press F6 (Solo) to solo the selected pad.
The Track Mute section in the display of the MPC hardware.
217
Track Group
The Track Group feature extends the concept of Track

Mutes: you can mute or unmute multiple Tracks
simultaneously by pressing one pad that you have
assigned to a Track Group. This is useful if you want
to hear a Sequence without a particular group of
Tracks or if you want to isolate specific Tracks in
various combinations. You can create up to 16
different Track Groups.
In the software, do the following to use Track Groups:

1. Click the Track Group button in the Mute
2. Click the desired bank (A–H) in the Bank section
or Pad Bank section.
3. Click a pad in the Pad Bank section that you
want to assign to a Mute Group.
pads in Bank section. This section gives you an
overview of all 128 pads at the same time.
4. Click and drag the Track __ field in the Mute
Section up or down to select the desired Mute
Group number.
When a Track in a Mute Group is selected, the
other Tracks in that same Mute Group will blink
yellow.
Click the Solo button to solo the selected Track only, muting all other Tracks.
Time Correct lets you quantize Track Group Mutes. This is useful when you want your mutes to line up
with a specific time division. Click the Time Correct drop-down menu and select a value from 1/16th
(sixteenth notes) to 2 bar (2 bars). For example, with Time Correct set to 1 bar, your mutes will always
align with the beginning of the measure immediately after you press the pad.
218
Hardware:
1. Press F2 (TrkGroup) to activate Track Group.
2. Press a pad to select it. Use the Pad Bank buttons to switch between the 16 banks, if necessary.
3. Use the Data Dial or -/+ buttons to select the desired Mute Group number.
• When a pad in a Mute Group is selected, the other pads in that same Mute Group will blink yellow.
• Press F6 (Solo) to solo the selected pad.
The Track Group section in the display of the MPC hardware.
Project Information
219
Step Sequence Mode
Step Sequence Mode lets you create or edit Sequences by using the pads as "step buttons,"
simulating the experience of a traditional step-sequencer-style drum machine.
To enter Step Sequence Mode in the software, do one of the following:

• Click the Step Sequence Mode tab in the Mode Tab Section of the software window.
• Click the View Menu, select Mode, and then select Step Sequence.
• On your computer keyboard, press Ctrl+= (Windows) or += (Mac OS X).
Hardware: To enter Step Sequence Mode, press the Step Seq button.
220
The upper half of the window contains the grid, showing the note events of the current Sequence.
The lower half of the window has various controls that are also available in other modes, like Main Mode.
Please see the Main Mode chapter to learn more about the Q-Link Section, the Sequence Section, the
Track Section, the Program Channel Strip, or the Project Information.
The only difference is the Pad Section, which you use to enter note events as you would with a
traditional step sequencer. (This can be done when a Sequence is playing or stopped.) Please see the
following Pad Section part of this chapter to learn how to do this.
Pad Section
The pad section lets you quickly create and delete note events as
"steps" by using the pads of your MPC hardware or MPC software.
Tip: Step Sequence Mode is useful for programming drums, emulating
the step recording of drums with drum machines in the 1980s.
In the software, enter or erase note events by doing the following:

1. First, click the Track drop-down menu above the grid or in the
Track section to select a Track.
2. Select the pad whose steps you want create or edit by doing on
the following:
• In the Pad Section, click the Pad field and drag it up or down
to select the pad number.
• Click the pad's row in the grid.
3. Click the Previous or Next buttons to select the bar whose steps you want to edit. You can also
click the Current Bar field and enter the number using your computer keyboard.
4. Each pad represents a step in the bar. Keep in mind that the number of steps depends on the Time
Correct setting, which you can set in the Sequence Section. For time divisions larger than 16 (e.g.,
32), the bar's steps will be represented by multiple pad banks. Use the Pad Bank Buttons A and B
to view all the steps within a 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.
Click an unlit pad to enter a note event at that step. The pad will light up with a color corresponding
to its velocity.
Click a lit pad to delete the note event from that step. The pad will be unlit.
221
Hardware: Create or delete steps by doing the following:
1. Use the Cursor Buttons to select the Trk field, and use the Data Dial or -/+ buttons to select a
Track.
2. Use F5 (Pad-) and F6 (Pad+) to select the pad whose steps you want to create or edit. The pad
number and its sample name will appear in the upper-right corner of the display. Alternatively, you
can use the Cursor Buttons to select the Pad field in the upper-right corner and use the Data Dial
or -/+ buttons to select a pad.
3. Use F2 (Bar-) and F3 (Bar+) to select the bar whose steps want to create or edit.
4. Each pad represents a step in the bar. Keep in mind that the number of steps depends on your
Time Correct settings, which you can set by pressing F1 (T.C.). For time divisions larger than 16
(e.g., 32), the bar's steps will be represented by multiple pad banks. Use the Pad Bank Buttons A
and B to view all the steps within a bar. You can press and hold the Note Repeat button to change
the time division of the Sequence grid and use the F-buttons to select the desired value.
• If the pad already has note events on the selected Track, the corresponding pads (steps) will be lit
with colors corresponding to their velocities.
• Press an unlit pad to enter a note event at that step. The pad will light up with a color
corresponding to its velocity.
• Click a lit pad to delete the note event from that step. The pad will be unlit.
Working with Step Sequence Mode in the MPC hardware display.
222
MIDI Control Mode
In MIDI Control Mode, you can 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. This is useful 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.
Important:
• In your host software, make sure your MPC hardware is selected as a MIDI controller device.
• The edits you make in MIDI Control Mode will be retained with the current MPC Project. If you want
to use the same control map for all of your Projects, we recommend saving your control map in
your template file. See Software Menus > Edit Menu > Preferences: Auto Load/Save Tab for
more information about template files.
To enter MIDI Control Mode in the software, click the MIDI Control Mode tab in the Mode Tab Section
of the software window.
Hardware: To enter MIDI Control Mode, press Shift + Song / Other.
The software window will display a graphical interface resembling your connected hardware controller.
Editable controls display their current MIDI message. Controls outlined in red are identical across all
eight pad banks. The pads are all editable, as well, and can be set to behave identically across all banks
or differently in each bank.
223
To edit a control:
1. Select it by doing one of the following:
• clicking it in the software
• pressing or moving it on your hardware
2. In the Edit panel on the left side of the software window, set that
controls' parameters to your preference. The available parameters
depend on whether it is a Q-Link Knob, pad, or the type of button.
• Control (all controls): This determines what message the control
sends to the software (e.g., acting as a specific Q-Link Knob,
acting as a specific pad, entering a specific mode, revealing or
hiding the File Browser, Undo, Tap Tempo, etc.).
• Light LED (all controls): This determines how the control's LED
(or multiple LEDs) on the hardware will behave.
o When set to Never, the LED will always be off.
o When set to MIDI Input, the LED will light up when the
software receives a MIDI message that matches that control.
o When set to Local, the LED will light up when you use that
control and/or MIDI input is received.
• MIDI Channel (all controls): This deteremines over which MIDI
channel (from 1 to 16) the control will send MIDI messages to the
software.
• CC Number (buttons and Q-Link Knobs only): This determines
what Control Change the control will send to the software.
• Mode (Q-Link Knobs only): This determines how the Q-Link Knob
will control its parameter.
o When set to Absolute, the Q-Link Knob's current position is
what determines its parameter's value; moving the Q-Link
Knob may cause its parameter to "snap" to a new position
when using the Q-Link Knob to control different parameters
between different modes.
o When set to Relative, moving the Q-Link Knob will adjust its
parameter upward or downward regardless of its position.
224
• Low Range (Q-Link Knobs only): This is the Q-Link Knob's lowest possible value (0 to 127).
• High Range (Q-Link Knobs only): This is the Q-Link Knob's highest possible value (0 to 127).
• Touch Sense (Q-Link Knobs only): This activates or deactivates the Q-Link Knob's touch-
capacitive circuitry.
o When set to 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).
o When set to Off, the Q-Link Knob will not send any Note On messages; it will only send
CC messages when you turn it.
• Touch Note (Q-Link Knobs only): This is the MIDI note number the Q-Link Knob will send to
the software when you touch it (0–127 or C-2 to G8). Touch Sense must be set to On for this
to work.
• Type (buttons only): This determines whether the button will behave as a Momentary switch or
Toggle (latching) switch.
• Note (pads only): This is the MIDI note number the pad will send to the software when you
press it (0–127 or C-2 to G8).
• Bank (pads only): This is the pad bank the pad belongs to. If you check the Set All box, the
pad's messages and parameters will be identical across all eight banks.
• Velocity (pads only): 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 (pads only): This determines how the pad's aftertouch (pressure applied to the pad
after the initial press) behaves.
o When set to Off, the pad will not send any aftertouch messages.
o When set to Channel, if you press multiple pads that have this setting, the aftertouch
messages they send will be identical.
o When set to Poly, if you press multiple pads, the aftertouch message each pads sends
will be independent from the others'.
3. When you have set all of the parameters as desired, select another control or enter another mode.
Hardware: To edit a control:
1. Select a control by pressing it (pads, buttons) or moving it (Q-Link Knobs).
2. Use the Cursor Buttons to select the desired field, and use the Data Dial or -/+ buttons to set the
desired value or option. The available parameters (described above) depend on whether it is a Q-
Link Knob, pad, or the type of button.
3. When you have set all of the parameters as desired, select another control or enter another mode.
225
Effects
The MPC software offers various effects that you can apply to the pads, Programs, and Master mix,
using both insert and send effects. This chapter can help you get a good overall understanding of how
the software's effects work.
Tips:
To open an effect's graphic user interface and edit its parameters, double-click the name of the loaded
effect.
Move an effect from one slot to another by clicking and dragging it.
Copy an effect from one slot to another by holding Ctrl (Windows) or  (Mac OS X) while clicking and
dragging it.
Hardware: Whenever an effect's name is selected in the display, you can press the Window button to
view and edit the effect's parameters. Use the Cursor Buttons to select the desired parameter, and use
the Data Dial or -/+ buttons to adjust it.
See Appendix > Effects and Parameters for a list of all available effects (with a brief description of
each) and their editable parameters.
Overview
In a Program, each pad can have up to four insert effects applied to it. See Pad/Keygroup Insert
Effects to learn more about this.
An overall Program can also have up to four insert effects applied to it, as well. See Program Insert
Effects to learn more about this.
Additionally, pads and Programs can each be sent to up to four send effects. The audio of the pads
and Programs will be routed to the send effects at their designate send levels, and the send effects will
return the audio at the designated return levels. See Send Effects to learn more about this.
Finally, you can apply up to four insert effects to the entire Master mix. See Master Effects to learn
more about this.
226
Insert Effects
Pad/Keygroup Insert Effects
You can apply, edit, or remove up to four pad/keygroup insert effects. The instructions for doing this
depend on which mode you are in: Program Edit Mode or Program Mixer Mode.
Important: When using keygroup insert effects, they will be applied to the entire Keygroup Program.
This is because a Keygroup Program uses the same sound across all pads, as opposed to Drum
Programs where each pad can have its own insert effect.
To load a pad/keygroup insert effect in Program Edit Mode:

1. In the software, click the Program Edit tab in the Mode Tab
Section.
2. Click the desired pad to select it.
3. If the Pad Inserts button is set to Off, click it so it changes to On.
4. In one of the four Pad Inserts slots, click the downward arrow
().
Hardware: To load a pad/keygroup insert effect in Program Edit Mode:
2. Press the desired pad. (To show another set of 16 pads, use the
Pad Bank buttons to select another bank.)
3. Press F6 (Effects) to view the pad's effect slots.
4. If the Inserts field in the upper-right corner is set to Off, use the
Cursor Buttons to select it, and use the Data Dial or -/+ buttons
to change it to On.
5. Use the Cursor Buttons to select one of the four Insert slots.
6. Use the Data Dial or the -/+ buttons to select an effect. Click F4
(Select) to load it, or click F3 (Back) to close the page.
227
To load a pad/keygroup insert effect in Program Mixer Mode:
1. In the software, click the Program Mixer tab in the Mode Tab Section.
2. If the Route button above the desired pad is not already selected, click it. Also, if
the Inserts button is set to Off, click it so it changes to On.
3. In one of the four Inserts slots of the channel strip, click the downward arrow ().
Hardware: To load a pad/keygroup insert effect in Program Mixer Mode:
1. Enter Program Mixer Mode by pressing the Prog Mix button.
2. Press F5 (Insert) to view the pads' insert effect slots. (You can repeatedly press
F5 (Insert) to cycle through the four available insert effect slots. The small squares
below the tab indicate the current slot.)
3. Press the desired pad, or use the Cursor Buttons to select the desired pad. (To
show another set of 16 pads, use the Pad Bank buttons to select another bank.)
4. Use the Data Dial or the -/+ buttons to select an effect. Click F4 (Select) to load
it, or click F3 (Back) to close the page.
228
Program Insert Effects
You can apply, edit, or remove up to four Program insert effects. The instructions for doing this depend
on which mode you are in: Main Mode, Program Edit Mode, Program Mixer Mode, Track Mixer
Mode, or Step Sequence Mode.
To load a Program insert effect in Main Mode or Step Sequence Mode:

1. In the software, click the Main Mode tab or Step Sequence tab in the Mode Tab
Section.
2. If the Insert button above the Program Channel strip (in the center of the lower
section) is not already selected, click it. Also, if the Inserts button is set to Off, click
it so it changes to On.
3. In one of the four Inserts slots of the Program Channel strip, click the downward
arrow ().
Hardware: To load a Program insert effect in Main Mode or Step Sequence Mode:
1. Enter Main Mode by pressing the Main button, or enter Step Sequence Mode by
pressing the Step Seq button.
2. Use the Cursor Buttons to select the Vel% field (the lower-right-most field), and
then press the Window button.
3. Use the Cursor Buttons to select one of the four Insert slots.
4. Use the Data Dial or the -/+ buttons to select an effect. Click F4 (Select) to load it,
or click F3 (Back) to close the page.
229
To load a Program insert effect in Program Edit Mode:
1. In the software, click the Program Edit tab in the Mode Tab Section.
2. If the Program Inserts button is set to Off, click it so it changes to
On.
3. In one of the four Program Inserts slots, click the downward arrow
().
Note: If the a pad's Pad Audio Route menu is set to anything other than
Program, then Program insert effect will not be applied to that pad.
To load a Program insert effect in Program Mixer Mode:

2. If the Program Channel strip (on the right edge of the window) is not shown, click
the downward arrow icon (on the left edge of the window) to show it.
3. If the Insert button above the Program Channel strip is not already selected, click
it. Also, if the Inserts button is set to Off, click it so it changes to On.
arrow ().
230
To load a Program insert effect in Track Mixer Mode:
1. In the software, click the Track Mixer tab in the Mode Tab Section.
2. If the Program Channel strips (in the lower section) are not shown, click the plug
icon (on the left edge or at the top of the window) to show them.
3. If the Insert button above the desired Program Channel strip is not already
selected, click it. Also, if the Inserts button is set to Off, click it so it changes to
On.
arrow ().
Hardware: To load a Program insert effect in Track Mixer Mode:
1. Enter Track Mixer Mode by pressing Shift + Prog Mix / Track Mix.
2. Use the Cursor Buttons to select the Mixer field, and then use the Data Dial or
-/+ buttons to set it to Programs.
3. Press F5 (Insert) to view the Programs' insert effect slots. (You can repeatedly
press F5 (Insert) to cycle through the four available insert effect slots. The small
squares below the tab indicate the current slot.)
4. Use the Cursor Buttons to select the desired Program. (To show another set of
16 Programs, use the Cursor Buttons to select the Program field in the upper-
right corner, and then use the Data Dial or -/+ buttons to select a new set of 16
Programs to view.)
5. Use the Data Dial or the -/+ buttons to select an effect. Click F4 (Select) to load
it, or click F3 (Back) to close the page.
231
Send Effects
You can send pads and Programs through up to four send effects. You must load the send effects in
Track Mixer Mode first. After that, do either or both of the following:
• set the pad's send level in Program Mixer Mode.
• set the Program's send level in Main Mode, Program Mixer Mode, Track Mixer Mode, or Step
Sequence Mode.
The instructions for doing this depend on which mode you are in.
You can set the effect's return level in Track Mixer Mode.
To load a send effect and set its return level:

