2 posts categorized "Signal Chains"

June 22, 2011

BeatTips "Setups in Action": Akai MPC 1000, Fantom Xa, and Propellerhead Recycle

Profile of Pat King's Hybrid (Hardware/Software) Setup


Complete Setup:
Akai MPC 1000, Roland Fantom Xa, M-Audio BX5 monitors, (2) Technics SL-1200MK2 turntables, Vestax PCV-002 mixer, Vestax Handytrax turntable (Portable), Sony MDR-7506 headphones, iMac G5 PPC (Tiger OS 10.4.11, 1.8 GHz, 2 gigs of RAM), Digidesign Mbox with Pro Tools, Waves plug-ins, Propellerhead Recycle 2.1, Record collection.

Signal flow:
MPC stereo out to TRS inputs on the M-Audio BX5 monitors. I keep Auralex MoPads on stands beneath the speakers in order to decouple them from the surface it rests. I use the Roland Fantom Xa mainly for sounds like bass, or melodic strings to layer on tracks in the MPC. Whenever I want to use the Fantom Xa, I route the Fantom’s output A mix into the MPC record in. This gives me standard audio quality (44.1KHz, 16-bit). When I’m not sampling from the Fantom, the way that I audition (listen to) sounds through is that I listen through my headphones. As for my Vestax DJ mixer, when I want to get a vinyl record sample into my computer for editing, I go from the turntable to DJ mixer. I route from the L/R record output of my Vestex DJ mixer to the Mbox source 1&2 line inputs, then I record sample on to a stereo audio track.

Though my production setup consists of several pieces of hardware and software, the main unit and sequencer that I use is the Akai MPC 1000. I transfer drum sounds and samples, (that I usually edit on the computer), to the MPC through a USB connection. I store everything on a 1GB compact flash card.

Method & Process:
When I get new vinyl records I start off by sitting down and listening to them on one of the turntables through the Vestax DJ mixer, with everything set to zero, no EQ frequencies accentuated initially. The minute I hear something that catches my attention I make a note of it on paper. I write down things like the instruments I want to use and what part of the song its located at, then continue listening for more parts to assemble a new arrangement. If the sample is complex I record it into Pro Tools and (bounce it to disk). What I mean by “complex” is that to me, it’s a sample that has a lot of nuances. In order to control those nuances I use Recycle to chop them up and manipulate those sample more precisely, then I export the results a WAV. files to the MPC.

For me, the advantages to editing on the computer rather than on the MPC is that it's less time consuming, and that increases productivity. But I can see how it could be the reverse for someone who does edit on the MPC, especially older MPC models, like the MPC 60 II or even the 2000. Another reason that I like to edit on the computer rather than the MPC is because I like seeing the waveform of the sample on a 17-inch screen, versus the small screen on the MPC. To me, its easier to work with and break down. If its a simple sample like a one bar drum break, I just record into the MPC; maybe use the slice feature and some filters. I should point out that the MPC is not limited in editing capabilities, it’s just not as efficient as a computer is in my production process.

Sequencing, Tracking and Rough Mixing: The first track of the sequence I start off with is usually the sample, then the drums, then the bass, I just continue to build sequences and tracks until the beat is complete. When I finish all of my sequences, its time to get them into the DAW (Digital Audio Workstation). First off, I disconnect the MPC stereo out from the speakers inputs. I use the Mbox source 1&2 line inputs and connect to the MPC stereo out. I connect the line outputs on the Mbox to the speakers. I then record into Pro Tools, two tracks at a time. I can then control the dynamics of each track. Depending on what I want to achieve, I use different Waves plug-in's. Before I finish the session I record a 2-channel stereo track of the entire beat to Pro Tools from the MPC. When I'm mixing I use headphones to get closer to an accurate mix. Stereo imaging is essential, it’s is how the audio image is placed and meshed during mixing for the listener's ears. After I sequence my drums I leave the kick and snare centered, add some reverb to the snare for depth and pan the hi hat to the left to give off that feel that a real drummer is in that position on the stage. The contrast between mono and stereo instruments is important to understand. Panning and balancing the levels allows room for all of the instruments to breath and have their own space in the mix.

The BeatTips Manual by Sa'id.
"The most trusted source for information on beatmaking and hip hop/rap music education."

June 12, 2011

TBC Thread of the Day: "Proper Signal Chain for mixing samples?"

Finding the Right Signal Chain for Your Style and Sound, When Your Mixing Samples in Your DAW


DK: "Is there a proper signal chain for mixing samples (pre-recorded material off records) such as drums, basslines, and non-drum sound instruments?"

