This is extremely useful information when performing precision sample-accurate file slicing and post slice editing while maintaining sample-accurate zero-crossing points.

In the Sample Editor, select the Hand Tool and click hold the selected area to display not only the Start and Length (Count) in Samples but also the all important End point value in Samples.

Fig 1. Sample Editor Help Tag showing Start value, End value and Length (Count).

Now you can be sure to match exactly a region start point having edited the preceding region’s end point. A common scenario when adjusting regions to have boundaries on zero-crossing points.

Further Info…

Having easy access to File Start, End and Length information will seriously increase your sample editing accuracy when editing and re-editing.

The Sample (Selection) End point is omitted from the Logic Sample Editor info display (Fig.2) and also from the Help Tag when clicking a region in the Arrange Pane (Fig.3). Having quick access to adjusted End Point information of Region [A] ensures quick and confident Start Point editing of Region [B] to be consistent with the Region [A] End Point.

Fig 2. Sample Editor info Display showing Start Point and Length.

Fig 3. Audio Region Help tag in the Arrange pane showing Start Point and Length.

When editing complex material such as bounced mixes, the waveform display can become difficult to gauge with respect to matching cut points of one region’s start point to be consistent with that of the previous region’s end point after updating that region’s start or end point. A common task when preparing loops and libraries.

Fatigue from repetitive editing can easily play a part in performing inaccurate cuts and splices. These characteristics will often only become obvious upon triggered playback and sequencing of regions, particularly in a phrase loop situation.

A common problem arises when exporting cut loops from Logic to an external unit such as an Akai MPC, where inconsistencies between tempo analysis that exist between the two platforms result in problematic and less than smooth playback.

Often, the ‘fix’ involves one of the following:

1. entering  subtle tempo change values as part of the midi sequence playback data to accommodate smooth transitions between loops of slightly unequal length. This way the edits maintain authentic pitch and time characteristics, at the expense of inconsistent temporal playback.
2. manually, or via batch processing, applying time-stretching algorithms to scale regions to a fixed length. This can result in unwanted audio anomalies.

-MC-

Useful in Step Edit Mode when sequencing phrases in Note-On Mode.

Scroll to the bar number where you want to commence your note duration.

Press Over Dub and hit the relevant pad.

Calculate the exact Duration value to type in to the D field on the MPC based on the following calculation.

MPC 2500 has 96 Parts per Quarter Note. Therefore, the Duration of 1 beat = 96

for signatures of 4/4

1 bar = 96 x 4     D= 384

2 bars = 96 x 8   D = 768

3 bars = 96 x 12  D = 1152

4 bars = 96 x 16  D = 1536

…

8 bars = 96 x 32  D = 3072

16 bars = 96 x 64 D = 6144

Hope this is useful. I couldn’t find any info out there so here it is.

-MC-

Is it possible to play back multiple midi channels from logic into the MPC 2500? The answer is NO. The MPC 2500 is not a multi-timbral Sampler. That is to say it is not a multi-timbral sound module. The MPC4000  / 5000  / z8 are multi-timbral.

Therefore, even though you can send out an MPC 2500 SEQUENCE of multiple TRACKS with independently assigned MIDI channels and demix them in LOGIC PRO you cannot play them back into the MPC 2500 and hear them as intended. ALL MIDI DATA IS MERGED AND PLAYS THE CURRENTLY ACTIVE MPC 2500 TRACK. So you get a mash-up of sounds from the active PROGRAM for that currently selected track as all notes from all regions are merged into the same MPC Program.

Hope this helps you understand. Maybe one day (unlikely) AKAI will bring out a firmware update to resolve this issue and make the 2500 a multi-timbral sound module.

The same applies to the MPC 1000.

Here is a work around – Requires a bit of prep work but will do what you want.

1) USB over your AKAI MPC samples onto your MAC.

2) Using these sounds Create EXS24 sample banks that match your MPC PROGRAMS including Note settings (per pad, plus any velocity settings as well. You can then use the EXS24 dummy set-up to rearrange multiple tracks in tandem.

3) Once you have finished editing, simply merge all regions and export as MIDI File. 

4) Import the MIDI file into the MPC and Voila! You have a solution.

For complete authenticity, PRIOR TO ANY SEQUENCING IN LOGIC, I recommend sending out a midi sequence from the MPC into Logic with a note on each step.

Beat map this Sequence to get the correct groove template.

Once you have saved that groove template and implemented it into your matrix editor or hyper editor for programming new sequences, you can be pretty sure that the groove will be damn close to that of the MPC 2500.

Alternatively if you like pain, solo each track in Logic, select its relative sound track and work on it individually. Maybe sample as audio each track so you can have audio versions playing along side the current MIDI sequence you want to edit. Very long winded!!!

Is this why my MPC 2500 goes mad when I have in and out midi cables connected to logic?

Sounds like it. You’ll probably be sending out of logic on several channels at once and the whole lot is merged into one. Therefore, any notes coming out on that stream which correspond to active pads on the MPC Program will trigger sounds assigned to those pads.

The Z4, Z8 and MPC 4000 are Multi-timbral ’sound modules’.

I was hoping those JJ OS guys would add MT into their OS. They’ve gone for Audio Streaming so maybe they can do MT as well.

Also – Don’t forget to check the status of your Active Track Receive Channel on the MPC.
MODE > MIDI/SYNC > F1 for MIDI Settings. Top line: Active Track Receive Channel.

- MC.