2. If the Master section (on the right edge of the window) is not shown, click the
downward arrow icon (on the left edge of the window) to show it.
3. In one of the four Return slots of the Send Effects column, click the downward
arrow ().
5. Click and drag a knob up or down to set the return level of the send effect.
Important: See the rest of this section to learn how to send a pad or Program to
that send effect.
Hardware: To load and edit a send effect and its return level:
2. Press F1 (Send), if it is not already selected.
3. Use the Cursor Buttons to select the desired Send effect slot.
4. Use the Data Dial or the -/+ buttons to open another page to select an effect.
Click F4 (Select) to load it, or click F3 (Back) to close the page.
5. Use the Cursor Buttons to select the desired Level effect slot.
6. Use the Data Dial or the -/+ buttons to set the level.
232
To set the send effect level for a pad:
2. If the Send button above the desired pad's channel strip is not already selected,
click it.
3. Click and drag the knob that corresponds to the send effect up or down to set the
send level.
Hardware:
To set the send effect level for a pad in Program Mix Mode:
1. Enter Program Mixer Mode by pressing the Prog Mix button.
2. Press F4 (Send) to view the pads' send effect slots. (You can repeatedly press F4
(Send) to cycle through the four available send effect slots. The small squares below
the tab indicate the current slot.)
3. Do one of the following:
• Turn the Q-Link Knob that corresponds to the desired pad.
• Use the Cursor Buttons to select the desired pad, and then use the Data Dial or the
-/+ buttons to set the send level.
• To show another set of 16 pads, use the Pad Bank buttons to select another bank.
To set the send effect level for a pad in Program Edit Mode:
2. Press the desired pad. (To show another set of 16 pads, use the Pad Bank buttons
to select another bank.)
3. Use the Cursor Buttons to select one of the four Send slots, and then use the Data
Dial or the -/+ buttons to set the send level.
233
To set the send effect level for a Program in Main Mode or Step Sequence Mode:
1. In the software, click the Main Mode tab or Step Sequence tab in the Mode Tab
Section.
2. If the Send button above the Program Channel strip (in the center of the lower
section) is not already selected, click it.
send level.
Hardware: To set the send effect level for a Program in Main Mode or Step Sequence
Mode:
1. Enter Main Mode by pressing the Main button, or enter Step Sequence Mode by
pressing the Step Seq button.
2. Use the Cursor Buttons to select the Vel% field (the lower-right-most field), and then
press the Window button.
3. Use the Cursor Buttons to select one of the four Send slots (under Program).
4. Use the Data Dial or the -/+ buttons to set the level.
To set the send effect level for a Program in Program Mixer Mode:
2. If the Program Channel strip (on the right edge of the window) is not shown, click
the downward arrow icon (on the left edge of the window) to show it.
3. If the Send button above the Program Channel strip is not already selected, click it.
send level.
234
To set the send effect level for a Program in Track Mixer Mode:
2. If the Program Channel strips (in the lower section) are not shown, click the plug
icon (on the left edge or at the top of the window) to show them.
3. If the Send button above the desired Program Channel strip is not already
selected, click it.
send level.
Hardware: To set the send effect level for a Program in Track Mixer Mode:
1. Enter Track Mixer Mode by pressing Shift + Prog Mix / Track Mix.
2. Use the Cursor Buttons to select the Mixer field, and then use the Data Dial or -
/+ buttons to set it to Programs.
3. Press F4 (Send) to view the Programs' send effect slots. (You can repeatedly
press F4 (Send) to cycle through the four available send effect slots. The small
squares below the tab indicate the current slot.)
4. Use the Cursor Buttons to select the Program field, and then use the Data Dial
or -/+ buttons to select the desired set of 16 Programs to display below.
5. Do one of the following:
• Turn the Q-Link Knob that corresponds to the desired Program.
• Use the Cursor Buttons to select the desired Program, and then use the Data
Dial or the -/+ buttons to set the send level.
235
Master Effects
You can load, edit, or remove up to four Master effects.
To load a Master effect:

2. In one of the four slots of the Master FX column, click the downward arrow ().
Hardware: To load and edit a Master effect:
2. Press F2 (Insert).
3. Use the Cursor Buttons to select the desired Insert effect slot.
4. Use the Data Dial or the -/+ buttons to open another page to select an effect.
Click F4 (Select) to load it, or click F3 (Back) to close the page.
236
Operation (Plugin)
When using the MPC software as a VST, AU, RTAS, or AAX plugin, its features and functions are very
similar to its operation as your host software but with some notable differences discussed in this
chapter.
Important: For information about using the MPC software as a standalone software program, please see
the Operation (Software) chapter.
Note: To learn how to load and use an instrument plugin in a host application, please refer to the
corresponding chapter of your host application's manual.
Differences Between Plugin and Standalone Usage
Saving: Make sure to save your work in the MPC software plugin as well as saving all of your work in
your host application. For ease of use, we recommend saving your host application projects and their
associated MPC projects in the same folder.
Software Menus: The MPC plugin doesn't offer a top menu like in the standalone application.
The menu button is located to the left of the Main Mode tab.
Audio Input and Output: Your audio input and output are set in your host application rather than in
MPC. MPC's Preferences will not have the Audio tab.
MIDI Ports: All MIDI Out ports will be assigned to your digital audio workstation (DAW). In MPC's
Preferences, the MIDI tab will display DAW as the only available MIDI Out port assignment.
DAW Projects Folder: In MPC's Preferences, the Plugin tab will let you select a DAW Projects Folder
location.
Tempo and Sync: The MPC plugin is automatically synchronized to the tempo of your host application.
MPC's Preferences will not have the Sync tab, and the BPM in the Transport Section will be greyed
out.
Playback Controls: The Stop, Play, and Play Start buttons will be greyed out. You must start and stop
playback using your host application's playback controls.
Playback Start and Stop: The start and stop commands are always synchronized to the host
application. When the playback of the host application is started, the MPC plugin playback starts
simultaneously.
237
Appendix
Keyboard Shortcuts
You can use the following computer keyboard shortcuts for the MPC software.
Important: When running MPC as a plugin in Ableton Live 9 or Steinberg Cubase, all keyboard shortcuts
need to be combined with Alt.
Function Control (Windows) Alt Shift Alt+Control (Windows)

 (Mac OS X) Alt+ (Mac OS X)
Main Grid, Click and drag to copy Click background to Click and drag to
Select Box Tool selected events. switch to Eraser Tool. add events to
current selection.
Track View, Click and drag to copy
Region Mode selected events.
Main Grid, Click and drag to copy Click background to Click and drag Click events to "send to back."
Pencil Tool selected events. switch to Eraser Tool. selected events
without snapping to
grid.
Click events to add
to current selection.
Real-time and Fine-edit value of selected Click background to Click and drag
Track Automation, events. switch to Eraser Tool. selected events
Pencil Tool Click and drag without snapping to
selected events with grid.
no time constraints.*
NT Automation, Fine-edit value of selected
Pencil Tool events.
Select Box Tool Click and drag to
add events to
current selection.
Nudge grid events Fine-edit nudge
(using keyboard without snapping to
cursors) grid (T.C.).
* Normally, real-time automation event cannot move beyond the selected event group's previous or next event.
238
File Menu
Function Command Keys (Windows) Command Keys (Mac OS X)

New Project Ctrl+N +N
New From Template Ctrl+Shift+N +Shift+N
Save Project Ctrl+S +S
Save Project As Ctrl+Shift+S +Shift+S
Edit Menu

Undo Ctrl+Z +Z
Redo Ctrl+Y +Shift+Z
History Ctrl+Shift+H +Shift+H
Cut Ctrl+X +X
Copy Ctrl+C +C
Paste Ctrl+V +V
Select Ctrl+A +A
Select All Ctrl+Shift+A +Shift+A
Next Sequence Ctrl+Shift+} +Shift+}
Previous Sequence Ctrl+Shift+{ +Shift+{
Next Track Ctrl+] +]
Previous Track Ctrl+[ +[
Preferences Ctrl+, +,
239
Time Correct Menu

Apply Time Correction Ctrl+K +K
Open Time Correct Ctrl+Shift+K +Shift+K
Time Division: 1/4 1 1
Time Division: 1/4T 2 2
Tools Menu

Show/Hide MIDI Keyboard Ctrl+W +W
Enable/Disable MIDI Keys Ctrl+Shift+W +Shift+W
240
View Menu
Main Mode Ctrl+1 +1
Program Edit Mode Ctrl+2 +2
Program Mixer Mode Ctrl+3 +3
Track Mixer Mode Ctrl+4 +4
Track View Mode Ctrl+5 +5
Next Sequence Mode Ctrl+6 +6
Sample Record Mode Ctrl+7 +7
Sample Edit Mode Ctrl+8 +8
Song Mode Ctrl+9 +9
Pad Mute Mode Ctrl+0 +0
Track Mute Mode Ctrl+- +-
Step Sequence Mode Ctrl+= +=
Show/Hide Browser Shift+B Shift+B
Show/Hide Expansion Browser Shift+E Shift+E
Grid Editor Shift+G Shift+G
List Editor Shift+L Shift+L
Transport Controls
Play Space+Shift Space+Shift
Play from Start Space Space
Miscellaneous
Duplicate Note Event(s) Ctrl+D +D
Erase M M
Note Repeat N N
241
Effects and Parameters
This chapter lists the available effects in the software. To learn more about how effects work in the
software, please see the Effects chapter.
Note: Some of these effects have a "sync" version (e.g., Flanger Sync, Autopan Sync, etc.) whose rates
will be affected by the current tempo. In the graphic user interface for these effects, a . next to the time
division indicates a triplet-based rate.
Tip: Move an effect from one slot to another by clicking and dragging it. Copy an effect from one slot to
another by holding Ctrl (Windows) or  (Mac OS X) while clicking and dragging it.
Reverbs
Options: Reverb Small, Reverb Medium, Reverb Large, Reverb Large 2, Reverb In Gate, and
Reverb Out Gate.
Reverb Small
This is a spatial effect, designed to emulate a small room.
Parameter Value Range Default Value Q-Link Knob Number

Dry/Wet 0–100 (dry–wet) 50 Q13
Pre-Delay 1–100 50 Q9
Early Reflection 0–100 50 Q5
Density 0–100 50 Q1
Diffuse 0–100 50 Q14
Decay 0–100 50 Q10
Lo-Cut 0–100 15 Q6
Hi-Cut 0–100 10 Q2
242
Reverb Medium
This is a spatial effect, designed to emulate a medium room.

Decay 0–100 50 Q10
Lo-Cut 0–100 15 Q6
Hi-Cut 0–100 10 Q2
Reverb Large
This is a spatial effect, designed to emulate the sound of a large hall.

Decay 0–100 75 Q10
Lo-Cut 0–100 10 Q6
Hi-Cut 0–100 10 Q2
243
Reverb Large 2
This is a less CPU-intensive spatial effect, emulating the sound of a large hall.

Decay 0–100 75 Q10
Lo-Cut 0–100 10 Q6
Hi-Cut 0–100 10 Q2
244
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.

Decay 0–100 75 Q10
Lo-Cut 0–100 10 Q6
Hi-Cut 0–100 10 Q2
Gate In 0–100 0 Q15
245
Reverb Out Gate
This is a hall reverb that has an additional control. The reverb effect is cut off when the output drops
below the level set in the Gate Out parameter.

Decay 0–100 75 Q10
Lo-Cut 0–100 10 Q6
Hi-Cut 0–100 10 Q2
Gate Out 0–100 0 Q15
246
Delays
Delays 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, and Delay Multi-Tap.
Delay Mono

Time 2–2000 ms 100 Q9
Feedback 0–100 25 Q5
Damping 0–100 100 Q1
Delay Mono Sync

Time 1 bar – 1/16 triplets 1/4 Q9
247
Delay Stereo
Stereo Delay operates similarly to Mono Delay but in true stereo.

Time 2–2000 ms 100 Q9
Delay Sync (Stereo)

Stereo Delay operates similarly to Mono Delay but in true stereo.

248
Delay LP
LP Delay is identical to the Mono Delay, but it uses a resonant low-pass filter in the delay line.

Time 2–2000 ms 500 Q9
Cutoff 0–100 50 Q1
Resonance 0–100 20 Q14
Delay HP
HP Delay is identical to the Mono Delay, but it uses a resonant high-pass filter in the delay line.

Time 2–2000 ms 100 Q9
Cutoff 0–100 33 Q1
249
Delay Analog
Analog Delay is similar to Mono Delay, except that it's designed to sound like an analog
"bucket brigade"-style delay. This delay has a unique character to it that gives a warmer sound by
adding subtle inaccuracies in phase and timing.

Time 2–2000 ms 100 Q9
Delay Analog Sync

Analog Delay is similar to Mono Delay, except that it's designed to sound like an analog "Bucket
Brigade"-style delay. This delay has a unique character to it that gives a warmer sound by adding subtle
inaccuracies in phase and timing.

Ramp 0–100 50 Q1
250
Delay Tape Sync
Tape Delay emulates a delay system using an analog tape loop and a series of tape heads to produce an
echo effect. This delay type yields a very distinct echo sound often heard in reggae and dub-style music.

Ramp 0–100 50 Q1
Head 1 0–100 100 Q14
Head 2 0–100 0 Q10
Head 3 0–100 0 Q6
Head 4 0–100 0 Q2
Tone 0–100 50 Q15
Spread 0–100 50 Q11
Wow & Flutter 0–100 50 Q7
Delay Ping Pong

This stereo delay allows you to set different delay times for its left and right repeats.

Time, Left 2–2000 ms 100 Q9
Time, Right 2–2000 ms 100 Q5
Damping 0–100 100 Q14
251
Delay Multi-Tap
This delay is a mono delay which has three delay generators with independently adjustable delay times
and stereo position.

Time 1 2–2000 ms 100 Q9
Time 2 2–2000 ms 100 Q5
Time 3 2–2000 ms 100 Q1
Pan 1 0–100 50 Q10
Pan 2 0–100 50 Q6
Pan 3 0–100 50 Q2
Damping 0–100 100 Q15
Gain 1 0–100 25 Q11
Gain 2 0–100 25 Q7
Gain 3 0–100 25 Q3
252
Flangers
A flanger is a modulated delay to emulate the sound created when running two analog tape machines in
parallel with a slight time disalignment. Slow Rate settings can produce a "whooshing" jet engine sound,
while faster rates result in more of a "warble."
Options: Flanger and Flanger Sync.
Flanger

Rate 0–100 10 Q9
Feedback -100 – 100 0 Q5
Delay 0–100 20 Q1
Width 0–100 80 Q14
Flanger Sync

Rate 8 bars – 1/16 triplets 1/4 Q9
Feedback -100 – 100 0 Q5
Delay 0–100 20 Q1
Width 0–100 80 Q14
253
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 and Depth for more pronounced "shimmering" and "watery" sounds.
Options: Chorus 2-Voice and Chorus 4-Voice.
Chorus 2-Voice

Delay 0–100 20 Q9
Amount 0–100 80 Q5
Width 0–100 80 Q1
Rate 0–100 10 Q10
Chorus 4-Voice

Delay 0–100 20 Q9
Amount 0–100 80 Q5
Width 0–100 80 Q1
Rate 0–100 10 Q10
254
Autopans
This effect uses an LFO to move the incoming signal back and forth across the stereo field, creating a
rotary effect.
Options: Autopan and Autopan Sync.
Autopan

Rate 0–100 10 Q9
Autopan Sync

Rate 8 bars – 1/32 1/4 Q9
255
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 and Tremolo Sync.
Tremolo

Rate 0–100 10 Q9
Sine to Square 0–100 (sine–square) 0 Q5
Tremolo Sync

Rate 1 bar – 1/16 triplets 1/4 Q9
Sine to Square 0–100 (sine–square) 0 Q5
256
Phasers
The phaser is a classic effect, created by multiple ganged all-pass filters to create "notches," or sharp
spikes, in the frequency spectrum. The frequencies of these all-pass filters are usually modulated by an
LFO to create a sweeping sound.
Options: Phaser 1, Phaser 2, and Phaser Sync.
Phaser 1

Rate 0–100 10 Q9
Phaser 2

Rate 0–100 10 Q9
Phaser Sync

Rate 1 bar – 1/16 triplets 1/4 Q9
257
HP (High-Pass) Filters
Options: HP Filter, HP Filter Sweep, HP Filter Sync, and HP Shelving Filter.
HP Filter
This effect is a static filter without modulation.

Frequency 10–19999 Hz 1500 Q13
HP Filter Sweep
This effect is a high-pass filter with its cutoff frequency modulated by an LFO.

Low Frequency 0–100 50 Q9
High Frequency 0–100 100 Q5
Rate 0–100 10 Q14
258
HP Filter Sync
This effect is a high-pass filter with its cutoff frequency modulated by an LFO.

Rate 8 bars – 1/32 1/4 Q14
HP Shelving Filter
This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point
equally.

Gain -18.0 – 18.0 dB 0.0 Q5
259
LP (Low-Pass) Filters
Options: LP Filter, LP Filter Sweep, LP Filter Sync, and 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.

Rate 0–100 10 Q14
260
LP Filter Sync
This effect is a low-pass filter with its cutoff frequency modulated by an LFO.

Rate 8 bars – 1/32 1/4 Q14
LP Shelving Filter
This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point
equally.

Gain -18.0 – 18.0 dB 0.0 Q5
261
Parametric EQs
Options: PEQ 2-Band, 2-Shelf and PEQ 4-Band.
PEQ 2-Band, 2-Shelf

This effect is a combination of one two-band parametric equalizer and two shelving filters.

Low Frequency 22–1000 Hz 220 Q13
Frequency 1 82–3900 Hz 820 Q9
Frequency 2 220–10000 Hz 2200 Q5
High Frequency 560–19999 Hz 5600 Q1
Q1 0–100 0 Q10
Q2 0–100 0 Q6
Low Gain -18.0 – 18.0 dB 0.0 Q15
Gain 1 -18.0 – 18.0 dB 0.0 Q11
Gain 2 -18.0 – 18.0 dB 0.0 Q7
High Gain -18.0 – 18.0 dB 0.0 Q3
262
PEQ 4-Band
This effect is a powerful four-band parametric equalizer with four independent EQ ranges.

Low Frequency 22–1000 Hz 220 Q13
Frequency 1 82–3900 Hz 820 Q9
Frequency 2 220–10000 Hz 2200 Q5
High Frequency 560–19999 Hz 5600 Q1
Q1 0–100 5 Q14
Q2 0–100 5 Q10
Q3 0–100 5 Q6
Q4 0–100 5 Q2
Gain 1 -18.0 – 18.0 dB 0.0 Q15
Gain 2 -18.0 – 18.0 dB 0.0 Q11
Gain 3 -18.0 – 18.0 dB 0.0 Q7
Gain 4 -18.0 – 18.0 dB 0.0 Q3
263
Distortions
Options: Distortion Amp, Distortion Fuzz, Distortion Grimey, Distortion Overdrive, and Distortion
Custom.
Distortion Amp
This effect is designed to reproduce the sound of a tube amplifier at high volumes.

Drive 0–100 50 Q9
Tone 0–100 50 Q5
Dynamics 0–100 50 Q1
Output 0–100 50 Q14
Distortion 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.

Drive 0–100 50 Q9
Output 0–100 50 Q5
Low 0–100 50 Q14
Low-Mid 0–100 50 Q10
High-Mid 0–100 50 Q6
High 0–100 50 Q2
264
Distortion Grimey
This is a unique distortion effect that distorts a frequency range in a selectable band.

Drive 0–100 50 Q9
Grime 0–100 50 Q5
Center 0–100 50 Q1
Width 0–100 50 Q14
Output 0–100 50 Q6
Distortion Overdrive
This distortion is designed to sound like a mildly distorting amplifier at medium volumes. It is the
smoothest distortion type available.

Drive 0–100 50 Q9
Tone 0–100 50 Q5
Output 0–100 50 Q1
265
Distortion Custom
This effect is a highly customized distortion, capable of a wide range of useable sounds.

