I've been using the MPC reverb and a Memory Man connected to one of the outs then back into the soft thru for some delay. I think it's also better to remove reverb and delay before rendering tracks otherwise you end up with the reverb stopping abruptly at the end of a bar. My actual sequences are usually 8 or 16 bars long. For evolving synth sounds I've been using 4-8 bar audio files and 1-2 bars of bass. As I'm doing techno I'm also able to use a single recording of the kick, hat and clap, which I can then play in by hand - this'd be more difficult with complex stuff unless you're a great finger drummer. I think it's definitely think it's possible to do an hour if your music is relatively simple and you use mono samples where possible. The other option is to use the multiple outs and put it through a mixer (I've been eyeing the Mackie 8). Or you can assign the q link to filter cutoff and fade things in that way. If you want things to fade in and out you could assign one of the q links to volume and either fade in manually as the sequence plays or record a sequence with the volume fade. In my experiments thus far I've also noticed transitions are abrupt and not very pleasing to the ear. I'm still in the experimenting stage at the moment (which is why I started this thread). Finally, do you think it's possible to fit a complete live set (say, 1 hour) into MPC's meagre RAM?Glad someone else is in the same boat! How long (in bars) are your patterns? How are you dealing with transitions and breaks? What I've noticed working with loops and muting/unmuting tracks is that transitions are always abrupt, there's no way to gradually bring in a new theme. Now, sik80, I hope you don't mind me hijacking this thread a little I'm very curious about your approach to MPC-based live set. I don't apply any "mastering" plugins when rendering audio, but if compression is an essential part of a sound or is used for sidechain "pumping", then of course it stays. I use both the MPC built-in compressor, and FMR RNC on the master bus (mixer outputs). I'm in a very similar situation, working on a hardware live set with MPC1000 + a few synths. If you are completely ITB you can just bounce the stems and drag them to the CF card on your MPC via USB. all drums together on one pad, bassline, main sample/variations together, etc.) In terms of sidechaining, you could chop the stem and just sequence the ducked part a bit quieter than the rest of the track. I did not solo every track more or less put them on pads according to their 'part' in the song (i.e. I decided to just go with unmastered versions of the individual tracks and use a compressor on the main output from Maschine to the DJ mixer. I actually follow a similar type of principle for executing a live set, but with Maschine. Is there any way around this? How do you guys approach preparing DAW audio tracks for use in live sets? If you're doing a set with only Ableton, do you apply any mastering when playing back the stems you've rendered? Should I quit whining and just use the rubbish MPC1000 compressor on it's master out? Also things like drum buss compression and side chaining isn't as it was because tracks are soloed. If I solo each track and render the master, I get mastering applied to the track - yey! The problem is the interaction between tracks is lost - for example, the kick drum would normally tickle the compressor and limiter on the master, which in turn would duck the synths a little. If I render 'individual tracks' in Ableton I loose my mastering when I recombine the tracks in the MPC. My knowledge of mastering isn't great but on all the tracks I've made usually have some compression, EQ, U-he Satin and light limiting on the master. My laptop crashes a lot so I wouldn't want to use it live anyway. What I'd like to do with the MPC is have some audio loops playing that I can bring in and out with the 'track mute' screen to create an arrangement on the fly. I now want to transfer these to my MPC1000 to use in a live set. I have been making some tracks in Ableton.
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