Sa'id: dk, First thing. When you say "*signal chain* for mixing samples," do you mean to ask about what signal chain to use to when tracking (recording) into your DAW? The reason I ask is because, if you're at the *mixing* point, you're already past the signal chain point...

Second thing:
I don't think that the use of the word "proper" is the best way to phrase your question or kick off this thread. Perhaps the word "effective" is better. "Proper" sounds dogmatic, as in there's only one way. In regards to signal chains, there are multiple effective ways that different people like to choose, for various reasons

If you are asking about what signal chain to use before the mixing point, well, then consider the fact that an *effective* signal chain completely depends on the beatmaker (and mixer) and the style and sound he or she (or they) is/are going for. Different sounds produce different signals, but the degree of difference changes with the sample. For example, a stand-alone bass sample will generate one kind of signal; while a sample that contains basslines, drums, and non-drum instruments will generate yet another kind of signal.

DK: First of all, thanks the reply.

Secondly, I agree wholeheartedly that "effective" would have been a much better word for what I'm asking. The best thing about TBC is that we have no "know it all's" here that claim to know everything and therefore bring down the integrity of the boards. Amen to that.

Back to my original question though, I meant once the samples are tracked into the DAW, is there a certain signal chain on the inserts that would help me mix my samples more efficiently? For example, say that I have a high-pass filter applied on my primary sample track (the sample contains a guitar, strings, piano chords, organ etc) and I planned on "bumping" the sample like you described in the BeatTips Manual. Say, I wanted also wanted to compress the sample and add some reverb as well. Would the proper plugin sequence on the inserts be 1) high pass filter 2) compression 3) reverb, or should I compress the sound last? If so, is there a reason behind doing so?

I remember you posting here a few months ago that it helps to know your sounds, and to have that sound available if possible before entering the mix phase (eg. using a kick drum with lots of low end in your beat before tracking it into your DAW).

Before sampling, I also use your trick of playing around with the DJ mixer so I can get the sound that I'm looking for before sampling. What I mean in this case is that for this particular I noticed that the bassline didn't really stand out, but I wanted the strings and the organ sounds (the mids and the highs) to stand out so they would be easier to chop. Doing so, I turned down the low end on the dj mixer so the bass was less audible when I sampled it. This did help me get the sound I was looking for, but if I was looking to tweak it even further in my DAW, which plugin effects chain would be the most beneficial for what I'm trying to do with the sample?


Sa'id: Dk,

OK, now I get what you're asking...
Generally speaking, compression would be last on the chain you described. As for the high pass filter and the reverb, that depends on what you're trying to achieve. I usually work my levels (EQ/Filters) before I apply reverb. But then there are other times (for instance, sometimes when I re-sample my own snare sounds) where I apply the reverb (for the elongated sound and roominess) before the EQ. In cases like these, I'm interested in the "shape" of the sound before the "color" (feel, EQ) of the sound. So once I get the shape of the sound (the duration, spacing), I can then go about modifying how it knocks (or doesn't), shuffles, or tucks through the mix, etc.

It's often a good thing to compress last because compression actually "squashes"/restrains the fullness of a sound. In fact, with my style and sound I tend to avoid compression as much as possible. This is why I've spent a great deal of time knowing my sound before I track into my DAW... The idea is to have the sound as close to complete as possible before I mix. This way, when I mix it or turn it over to someone else to mix, there's no guess work—The sound scope is already there, like a map... Check out my interview with mix engineer Steve Sola in The BeatTips Manual where he discusses receiving a near-finished mix, before he even touched it.

As for the DJ mixer amplification/EQ, please note: I pretty much have the left and right EQ bands (channels) set to a default! In other words, I don't adjust my mixer for every record (or other source material) that I sample. Instead, my DJ mixer's EQs stay the same... But remember, I route my DJ mixer through my analog Mackie board. And it is there where I may modify the Hi's and Lo's of the source material, before I sample it. Keeping my DJ mixer with my custom default EQ setting helps keep my own style and sound.

Finally, remember, once you get any bass part into your DAW, you can just duplicate the tracked bass part (as needed) and boost the low end (I like to use the multiple band EQ) on the duplicates or turn their volume up.

Participate in this TBC thread here: "Proper Signal Chain for mixing samples?"

The BeatTips Manual by Sa'id.
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Dedicated to exploring the art of beatmaking in all of its glory.

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