Drive 0–100 50 Q9
+Soft 5–75 2 Q14
+Clip 5–50 25 Q10
–Soft 5–75 2 Q6
–Clip 5–50 25 Q2
Low -18.0 – 18.0 dB 0.0 Q15
Mid -18.0 – 18.0 dB 0.0 Q11
High -18.0 – 18.0 dB 0.0 Q7
Output -18.0 – 18.0 dB 50 Q3
266
Compressors
A compressor is an effect that changes the dynamic range of a signal by automatically reducing its gain.
Options: Compressor Master, Compressor Opto, Compressor VCA, and Compressor Vintage.
Compressor Master
This is the most transparent compressor, able to perform substantial volume adjustments without
artifacts.

Attack 0–100 50 Q9
Release 0–100 50 Q5
Threshold -50 – 0 dB 0 Q1
Ratio 1–20 1 Q14
Oldskool Off, On Off Q10
Output -6 – 24 dB 0 Q6
267
Compressor Opto
The Opto Compressor is modeled after a vintage compressor type using an optical circuit to control the
volume reduction of the input signal. These compressors are usually associated with soft and
unobtrusive attack and release characteristics.

Input -6 – 18 dB 0 Q9
Attack 0–100 50 Q5
Ratio 1–20 1 Q10
Knee 1–100 1 Q6
268
Compressor VCA
This compressor is more modern-sounding, with a slightly more transparent sound. A VCA Compressor
tends to have quicker attack and release times than an Opto Compressor.

Input -6 – 18 dB 0 Q9
Attack 0–100 50 Q5
Ratio 1–20 1 Q10
Knee 1–100 1 Q6
269
Compressor Vintage
This compressor has a sound similar to classic tube compressors, with their gentle yet pumping
response and a dash of tube saturation.

Input -6 – 18 dB 0 Q9
Attack 0–100 50 Q5
Ratio 1–20 1 Q10
Knee 1–100 1 Q6
270
Bit Reducers
Options: Decimator and 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 is an effect ranging from mild to almost completely pure digital distortion,
depending on the setting and the source material.

Decimate 0–100 0 Q9
Bit Reducer 4–32 32 Q5
Resampler
Resampler is similar to Decimator in that it removes bits from an incoming signal. The difference is that
Resampler applies a complex suite of filters and anti-aliasing to attempt to retain the original sound
quality. This is a method used by popular vintage samplers and sampling drum machines from the
1980s. Resampler can be used to achieve a "dirty" sound on drum loops, without the harshness of
distortion.

Rate 0–100 0 Q9
Decimate 0–100 0 Q5
271
Other
Options: Auto Wah, Frequency Shifter, and Transient Shaper.
Auto Wah
This effect is a low-pass filter modulated by an envelope that yields a classic funky "wah-wah"- like
sound. The envelope is triggered by the incoming signal's amplitude. The amount of the envelope on the
cutoff frequency is user-definable.

Attack 0–100 30 Q5
Center 0–100 50 Q14
Sensitivity 0–100 50 Q10
272
Frequency Shifter
A frequency shifter changes the frequencies of an input signal by a fixed amount and alters the
relationship of the original harmonics. This can produce a chorus-like effect as well as very crazy artificial
timbres.

Frequency -1000 – 1000 0 Q9
Asynchrony 0–1000 0 Q5
A Pan 0–100 0 Q14
B Pan 0–100 100 Q10
A Gain 0–100 75 Q6
B Gain 0–100 75 Q2
Transient Shaper
A transient shaper can be used to enhance or soften the Attack and Release phases of audio material.

Attack 0–100 50 Q9
Output 0–100 50 Q1
273
Glossary
A lot of the terms in this manual are based on the MPC parameter names. This glossary briefly explains
many of the technical terms used throughout.
Aftertouch The majority of contemporary keyboards are capable of generating aftertouch

messages. On this type of keyboard, when you press harder on a key you are already
holding down, a MIDI Aftertouch message 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.
Amount Describes to which extent a modulation source influences a given parameter.
Amplifier An 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).
Attack An envelope parameter. This term describes the ascent rate of a time-relevant process
(e.g., an envelope from its starting point to the point where it reaches its highest value).
The Attack phase is 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 of each single sample slice within a whole sample. The higher the bit rate,
the more precise the information about a sample (i.e., its dynamics' resolution). Normal
audio CDs use 16-bit. MPC supports full 24-bit resolution.
Clipping Clipping is a sort of distortion that occurs when a signal exceeds the maximum value
that can be handled 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 the signal 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.
274
Control Change MIDI messages enable you to manipulate the behavior of a sound generator to a
(Controllers) significant degree. This message essentially consists of two components:
• 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 filters. A low-pass filter for example
dampens the portion of the signal that lies above this frequency. Frequencies
below this value are allowed to pass through without being processed.
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 adjustable level. 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.
Filter A filter is a component that allows some of a signal's frequencies to pass through it
and dampens 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. A low-pass filter dampens all frequencies above the
cutoff frequency. A high-pass filter in turn dampens the frequencies below the
cutoff. The band-pass filter allows only those frequencies around the cutoff
frequency to pass; all others are dampened. A band-stop filter does just the
opposite; it dampens only the frequencies around the cutoff frequency. The most
common type is the low-pass filter.
275
LFO LFO is an acronym for low-frequency oscillator. The LFO generates a periodic
oscillation at a low frequency and features variable waveshapes. Similar to an
envelope, an LFO can be used 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 not exist, 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 sender and 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 a cable 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 number of 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 to transmit data. Subsequently, the sender can address specific
receivers individually. MIDI Channels 1 through 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).
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.
276
Note On and This is the most important MIDI message. It determines the pitch and velocity of
Note Off 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 lies between 1 and
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)
without causing distortion. This function automatically searches a sample for its
maximum level and consequently 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.
Pitchbend Pitchbend is a MIDI message. Although pitchbend messages are similar in

function to control change messages, they are a distinct type of message. The
resolution of a pitchbend message is substantially higher than that of a
conventional Controller message. The human ear is exceptionally sensitive to
deviations in pitch, so the higher resolution is used because it relays pitchbend
information more accurately.
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.)
MPC's Program Edit Mode is where you can edit and assign samples. The
software can have a total of 128 Programs in a Project.
There are two kinds of Programs that use samples for their sound source: Drum
Programs, mostly used for creating Drum Programs and easy and quick
assigning of samples to a pad, and Keygroups Programs. 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 to sample every key of, for instance, a piano.
Program Change These are MIDI messages that select sound Programs. Program numbers 1
through 128 can be changed via program change messages.
277
Release An 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 is terminated, 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

around the filter cutoff frequency by amplifing them with a narrow bandwidth. This is
one of the most popular methods of manipulating sounds. If you increase the emphasis
to a level where the filter enters a state of self-oscillation, it will generate a relatively
pure sine waveform.
Root Key The root key defines the original pitch of a recorded instrument or of a sample.
Samples in the software contain the dedicated root key information. This information
will be created automatically during recording or importing.
Sample When you tap the pads on your MPC hardware, you can trigger sounds that we call
samples. Samples are digitized snippets of audio that can either be recorded using the
recording function of your MPC software or loaded from the File Browser.
Once a sample is present in the software, it can be manipulated in different ways. For
example, a sample can be trimmed, looped, pitch-shifted or processed, using various
effects offered by the software. When you have finished editing your sample, you can
assign it to one or more drum pads to play it. Samples can be either 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 siginal digitally. For normal CD audio
recordings, 44100 samples per second are used, also written as 44.1 kHz. The
software offers sampling rates up to 96 kHz.
Sequence A Sequence is the most basic building-block of music you can compose on the
software. MIDI information from your MPC hardware's pads, buttons, and Q-Link
Knobs (or an external keyboard) are recorded to the Tracks of a Sequence. Each
Sequence has 64 Tracks. The software can hold up to 128 separate Sequences at the
same time.
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, the software has a
dedicated Song Mode that lets you chain Sequences together to create a Song.
278
Song The software has a special Song Mode that allows you to arrange different sections
(verse, chorus, hook, etc.) in order to build a Song. Each Song can have up to 250
parts and the software can hold 20 Songs in its memory.
Sustain This term describes the level of an envelope remaining constant after it has passed the
Attack and Decay phases. Once reached, the Sustain level is kept until the trigger is
terminated.
Track A Sequence offers 64 Tracks and each Track can record notes and controller data. For
example, you can record the verses of a Song on Track 1, while recording the choruses
on Track 2. Alternatively, you can record different instruments on each Track.
Note that your performances are recorded as MIDI events and the actual digital audio is
not recorded onto a Track. That way, you can edit your performance in many different
ways once the performance has been captured.
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.
279
Trademarks and Licenses
Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other
countries.
AAX and RTAS are trademarks or registered trademarks of Avid Technology, Inc. in the U.S. and other
countries.
ASIO, Cubase, and VST are trademarks of Steinberg Media Technologies GmbH.
Mac and OS X are trademarks of Apple Inc., registered in the U.S. and other countries.
Windows is a registered trademark of Microsoft Corporation in the United States and other countries.
All other product or company names are trademarks or registered trademarks of their respective owners.
280
Addendum for MPC v1.8
This chapter is an addendum that explains new features and improvements in MPC v1.8. We also
updated certain sections of the earlier pages of the User Guide to correct previous errors.
Some of the most important new features include how MPC handles sample recording, editing, and
playback. Please read through this section for a brief overview of how this works.
MPC 1.8 greatly expands your sample editing capabilities with two versions of non-destructive slices:
non-destructive chop slices and pad slices:
• Non-Destructive Chop Slices: In MPC, these slices are regions of an audio file. Once you add
some slice markers to a sample in Chop Mode (in Sample Edit Mode) and save your Project, those
slice markers are saved into the Project's sample. You can use that sample in any other MPC
Project and the sample will retain those slices.
You can assign slices to multiple Drum Programs. If you change its slice markers, it will affect any
pad that is set to play the corresponding slice. Above, changing Slice 2's start point, end point, or
loop point will affect both Drum Programs as both of them have a pad assigned to play Slice 2.
Learn more about this feature in this addendum's Sample Edit Mode > Chop Mode and
Program Edit Mode > Layer Section chapters.
281
• Pad Slices: Pad slices are different from non-destructive chop slices. While editing a Drum
Program in Program Edit Mode, a pad layer whose Slice menu is set to Pad has its own Pad Start
point, Pad End point, and Pad Loop point (if activated) that are stored in the pad. This way,
multiple pads can play different regions of the same sample.
Again, a pad slice's Pad Start point, Pad End point, and Pad Loop point aren't stored in the
sample; they're stored in a pad's parameters as part of the Program. Because of this, changing
those points for one pad will never affect another pad, even one with similar or identical settings. In
contrast to non-destructive chop slices, pad slices let you make independent changes to each
pad's sound without affecting the rest of the Program or Project. Learn more about these pad
parameters in this addendum's Program Edit Mode > Layer Section chapter.
Tip: To quickly set multiple pads to play pad slices of the same sample, copy a pad (with its Slice
menu set to Pad) to others, and then adjust the Pad Start point and Pad End point of each copied
pad.
Furthermore, because the start and end points are stored in a pad rather than the sample itself,
you'll find that the easiest way to edit your pad slices is in the new Program Mode of Sample Edit
Mode. Learn more in this addendum's Sample Edit Mode > Program Mode chapter.
282
Furthermore, Sample Record Mode now features as looper so you can create your own samples on the
fly. And a new Pad Perform Mode lets you easily use the pads (in a Keygroup Program) to play notes or
chords within a musical scale or key.
Please see the Table of Contents: Addendum for MPC v1.8 to learn more about the additions and
improvements in 1.8.
283
Table of Contents: Addendum for MPC v1.8
New Features in MPC v1.8..................................................................................................................... 286
General ............................................................................................................................................... 286

Software Navigation ...................................................................................................................... 286
Hardware Display Navigation ........................................................................................................ 287
Pad Keys ....................................................................................................................................... 288
Project Preview .............................................................................................................................. 289
Main Mode ......................................................................................................................................... 290

Sequence and Track Options ........................................................................................................ 290
Sequence and Track Editing ......................................................................................................... 290

Master Section .............................................................................................................................. 306
Layer Section ................................................................................................................................. 307

General .......................................................................................................................................... 312
Looper ........................................................................................................................................... 312
284
Sample Edit Mode ............................................................................................................................. 317
General .......................................................................................................................................... 317
Trim Mode ..................................................................................................................................... 318
Chop Mode .................................................................................................................................... 322
Program Mode ............................................................................................................................... 338
Step Sequence Mode ....................................................................................................................... 339

Pad Select ..................................................................................................................................... 339
Pad Perform Mode ............................................................................................................................ 340
Effects ................................................................................................................................................ 343
Improvements in MPC v1.8.................................................................................................................... 345
Corrections for the MPC v1.7 User Guide............................................................................................ 346
285
New Features in MPC v1.8
General
Software Navigation
You can now deselect samples in Project Information. To do this, press and hold your computer
keyboard's Ctrl (Windows) or  (Mac OS X) key and click the sample.
You can now use your computer's cursor keys to move through the Project Information.
You can now move the MPC software window by clicking and dragging any empty space in the
Transport Section.
286
Hardware Display Navigation
Hardware: When a tab shows multiple pages (e.g., the Send or Insert tab of Program Mixer Mode), you
can now cycle backward through the tabs instead of only forward. To do this, press and hold Shift and
press the Function Button under the tab.
Second page of Send tab in Program Mixer Mode After pressing Shift+F4 (Send): First page of Send tab
in the MPC hardware display. in Sample Edit Mode in the MPC hardware display.
Hardware: Some screens of the display have a second bank of buttons at the bottom of the screen
(corresponding to the Function Buttons). Press and hold Shift to see them.
First bank of buttons in Sample Edit Mode Second bank of buttons in Sample Edit Mode
in the MPC hardware display. in the MPC hardware display.
287
Pad Keys
Pad Keys now enables the use your computer keyboard to play the 16 pads of the current pad bank.
To enable or disable Pad Keys, click the Tools menu and select Pad Keys. Alternatively, press
Alt+Shift+W (Windows) or Option+Shift+W (Mac OS X).
On a standard US/American computer keyboard, use the keys as follows:
• the Z, X, C, and V keys plays Pads 01, 02, 03, and 04 1 2 3 4
• the A, S, D, and F keys plays Pads 05, 06, 07, and 08
• the Q, W, E, and R keys plays Pads 09, 10, 11, and 12
Q W E R
• the 1, 2, 3, and 4 keys plays Pads 13, 14, 15, and 16
Note: Enabling Pad Keys automatically disables MIDI Keys.
A S D F
Z X C V
288
Project Preview
You can now export a Sequence or Project as a Project Preview. Selecting this type of file (or a Project
with an associated Project Preview file) in the software's Browser will automatically play it just as a
sample would do when Auto Preview is selected.
To export a Project Preview:

1. Click the File menu, and select Export.
2. Select As Audio Mixdown.
3. In the Audio Mixdown window that appears, set the
Audio Length, File format, Bit depth, and Sample rate
as you normally would.
4. Set the check the Save as project preview box. This will
automatically set the Render source to Stereo output
(you can click its drop-down menu to select the desired
output). This will also automatically set the Render
options to Master inserts (you can click it to deselect it)
and disable Export returns.
5. Click Export or Cancel to confirm your choice.
289
Main Mode
Sequence and Track Options
To open the Sequence or Track drop-down menus, you can now click once anywhere on the menu
(as opposed to just the downward arrow, ).
To rename a Sequence or Track, double-click the drop-down menu.
Sequence and Track Editing
You can now edit the current Sequence by doing either of the following:
o In any mode, click the Edit menu and select Sequence.
o In Main Mode or Step Sequence Mode, right-click the Sequence drop-down menu in the
Sequence section. (This menu contains fewer options than the Edit menu.)
The available processes are:

