AKAI PROFESSIONAL INTRODUCES MAJOR 2.3 UPDATE FOR MPC SOFTWARE, MPC LIVE AND MPC X, NOW INCLUDING THREE VIRTUAL SYNTHS - TUBESYNTH, BASSLINE & ELECTRIC
Pivotal Software / Firmware Update For Standalone Music Production Centres & Desktop Software Adds Three Full Featured Plugin Instruments in Standalone Mode, an Autosampler, Realtime Crossfade Looping For Sample Playback, Plus a Real-Time Arpeggiator and Phrase Looper.
Redefining the creative vista and driving MPC X and MPC Live in standalone and controller mode is Akai Professional’s reimagined MPC Software 2.3; a cutting-edge production suite combining 128-track sequencing capability, real-time time stretching, clip-launch functionality, advanced MIDI editing capability, VST compatibility in controller mode, operation as a standalone application on Mac & PC, advanced sampling & audio editing/recording functionality, seamless DAW integration, a redesigned GUI and much more. Whether you’re seeking freedom from computer based music production, or searching for the perfect controller for DAW-centric creative exploration, MPC Software 2.3 grants the ultimate in adaptive creative versatility.
Today, Akai Professional announced a major software/firmware update to the MPC 2 software application for both standalone and desktop versions. The new 2.3 update introduces a number of powerful production and performance features, most notably three virtual analogue plugin instruments, the AIR TubeSynth, Bassline and Electric.
TubeSynth emulates the sound of classic vintage analogue polysynths packaged with five integrated AIR effects, with all critical controls relayed in pristine detail via a custom GUI on MPC Live’s and MPC X’s radiant touch screen. Created by AIR Music Tech, TubeSynth is based on the same advanced analogue modelling technology found in their highly acclaimed desktop plugin synth Vacuum Pro, with a layout meticulously designed for maximum tweak-ability via the MPC Q-Links. The Tubesynth comes packaged with a comprehensive factory library of cutting edge pre-sets including sumptuous pads, hard-hitting plucks, thunderous basses and screaming lead sounds.
- Flexible 3 Oscillator architecture features noise, saw, square, pulse and triangle waveforms
- Two different unison engines offer extended possibilities for thickening the timbre of any patch. Doubling thickens any patch by creating a detuned copy of the original. The Oscillator 1 Quad section is perfect for creating powerful Supersaw and other unison waveforms from a single oscillator
- Customise the harmonic content of Oscillator 2 using the voice level EQ and Drive parameters. For example, set Oscillator 2 to Saw, Oscillator 2 Keytrack to 100 %, and Oscillator 2 EQ Frequency to around 88Hz. Now increase the Oscillator 2 EQ Gain to boost the fundamental harmonic of each voice thickening the overall sound. Decreasing the Oscillator 2 EQ Gain value will decrease the amplitude of the fundamental harmonic creating a thinner timbre. Experiment with different Oscillator 2 Frequency values to accentuate different harmonics
- Oscillator 1 and 2 Env Shape parameter allows you to modulate the shape of each oscillator with the Filter Envelope
- Lowpass Filter featuring a continuously variable slope with pre and post distortion.
- Polyphonic Glide/Portamento for polyphonic pitch slides between chords.
- Envelopes are included for Filter and Amp with a third specialist ramp envelope that can be assigned to different modulation destinations
- Two LFO’s featuring Sine, Square, Saw Up, Saw Down, Pump, Sample and Hold and Drift waveforms. The LFO’s can be synchronised to the sequencer clock or free running and a dedicated Fade parameter enables the LFO’s to fade in or out
- Explore a wide range of timbral possibilities with the Oscillator section’s Ring Modulation parameter. The amount of Ring Modulation can itself be modulated by LFO2, or via one of the assignable Sources in the Mod 1 section, perfect for continuously evolving pad sounds
- AIR Chorus, Delay, Reverb, Compressor and Hype EQ included for enhanced sound design
- Almost 300 patches provide a wide selection of Synth, Lead, Pluck, Pad, Bass, Organ & FX presets
The AIR Bassline emulates the sound of classic mono synths with a contemporary twist. Including four integrated AIR effects as well as two built-in distortion algorithms.
- Flexible oscillator with continuously variable waveshape including octave saw, saw, square and sine waveforms
- Sub and fifth oscillators for thicker layered timbres.
- Lowpass and Highpass filters.
- Over 150 presets.
The AIR Electric emulates the sound of classic electric pianos.
- Dedicated Pickup, Envelope, Bell and Noise parameter sections provide a huge amount of flexibility to configure the timbre of the electric piano sound.
- Five AIR effects Tremolo, Tube distortion, Chorus, Delay and Spring Reverb.
- Over 80 presets.
MPC has always remained synonymous with sampling, but MPC Software 2.3 takes traditional standalone sampling techniques to new heights thanks to an all-new Autosampler, an ultra-convenient tool allowing producers and performers to capture and convert any plugin pre-set or external instrument pre-set into a keygroup sampler patch. No fuss, no hassle. With MPC Software 2.3, taking your favourite synth collection wherever you go has never been simpler!
Always evolving to set new precedents for the industry standard, MPC Software 2.3 also includes numerous performance and workflow enhancements designed to route your focus on what’s important – your production. With Crossfade Looping, users can now crossfade in real-time during sample playback, plus a real-time arpeggiator and phrase player provides greater scope for creative exploration. Whatever your production discipline MPC Software 2 doesn’t disappoint – change up your workflow and add the power of MPC to your production!
Other notable additions in 2.3 include:
- Q-Link navigation - In the Grid and Audio Editors when the Q-Links are in Screen mode users can now use Q-Link 4 to Zoom, Q-Link 3 to Scroll the viewport and Q-Link 2 to control the playhead. Note the layout is slightly different between the desktop software and the Standalone variants. In Standalone Mode the Q-Links for Zoom and Scroll are only present in Grid Edit or Audio Edit whereas in the Desktop Software they are present in Main Mode, Track View, Next Sequence.
- Mode Selection - Menu + Pad shortcut to select the desired Mode. Simply hold down Menu and tap a pad to select a mode.
- There is now a Preference option to toggle displaying multiple plugin windows off. Go to Preferences > General > Allow Multiple Plugin Windows.
- Plugin instruments and plugin effects preset support - You can now save and load plugin presets. In the desktop software, open an instrument or effects plugin editing window. At the top of the window is a new tool bar with a preset drop down menu, to the right of that is a drop down menu with the option to Save or Load a plugin preset. A number of third party VST plugins expose a bank of presets that MPC can read - where this is the case, MPC will automatically populate the plugin presets list with those exposed by the plugin. On the TUI the functionality for browsing, saving and loading plugin instruments can be found on the Program Edit toolbar and for plugin effects in the Insert Effects Editor.
- Internal Akai Effects now have all new TUI Plugin Editors and factory presets.
- Split Events - You can now easily split note events, this is useful for creating intricate hi-hat parts or quintuplet/sextuplet motifs or drum beats. In the desktop software, go to Edit > Track > Split Event and choose from the available options. From the TUI, select a note in Grid Edit, then from Main Mode’s Track section press the pencil tool to bring up the Track Edit overlay and choose Split Note Events.
- Mode Selection shortcut - Holding Menu and pressing a pad can now be used as a shortcut to select a mode. The pads follow the 4 x 4 layout of the Mode Menu.
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