Comes with over individual kick, snare, hat and percussion hits and instant-load patches f The second in a 3 volume set featuring the most wide, expansive and punchy sounding hip hop drum kits. Comes with over individual kick, snare, hat and percussion hits and instant-load patches The third in a 3 volume set featuring the most wide, expansive and punchy sounding hip hop drum kits.
As the name suggests, this is a beefy drum collection handcrafted and finished with a deep, hard-hitting sound that works especially well with dubstep recordings, but is also suitable for hard electo, industrial and dance styles. As with the other kits in the Ultra Massive series, mas There is nothing quite like the Roland TR sub bass!
With 'Impossibly Massive Lex Tuned s' we painstaking arranged that classic bass sound into a fully tuned, playable instrument with tons of variations and just the right post-processing required to get a beefy, round, knocking Atmospheric Film Scoring. Classical GameDev. Super Snappy Snares. Ultra Massive Dance Drums.
Ultra Massive Dubstep Drums. Impossibly Massive Lex Tuned s. Also visible on the top panel is probably the most important way in which the MPC differs from it larger siblings: its display has been downsized to a two-line, character LCD with switchable backlight to conserve power when running from batteries.
While I'd be the first to admit that the MPC's x pixel monochrome screen was hardly a graphical feast, it could still display a fair few controls and options at a time, it allowed waveform editing, and the software-assigned keys below it made navigating through internal parameters comparatively painless.
With the MPC you get a plain alphanumeric read-out and you have to apply moderate elbow grease to the data dial and cursor keys to access a lot of basic parameters — sample assignment or filter cutoff, for instance.
So you can forget waveform displays, drum-machine-style grid programming, or any sane type of MIDI list editing. That said, Akai's experience in designing this kind of operating system remember the S? However, the degree of unavoidable menu-surfing required does still seem to me to undermine part of the unique selling point of the MPC series — simplicity and ease of use — so you should seriously consider saving a bit longer for the MPC if this is a concern for you. The digital connections available to the rest of the family have also gone AWOL.
All of this seems fair enough on an entry-level machine, but I was a bit narked that there was no proper facility to route the analogue inputs to the main outputs for, say, monitoring a live MIDI module alongside your MPC samples — as it is you need an external mixer to do this.
For the sake of a little extra OS code, Akai could have saved its target cash-strapped customer some money and hassle, so this seems a daft omission to me — and they can't plead ignorance either, because the feature Input Thru already appears on both the MPC and the MPC A much more practical cost-cutting move is the lack of built-in or optional hard drive or CD-RW burner.
To be honest, I can't see many potential users complaining when there's support for Compact Flash cards of up to 2GB in size and it's child's play to transfer files to a computer via the rear-panel USB socket. I'd certainly rather have sacrificed these kinds of pedestrian extras than funkier things like the Q-link slider or Flash ROM.
However, I suspect that many potential purchasers are simply looking for the most affordable slice of the MPC mystique, and in this regard the MPC stands alone. I'd initially hoped that the cutbacks on the MPC compared with the MPC would have been primarily hardware-related, but it turns out that a lot of the enhanced sound-mangling functions of the larger machine haven't trickled down either.
I was particularly disappointed that there was only a single two-pole resonant low-pass filter per sample, as opposed to the dual multi-mode filters of the more expensive machines, and it appears that the filter envelope generator and LFO have also been culled.
However, this pretty much brings the MPC back to MPC spec, so it might not bother those already happy with what that machine can do. A number of other MPC functions are somewhat limited in their implementation: for example, the 12 Levels function can only control sample level and tuning, and only Q-Link data for filter cutoff, tuning and level are supported.
The loop-slicing modes and Patched Phrase creation in the sample editor are also gone, although Patched Phrases created on another MPC will apparently play back correctly on the MPC For years, units like Tascam's Portastudios and Yamaha's Walkstations have been providing portable music sketchpad facilities, but neither of these options really suited the itinerant hip-hop beat-maker. The MPC remedies this for the very first time, and does it while retaining a remarkable amount of the functionality associated with its larger relatives.
Photo: Mike Cameron. It also brings MPCstyle facilities to a much lower price-point than ever before, and I can see this introducing budding hip-hop producers to the MPC approach at a much earlier age.
Retaining the USB connection on this machine is a very canny move in this respect as well, because it encourages such users to keep the MPC involved with their music-making even if they start dipping a toe into computer recording and sequencing. As a simple upgrade path for those more interested in the music than the technology, this takes some beating. For the more technically-minded, however, I can't help suspecting that Akai have deliberately hamstrung some aspects of the MPC's OS, perhaps to avoid undermining sales of the larger machines.
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