Clear Insert Blank Bars Copy Sequence
Export Delete Bars Copy Track
Half Length Copy Bars Transpose
Double Length Copy Events Erase
290
Clear: This will erase all pad events from the Sequence and reset all of its settings.
Hardware: To edit the current Sequence:
1. Use the Cursor Buttons to select the Seq field.
2. Press Window to open the Edit Current Sequence window.
3. Press F2 (Clear) to erase all pad events from the Sequence and reset all of its settings. Press F4 (Do
It) or F5 (Cancel) to confirm your choice.
(This function on your MPC hardware has existed in earlier releases but was not described in the earlier
User Guide.)
The Edit Current Sequence window in the MPC hardware display.
Export: This lets you export the Sequence as a standard MIDI file (.mid). In the window that appears,
enter a file name and set the save location. This option is useful when you want to import your
Sequences into separate sequencer software or exchange your Sequences with another artist. This is
the same as clicking the File menu, selecting Export, and selecting As MIDI File.
291
Half Length: This will halve the length of the Sequence (without deleting any note events).
Double Length: This will double the Sequence and copy all events from the first half to the second half.
Hardware: To edit the current Sequence:
3. Press F3 (Double) to double the Sequence and copy all events from the first half to the second half.
292
Insert Blank Bars: This lets you add empty bars to a Sequence at a
specified point, which you can set in the Insert Blank Bars window
that appears.
Click Do It to confirm your choice or Cancel to cancel the operation.
• Sequence: Click this drop-down menu and select the desired
Sequence.
• Number of Bars: Click and drag this field up or down to set
how many bars you want to add.
• Time Sig: Click and drag these fields up or down to set the desired time signature of the bars you
want to add.
• Before Bar: Click and drag this field up or down to set the bar of the Sequence before which you
want to add the blank bars.
Hardware: To add empty bars to a Sequence at a specified point:
1. Press Seq Edit to open the Edit Sequence window.
2. Press Pad 01 (Insert Blank Bars) to open the Insert Blank Bars window.
3. Use the Cursor Buttons to select the desired field and use the Data Dial or –/+ buttons to adjust
them.
• Sequence: Use this field to select the desired Sequence.
• Number of Bars: Use this field to set how many bars you want to add.
• Time Sig: Use these fields to set the desired time signature of the bars you want to add.
• Before Bar: Use this field to set the bar of the Sequence before which you want to add the blank bars.
4. Press F5 (Do It) to confirm your choice or F4 (Back) to cancel the operation.
User Guide.)
The Insert Blank Bars window in the MPC hardware display.
293
Delete Bars: This lets you remove a range of bars from a
Sequence, which you can set in the Delete Bars window that
appears.
Click the Sequence drop-down menu to select the desired
Sequence. Click and drag the First Bar and Last Bar fields up or
down to set the range of bars you want to delete.
Click Do It to confirm your choice or Cancel to cancel the
operation.
Hardware: To remove a range of bars from a Sequence:
2. Press Pad 02 (Delete Bars) to open the Delete Bars window.
them.
• First Bar / Last Bar: Use these fields to set the range of bars you want to delete.
User Guide.)
The Delete Bars window in the MPC hardware display.
294
Copy Bars: This lets you copy a range of bars from a Sequence
and add them to another at a specified point, which you can set
in the Copy Bars window that appears.
Click: Replace to overwrite the designated bars of the
destination Sequence; Merge to add the copied events to the
designated bars of the destination Sequence without erasing
anything; or Cancel to cancel the operation.
• Copy Bars From:
o Sequence: Click this drop-down menu and select the "source" Sequence.
o First Bar / Last Bar: Click and drag these fields up or down to set the range of bars you want
to copy.
• Copy Bars To:
o Sequence: Click this drop-down menu and select the "destination" Sequence.
o After Bar: Click and drag this field up or down to set the bar of the Sequence after which you
want to add the copied bars.
o Copies: Click and drag this field up or down to select how many instances of the copied bars
you want to add.
Hardware: To copy a range of bars of a Sequence and add them to another at a specified point:
2. Press Pad 03 (Copy Bars) to open the Copy Bars From window.
them.
The Copy Bars window in the MPC hardware display.
295
• Copy Bars From: Sequence: Use this field to select the "source" Sequence.
• First Bar / Last Bar: Use these fields to set the range of bars you want to delete.
• Copy Bars To: Sequence: Use this field to select the "destination" Sequence.
• After Bar: Use this field to set the bar of the Sequence after which you want to add the copied
bars.
• Copies: Use this field to set how many instances of the copied bars you want to add
4. Press: F4 (Replace) to overwrite the designated bars of the destination Sequence; F5 (Merge) to
add the copied events to the designated bars of the destination Sequence without erasing anything;
or F3 (Back) to cancel the operation.
User Guide.)
296
Copy Events: This lets you copy a range of events
from a Sequence and add them to another at a
specified point, which you can set in the Copy
Events window that appears.
Click: Replace to overwrite the designated time
range of the destination Sequence; Merge to add the
copied events to the designated time range of the
destination Sequence without erasing anything; or
Cancel to cancel the operation.
• Copy Events From:
o Sequence: Click this drop-down menu and select the "source" Sequence.
o Track: Click this drop-down menu and select the Track containing the "source" Sequence.
o Time / To: Click and drag these fields up or down to set the time range (in bars: beats: ticks)
of the "source" Sequence. Alternatively, double-click the field and type in a number.
• Copy Events To:
o Sequence: Click this drop-down menu and select the "destination" Sequence.
o Track: Click this drop-down menu and select the Track containing the "destination"
Sequence.
o To: Click and drag these fields up or down to set the point (in bars: beats: ticks) in the
"destination" Sequence after which you want to add the copied events. Alternatively, double-
click the field and type in a number.
o Copies: Click and drag this field up or down to select how many instances of the copied
events you want to add.
Hardware: To copy a range of events from a Sequence and add them to another at a specified point:
2. Press Pad 04 (Copy Events) to open the Copy Events From window.
them.
297
The Copy Events From window in the MPC hardware display.
• Copy Events From: Sequence: Use this field to select the "source" Sequence.
• Copy Events From: Track: Use this field to select the Track containing the "source" Sequence.
• Time / To: Use these fields to set the time range (in bars: beats: ticks) of the "source" Sequence.
• Copy Events To: Sequence: Use this field to select the "destination" Sequence.
• To: Use this field to set the point (in bars: beats: ticks) in the "destination" Sequence after which
you want to add the copied events.
• Copies: Use this field to set how many instances of the copied events you want to add.
4. Press: F4 (Replace) to overwrite the designated time range of the destination Sequence; F5 (Merge)
to add the copied events to the designated time range of the destination Sequence without erasing
anything; or F3 (Back) to cancel the operation.
User Guide.)
298
Copy Sequence: This lets you copy the contents of one
Sequence to another, which you can set in the Copy
Sequence window that appears.
Click the Copy Contents of Sequence drop-down menu
to select the "source" Sequence, and click the Over
Contents of Sequence drop-down menu to select the
"destination" Sequence.
Hardware: To copy the contents of one Sequence to another:
2. Press Pad 05 (Copy a Sequence) to open the Copy Sequence window.
them.
• Copy Contents of Sequence: Use this field to select the "source" Sequence.
• Over Contents of Sequence: Use this field to select the "destination" Sequence.
299
Alternatively:
3. Press F4 (Copy).
them.
• Copy Contents of Sequence: Use this field to select the "source" Sequence.
• Over Contents of Sequence: Use this field to select the "destination" Sequence.
(These functions on your MPC hardware have existed in earlier releases but were not described in the
earlier User Guide.)
300
Copy Track: This lets you copy the contents of one Track to
another, which you can set in the Copy Track window that
appears.
Click the Copy Contents of Track drop-down menu to select
the "source" Track, and click the Over Contents of Track
drop-down menu to select the "destination" Track.
Hardware: To copy the contents of one Track to another:
2. Press Pad 08 (Copy Track) to open the Copy Track window.
them.
• Copy Contents of Track: Use this field to select the "source" Track.
• Over Contents of Track: Use this field to select the "destination" Track.
User Guide.)
The Copy Track window in the MPC hardware display.
301
Transpose: This lets you transpose a range of events in a
Sequence on a Track, which you can set in the Transpose
Events window that appears. The events within the
specified range will be shifted accordingly within the grid.
Click Do It to confirm your choice or Cancel to cancel the
operation.
• Sequence: Click this drop-down menu and select the
desired Sequence.
• Track: Click this drop-down menu and select the
Track containing the desired Sequence.
• Time / To: Click and drag these fields up or down to
set the time range (in bars: beats: ticks) of the
events in the desired Sequence. Alternatively, double-
click the field and type in a number.
• From Pad / To Pad (for Drum Programs): Click and
drag these fields up or down to set the "source" pad
(whose events you want to move) and the
"destination" pad (where the events will be placed).
• Range (for Keygroup Programs, MIDI Programs, and Plugin Programs): Click and drag these fields
up or down to set the range of notes of the events you want to transpose. Events within this note
range will be transposed while events outside of this range will remain unchanged.
• Transpose (for Keygroup Programs, MIDI Programs, and Plugin Programs): Click and drag this
field up or down to set how many semitones up or down you want to transpose the events.
Hardware: To transpose the current Sequence:
2. Press Pad 06 (Transpose) to open the Transpose window.
them. For numeric values, you can also use the numeric keypad to type in a value. For pad
numbers, you can simply press the desired pad.
302
The Transpose window for a Drum Program The Transpose window for a Keygroup Program

• Track: Use this field to select the Track containing the desired Sequence.
• Time / To: Use these fields to set the time range (in bars: beats: ticks) of the events in the
desired Sequence.
• From Pad / To Pad (for Drum Programs): Use these fields to set the "source" pad (whose events
you want to move) and the "destination" pad (where the events will be placed). You can press the
desired pad when the field is selected.
• Range (for Keygroup Programs, MIDI Programs, and Plugin Programs): Use these fields to set the
range of notes of the events you want to transpose. Events within this note range will be
transposed while events outside of this range will remain unchanged.
• Transpose (for Keygroup Programs, MIDI Programs, and Plugin Programs): Use this field to set
how many semitones up or down you want to transpose the events.
User Guide.)
303
Erase: This lets you erase all or part of a
Sequence on a specific Track, which you can set
in the Erase window that appears.
Click Do It to confirm your choice or Cancel to
• Sequence: Click this drop-down menu and
select the desired Sequence.
• Track: Click this drop-down menu and
select the Track containing the desired
Sequence.
• Time / To: Click and drag these fields up or down to set the time range (in bars: beats: ticks) of
the desired Sequence. Alternatively, double-click the field and type in a number.
• Erase: Click this drop-down menu and select one of these options:
o All erases all pad events from the designated time range and reset all of its settings.
o Automation erases all automation data from the designated time range.
o Note erases only specific pad events from the designated time range. In the diagram of the
eight pad banks that appears, click each pad to select or deselect its notes.
o Except Note erases everything except pad events from the designated time range.
Hardware: To erase the current Sequence:
2. Press Pad 07 (Erase) to open the Erase window.
them. For numeric values, you can also use the numeric keypad to type in a value.
The Erase window in the MPC hardware display.
304
• Track: Use this field to select the Track containing the desired Sequence.
• Time / To: Use these fields to set the time range (in bars: beats: ticks) of the desired Sequence.
• Erase: Use this field to select one of these options:
• All erases all pad events from the designated time range and reset all of its settings.
• Automation erases all automation data from the designated time range.
• Note erases only specific pad events from the designated time range. Press the pads whose
events you want to erase to select or deselect them (their numbers will appear in the Pads
field).
• Except Note erases everything except pad events from the designated time range.
User Guide.)
305
Program Edit Mode
Master Section
The Master Section now has knobs to control the pad's Level and Pan.
These affect the entire pad. Click and drag them up or down to adjust them.
Hardware: In the Master tab, there are now options for Pad Level and Pad Pan.
Use Q-Link Knobs Q10 and Q11 to adjust their respective values.
Alternatively, use the Cursor Buttons to select the desired field and use the Data Dial or –/+ buttons to
adjust them, or use the numeric keypad to type in a value.
The Master tab (with Level and Pan controls) in Program Edit Mode in the MPC hardware display.
306
Layer Section
There are several new settings in the Layer section that affect how the sample plays when you trigger its
pad. Click the All tab (with the "list-and-arrow" icon) to show all of them simultaneously. Alternatively,
click Tab 1, 2, 3, or 4 to show a set of the new settings next to the Sample drop-down menu for each
layer. Tab 1 contains the original Semi, Fine, and Level knobs while Tabs 2–4 contain the new settings'
controls.
Important: Please note that these new controls do not change the sample itself; all changes are non-
destructive. This is due to how MPC 1.8 handles sample editing and playback:
When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads,
you can convert 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 and each slice marker is like a "bookmark" for a pad. In Program Edit Mode, you'll see
that the pad/layer to which it's assigned 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 that slice. This means that you no longer have
to clutter your Project with a new sample for every 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 is that in Program Edit Mode, the pads/layers they're assigned to have their Slice drop-down
menus set to Pad (instead of the slice number), and the Pad Start and Pad End points will correspond
to the slice markers in the original sample.
307
• Slice: Click this drop-down menu to select what part(s) of the sample will
play:
o All: The entire sample will play.
o Pad: The sample will play from the Pad Start position to the Pad End
position, described below. This also lets you activate Pad Loop.
o 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.
• Dir: Click this drop-down menu to select in which direction the sample will
play:
o Fwd: The sample will play in the normal forward direction.
o Rev: The sample will play in reverse.
• Offset: Click and drag this field up or down to determine a time offset for
the sample's playback. Alternatively, double-click the field and type in a
number.
o 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.
o Negative values (left of center): When the pad is played, playback
will be delayed by the amount specified by the offset value.
308
• Pad Start: Click and drag this field up or down to
determine the position (in samples) where the pad's
playback will start. Alternatively, double-click the
field and type in a number. The minimum value is 0,
and the maximum value is the Pad End value.
• Pad End: Click and drag this field up or down to
determine the position (in samples) where the pad's
playback will stop. Alternatively, double-click the
field and type in a number. The minimum value is the
Pad Start value, and the maximum value is the
sample's total length (in samples).
• Pad Loop: Click this box to select one of the
available Pad Loop modes:
Important: For Pad Loop to work, you must (1) set
the Sample Play field to Note On instead of One
Shot and (2) set the Slice field to Pad instead of All
or a slice number.
o Off: The sample will not loop.
o Forward: You can hold down the pad to cause that sample to repeat from the Loop Position
(Loop Pos) to the end of the sample. Release the pad to stop the repeating playback.
o Reverse: You can hold down the pad to cause that sample to play in reverse, repeating from
the end of the sample to the Loop Position (Loop Pos). Release the pad to stop the repeating
playback.
o Alternating: You can hold down the pad to cause that sample to play from the Loop Position
(Loop Pos) 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.
• Loop Pos (position): Click and drag this field up or down to determine the position (in samples)
where the pad's playback will repeat when Pad Loop is activated. Alternatively, double-click the
field and type in a number.
309
Hardware: There are several new settings in the Samples tab that affect how the sample plays when
you trigger its pad.
To edit the new Samples settings:
1. Press Prog Edit to enter Program Edit Mode.
2. Press F2 (Samples) to select the Samples tab.
• Press F2 to cycle through the available four pages of the tab.
• Use the Cursor Buttons to select a parameter. Use the Data Dial or –/+ buttons to adjust the
parameter value:
• Slice: This determines what part(s) 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
below. This also lets you activate Pad Loop.
• 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.
• Dir: This determines which direction the sample will play:
• Fwd: The sample will play in the normal forward direction.
• Rev: The sample will play in reverse.
• Offset: This determines a time offset for the sample's playback.
• Positive values: When the pad is played, playback will start immediately but at a later point in
the sample specified by the offset value.
• Negative values: When the pad is played, playback will be delayed by the amount specified by
the offset value.
The second Samples tab in Program Edit Mode in the MPC hardware display.
310
• Pad Start: This determines the position (in samples) where the pad's playback will start. The
minimum value is 0, and the maximum value is the Pad End value.
• Pad End: This determines the position (in samples) where the pad's playback will stop. The minimum
value is the Pad Start value, and the maximum value is the sample's total length (in samples).
The third Samples tab in Program Edit Mode in the MPC hardware display.
• Pad Loop: This determines the Pad Loop mode. When On, you can hold down the pad to cause
that sample to repeat from the Loop Position (Loop Pos) to the end of the sample. Release the
pad to stop the repeating playback. This option is disabled (–) if Slice is not set to Pad.
• For Pad Loop to work, you must (1) set the Sample Play field to Note On instead of One Shot and
(2) set the Slice field 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
(Loop Pos) 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 from the
end of the sample to the Loop Position (Loop Pos). 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
(Loop Pos) 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.
• Pad Loop Pos: Click and drag this field up or down to determine the position (in samples) where
the pad's playback will repeat when Pad Loop is activated.
The fourth Samples tab in Program Edit Mode in the MPC hardware display.
311
Sample Record Mode
General
Input insert effects now allow you to apply effects to incoming audio. You can do this
while recording samples and while recording with the looper.
You can also choose to record samples as mono audio or stereo audio. To select mono
or stereo recording, click the (mono) or (stereo) button under the insert effect
slots.
Tip: Use this to send a mono audio source through a stereo plugin as a mono signal,
and then record the plugin's output as a stereo signal.
Looper
Sample Record Mode now has a built-in looper, letting you record and overdub in real time. You can
also export the loop as a sample for use in your project.
312
To switch between the looper and the normal sampler,
click Looper or Sampler above the Q-Link Knobs.
Hardware: To switch between the looper and the normal
sampler, press F1 (Sampler or Looper).
To set the length of your loop, click and drag the Num Bars
field up or down.
Hardware: To set the length of your loop, use the Cursor
Buttons to select the Bars field, and use the Data Dial or –/+
buttons to adjust the value. Alternatively, use the numeric
keypad to enter a value.
The Looper tab in Sample Record Mode in the MPC hardware display.
313
To set the loop recording behavior, click the Rec Loop drop-down
menu and select Play or Overdub.
• Play: When you start recording a loop, the looper will record the
incoming audio signal during the first time through the loop. After
that (when the loop repeats), the loop will play back without
recording.
• Overdub: When you start recording a loop, the looper will record the incoming audio signal every
time the loop plays, including when the loop repeats, overdubbing it onto the existing loop.
Hardware: To set the length of your loop, use the Cursor Buttons to select the Rec To field, and use
the Data Dial or –/+ buttons to select Play or Over:
• Play: When you start recording a loop, the looper will record the incoming audio signal during the
first time through the loop. After that (when the loop repeats), the loop will play back without
recording.
• Over: When you start recording a loop, the looper will record the incoming audio signal every time
the loop plays, including when the loop repeats, overdubbing it onto the existing loop.
To sync or unsync the looper with Sequence playback, click Seq Sync. When Seq Sync is on, the
looper will stay in step with your current Sequence. When you play or record into the looper, it will wait
until the Sequence starts playing Bar 1 again to start.
Hardware: To sync or unsync the looper with Sequence playback, use the Cursor Buttons to select the
Sync field, and use the Data Dial or –/+ buttons to select On or Off. When Sync is on, the looper will
stay in step with your current Sequence. When you play or record into the looper, it will wait until the
Sequence starts playing Bar 1 again to start.
314
To start recording a loop:
• If Seq Sync is on, click Record in the Looper section to record-
arm the looper. To start recording, click the software transport
section's Play button. To erase the recording, click Clear.
• If Seq Sync is off, click Record in the Looper section.
Recording will start immediately.
Important: When +Overdub is on, the looper will record without erasing any audio you've already
recorded in the loop. When Replace is on, the looper will record and overwrite any audio you've
already recorded in the loop.
Hardware: To start recording a loop:
• If Sync is On, press F6 (Record) to record-arm the looper. To start recording, press the Play button
on your hardware's transport control. To erase the recording, press and hold Shift and press F6
(Clear).
• If Sync is Off, press F6 (Record). Recording will start immediately.
Important: When Overdub is on, the looper will record without erasing any audio you've already
recorded in the loop. When Replace is on, the looper will record and overwrite any audio you've already
recorded in the loop.
Hardware Tip: Use a footswitch with MPC Renaissance to speed up your looper workflow: Connect a
footswitch (sold separately) to MPC Renaissance's Footswitch 1 or Footswitch 2 input, and then set
that footswitch to send the desired transport command in the Preferences.
315
To play or stop the loop, click Play in the Looper section.
Hardware: To play or stop the loop, press F4 (Play).
To reverse loop playback, click Reverse in the Looper section. If Seq

