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It also has, interestingly enough, come to embody a “purer” period of electronic music, a time before DAWs. It clear to see why: The MPC is an iconic piece of hardware that has a great combination of possibilities and limitations. My first reaction to this kind of thing is to get defensive: What?! “Ableton can’t”!? Then I take a deep breath and I ask myself, Why does this person prefer this piece of hardware? And then I try to emulate it in Ableton.Ī very popular point of comparison for a lot of people is the Akai MPC. I am sure that we have all heard it, either with our friends or in the various places on the internet where people go to complain: _ (piece of hardware) is better than Ableton, because Ableton can’t _. Hope this is helpful to yall! Give me a shout in the comments or the Twitter if you have any questions. Hit record in Audacity and you are ready to go. Select Soundflower as your output in Ableton and set Soundflower as your input in Audacity. After doing so, it will appear as an alternate soundcard.
#EXPLODE DRUMS ON MPC 2 INSTALL#
If you choose to do this, you DL and install Soundflower (made by the fine folks at Cycling ’74).
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Yes, I know, I usually stress Ableton-only solutions, but this one is Ableton+free stuff, so I get a pass. You can also use Soundflower to route the signal from Ableton into Audacity. This is because resampling into arrangement can lead to some conflicting automation, as all of your parameter changes in every instrument will be recorded. If you do this, I would recommend recording your set into a huge clip, ie. You can use Resample mode, which routes the Master output back into any track, by changing the Audio From dropdown in the I/O section of any track. In order to record yourself, you have two options. I do this quite frequently and have even based whole new tracks on bits of recycled clips. Do not underestimate how good it will feel to compare a recording from last year with this year.The second and cooler benefit is that you can recycle your unintended genius (fuck ups) into new ideas. and make sure that everything is as you would like it. This has two benefits: the first is that after you have recorded everything, you can go back and listen to your transitions, your levels, etc. The fourth tip is to record everything you practice.
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I always have a few setups in development, but I play out with the one that I have spent the most time with. I would say: devote a SERIOUS amount of time to determining your setup ONCE and shed on it as much as possible. You added a cool bitcrush/filter sweep? What are the chances of you remembering where the button is and using said button artfully when sweaty people are jostling beer on you? Not high. The reason that I stress this is that the detrimental effects of playing with a new element added usually negates the possible benefit. I always find myself trying to add some little thingamajig the day of a show and I have to stop myself. As difficult as it may seem, try not to fiddle with your setup too much and definitely don’t play out with a non-road-tested setup.
#EXPLODE DRUMS ON MPC 2 HOW TO#
If you learn how to handle your missteps with panache, you will find all the creativity and confidence you’ll ever need. Having dumped the bike before, I know this first hand. I ride a motorcycle and was reminded when I was starting out that learning how to crash and not kill yourself is as important as avoiding a crash. No one at your show is going to be interested in seeing you restart a set until you get that one fade-in correct. Second: Always play through the fuck ups.
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I’ve heard that it takes 21 days to form a habit, which means you may have to force yourself to shed for a month. Also, do yourself a favor and get in the habit of shedding regularly, not just when the feeling hits. When I was studying classical bass, I learned that 20 minutes of undisturbed practice time is much better than 4 hours with your brain flying everywhere. This is very important and will allow you to take advantage of your time. No girlfriend, no boyfriend, no phonecalls, no trips to the fridge, no Twitter, no Facebook, no this, no that. For this post, I’ll give you three tips to help you practice for live performance.įirst tip is a general “practicing anything” tips: set aside a time and a place to practice where NO ONE and NOTHING will disturb you. In my first post about wood shedding (sheddin’), I discussed why it is important to practice production and how to do so.