There’s are ironic and self-deprecating elements to my response to you, in that I also coughed up the money for a Push 3 Standalone, although I bought it for different reasons which I won’t get into on this thread - maybe the Push 3 one.
There’s also irony in that I talked myself out of getting the Aira Compact S-1, by convincing myself that a Roland-like plugin living inside the MPC One would give me less headaches over time. Jura not attempting to model the SH-101 in particular was not important to me.
Yes I still do, I still can’t get any of my plug ins on my SE. Thru are supposed to be working on it to fix the issue but I’m not holding my breathe… I know I’m not the only one that can’t get any paid content either…
Not a huge deal because my retro live 2 works perfect but annoying.
That does sound pretty rational to me though. If you’re committed to the MPC workflow then surely Jura will be much more convenient than S-1, and it’s less than half the cost. Unless maybe if your workflow is to sample synths and mangle the samples up rather than using them as a proper synth (I actually enjoy doing both).
Personally I would probably have gravitated towards the S-1 just because I have a soft spot for portable hardware. And then I would have realized how little I enjoy plugging devices together and just not used the S-1 at all probably.
Even though I’ve worked with MIDI, I just seem to have bad luck . The cable could be bad, or I just forget to check something basic like making sure that if one is sending on channel 13, the other should be receiving on channel 13 and not channel 2.
Hence, my preference is to use the MPC One nearly standalone as much as possible. I have just about all the synth, piano and organ plugins now so I don’t really need to connect anything to it to make music, other than the Keystep 37.
Why tie up the Aerophone with a sequencer when I’ve got all the synth plugins now?
to cheat of course
I do some crappy dance move or something while pretending to play Aerophone when in reality the MPC One sequencer is playing it.
You seem like more like the mad scientist type than me, though and much more of a visionary than just a cheap trick artist. Let us know when you try this use case on your own gear.
It’s been on offer during the BF sale, and I was wondering if this may be coming to the MPC at some point… it would make sense, and it would be a good addition to the Air plugins.
The only thing that I don’t get from the VST demo… why it doesn’t have a Master Dry/Wet control is baffling! (…and the reason I wouldn’t personally buy it.)
Mixing pitch modulation effects with wet/dry can sometimes result in a chorus-like effect. AIR Sprite should have had a knob, similar to Flavor Pro’s Intensity knob, to adjust the effect.
Just discovered the Sample Delay audio effect which easily solves midi latency when sending midi out to a device and bringing the audio back in. Super simple device and fixes my only gripe with the MPC/force.
Obviously you fix the latency by adding delay on everything else other than the device coming in BUT it’s easier than having to send both (or more) devices in the setup to an external mixer, which is the only other way to solve the latency between multiple devices.
loving it so much i think im gonna send this back and get an X lol
JURA sounds phenomenal
Flexbeat is sooo useful, automating it is really nice, haven’t had this much fun since OT cross fader with scenes
Air flavor pro on SP1200 setting = chefs kiss
can’t believe i slept for so long, OS feels nice and snappy with the touch screen. I can work faster with samples on this than the OT or DT or any elektron box for that matter because of the superior sound browsing and ability to save n load drum groups across projects
Don’t sleep on the Drum FX’s in the Drum Program editor. Each pad has 8 of them. Most treat them like ugly step kids & just forget about them, but the amount of sound shaping they offer is insane! Wish there were more demo’s on them. Check’em out for self when you can.
Jura & Flavor Pro ain’t no joke as well as abusing the Warp/Beat Sync settings for nasty artifacts - best to do it when you got a beat going because by itself it may sound too nasty, but with other elements that same nastiness it can add something different.
I didn’t really connect with the older MPCs, workflow wise, but needed one as a utility onstage, so I reluctantly bought a Live. I was convinced that I wouldn’t like it, but the opposite turned out to be true. If I wasn’t touring with it, I’d have swapped it for an X straight away.
There are a lot of hardline opinions and unwarranted hatred for the newer MPCs in this thread, but I personally think it’s an indispensable box.