Sync is on, playback will reverse once the looper's playhead reaches the
end of the loop. If Seq Sync is off, playback will reverse immediately.
Hardware: To reverse loop playback, press F3 (Reverse). If Seq Sync is
on, playback will reverse once the looper's playhead reaches the end of
the loop. If Seq Sync is off, playback will reverse immediately.
To erase the loop, click Clear in the Looper section. The loop will be erased immediately.
Hardware: To erase the loop, press and hold Shift, and then press F6 (Clear). The loop will be erased
immediately.
To export the loop as a sample:

1. Click Export in the Looper section to open the Export
Loop as a Sample window.
2. Click the New Name field and enter a name for the
sample.
3. Optional: Click the Program drop-down menu and
select a Program to assign it to. To ignore this feature,
select <none>.
4. Optional: If you're assigning the sample to a Program, click and drag the Assign to Pad field up or
down to select the desired pad. To ignore this feature, select Off.
5. Click and drag the Root Note field up or down to select the sample's root note.
6. Optional: Click and hold Play to play the sample.
7. Click Do It to confirm your choice or Cancel to cancel.
When your loop is done exporting, it will appear under Project Information with the name you
entered and will be assigned to the Program and pad you selected (if any).
316
Sample Edit Mode
General
The sample timeline above the sample waveform now lets you select
whether it is shown in Beats (which displays as bars.beats.ticks) as well
as the previously available Time (which displays as seconds:milliseconds)
or Samples. To set this, click the left-most part of the timeline or right-click
any other place of the timeline.
When you enter Sample Edit Mode, the sample currently selected in Project Information will
automatically appear in the sample waveform for editing.
When you press a pad in Main Mode, the sample assigned to Layer 1 will be selected in Project
Information.
Hardware Tip: To quickly prepare a sample to edit, press its assigned pad (if it's assigned to the pad's
Layer 1) and then press Sample Edit to enter Sample Edit Mode.
Hardware: When adjusting the start point, end point, or loop point of a sample or slice, turning the Data
Dial to change the value is now scaled based on the zoom level. Zoom in for very fine sample-level
control or zoom out for coarser adjustments.
317
The Sample Process section has been reorganized.
Trim Mode
You can now audition the sample (as it has been edited) using one
of two modes:
• One Shot: Click Pad 10 to start playback and press it again to
stop.
• Note On: Click and hold Pad 11 to start playback and release
it to stop.
Hardware: You can now audition the entire sample using one of
two modes:
• One Shot: Press Pad 10 to start playback. and press it again to
stop.
• Note On: Press and hold Pad 11 to start playback and release
it to stop.
318
You can now retune a sample to the tempo of its current sequence.
To tune a sample to that of its current sequence:

1. Click Sample Edit to enter Sample Edit Mode.
2. Click From BPM in the Process section to open the Calculate
BPM window.
3. Click and drag the Number Of Beats field up or down to
match the number of beats in the desired Sequence.
Alternatively, double-click the field and type in a number.
4. Click Match. The Tempo field will adjust to match that your
current Sequence's tempo, and the Tune field will adjust
automatically. The sample is now tuned to the current Sequence.
5. Click Close to exit the window.
Hardware: To tune a sample to that of its current sequence:
1. In Trim Mode, use the Cursor Buttons to select Tune.
2. Press Window to open the Calculate BPM window.
3. Use the Cursor Buttons to select the Number Of Beats field and use the Data Dial or –/+ buttons
to adjust the value to match the number of beats in the desired Sequence. Alternatively, use the
numeric keypad to enter a value.
4. Press F3 (Match). The Tempo field will adjust to match that your current Sequence's tempo, and the
Tune field will adjust automatically. The sample is now tuned to the current Sequence.
5. Click F4 (Close) to exit the window.
The Calculate BPM window in Sample Edit Mode in the MPC hardware display.
319
You can now 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 the slice. You can easily switch between Trim Mode and Chop Mode while doing
this.
To use Trim Mode to edit a slice of a sample:

1. Click Chop to enter Chop Mode.
2. Click the Chop To drop-down menu to select how the sample is sliced. Set the other fields below it
as desired.
3. In the sample waveform above, click the desired slice.
4. Click Trim to enter Trim Mode. The region you are now editing is indicated by the normal start point
and end point markers rather than slice markers.
5. Click Chop at any time to return to Chop Mode.
Hardware: To use Trim Mode to edit a slice of a sample:
1. If the tab above F1 says Trim, press it so it says Chop.
2. Use the Cursor Buttons to select the Chop To field and use the Data Dial or –/+ buttons to select
how the sample is sliced. Set the other fields next to it as desired.
3. Use the Cursor Buttons to select the Slice field and use the Data Dial or –/+ buttons to select the
desired slice. Alternatively, use the numeric keypad to enter a value.
4. Press F1 (Chop) to enter Trim Mode. The region you are now editing is indicated by the normal start
point and end point markers rather than slice markers.
5. Press F1 (Trim) to at any time to return to Chop Mode.
320
The Time Stretch process now has a Ratio setting, letting you easily calculate the time stretch factor.
To use the Ratio setting:

1. Click Time Stretch to open the Process Sample window.
2. Click and drag the Number Of Beats field up or down to
the desired value. Alternatively, double-click the field and
type in a number.
3. Click and drag the New field up or down to the desired
new tempo. Alternatively, double-click the field and type in
a number. The Ratio field will change automatically to
indicate the time stretch factor.
To adjust the ratio instead, click and drag the Ratio field up or down to the desired ratio.
Alternatively, double-click the field and type in a number. The New field will change automatically
based on the new time stretch factor.
Hardware: The Time Stretch process now has a Ratio setting, letting you easily calculate the time
stretch factor.
To use the Ratio setting:
1. In Trim Mode, press F6 (Process) to open the Process Sample window.
2. Use the Data Dial or –/+ buttons to set the Function field to Time Stretch.
3. Use the Cursor Buttons to select the New field and use the Data Dial or –/+ buttons to set the
desired value. Alternatively, use the numeric keypad to enter a value. The Ratio field will change
automatically to indicate the time stretch factor.
• To adjust the ratio instead, use the Cursor Buttons to select the Ratio field and use the Data Dial or
–/+ buttons to set the desired value. Alternatively, use the numeric keypad to enter a value. The
New field will change automatically based on the new time stretch factor.
4. Click F5 (Do It) or F4 (Cancel) to confirm or cancel the operation and exit the window.
Time Stretch in the Process Sample window in the MPC hardware display.
321
Chop Mode
Chop Mode is now non-destructive: You can choose the slice/edit behavior in Chop Mode (in Sample
Edit Mode) without destroying your original sample, giving you more control over sample playback; you
can save your sliced sample and but also reuse all of the slice data in another project.
See Program Edit Mode > Layer Section of this addendum 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).
The slice markers above the sample waveform

now show their slice numbers and are clearer and
easier to move. Red slice markers indicate the
slice you are editing using the hardware. Green
slice markers are used for all other slices.
Also, slice markers are now "adaptively"
displayed: The end marker is shown only for the
currently selected slice.
Furthermore, slices no longer have to be
sequential or contiguous. They can even overlap.
Important: Link Slices must be deactivated to
make slices nonsequential, noncontiguous, or
overlapping.
Hardware: When selecting the slicing mode (Threshold, Regions, or BPM), the display will now show
these options in a new screen where you can cancel or confirm your selection. This prevents any
accidental deletion or shifting of your slice markers.
To select the slice mode:
1. Use the Cursor Buttons to select the Chop To field.
2. Press Window or use the Data Dial or –/+ buttons to open the Chop Mode window.
3. Use the Data Dial or –/+ buttons to select the desired slicing mode.
4. Press F5 (Do It) to confirm your choice or F4 (Close) to cancel.
322
Some features have remained the same but have been reorganized or are accessible in multiple places:
• Settings Section: This section is no longer uses that name as it contains many other functions
including slice conversion and assignment.
• Select Slice: This feature is now assigned to Q-Link Knob Q16 rather than Q15.
• Zero Snap (previously Snap to Zero): This button is now above the Q-Link Knobs rather than in the
Settings Section.
• Link Slices: This button is now above the Q-Link Knobs rather than in the Settings Section.
• Audition and One Shot / Note On: The earlier Audition feature, which assigned each slice to a
pad, is now always activated. The One Shot / Note On menu, which determines how the pads play
their slices, is now labeled Pad Audition.
There is now a cue playhead, which is useful when manually inserting slice
markers. You can set its position and behavior to suit your workflow. To quickly
place it, click the desired location in the grey timeline. You can also click and
drag it to adjust it further.
To use the cue playhead:

1. Click the desired location in the grey timeline to quickly place it at that point
in the sample waveform. You can also click and drag it to adjust it further.
The Cue field will show the current position (in samples). Alternatively,
double-click the Cue field and type in the desired position (in samples).
2. Click the Cue Audition drop-down menu and select one of the following:
• One Shot: Clicking Cue Play (Play) will play the entire sample from the
cue playhead.
• Toggle: Clicking Cue Play (Play) once will start playback from cue
playhead. Clicking it once more will stop playback.
Note: The Pad Audition button is the same as the Audition button in earlier
MPC releases' Settings Section.
3. Click Cue Play (Play) to play the sample from the cue playhead.
4. If you want to set a slice marker at that position, click +Slice.
If you want to adjust the slice marker further, repeat Steps 1 and 3 as desired.
323
To set what audio (if any) plays while you
move the cue playhead or a slice marker:
Click the Edit menu, select Preferences,
and click the Other tab. Click each of
these drop-down menus to set them,
then click OK.
• Cue Preview: This is useful for
precise placement of 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, play the small part of
the sample After the cue playhead,
or not play at all (Off).
• Slice Preview: This is useful for
precise placement of 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,
play the small part of the sample
After the slice marker, or not play at
all (Off).
324
Hardware: There is now a cue playhead, which is useful when manually inserting slice markers. You can
set its position and behavior to suit your workflow.
To use the cue playhead:
1. Turn Q-Link Knob Q15 to move the white cue playhead to the desired position in the sample
waveform. (By default, it is at the very start of the sample). The Cue field will show the current
position (in samples). Alternatively, use the Cursor Buttons to select the Cue field and turn the Data
Dial or –/+ buttons, or type in a value using the numeric keypad.
The cue playhead (the dotted vertical line in Slice 4/8) The Cue Play Mode window in Chop Mode
in Chop Mode in the MPC hardware display. in the MPC hardware display.
2. Use the Cursor Buttons to select the Start, End, or Cue field.
3. Press Window to open the Cue Play Mode window.
4. Use the Cursor Buttons to select a field and use the Data Dial or –/+ buttons to select the setting:
• Cue Play Mode:
• One Shot: Pressing F5 (Play Cue) will play the entire sample from the cue playhead.
• Toggle: Pressing F5 (Play Cue) once will start playback from cue playhead. Pressing it once
more will stop playback.
• Cue Preview: This is useful for precise placement of 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, play the small part of the sample After the cue playhead, or not play at
all (Off).
• Slice Preview: This is useful for precise placement of 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, play the small part of the sample After the slice marker, or not play at all (Off).
5. Press F4 (Close) to close the window.
6. Press F5 (Play Cue) to play the sample from the cue playhead.
7. If you want to set a slice marker at that position, press F6 (Slice +).
325
You can now add slice markers to a sample as it plays, letting you
edit easily in real time. To do this, click +Slice at any point during
sample playback.
Hardware: You can now add slice markers to a sample as it plays,
letting you edit easily in real time. To do this, press F6 (Slice +) at any
point during sample playback.
You can now quickly split or combine slices.

To split the current slice into two slices, click the + button to the right of the Slice field.
To combine the current slice and the previous one, click the – button to the right of the Slice field.
Hardware: You can now quickly split or combine slices.
To split or combine slices:
1. In Chop Mode, use the Cursor Buttons to select the Slice field.
2. Use the Data Dial or –/+ buttons to select the desired slice.
3. Press Window to open the Split/Combine Region window.
4. Press F4 (Split) to split the current slice into two slices, press F5 (Combine) to combine the current
slice and previous one, or press F2 (Back) to cancel the operation.
The Split/Combine Region window in Sample Edit Mode in the MPC hardware display.
326
You can also remove all slices from a sample. To do this, click –All.
Hardware: You can now remove all slices in a sample. To do this, press and hold Shift and press F5
(Clear All).
The second bank of Chop Mode tabs in Sample Edit Mode in the MPC hardware display.
327
You can now easily convert and assign a slice or sample to a pad or
Program. In earlier releases, you had to click the Convert button in the
Process section. Now, it's conveniently under the other slice and
auditon controls.
Clicking any of these five buttons will open the Convert or Assign
Slices window. After making your selections, click Do It to complete the
process or Close to cancel the operation.
Note: After the window is open, you can still select a new conversion/assignment process by clicking
the Convert To drop-down menu and selecting a different one.
Hardware: You can now easily convert and assign a slice or sample to a pad or Program. In earlier
releases, it was an option in the Process Sample page. Now, it's conveniently accessible as a Function
Button with the other slice and auditon controls.
To access the Convert or Assign Slices window, press Shift + F4 (Convert). After the window is
open, use the Convert To field to select one of the 5 conversion/assignment processes.
Use the Cursor Buttons to navigate through the window.
Use the Data Dial or –/+ buttons to change the current setting or value. For numerical values, you can
also use the numeric keypad to enter a value.
The Convert or Assign Slices window in Sample Edit Mode in the MPC hardware display.
328
Non-Destructive Convert: Slice to Pad
Note: This is same as clicking the Convert To drop-down menu
and selecting Assign Slice to Pad.
This feature will assign the current slice to a pad, similar to
applying the Convert process in v1.7 and selecting Assign Slice.
This option, however, doesn't clutter your Program Information
with lots of sample slices; the pad will simply refer to the slice in
this sample instead of creating a new sample.
• Pad: Click this drop-down menu and select the desired pad.
• Slice Type: Click this drop-down menu to select how the
desired pad's Layer section settings in Program Edit Mode will be set when the slice is assigned to
it (see this addendum's Program Edit Mode > Layer Section to learn more about how these
settings work):
o Non-Destructive Slice: The pad's Slice setting will be set to the slice number.
o Pad Parameters: The 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 and end point values, and the Loop Pos
parameter will be set to the slice's start point but with Pad Loop deactivated.
• Program: Click this drop-down menu to specify a Program to which you want to add the slice.
Important: Clicking Do It will replace the sample on the first Layer of the pad.
329
Hardware: Assign Slice to Pad will assign the current slice to a pad, similar to applying the Convert
process in v1.7 and selecting Assign Slice. This option, however, doesn't clutter your Project with lots of
sample slices; the pad will simply refer to the slice in this sample instead of creating a new sample.
• Convert To: This will be set to Assign Slice to Pad. You can use this field to to select a different
conversion/assignment process.
• Pad: Press the desired pad to select it.
• Slice Type: Use this field to select how the desired pad's Layer section settings in Program Edit
Mode will be set when the slice is assigned to it (see this addendum's Program Edit Mode > Layer
Section to learn more about how these settings work):
• 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
parameters will be set to the slice's start point and end point values, and the Loop Pos parameter
will be set to the slice's start point but with Pad Loop deactivated.
• Program: Use this field to specify a Program to which you want to add the slice.
Press F5 (Do It) to confirm your choice or F4 (Cancel) or cancel the operation.
Important: Pressing F5 (Do It) will replace the sample on the first Layer of the pad.
Assign Slice to Pad in the MPC hardware display.
330
Non-Destructive Convert: New Program
and selecting New Program Using Slices.
This feature will create a new Program and assign the current
sample's slices to its pads. The new Program will be named after
the sample and appended with ch.
This is similar to applying the Convert process in v1.7 and
selecting Sliced Samples with Create New Program checked.
This option, however, doesn't clutter your Program Information
with lots of sample slices; each pad will simply refer to a slice in
• Slice Type: Click this drop-down menu to select how each pad's Layer section settings in Program
Edit Mode will be set when the slice is assigned to it (see this addendum's Program Edit Mode >
Layer Section to learn more about how these settings work):
o Non-Destructive Slice: Each pad's Slice setting will be set to the slice number.
o 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 and end point values, and the Loop Pos
parameter will be set to the slice's start point but with Pad Loop deactivated.
• Create Events: Check this box to create a new Program in which each slice results in a sample
and is automatically assigned to a pad. Furthermore, it will automatically create a new Track in
which each pad plays its corresponding slice in ascending sequence by pad number.
• Number of Bars (available only if Create Events is checked): Click and drag this field up or down
to set how many bars the slices' events will occupy.
331
Hardware: New Program Using Slices will assign the current slice to a pad, similar to applying the
Convert process in v1.7 and selecting Sliced Samples with Create New Program selected. This option,
however, doesn't clutter your Project with lots of sample slices; each pad will simply refer to the slice in
• Convert To: This will be set to New Program Using Slices. You can use this field to to select a
different conversion/assignment process.
• Slice Type: Use this field to select how each pad's Layer section settings in Program Edit Mode will
be set when the slice is assigned to it (see this addendum's Program Edit Mode > Layer Section to
learn more about how these settings work):
• 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 and end point values, and the Loop Pos parameter
will be set to the slice's start point but with Pad Loop deactivated.
• Create Events: Set this to On to create a new Program in which each slice results in a sample and is
automatically assigned to a pad. Furthermore, it will automatically create a new Track in which each
pad plays its corresponding slice in ascending sequence by pad number.
• Number of Bars (available only if Create Events is On): This field determines how many bars the
slices' events will occupy.
New Program Using Slices in the MPC hardware display.
332
Extract New Samples: Sample to Pad
and selecting New Sample to Pad.
This feature will create a new sample from the current one and
assign it to a pad. The new sample will have the same name as the
original one but appended with -# (where # is a consecutive
number).
• Pad: Click this drop-down menu and select the desired pad.
• Crop Sample: Check this box to delete the unused parts
from the sample when it's created and assigned. This feature
is destructive (though the Project will still contain your original
sample).
Leave this box unchecked to keep the unused parts of the sample when it's created and assigned.
This is essentially like editing a sample in Trim Mode and assigning it to a pad, but this method
creates a new sample, so you will still be able to further edit the entire sample even though you are
using only part of it at the moment.
• Program: Click this drop-down menu to specify a Program to which you want to add the sample.
Important: Clicking Do It will replace the sample on the first Layer of the pad.
333
Hardware: New Sample to Pad will create a new sample from the current one and assign it to a pad.
The new sample will have the same name as the original one but appended with -# (where # is a
consecutive number).
• Convert To: This will be set to New Sample to Pad. You can use this field to to select a different
• Pad: Press the desired pad to select it.
• Crop Sample: Set this to On to delete the unused parts from the sample when it's created and
assigned. This feature is destructive (though the Project will still contain your original sample).
• Set this to Off to keep the unused parts of the sample when it's created and assigned. This is
essentially like editing a sample in Trim Mode and assigning it to a pad, but this method creates a
new sample, so you will still be able to further edit the entire sample even though you are using only
part of it at the moment.
• Program: Use this field to specify a Program to which you want to add the slice.
New Sample to Pad in the MPC hardware display.
334
Extract New Samples: New Program
and selecting New Program With New Samples.
This feature will create new samples from the current one and
assign them to pads in a new Program. The new Program will be
named after the sample and appended with ch. The new samples
will be appended with SI-# (where # is a consecutive number).
This is similar to applying the Convert process in v1.7 and
selecting Sliced Samples with Create New Program checked.
• Crop Samples: Check this box to delete the unused parts from the samples when they're created
and assigned. This feature is destructive (though the Project will still contain your original sample).
Leave this box unchecked to keep the unused parts of the samples when they're created and
assigned. This is essentially like editing samples in Trim Mode and assigning them to pads, but this
method creates new samples, so you will still be able to further edit the entirety of each sample
even though you are using only part of it at the moment.
• Create New Program: Check this box to create a new Program in which each slice results in a
sample and is automatically assigned to a pad. The new Program will be named after the sample
and appended with ch.
• Create Events (available only if Create New Program is checked): Check this box to create a new
Program in which each slice results in a sample and is automatically assigned to a pad.
Furthermore, it will automatically create a new Track in which each pad plays its corresponding
slice in ascending sequence by pad number.
• Number of Bars (available only if Create Events is checked): Click and drag this field up or down
to set how many bars the slices' events will occupy.
335
Hardware: New Program With New Samples will create new samples from the current one and assign
them to pads in a new Program. The new Program will be named after the sample and appended with
ch. The new samples will be appended with SI-# (where # is a consecutive number). This is similar to
applying the Convert process in v1.7 and selecting Sliced Samples with Create New Program
selected.
• Convert To: This will be set to New Program With New Samples. You can use this field to to select a
different conversion/assignment process.
• Crop Samples: Set this to On to delete the unused parts from the samples when they're created
and assigned. This feature is destructive (though the Project will still contain your original sample).
• Set this to Off to keep the unused parts of the samples when they're created and assigned. This is
essentially like editing samples in Trim Mode and assigning them to pads, but this method creates
new samples, so you will still be able to further edit the entirety of each sample even though you are
using only part of it at the moment.
• Create New Program: Set this to On to create a new Program in which each slice results in a
sample and is automatically assigned to a pad. The new Program will be named after the sample and
appended with ch.
• Create Events (available only if Create New Program is On): Set this to On to create a new
Program in which each slice results in a sample and is automatically assigned to a pad. Furthermore,
it will automatically create a new Track in which each pad plays its corresponding slice in ascending
sequence by pad number.
• Number of Bars (available only if Create Events is On): This field determines how many bars the
slices' events will occupy.
New Program With New Samples in the MPC hardware display.
336
Patched Phrase
Note: This is same as clicking the Convert To drop-down menu and
selecting Patched Phrase.
This is identical to applying the Convert process in v1.7 and
selecting Patched Phrase: It creates a new sample that will play
based on the tempo of your 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 in your
• Number of Bars: Click and drag this field up or down to set how many bars long
the patched phrase is meant to be.
Hardware: Patched Phrase is identical to applying the Convert process in v1.7 and selecting Patched
Phrase: It creates a new sample that will play based on the tempo of your Sequence, and places it in the
current Project. The patched phrase will have the same name as the original sample but appended
with pp.
• Convert To: This will be set to Patched Phrase. You can use this field to to select a different
• Number of Bars: This field determines how many bars long the patched phrase will be.
Patched Phrase in the MPC hardware display.
337
Program Mode
You can now edit a sample in the context of the Program in which you'll use it. In this mode, you can
adjust the pad parameters as though you were in Program Edit Mode, auditioning and hearing how it will
sound in the Program's audio path.
To do this:
1. In Sample Edit Mode, click the Program Mode button above the Q-Link Knobs. The pads will show
their assigned samples in the current Program.
2. Click a pad to hear its sample(s). The sample on its first layer will automatically appear in the sample
waveform for editing and will be selected in Project Information.
You can still use the Q-Link Knobs as you normally would in Trim Mode.
Hardware: To use Program Mode:

1. In Sample Edit Mode, press F2 (Program).
2. Press a pad to hear its sample(s). The sample on its first layer will automatically appear in the sample
waveform for editing and be selected in the Sample field.
• You can still use the Q-Link Knobs and Function Buttons as you normally would in Trim Mode.
338
Step Sequence Mode
Pad Select
Hardware: You can now use Pad Select to switch to step sequence events on different pads. When
Pad Select is activated, press a pad to select it and hear its sound instead of entering a pad event.
When Pad Select is deactivated, press a pad to enter a step for the current pad, like normal.
To activate or deactivate Pad Select, press F4 (Pad Select).
Pad Select in Step Sequence Mode in the MPC hardware display.
339
Pad Perform Mode
Pad Perform Mode lets you assign musical scales/modes, chords, or progressions to the pads for more
creative performance.
Hardware: To use Pad Perform Mode, press Pad Assign while using a Keygroup Program, MIDI
Program, or Plugin Program. The display will show the current pad bank's mapping of notes or chords.
Use the Cursor Buttons to select a field. Use the Data Dial or –/+ buttons to change the setting/value.
Use the Function Buttons (described below) to access shortcuts to these and other features.
• Type: This determines what will be mapped over the pads:
• 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 to construct songs quickly. The available chords are determined by the Chord field.
Playing notes in Pad Perform Mode Playing chords in Pad Perform Mode
Playing chromatic chords in Pad Perform Mode Playing progressions in Pad Perform Mode
340
• Scale: These two fields determine the root note and the scale type.
• Root Note: 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 in the display) 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 Gypsy Dorian
• Minor (melodic) Hungarian Gypsy Phrygian
• Pentatonic Major Persian Lydian
• Pentatonic Minor Major Bebop Mixolydian
• Blues (minor) Whole Tone Aeolian
• Flamenco Chromatic Locrian
• Chord: This determines what chord type will play when pressing a pad. The resulting chord will use
those scale degrees based off of the pad's root note.
• When the Type is 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 the Type is set to Chromatic Chords, the available chords are:
• Major Sus2 Major7 Major9 Augmented
• Minor Sus4 Minor7 Minor9 Diminished
• Banks: This determines how the notes are mapped across the pad banks.
• Start on root ensures that Pad 01 is always the root note of the scale in every pad bank.
• Continuous ensures that Pad 01 of one bank is always one scale degree higher than Pad 16 of
the previous bank.
341
Alternatively, use the Function Buttons to quickly select different Types and Chords:
• F1 (Notes): This automatically sets the Type to Notes.
• F2 (1-3-5): This automatically sets the Type to Chords and sets the Chord to 1-3-5 (major/minor).
• F3 (1-3-5-7): This automatically sets the Type to Chords and sets the Chord to 1-3-5-7
(major7/minor7).
• F4 (Progrsn): This automatically sets the Type to Progressions.
• F5 (Octave –) and F6 (Octave +): This shifts the pad assignments down or up by an octave.
• Shift + F2 (1-4-5): This automatically sets the Type to Chords and sets the Chord to 1-4-5 (sus4).
• Shift + F3 (1-3-5-7b): This automatically sets the Type to Chords and sets the Chord to 1-3-5-7b
(dominant).
• Shift + F5 (Note–) and Shift + F6 (Note+): This shifts the pad assignments down or up by a scale
degree.
First bank of buttons in Pad Perform Mode in the MPC hardware display.
Second bank of buttons in Pad Perform Mode in the MPC hardware display.
342
Effects
Input insert effects allow you to apply effects to incoming audio. You can
do this while recording samples and while recording with the looper.
Vintage Mode effects are now available for all users.

These effects emulate the Vintage Mode of the MPC
Renaissance.
To apply a Vintage Mode effect:

1. When selecting an effect, click the + next to
Vintage Effects.
2. Click the desired Vintage Mode effect.
3. Click Select to confirm your choice or Close to
cancel.
343
Hardware: To apply a Vintage Mode effect:
1. When selecting an effect in the Select Effect window, use the Data Dial or –/+ buttons to move
through the list. The Vintage Mode effects are at the bottom of the list of Akai Professional effects.
2. Press F4 (Select) to confirm your choice or F3 (Back) to cancel.
Vintage Mode effects in the Select Effect window in the MPC hardware display.
344
Improvements in MPC v1.8
• To open files, you can now drag them from your Explorer (Windows) or Finder (Mac OS X) anywhere
into the MPC software window.
• The file browser will hide the [ProjectData] directories when Project filter (Proj) is activated.
• Windows that open in the software (e.g., Preferences, History, etc.) are now contained in the main
software window rather than spilling outside of it.
• Sample Record Mode now has a larger VU meter for better signal visibility and Threshold control.
• In Sample Edit Mode, the pad colors in Trim Mode and Chop Mode have been updated for easier
viewing.
• Slices created in Chop Mode (in Sample Edit Mode) are now saved into audio file itself; you can drag
that file into a new Project and retain all of the slices from its previous Project.
• Improved audio path performance.
• Various bug fixes and stability enhancements.
Hardware:
• Many minor workflow improvements for MPC Renaissance and MPC Studio users.
• The display shows improved Function Buttons.
• +/–, on/off states, and tab selections are clearer.
345
Corrections for the MPC v1.7 User Guide
Keygroup Programs: User Guide 1.7 previously stated that Keygroup Programs have only one channel
strip. This has been corrected in Program Mixer Mode (Page 150).
Keygroup Programs actually have a channel strip for each individual Keygroup (up to 128).
Auto Scroll: User Guide v1.7 previously did not have a description of the Auto Scroll button. This has
been added to General Features > Mode Tab Section (Page 72).
Click the Auto Scroll button to switch between Follow, Page, and Off.
• When set to Follow, depending on the zoom setting, the grid will scroll
along in the background, keeping the position marker centered.
• When set to Page, the grid display will "turn over" to follow the position
marker.
• When set to Off, the grid will not move at all.
These functions also apply to the sample waveform in Sample Edit Mode.
Loading Audio CD Tracks from File Browser: User Guide v1.7 previously did not have a description of
loading tracks from an audio CD. This has been added to General Features > Browsers > File
Browser (Page 65).
To load a track from an audio CD into your Project, click and drag it from the File Browser onto the
software window.
Edit Sequence Window (Hardware): User Guide v1.7 did not have a description of the Edit Sequence
window (shown in the MPC hardware display only). This has been added to this addendum's Main
Mode > Sequence and Track Editing section.
346
Q-Link (Hardware): User Guide v1.7 did not have a description of the Q-Link window (shown in the
MPC hardware display only).
The explanation of the Q-Link Knob section in the software itself is in Main Mode > Q-Link Section
(Page 113).
Hardware:
1. To open the Q-Link window, press Shift + Prog Edit / Q-Link.
2. Use the Cursor Buttons to select a field. Use the Data Dial or –/+ buttons to change the
setting/value.
3. Use the Cursor Buttons to select the Program field at the top of the window. Use the Data Dial or –
/+ buttons to select the Program whose Q-Link Knobs you want to assign.
4. To start assigning Program parameters to the Q-Link Knobs, press F1 (Prog Q).
• To start assigning effect parameters to the Q-Link Knobs, press F2 (FX Q).
5. To select a Q-Link Knob, use the Cursor Buttons or simply touch the corresponding Q-Link Knob
on your MPC hardware. (The 16 fields correspond visually to the 16 Q-Link Knobs.)
6. To quickly assign a parameter to the current Q-Link Knob, make sure the Params button is lit (if it
isn't, press F5 (Params)), and then use the Data Dial or –/+ buttons to select a parameter.
The Prog Q tab of the Q-Link window The FX Q tab of the Q-Link window
347
• To edit even more parameters for the current Q-Link Knob, press F4 (Edit). This opens the Program
Q-Link Edit window:
• Program (for Program parameters): Use this field to select the Program whose parameters you
want to assign.
• Effect (for effect parameters): Use this field to select the effect whose parameters you want to
assign. (You have to load an effect before its parameters can be assigned to the Q-Link Knobs.
All effects loaded to the pads or to the Track, independent from their routing, can have their
parameter assigned. See the Effects chapter for more information about loading effects.)
• QLink: Use this field to select the desired Q-Link Knob, or simply touch the corresponding Q-
Link Knob on your MPC hardware.
• Change (for Program parameters): Use this field to select the condition for changing a
parameter. In most cases, you should select Real Time, which changes the sound immediately
when the Q-Link Knob is moved. If Note On is selected, the Q-Link Knob's position will affect the
sound only when its corresponding pad is pressed.
• Pad (for Program parameters): Use this field to select the desired pad you want to control, or
simply press the corresponding pad on your MPC hardware.
• Param: Use this field to select the parameter you want to assign to the Q-Link Knob.
• Touch To: Use this field to select how the Q-Link Knob will respond when you touch it. When
you hold down the Q-Link Trigger button and touch the top of the Q-Link Knob, the assigned
parameter will jump to either its minimum (Min) or maximum (Max) value.
• Press F4 (Close) to return to the main Q-Link window.
7. To set the values of the Q-Link Knobs, make sure the Values button is lit (if it isn't, press F6
(Values)), and then turn the corresponding Q-Link Knobs on your MPC hardware. Alternatively, you
can use the Cursor Buttons to select one and then use Data Dial or –/+ buttons to set a value.
The Program Q-Link Edit window for Program parameters The Program Q-Link Edit window for effect parameters
348
Effects (Hardware): User Guide v1.7 did not have a description of the Effects window (shown in the
MPC hardware display only). The Send and Insert tabs have been moved from F4 and F5 to F1 and F2,
as well.
The explanation of the Effects in the software itself (and corrections due to updates in 1.8) is in Effects >
Send Effects (Page 232) and in Effects > Master Effects (Page 236).
Hardware:
1. To open the Effects window, press Shift + Seq Edit / Effects.
2. To load or adjust send effects, press F1 (Send).
• To load or adjust master insert effects, press F2 (Insert).
3. Use the Cursor Buttons to select the desired effect slot.
4. Use the Data Dial or –/+ buttons to open another page to select an effect. Press F4 (Select) to load
it, or press F3 (Back) to close the page.
5. Send effects only: To set the return level, use the Cursor Buttons to select the desired Level effect
slot. Use the Data Dial or –/+ buttons to set the level.
6. To make further adjustments to the effect parameters, select it, and then press Window to open its
parameter window or F6 (Edit).
The Send tab of the Effects window The Insert tab of the Effects window
Appendix: Effects and Parameters: User Guide v1.7 previously had a few incorrect default parameter
values and Q-Link Knob numbers. These have been corrected in the Appendix > Effects and
Parameters (Page 242).
349
Other (Hardware): User Guide v1.7 did not have a description of the Other window (shown in the MPC
hardware display only).
Hardware:
1. To open the Other window, press Shift + Song / Other.
2. To switch between the Preferences tab and MIDI Control tab, press F1 (Prefs or MidiCtrl).
3. Use the Cursor Buttons to select a field. Use the Data Dial or –/+ buttons to change the
setting/value.
The Preferences tab in the Other window in MPC hardware display.
The Preferences tab shows some of the settings available in the software's Preferences window (in the
Hardware and Other tabs) and other settings not available in the software:
• Auto Button: Use this field to set the Q-Link Trigger button to cycle through automation states for
just for each Program or globally (Global). Learn about automation for Programs in Program Edit
Mode > Master Section. Learn more about global automation in General Features > Mode Tab
Section.
• Number of Taps: Use this field to set how many times you have to press your MPC hardware's Tap
Tempo button until the new tempo is recognized.
• Pad Threshold: Use this field to select a threshold that must be exceeded to trigger the pad.
• Pad Sensitivity: Use this field menu to set how sensitively your MPC hardware's pads respond to
your touch. At lower values, you need to use more force to generate 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: Use this field to set how your playing is translated into velocity values, starting from A to
D. An A pad curve is essentially linear, while the B, C, and D pad curves are exponential. (See the
diagram in General Features > Software Menus > Edit Menu > Preferences: Hardware Tab.
350
• Footswitch 1 / Footswitch 2: Use these fields to select the functionality of footswitches connected
to your MPC hardware. You can select either transport commands (e.g., Play or Stop) or trigger
commands for pads and the Function Buttons.
• Sampling Bit Depth: Use this field to set the bit depth of the audio recorded from a sample.
• Display Resolution: Use this field to set the resolution of your MPC's hardware display.
• Program Change Target: Use this field to select what an incoming MIDI Program Change message
will change: a Program, Sequence, or Track, or turn this feature Off.
The MIDI Control tab in the Other window in the MPC hardware display.
The MIDI Control tab shows the current control's MIDI settings when your MPC hardware is in MIDI
Control Mode. To select a control, touch, move, or press it, or use the Control field:
• Control: This determines what message the control sends to the software (e.g., acting as a specific
Q-Link Knob, acting as a specific pad, entering a specific mode, revealing or hiding the File Browser,
Undo, Tap Tempo, etc.).
• Light LED: This determines how the control's LED (or multiple LEDs) on the hardware will behave.
• When set to Never, the LED will always be off.
• When set to MIDI Input, the LED will light up when the software receives a MIDI message that
matches that control.
• When set to Local, the LED will light up when you use that control and/or MIDI input is received.
• Midi Channel: This deteremines over which MIDI channel (from 1–16) the control will send MIDI
messages to the software.
• CC Number: (buttons and Q-Link Knobs only): This determines what Control Change the control will
send to the software.
351
• Mode (Q-Link Knobs only): This determines how the Q-Link Knob will control its parameter.
• When set to Absolute, the Q-Link Knob's current position is what determines its parameter's
value; moving the Q-Link Knob may cause its parameter to "snap" to a new position when using
the Q-Link Knob to control different parameters between different modes.
• When set to Relative, moving the Q-Link Knob will adjust its parameter upward or downward
regardless of its position.
• Low Range (Q-Link Knobs only): This is the Q-Link Knob's lowest possible value (0–127).
• High Range (Q-Link Knobs only): This is the Q-Link Knob's highest possible value (0–127).
• Touch Sense (Q-Link Knobs only): This activates or deactivates the Q-Link Knob's touch-capacitive
circuitry.
• When set to 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).
• When set to Off, the Q-Link Knob will not send any Note On messages; it will only send CC
messages when you turn it.
• Touch Note (Q-Link Knobs only): This is the MIDI note number the Q-Link Knob will send to the
software when you touch it (0–127 or C-2 to G8). Touch Sense must be On for this to work.
• Type (buttons only): This determines whether the button will behave as a Momentary switch or
Toggle (latching) switch.
• Note (pads only): This is the MIDI note number the pad will send to the software when you press it
(0–127 or C-2 to G8).
• Bank (pads only): This is the pad bank the pad belongs to. If Set All is On, the pad's messages and
parameters will be identical across all eight banks.
• Velocity (pads only): 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 (pads only): This determines how the pad's aftertouch (pressure applied to the pad after
the initial press) behaves.
• When set to Off, the pad will not send any aftertouch messages.
• When set to Channel, if you press multiple pads that have this setting, the aftertouch messages
they send will be identical.
• When set to Poly, if you press multiple pads, the aftertouch message each pads sends will be
independent from the others'.
• Set All (pads only): When On, the pad's messages and parameters will be identical across all eight
banks.
352
Pad Copy: User Guide v1.7 previously had a description of the Pad Copy button that was obsolete due
to subsequent software improvements. This has been corrected in MPC Hardware Overview >
MPC Renaissance > Top Panel (Page 19) and in MPC Hardware Overview > MPC Studio >
Top Panel (Page 28).
User Guide v1.7 also did not have a description of the Copy Pad window or function as shown in the
MPC hardware display:
The Copy Pad window in the MPC hardware display.
Hardware: To copy one pad (sample and parameters) to another:

