Blog

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
I’d like to note this is after the 1. The complete hands-on guide to sampling on the MPC Software.
 
 

MPC Renaissance.Akai Pro MPC Renaissance & Studio Black – Complete Download, Installation and Unlock Process

 
WebDec 25,  · VINTAGE MACHINEZ 1 LIBRARY (SOUNDSET PARTS 1, 2, & 3) . WebFuses legendary MPC production with the processing power of your computer via the . WebFeb 14,  · Free MPC sounds for your Akai MPC sampler – drums, instruments, .

MPC Renaissance

Please follow these simple instructions to retrieve your software download s. Already have an account? Log in here. If you do not have an Akai Professional Account, please click here to create one. Once you have logged into your Akai Professional Account, you will automatically be directed to the “My Account” page.

Your hardware serial number can be found printed on a sticker on the rear or bottom of your MPC and will begin with This will enable your software downloads and is a necessary step to obtain downloadable content. Once your hardware is registered, your software download link s and any necessary authorization codes will appear in your Akai Professional Account.

If you need assistance, please visit www. First name. Shop Your Way is the only all-in-one rewards platform that makes it easy to earn on everyday purchases and redeem them on brands you love.

Access your points anywhere with the MAX app and start rewarding yourself. Hungry for points? Earn them on everything you buy from our partners. Plus, points are stackable! Rewards you can use at the places you love. Easily turn points into popular brand gift cards on everything from apparel and home essentials to entertainment and exotic vacations. The choice is yours. Experience is everything Our handy on-site tools include an all-in-one wallet, instant point conversions, reward tracking and more.

The card that gets you more. From your morning coffee to your gas, groceries and everything in between, earn points on everyday eligible purchases Look for us when you shop with your favorite brands online.

The Shop Your Way MAX app makes it easy to get rewarded, manage your points, and do all your shopping — all in the app. Download it now. See card agreement for details. The following types of transactions do not qualify as eligible purchases: use of checks that access your Shop Your Way account, balance transfers, cash advances, travelers checks, foreign currency purchases, money orders, wire transfers, and similar cash-like transactions, lottery tickets, gaming chips and similar betting transactions; interest and account fees; unauthorized charges; and items returned for credit.

The Shop Your Way Mastercard account must be current and open at the time we determine whether you qualify for the statement credit s in order to receive the statement credit s.

Please allow weeks following the end of the promotional period for the statement credit s to be added to your account.

Valid on new accounts only. After allocating several instruments to tracks and recording some pad hits, you’re ready for the next step: making a variation. Contrary to the structure of most DAWs and similar software, track and instrument pairings are unique to each sequence. Rather than laboriously setting the tracks up for every sequence, I gazed at the software, wondering how to copy and paste them. Frustrated, I eventually turned to the hardware and instantly spotted the ‘Seq Edit’ button, behind which are the necessary tools.

However, I soon discovered a strange anomaly: every copied sequence replicates every instrument it uses. After only a few sequence copies you’re knee-deep in copied instruments! Not only is this wasteful and confusing, it’s dangerously uncool when working with demanding synths like Omnisphere or Diva. The situation grew worse as I piled on the plug-ins and began to experience crashes, random silences and other instabilities.

Treading carefully, I searched around the hardware for a few traditional sequencer functions. For example, my sloppy finger percussion called for a degree of quantisation. I eventually stumbled across a tab that’s visible when the Main button is pressed: TC. This is Timing Correct — or quantise — and on this occasion I’d have got there quicker scanning the software. Timing Correct includes shuffle and positive or negative time shift, as well as a strength value to apply to the various corrections.

As destructive edit operations go, it does the job — and the ‘swing’ function sounds very nice indeed. Staying with the software for a moment, its pages are accessed via clickable tabs.

The first of these, Main, is divided into an arrange window, plus Q-Link and pad assignments, current sequence information and a handy list of the programs and samples used in your project. Whether operating primarily from software or hardware, you’ll return to the Main page often, the fastest way being courtesy of a dedicated button. The Track Mixer is a conventional-looking mixer that treats all tracks as far as possible equally. Naturally, it can’t add MPC effects to external MIDI instruments, but for the internal stuff there are four inserts per track, four stereo send effects and up to eight submix routings.

