Next you can assign the sample to a program and then layer up to three samples on any pad across any of the four pad banks.Ĭhopping samples is all done by numbers and your ears (as there’s no waveform display) but this is easy enough and it forces you to focus on the sound itself, rather than the visual aspect of the sound. You can then chop the sample as you need and store it in the internal memory, though it must be saved to a floppy disk or external SCSI device, as samples are lost after powering off. To sample, simply plug a mono or stereo source into the back (analogue or SPDIF), set your level, add more input level/gain for more crunch and sample away. Sampling and sequencing on the 3000 is the epitome of simplicity and the workflow is totally optimised for sampling/sequencing with a no-frills, focused approach. Sometimes we use it as an effects box in itself, by running instruments through the sample monitoring section and recording that into my DAW, but using the sampling and sequencing together is where the magic really happens. The 3000 sound is clean yet dirty with a nice amount of punch, especially if you drive the input level when sampling.
Akai mpc emulator software#
Yes, the 3000 samples at a higher resolution than the 60 but it still has a heavy sound, so much so that Akai included an MPC3000 (and 60) emulation in the Renaissance software and many other software drum machines also include MPC3000/60 emulations. Today there is ongoing discussion in the MPC community regarding which Linn MPC sounds the ‘best’ but the answer is they both sound great, yet different – what they both have in common is bags of character! While the MPC60 sampled at 40kHz and stored its samples in 12-bit non-linear format (which rolled off a little of the highs in a very pleasing way), the 3000 used 16-bit 44kHz linear sampling with extended high-end frequency response, so more of the original sound’s character was preserved.
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