1. Press Shift + Pad Assign / Pad Copy to open the Copy Pad window.
2. Use the Cursor Buttons to select the From Pad field. Press the "destination" pad.
3. Use the Cursor Buttons to select the To Pads field. Press select or deselect "destination" pads.
4. Press F5 (Do It) to confirm your choice or F4 (Close) to cancel the operation.
353
Addendum for MPC v1.9
This chapter is an addendum that explains new features and improvements in MPC v1.9. We also
Some of the most important new features include enhancements in Track Mixer Mode, where you can
now view and use channel strips for returns, submixes, and master outputs.
Track lengths can now be independent of Sequence lengths, which means that you don’t have to copy
and paste content in a Track just so its length matches up with others in the Sequence. For instance, a
2-bar drum pattern on one Track will loop under an 8-bar bass line on another Track.
We’ve added an easy way to assign pad colors in the software and placed other useful Program editing
processes in the Edit Menu, as well. We’ve also added Project Notes where you can quickly write notes
to yourself and save with each Project.
Please see the Table of Contents: Addendum for MPC v1.9 to learn more about the additions and
improvements in the MPC software.
We hope you enjoy these new features!
Akai Professional
354
Table of Contents: Addendum for MPC v1.9
New Features in MPC v1.9..................................................................................................................... 357
General ............................................................................................................................................... 357

Support for MPC Touch ................................................................................................................ 357
Program Edit Processes ................................................................................................................ 357
Swap Pad Contents....................................................................................................................... 358
Pad Colors ..................................................................................................................................... 359
Independent Track Lengths........................................................................................................... 361
Independent Insert Effect Bypass ................................................................................................. 362
Project Notes ................................................................................................................................. 363
Track Mixer Mode ............................................................................................................................. 365

Submix Channel Strips .................................................................................................................. 365
Return Channel Strips ................................................................................................................... 366
Master Channel Strips ................................................................................................................... 366
355
Sample Edit Mode ............................................................................................................................. 367
Trim Mode ..................................................................................................................................... 367
Program Mode ............................................................................................................................... 367
Preferences ....................................................................................................................................... 368

Project Tab .................................................................................................................................... 368
Screensaver Disable ...................................................................................................................... 369
Improvements in MPC v1.9.................................................................................................................... 370
Corrections for the MPC v1.8 User Guide............................................................................................ 371
356
New Features in MPC v1.9
General
Support for MPC Touch
This release provides support for Akai Professional’s

revolutionary new MPC Touch. You can now get hands-on
with your music using MPC Touch’s large multi-touch display
and new hardware controls.
Learn more at akaipro.com.
Program Edit Processes
You can now edit certain aspects of the Program in the

Edit Menu.
To do this, click the Edit Menu, and select Program to

show the following options:
• Pad Color: Select this to open the Pad Color
window—an easier to way to set the colors of the
pads in your Program. See Pad Colors below to
learn about this.
• Duplicate: Select this to duplicate the current
Program to another one. The new Program will be
appended with -# (where # is a consecutive number).
357
• Duplicate to New Track: Select this to duplicate the current Program to another one and create a
new Track that uses it. The new Program will be appended with -# (where # is a consecutive number).
• Merge: Select this to merge the pads of one Program with
another. In the Merge Programs window that appears, click
the Pads from Program menu to select the “source” Program,
and click the Into Program menu to select the “destination”
Program where the two will be merged. Check the Start on
Next Bank box if you want the source Program’s pad
assignments to start in the next completely empty bank in the
destination Program (this is helpful if you have already assigned
your pads to specific locations of the 4x4 pad grid). Click OK to
continue or Cancel to cancel.
• Delete: Select this to delete the Program. You will be asked to confirm or cancel your choice in a
new window.
• Rename: Select this to rename the Program. You will be asked to confirm or cancel your choice in
a new window.
Swap Pad Contents
When the Pad Bank section in the lower half of the screen shows their assigned samples, you can now
swap the contents and settings of two pads by pressing and holding Alt on your computer keyboard,
and then dragging one pad to another.
358
Pad Colors
There’s now an easier to way to set the colors of

the pads in your Program.
To open the Pad Color window, click the Edit

Menu, select Program, and select Pad Color.
The Program field shows the Program whose

pad colors you are setting. To select a different
Program, close this window, select a different
Program, and then open the window again.
To select a pad to edit, click it on the right, or

press it on your MPC hardware.
To select how the pad lights will display, click the Display As field:
• 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 with colors 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 light with 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 will light with their assigned color with a brightness that corresponds with the velocity.
359
To select how the empty pads will display, click the Empty Pads field:
• 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.
To determine whether you want to edit all pads or just one pad, click the Pads field and select Edit
All Pads or Edit Single Pads.
To show or hide the RGB (red, green, blue) palette of colors, click the Show RGB Palette box.
To select a color for the pad, click a color button.
Hardware: Lime green is now an available pad color.
360
Independent Track Lengths
Track lengths are now independent of Sequence lengths. In earlier versions, you would have to ensure
all Tracks in a Sequence are identical lengths even if it meant the first half of a Track is identical to its
second half (e.g., a 4-bar drum pattern in an 8-bar Sequence would have to be doubled). Now, you can
set a Track length to be different from the Sequence length. If the Track is shorter than the overall
Sequence, it will loop when it reaches the end as the rest of the Sequence continues. You can also set
the Track to match the Sequence, as normal.
You can do this in Main Mode, Program Edit Mode, Program Mixer Mode, Track View Mode, Pad Mute
Mode, and Step Sequence Mode.
To set the Track length, click and drag the Track Len field (in the upper-right corner) up or down. This
defines the number of beats the Track will use during playback. After those beats pass, the Track will
return to its Beat 1 as the other Tracks continue. The beats of the Track that are disabled will appear as
darker in the display.
Set it to the minimum setting, Seq, for the Track to follow the length of the overall Sequence.
361
Independent Insert Effect Bypass
You can now enable or disable individual insert effects

independently of the others on the same channel. In
other words, you no longer have to use the On/Off
button to enable or disable all of them at once.
To enable or disable an insert effect slot, do either

of the following:
• Press and hold Shift on your computer
keyboard, and then click the insert slot above
the channel strip.
• Double-click the insert effect slot to open its
parameters, and then click the On/Off button in
the upper-left corner.
Hardware: To enable or disable an insert effect slot,

move the cursor over it, and then press Window.
362
Project Notes
Each Project now has notes associated with it, which you can use to write notes or other information for
later reference. These notes are stored in the Project.
To show the Project Notes window, do either of the following:

• Click the Edit Menu, and then select Show Project Notes.
• On your computer keyboard, press Ctrl+Alt+Shift+N (Windows) or +Alt+Shift+N (Mac OS X).
363
Program Edit Mode
In Program Edit Mode, you can now set independent polyphony limits for each pad in a Program and/or
for the entire Program. You can set either to Poly, Mono, or a specific number of voices. You can do this
for Drum Programs or Keygroup Programs only.
To set the polyphony for a pad in a Drum Program, click the Pad
Polyphony drop-down menu in the Pad Play Modes section.
To set the polyphony for a keygroup in a Keygroup Program, click

the KG Poly drop-down menu in the Key Group section.
To set the polyphony for an entire Program, click the Polyphony

drop-down menu in the Master section.
364
Track Mixer Mode
Track Mixer Mode now has channel strips for all 8 submixes, 4 returns, and 16 master outputs.
Submix Channel Strips
The submix channel strips operate similarly to other channel strips: each has 4 insert slots, send level
controls, routing selector, a pan knob, a mute button (M), a level slider, and a level meter.
To show or hide the submix channel strips, click the downward arrow icon on the left side of
the channel strip area.
365
Return Channel Strips
The return channel strips operate similarly to other channel

strips: each has 4 insert slots, routing selector, a pan knob,
a mute button (M), a level slider, and a level meter.
Because each return channel now has 4 insert slots, you
are no longer limited to only 1 effect per send. Each
send is now routed through up to 4 insert effects on
each return.
To show or hide the return channel strips,
click the triangular arrow icon on the left side of
the channel strip area.
Master Channel Strips
The master channel strips operate similarly to other

channel strips: each has 4 insert slots, a pan knob, a
mute button (M), a level slider, and a level meter.
Normally, the channel strip for only the first master
output (Out 1,2) is shown (in the lower-right corner of
the window). Now, you can click and drag to expand the
area that shows the channel strips for the subsequent
master outputs.
To show or hide the master channel strips,
click the crown icon on the left side of the
channel strip area.
366
Sample Edit Mode
Trim Mode
While using Trim Mode, you can now play the sample as a continuous
loop while simultaneously adjusting its start and end points. This is
useful if you don’t want to keep playing the sample each time you
make an adjustment.
To continuously play or stop the sample, click Pad 16 (Play Loop
Continuous).
Program Mode
While using Program Mode, you can quickly load a single slice (or all
slices) to a pad along with the current start point, end point, and other
settings.
To load a slice to a pad with the current settings:

1. Press the desired pad on your MPC hardware.
2. Click and drag the Slice menu up or down to select the desired slice.
3. Make sure the other settings (start point, loop point, end point,
etc.) are what you want.
4. Click the To Pad button. The pad will now use those settings from
that slice, and the pad will now use Pad Parameters instead of
Non-Destructive Slice. (In other words, in Program Edit Mode, the
pad’s Slice menu in its Layers section will be set to Pad instead of
a slice number. Also, it will use the start point, end point, and loop
point you set in Step 3.)
367
Preferences
Project Tab
The Preferences window now has a Project tab

where you can set default settings for each
project:
• Default Tempo: Click and drag this field
up or down to set the default tempo.
• Default Master Tempo: Click this button
to select whether or not the default tempo
applies to Sequences (Off) or to a Master
Tempo (On).
• Default Sequence Bars: Click and drag
this field up or down to set the default
number of bars for new Sequences.
• Default Time Signature: Click and drag
each of these field up or down to set the
default time signature for new Sequences.
• Default Pad Slice: Click this drop-down
menu to select how new samples will play
when you load them or record them into
the Project. When set to Pad, the Slice
menu in Program Edit Mode will be set to
Pad, which lets you set the start point, 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 (the default behavior in MPC 1.8.2
and earlier versions).
368
Screensaver Disable
The Other tab now has an option where you

can disable your computer’s screensaver
when MPC software is running:
• Never: Your computer’s screensaver will
function normally.
• 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).
369
Improvements in MPC v1.9
• Whenever a Sequence starts or repeats, its sample zone cycle now resets to Layer 1.
• Pads for Keygroup Programs, Plugin Program, and MIDI Programs now display the note name and
MIDI note number.
• Improved Keygroup Program editing.
• In Pad Mute Mode, the pad lights now flash more brightly to indicate what’s being played so you can
better visualise what to mute.
• Enhanced “note-stealing” algorithms so your Projects play better.
• Significantly improved audio performance with a reworked internal audio path.
• Improved software install system.
Important:
• MPC software now collects anonymous usage information that will help us improve its stability. If
you want to opt out of this service, please deselect Collect usage statistics in the Other tab of the
Preferences.
•
®
MPC 1.9 no longer supports RTAS plugin formats. A 32-bit AAX plugin is available for Pro Tools 10
alongside the 64-bit AAX for Pro Tools 11 and higher.
Hardware:
• To switch the master tempo on or off, press Shift+Tap Tempo.
• In Sample Record Mode, if the recording duration is more than 60 seconds, the time is now shown in
minutes:secs.
• To view the master outputs, press Shift+Seq Edit. This page shows the Vintage Mode state, insert
effects, mute state, level, and panning for each master output.
• Minor workflow improvements for MPC Renaissance and MPC Studio users.
370
Corrections for the MPC v1.8 User Guide
Vintage Mode Availability: User Guide 1.8 previously stated that MPC Renaissance users must be
using MPC Renaissance as their computer’s sound card in order to use Vintage Mode effects. This is
actually not true; Vintage Mode effects are available regardless of your computer’s sound card setting.
This has been corrected in Operation > General Features > Transport Section Section (Page 76).
Truncation Duration: User Guide 1.8 did not include an

explanation of Truncation Duration for the Sequencer
tab in the Preferences.
Click the Truncation Duration drop-down menu to
select if/how events are cropped if they exceed the
length of the current Sequence:
• To Sequence Length: An event will be truncated if
it exceeds the Sequence length. This ensures that
the note will not overlap itself when the Sequence
loops.
• To Sequence End: An event will be truncated to
the end of the current Sequence if it exceeds the
Sequence length. The event will stop playing when
the Sequence loops.
• As Played: An event will play back exactly as it was recorded—even if events overlap themselves
when the Sequence loops.
Number of Available Tracks: User Guide 1.8 previously stated that each Sequence could hold up to 64
Tracks. Each Sequence can actually hold up to 128 Tracks. This has been corrected in Operation >
Track Mixer Mode (Page 156).
371
Trim Mode Pad Section: User Guide 1.8 contained outdated information about the Pad Section while
using Trim Mode in Sample Edit Mode. This has been updated in Operation > Sample Edit Mode >
Trim Mode > Pad Section (Page 187).
Keyboard Shortcuts: User Guide 1.8 previously stated that Steinberg Cubase users need to combine all
keyboard shortcuts with pressing Alt. This applies to Ableton Live 9 users, as well. This has been
corrected in Appendix > Keyboard Shortcuts (Page 238):
Important: When running MPC as a plugin in Ableton Live 9 or Steinberg Cubase, all keyboard shortcuts
need to be combined with Alt.
372
Addendum for MPC 1.9.2
This chapter is an addendum that explains new features and improvements in MPC 1.9.2. We also
One of the most important changes is the ability to add slices to samples in real time as you record them
and to record samples directly to specific pads. Read more about this in New Features > Sample
Record Mode.
Please see the Table of Contents: Addendum for MPC 1.9.2 to learn more about the additions and
Akai Professional
373
Table of Contents: Addendum for MPC 1.9.2
New Features .......................................................................................................................................... 375
General ............................................................................................................................................... 375

New Features for MPC Touch ....................................................................................................... 375

