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- #How setup auto punch in & outs on the audio tracks so you can record semi mpc 2 how to#
- #How setup auto punch in & outs on the audio tracks so you can record semi mpc 2 pro#
Although some productions have made a virtue of samples with a loose rhythmic feel, massaging the timing of the sample, or even hard-quantising it, can really help consolidate your track's groove in most situations. This screenshot shows a drum loop that has been 'sliced' in Reaper, to sync it to a slower project, a tempo-matching technique that often sounds more transparent than time-stretching for percussive sounds.īeat-slicing can also lend a hand when a sample is ostensibly at the correct tempo, by correcting unwanted flams between sampled rhythmic events and your own rhythm programming.
#How setup auto punch in & outs on the audio tracks so you can record semi mpc 2 pro#
If these aren't up to scratch, similar functions are available in some software samplers (such as Native Instruments Kontakt), as well as via dedicated loop-slicing utilities such as Izotope Phatmatik Pro and Propellerhead Recycle. For short samples, this is easy enough to do using your sequencer's editing tools, but for longer sections you'd be well advised to investigate any automatic beat-slicing routines your DAW has to offer.
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In both cases, you'll usually need to crossfade at the edit points for a smooth-sounding outcome. If you move the slices closer together, you have to remove overlaps between the sample slices and if pushing slices apart, you have to extend the audio at the start of each slice to cover the gaps. One way to circumvent this for samples containing clear rhythmic events (drum hits or guitar picking, for instance) is to cut the sample into slices and reposition each to fit the new tempo. When you make larger tempo adjustments to complex mixed audio, though, noisy and harmonically rich components of the signal will start exhibiting 'wavery' processing artifacts, and transients can sound smeared or flammed. Some kind of time-stretching algorithm is built into pretty much every DAW now, and they usually produce excellent results with simple non-percussive samples (solo vocal or instrumental phrases, for example) as long as the tempo-shift range is modest perhaps a five percent stretch either way.
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Matching Tempo & PitchĪ primary concern with any rhythmic sample is matching its tempo to that of your track.
#How setup auto punch in & outs on the audio tracks so you can record semi mpc 2 how to#
In this article, I'll explore how to tackle these challenges so that they don't stand in the way of your creativity.
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In reality, though, fitting a sample from one record into a whole new production presents plenty of practical challenges, both while making the music and when creating a final mix. Music that's based around samples of commercial records is big business these days, and getting started with this kind of production seems easy, requiring little more than a computer, some DAW software, and a few CDs. Sampling a record may be child's play, but using such samples effectively in your own compositions requires plenty of skill and finesse.