The Renaissance is generously furnished with over 50 effects, ranging from mastering tools, compressors, delays and filters to better than average reverbs. If you can’t find what you need, most of your regular plug-in effects should be accessible, although my recent Waves ‘Black Friday’ purchases sadly weren’t. Continuing our random tab tour, Track View is a split screen consisting of a track list and either a piano-roll editor or drum editor, depending on the currently selected program type.

To make the best use of screen space, the ‘Full View’ mode, in conjunction with zoom, crams a fair selection of the possible tracks on-screen. It’s still a lengthy list, though, and I couldn’t help feeling that some kind of folder system to group related tracks together was conspicuous by its absence. We’ll skip past sample recording and editing for the time being, to give Song Mode a quick mention.

This is where sequences are ordered into a coherent, finished work. Each project contains up to 32 songs so you can audition different versions until you nail it. Alternatively, it’s a range of songs primed and ready to select when playing live. Helpful utilities are on hand to convert whole songs into sequences. A bird’s eye view of the Renaissance. At the front right, you can see the two footswitch inputs and the headphone sockets and their associated controls.

Before arriving at the perfect song structure, there’s a whole load of manual sequence selection and track muting to experiment with first. Would-be performers should make a bee-line for the ‘Next Seq’ tab, or button. From there, sequences are triggered directly by hitting pads. The pads are backlit in yellow regardless of whether the corresponding sequence has any data in it or not. A selected sequence is shown by green back-lighting, and when a new selection is made it flashes — also in green — until the old sequence completes.

There are performance overrides, so you needn’t wait for a sequence to end: for example, ‘Sudden’, which instantly switches to the flashing next sequence.

It’s a bit unsubtle, though, kicking in from the first bar regardless of the position reached in the old one, which isn’t always desirable. Other performance-related options include Pad Mute, in which you’ve got mute control over individual pads or groups of pads. Ditto for Track Mute, with which you can mute tracks individually or in groups you’ve quickly defined. Usefully, mute status is remembered from sequence to sequence, and this alone can be an inspiration-booster for song composition.

Precision-conscious performers and serial multitaskers will find ‘quantised pad mutes’ a godsend. Specify the necessary resolution, then hit the pad you want to mute, trusting that it will occur exactly on the beat you wanted. No fluffs, guaranteed! In performance, the pads’ coloured back-lighting plays a surprisingly minimal role. Colour highlights the playing sequence or illustrates velocity values or mute status, but it never feels integral to operations.

If the light show is understated, at least the pads’ velocity and aftertouch are as playable as ever, once you set the sensitivity to suit your finger strength. Note Repeat is present and does what it says on the button, with all actions, repeats and mutes recordable.

The only exception I encountered was that parameter tweaks of internal effects weren’t recorded. Recording and performing with plug-ins, MIDI instruments and samples from your computer isn’t the whole story. MPC users have always enjoyed hassle-free sampling, and in this incarnation they still can. It’s blissfully undemanding on the old grey matter, whether grabbing audio from any of the inputs or resampling the Renaissance itself.

At times like this, you really appreciate the value of a built-in audio interface: everything needed is close by. At the turn of a knob, you have zero-latency hardware monitoring, and whether you’re doing phono, line or microphone-sourced sampling, all you have to decide is whether to set a threshold trigger, how long to sample for, and whether it’s stereo or mono.

At the moment, you’re not offered much choice about the sample format from the Record screen, but I couldn’t fault the bit recordings I made. When recording loops, you typically need to trim the results afterwards, and since that’s the kind of sampling I do most often grabbing riffs from hardware synths I did feel that an option to sample a specific number of bars is needed.

Post-sampling, all the usual edit processes are offered, including a chop mode for slicing up loops, a rudimentary time-stretch, pitch-shift, normalise, reverse, and so on. When chopping a sample, you can choose to chop based on transients or at specific musical intervals, the chop process kindly offering to generate suitable note triggers in the sequence.