Sample ........................................................................................................................................... 375
Slice ............................................................................................................................................... 377
Pad Tap ......................................................................................................................................... 379
Pad Hold ........................................................................................................................................ 381
Improvements ......................................................................................................................................... 383
Corrections ............................................................................................................................................. 384
374
New Features
General
New Features for MPC Touch
This release improves the experience of using Akai Professional’s MPC Touch. Please see the MPC
Touch User Guide for this release to learn more.
Sample Record Mode
Sample Record Mode now has a “lazy chop” feature that lets you slice a sample in real time as you
record it. It also allows you to record sample directly to a pad.
The four new modes are Sample, Slice, Pad Tap, and Pad Hold, described below. Click each button in
the Sampler section to select each mode.
Sample
In Sample Mode, you can record samples exactly as you have in previous
releases, but we have added the ability to insert a slice marker directly in
your sample as you record it.
To start or stop recording, click Record.
To insert a slice marker in a sample while recording, click Slice+ as
the sample records. Each time you click it, a slice marker will be placed at
that location.
375
Using Sample Mode in Sample Record Mode.
The F5 (Slice +) button while recording in Sample Record Mode.
Hardware:
1. In Sample Record Mode, press F2 to cycle through the available modes, and select the first one
(Sample).
2. Press F6 (Record) to start recording.
3. Press F5 (Slice +) as the sample records to insert a slice marker in the sample while recording. Each
time you click it, a slice marker will be placed at that location.
4. Press F6 (Stop) to stop recording.
5. Use the Keep or Discard Sample window as usual to keep or discard the sample.
376
Slice
In Slice Mode, the pads correspond to slices of the currently recorded

sample.
To insert a slice marker in a sample while recording, click any pad as

the sample records. Each time you click 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 name the new sample, click the New Name field and enter a name. Otherwise, the process will add
a consecutive number after the sample name.
To set how the slices are used, click the Create New Program field to select one of the following:
• 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 Addendum for MPC v1.8 > New Features in MPC v1.8 > Sample Edit Mode >
Chop Mode).
• 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 Addendum for MPC v1.8 > New Features
in MPC v1.8 > Sample Edit Mode > Chop Mode).
377
Using Slice Mode in Sample Record Mode. The Create New Prg field.
Hardware:
1. In Sample Record Mode, press F2 to cycle through the available modes, and select the second one
(Slice).
2. Press F6 (Record) to start recording.
3. Press any pad as the sample records to insert a slice marker in the sample while recording. 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.
4. Press F6 (Stop) to stop recording.
5. Use the Data Dial or –/+ buttons to set how the slices are used in the Create New Prg field:
• 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 Addendum for MPC v1.8 > New Features in MPC v1.8 > Sample Edit Mode >
Chop Mode).
• 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 Addendum for MPC v1.8 >
New Features in MPC v1.8 > Sample Edit Mode > Chop Mode).
6. Press F4 (Discard) to cancel and discard the sample or F5 (Create) to continue.
378
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
work (though it may appear to).
In Pad Tap Mode, you can click a pad to immediately start or continue
recording directly to that pad. Make sure you are using the desired program
before you start recording! Pads that already have assigned samples are
brightly lit yellow. Pads without any samples are dimly lit yellow.
To start recording to a pad, click it. Recording will start immediately,

and the pad will flash red. If you click another pad, the recording will
“move” to the new pad, which will flash red, and the recording will stop
on the previous pad, which will be lit green.
Note: If you start recording simply by clicking the Record button (or if the
volume exceeds the Threshold level), the sample will not record to a pad,
but it will record to your project’s sample pool.
To stop recording to a pad, click 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, click the Record button under the Sample Length counter.
When you are done recording, each pad that you have clicked during recording will have its 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 Addendum for MPC
v1.8 > New Features in MPC v1.8 > Sample Edit Mode > Chop Mode).
379
Using Pad Tap Mode in Sample Record Mode.
Hardware:
Important: This mode works for drum programs only; you must select a drum program before using this
mode. Otherwise, this feature will not work (though it may appear to).
1. In Sample Record Mode, press F2 to cycle through the available modes, and select the third one
(Pad Tap).
2. Press any pad to start recording to it. Recording will start immediately, and the pad will flash red. If
you click another pad, the recording will “move” to the new pad, which will flash red, and the
recording will stop on the previous pad, which will be lit green.
• Note: If you start recording simply by pressing F6 (Record) (or if the volume exceeds the Threshold
level), the sample will not record to a pad, but it will record to your project’s sample pool.
3. Press the same pad again to stop recording to it. The sample will continue recording. You can start
recording on another pad at any time.
4. Press F6 (Stop) to stop all recording.
5. When you are done recording, each pad that you have pressed during recording will have its 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 Addendum for MPC
v1.8 > New Features in MPC v1.8 > Sample Edit Mode > Chop Mode).
380
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
work (though it may appear to).
In Pad Hold Mode (P.Hold), you can click and hold a pad to immediately
start or continue recording directly to that pad. Make sure you are using
the desired program before you start recording! Pads that already have
assigned samples are brightly lit yellow. Pads without any samples are
dimly lit yellow.
To start recording to a pad, click and hold it. Recording will start
immediately, and the pad will light red.
Note: If you start recording simply by clicking the Record button (or if the
volume exceeds the Threshold level), the sample will not record to a pad,
but it will record to your project’s sample pool.
To stop recording, release the pad. The sample will continue recording. You can start recording on
another pad at any time.
To stop all recording, tap the Record button under the Sample Length counter.
When you are done recording, each pad that you have clicked and held during recording will have its
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 Addendum for
MPC v1.8 > New Features in MPC v1.8 > Sample Edit Mode > Chop Mode).
381
Using Pad Hold Mode in Sample Record Mode.
Hardware:
Important: This mode works for drum programs only; you must select a drum program before using this
mode. Otherwise, this feature will not work (though it may appear to).
1. In Sample Record Mode, press F2 to cycle through the available modes, and select the fourth one
(Pad Hold).
2. Press and hold any pad to start recording to it. Recording will start immediately, and the pad will
light red. If you click another pad, the recording will “move” to the new pad, which will flash red, and
the recording will stop on the previous pad, which will be lit green.
• Note: If you start recording simply by pressing F6 (Record) (or if the volume exceeds the Threshold
level), the sample will not record to a pad, but it will record to your project’s sample pool.
3. Release the pad to stop recording to it. The sample will continue recording. You can start recording
on another pad at any time.
4. Press F6 (Stop) to stop all recording.
5. When you are done recording, each pad that you have pressed and held during recording will have its
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 Addendum for
MPC v1.8 > New Features in MPC v1.8 > Sample Edit Mode > Chop Mode).
382
Improvements
• Screensaver Options: You can now stop your

computer’s screensaver when you use MPC
Touch. In the software, click Edit to open the
Preferences window, click the Other tab, click
the Screensaver Disable menu, and select
When hardware used.
383
Corrections
Program Edit Mode: Semi Knob: We have corrected all descriptions of the Semi knobs, which let you
transpose the selected program or sample up to 36 semitones up or down:
Operation (Software) > Modes > Program Edit Mode > Master Section (Page 131)
Operation (Software) > Modes > Program Edit Mode > Key Group Section (Page 136)
Program Edit Mode: Trans Knob: We have corrected the descriptions of the Trans knob, which shifts
the pitch of sample up to 36 semitones up or down. This function is identical to the Semi knob; it does
not affect the transposition of any connected MIDI controller hardware: Operation (Software) > Modes
> Program Edit Mode > Master Section (Page 131).
Program Edit Mode: Keygroup Programs: Pad Loop: We have corrected the description of the Pad
Loop button, which has four states rather than two: Addendum for MPC v1.8 > New Features in MPC
v1.8 > Program Edit Mode > Layer Section (Page 309 and Page 311):
• Pad Loop: Click this box to select one of the available Pad Loop modes:
Important: For Pad Loop to work, you must (1) set the Sample Play field to
Note On instead of One Shot and (2) set the Slice field to Pad instead of All
or a slice number.
o Off: The sample will not loop.
o Forward: You can hold down the pad to cause that sample to repeat
from the Loop Position (Loop Pos) to the end of the sample. Release the
pad to stop the repeating playback.
o Reverse: You can hold down the pad to cause that sample to play in
reverse, repeating from the end of the sample to the Loop Position
(Loop Pos). Release the pad to stop the repeating playback.
o Alternating: You can hold down the pad to cause that sample to play
from the Loop Position (Loop Pos) 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.
384
The fourth Samples tab in Program Edit Mode in the MPC hardware display.
Hardware:
Pad Loop: This determines the Pad Loop mode. When On, you can hold down the pad to cause that
sample to repeat from the Loop Position (Loop Pos) to the end of the sample. Release the pad to stop
the repeating playback. This option is disabled (–) if Slice is not set to Pad.
For Pad Loop to work, you must (1) set the Sample Play field to Note On instead of One Shot and (2)
set the Slice field 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 (Loop
Pos) 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 from the end of
the sample to the Loop Position (Loop Pos). 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 (Loop
Pos) 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.
385
Addendum for MPC 1.9.3
This chapter is an addendum that explains new features and improvements in MPC 1.9.3. We also
Some of the most important changes include:

• The new drag-and-drop feature that lets you quickly export the current program, sequence, or
track and place it in your DAW, on your computer, or back into your MPC project. Read more
about this in New Features > General > Audio/MIDI Drag-and-Drop.
• The ability to slice a sample in real time in Sample Edit Mode. Read more about this in New
Features > Sample Edit Mode.
Please see the Table of Contents: Addendum for MPC 1.9.3 to learn more about the additions and
Akai Professional
386
Table of Contents: Addendum for MPC 1.9.3
New Features ...............................................388 Improvements ............................................. 393
General ....................................................388 Corrections ................................................. 393

Support for MPC Studio Black ...........388
Audio/MIDI Drag-and-Drop ................389
Sample Edit Mode ..................................392
387
New Features
General
Support for MPC Studio Black
This release introduces support for using Akai Professional’s MPC Studio Black. Learn more about this
exciting new product at akaipro.com.
388
Audio/MIDI Drag-and-Drop
The new drag-and-drop feature lets you quickly export the current program, sequence, or track and
place it in your DAW, on your computer, or back into your MPC project.
To drag and drop an audio file of the current track or program:

Important: To determine whether you are exporting a track or
program, see the Drag & Drop tab in the Preferences window
(described below).
1. Click the Export Audio button (under the Next Sequence
Mode icon) so it changes from gray to yellow. When it is
yellow, that means the audio has been rendered and is
ready to drag and drop.
2. Click and drag the yellow Export Audio button to the
desired location: a track in your DAW, a location on your
hard drive, or your MPC project (e.g., the Samples list in
the Project Information panel).
If you drag it back into your project, you may see a
warning that the audio sample already exists there. To
replace the existing sample with the exported one, click
Replace. To cancel the operation, click Cancel. To
rename the exported sample, enter a new name in the
Name field, and then click Rename.
389
Item Exists window.
Hardware: If you drag the button back into your project, your MPC hardware display may show a
warning that the audio sample already exists there. To replace the existing sample with the exported
one, press F5 (Replace). To cancel the operation, click F2 (Cancel).
To drag and drop a MIDI file of the current track or sequence:

Important: To determine whether you are exporting a track or
sequence, see the Drag & Drop tab in the Preferences
window (described on the next page).
1. Click the Export MIDI button (under the Sample Record
Mode icon) so it changes from gray to yellow. When it is
yellow, that means the MIDI file is ready to drag and drop.
2. Click and drag the yellow Export MIDI button to the
desired location: a track in your DAW, a location on your
hard drive, or your MPC project (e.g., the Samples list in
the Project Information panel).
If you drag it back into your project, you will see the Load
Into Sequence window that prompts you to select where to
place the exported track or sequence. Click the Sequence
menu in the window to select the “destination” sequence.
To cancel the operation, click Close. To continue and place
the exported track or sequence, click Do It.
390
Load Into Sequence window.
Hardware: If you drag the button back into your project, your MPC hardware display will show the Load
Into Sequence window that prompts you to select where to place the exported track or sequence. Use
the Data Dial or –/+ buttons to select the “destination” sequence. To cancel the operation, press F4
(Close). To continue and place the exported track or sequence, press F5 (Do It).
The Preferences window now has a Drag & Drop

tab that contains the settings for this feature:
• Check Include Program Volume/Pan
Settings to include the volume and pan
values for that program when you export an
audio track or program.
• Check Bypass Program Effects Plugins to
ignore any insert effect plugins on that
program when you export an audio track or
program. In other words, the resulting
export will be completely “dry.”
• Click and drag the Audio Tail Length field up or down to set the length (in seconds) of a “bounce
tail.” This is useful when working with audio effects like reverb or delay, whose sound may exceed
the defined export range. (This is similar to the Audio Tail field in the Audio Mixdown window.)
• Click the Audio Export menu to select whether an audio drag-and-drop will export the current Track,
the current Program, or Master (Out 1,2 or the main outputs of your connected MPC hardware).
• Click the MIDI Export menu to select whether an audio drag-and-drop will export just the current
Track or the entire Sequence.
391
Sample Edit Mode
Sample Edit Mode now has a “lazy chop” feature that lets you slice a sample in real time as it plays. The
pads correspond to slices of the currently shown sample.
To insert a slice marker in a sample during playback:

1. Click Pad 16 to play the entire sample, or click Pad 12 to play just the part of the sample between
the start point and end point.
2. Click any unlit pad during playback. Each time you click it, a slice marker will be placed at that
location. (If you click 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
Hardware:
1. Press Pad 16 to play the entire sample, or press Pad 12 to play just the part of the sample between
the start point and end point.
2. Press any unlit pad during playback. Each time you press it, a slice marker will be placed at that
location. (If you press 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
392
Improvements
Various performance improvements, stability enhancements, and bug fixes.
Corrections
Export Audio: Explode Tracks: We have corrected the explanation of the Explode Tracks option in the
Audio Mixdown window: Operation (Software) > General Features > Software Menus > File Menu
(Page 97):
Explode tracks will render an audio mixdown of each Track used in the Sequence. Each pad or
keygroup must have their Pad Audio Route or Keygroup Audio Route set to Program to be
included in the audio mixdown. This feature does not work in Song Mode.
Preferences: Audio: Sample Rate: We have revised the explanation of available sample rates, which
are dependent on the model of your MPC hardware or your audio interface (if you are not using your
MPC hardware’s sound card): Operation (Software) > General Features > Software Menus > Edit
Menu (Page 100):
Sample Rate: Click this to drop-down menu to select the desired sample rate for your Project. This
depends on the available sample rates of the type of MPC hardware you are using or of your audio
interface (i.e., select 96000 Hz only if your interface allows a 96 kHz sample rate).
Program Edit Mode: Mute Targets: We have revised the description of mute targets for drum programs
to specify that mute targets function only within that program, not across programs: Operation
(Software) > Program Edit Mode > Mute Targets Section (Drum Programs Only) (Page 133):
For the currently selected pad, you can select up to four pads (in the same program) as Mute
Targets. When the pad is played, it will immediately silence its Mute Targets. Click each Pad drop-
down menu to select the desired Mute Target.
393
Program Edit Mode: Mute Groups: We have revised the description of mute groups to specify that
they function only within that program, not across programs:
Operation (Software) > Program Edit Mode > Pad Play Modes Section (Drum Programs Only)
(Page 144) and
Operation (Software) > Program Edit Mode > Keygroup Play Modes Section (Keygroup Programs
Only) (Page 134)
Mute Groups let you 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.
Keygroup Program Modulation Sources: We have corrected the description of the Kbd>Flt knob as it
is appears in keygroup programs in Operation (Software) > Program Edit Mode > Filter Section
(Page 141):
Kbd>Flt (Keyboard  Filter, for Keygroup Programs only) sets how much the keyboard’s tracking
(MIDI notes played by the keygroup program) modulates the filter cutoff frequency.
Program Mixer Mode: MIDI Programs & Plugin Programs: We have corrected the description of how
MIDI Programs and Plugin Programs appear in this mode in Operation (Software) > Program Mixer
Mode (Page 150):
For MIDI Programs and Plugin Programs, this mode has one channel strip.
Pad Mute Mode: Pad Groups: We have revised the description of Pad Mute Mode to specify that pad
groups function only within a single program, not across programs: Operation (Software) > Pad Mute
Mode (Page 210):
Pad Mute Mode lets you easily mute pads within a Program or set Mute Groups for each pad within
a Program.
394
Main Mode: Sequence Editing: We have corrected the description of how the Half Length process works
in Main Mode: Addendum for MPC v1.8 > New Features in MPC v1.8 > Main Mode > Sequence and
Track Editing (Page 292):
Half Length: This will halve the length of the Sequence (without deleting any note events).
Main Mode: Sequence Editing: We have added the description of how the Automation option works in
the Erase process in Main Mode: Addendum for MPC v1.8 > New Features in MPC v1.8 > Main Mode
> Sequence and Track Editing (Page 304):
Automation erases all automation data from the designated time range.
395
akaipro.com

Akai MPC Ren

Uploaded by

Copyright:

Available Formats

Akai MPC Ren

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Akai MPC Ren

Uploaded by

Copyright:

Available Formats

User Guide

Manual Version 1.9.3

System Requirements and Product Support ................................................................................... 12

About This User Guide ....................................................................................................................... 13

Important Notes .................................................................................................................................. 14

MPC Hardware Overview ........................................................................................................................ 17

MPC Renaissance ............................................................................................................................... 17

MPC Studio .......................................................................................................................................... 25

Creating a Drum Kit ............................................................................................................................ 32

Recording a Drum Sequence ............................................................................................................. 33

Organizing Samples and Editing Note Events ................................................................................. 34

Making Basic Sound Edits ................................................................................................................. 36

Recording a Bass Track ..................................................................................................................... 37

Creating a Song .................................................................................................................................. 41

Exporting the Song ............................................................................................................................. 41

Other Features Explained................................................................................................................... 42

General Features ................................................................................................................................. 53

Program Edit Mode ........................................................................................................................... 129

Track Mixer Mode ............................................................................................................................. 156

Track View Mode .............................................................................................................................. 166

Sample Record Mode ....................................................................................................................... 173

Song Mode......................................................................................................................................... 204

Track Mute Mode .............................................................................................................................. 215

Step Sequence Mode ....................................................................................................................... 220

MIDI Control Mode............................................................................................................................ 223

Effects ................................................................................................................................................ 226

Operation (Plugin) ................................................................................................................................... 237

Keyboard Shortcuts .......................................................................................................................... 238

Effects and Parameters .................................................................................................................... 242

Trademarks and Licenses ................................................................................................................ 280

Addendum for MPC v1.8 ........................................................................................................................ 281

Addendum for MPC v1.9 ........................................................................................................................ 354

Addendum for MPC v1.9.2 ..................................................................................................................... 373

Addendum for MPC v1.9.3 ..................................................................................................................... 386

Welcome to the MPC family.

The Akai Professional Team

System Requirements and Product Support

Information: Important or helpful information on a given topic.

Specific settings or values are indicated in italic characters.

From a downloaded installer file:

Pad and Q-Link Knob Controls

Transport and Recording Controls

I/O and Level Controls

1. Footswitch Inputs: Connect optional 1/4" TS

Navigation and Data Entry Controls

Mode and View Controls

Transport and Recording Controls

The Browser display of the MPC hardware.

Let's create a new Program to assign to this empty Track:

Now, let's load a bass sound:

This section explains how to make a Song out of your

Exporting the Song

The Pad Mute display of the MPC hardware.

The Track Mute display of the MPC hardware.

The Sample Record display of the MPC hardware.

The Process Sample display of the MPC hardware.

Let's apply some transformations to the sample.

Adjusting the Controls

The MPC software uses the following types of control elements: