I’ve wanted to mess with looping on the MPC for awhile, so this tutorial has been really useful for me. https://youtu.be/y7gE28Mpkpo?si=O2a7_51s2y-ewwDQ
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I’ve tested all scenario’s with tape stop at 100%… With an insert, all sound stops, with a send, the original was still there as well… Same on a mixer, as the return track is added to the original. 100% wet can only be done with prefader send and volume down.
I’m not sure if I put the send at full level, wilI test tomorrow!
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Gating a send / return will work too, but aren’t you describing the effects of the “Auto Clear” button?
That escalated quickly.
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OK, someone is selling a Force. However, undecided as it seems the Force doesn’t have the latest OS like the Live and One, so not sure if I should pass and can it still do all the plugins I own. Guess no to the new NI stuff though, confused as the Force firmware is different right?
I second the opinion of many others here that Jura is one of the best MPC synth plugins if you’re into that sound. It has a great built-in reverb too, and of course the headline feature being the chorus.
Jura is the first MPC synth where I didn’t even see the need to replace the effects when mixing. Jura and Delay Pro are my two favorite MPC plugins.
If I could only have one single plugin for the MPC, my #1 pick would be Delay Pro though, because with it I have a really good reverb effect chain for any sampled or soft synth. Basically everything sounds better with some Air Delay. 
The Jura isn’t necessarily as essential to me, it’s “just” a great sounding synth with lots of sweet spots.
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Oh no, i had APC and MPK already.
Just thought they look significant together 
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This is a tricky one. No the Force doesn’t have the latest stuff the MPC has, but many of the newer MPC features were already on the Force. The Force is physically better designed to run MPC3 even more so than the X because of its dedicated buttons
The Force was last updated to OS 3.3 in Nov 2023, but it also has things the MPC don’t have like; the 64 pads, clip-matrix, 16 crossfader macros, 16 envelope followers with LFOs, 64 pad macros, a waaaay better step-sequencer, the pads can be put in different note modes like piano & be used as 4 octave piano, 8 Q-links with the little display window like the X & it has the powerful MockbaMod OS which is like MPC4:
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I think Fabric is the most expensive of any of them, and it’s a great rompler, so consider using your voucher on that if it’s an option, but honestly my favorite synth of all of them is Jura. I mean, it’s a Juno. It’s great.
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Thanks. It however seems that the offer (voucher for free plugin) isn’t available for Live2, just for One+ and Key37. I’ve contacted the support in hope they’ll offer me one, still.
In the meantime, PB is running a sale of Air Tech plugins: VST Plugins, Synth Presets, Effects, Virtual Instruments, Music Plugins from Pluginboutique
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Just tested again with an audio track and a plugin track. Same results. A send return is parallel, the original signal is there 100%, the effects return is there 100%, just like on a mixer. It is post-fader. So fader down means no send. You can’t get 100% wet with a simple send as the dry track is still there as well.
Just put a simple filter on an insert and do the same on a send. With the send, you get the original + the filtered signal (put resonance to hear more clearly). Which is interesting, as it’s not how you would normally use a filter.
The only way I found to do prefader send is to put the effects on a send, route the track to a submix. Now the submix fader is indepentent from the send. So you can get reverb tails on a muted track, or open the send to the delay on a muted track.
Lots of sound experiment possibilities once you start to use sends, submixes, submix sends, … Unfortunately you can only route the submix and sends to the outputs. If you want to go really crazy, you could patch a physical output back to the input.
You can indeed gate with a send, but only postfader, so not 100% wet except with the workaround.
Auto clear just resets the delay tail when new input exceeds a certain treshold… It’s another way of taming the delay if you have lots of feedback (besides limit, modulation and filtering), but completely different.
Try the prefader technique, you’ll see what I mean.
Track send to delay - mix at 100%
Track to submix, submix volume down
Qlink to project, set the track send on a momentary toggle, the submix mute on another toggle (or level on a rotary)
Now you can gate the input of the delay and mute the dry signal independently. Which is great for dub, but I can imagine lots of other use cases as well…
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Because this is default behavior of send/return bus?
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I was getting confused, too
A Send sends a parallel signal to an FX and it gets mixed back with the original at the Main/Master. Therefore typically you need to set Send FX at 100% wet, to not double to original signal.
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It’s how a mixer works as well… Inserts and postfader sends… If the sends were prefader, it would be more annoying for most users… You mute the channel, but you still hear it in the delay or reverb? Interesting, but not what most users want I guess. If you want prefader sends, I’ve shown the workaround with subgroups.
And if you want 100% wet on a group of tracks (like a filter on all the beats and a granulator on all the rest), just use inserts on a submix rather than the same send on all those tracks.
The mixer page is a bit messy with all the side scrolling once you start using submix and sends. But the main page mixer gives you access to all that in a very compact format! Click I/O on the track and the submix appears, click send 1 and return 1 appears and you can go to the effects… So no need for endless scrolling in the mixer!
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Right! Send at 100% wet is the same as insert at 50% wet. If the level of the track and the return match…
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You’re right! I was way out of my element, didn’t have my morning coffee yet ;D Sorry about the confusion. Removed the post to avoid confusing anyone else…
In Ableton, you can set a track to Sends only, I guess that would be similar
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These videos may be helpful to some of here, esp new users. The current MPCs/Force has so many places to change the level of a signal it can be confusing. Add the fact that they can record at 24bit, which means they can play way louder then the older 16 bit MPCs without clipping. This took me time to get used to coming from a MPC1k/2500. Also keep in mind that by default there about 18db being cut from the signal; Track level, Pad level and Main out level can all add 6db.
This is probably why the Gain Cut/Boost Process in the Sample Editor can add up to 18db at once, which is a quick way to hear a sample/whole song will sound like with that missing 18db. Note that this is a destructive process, so you can add more boost after, but cutting it won’t change the lost dynamics once you clipped the signal, the signal would just be a smaller waveform of a crushed signal. Boost Gain can be use to add audio distortion or sonic crunch on a 24 bit device. Also keep in mind that no 24bit machine can out at it’s full headroom limit which is 144db nor would your eardrums appreciate it if it could:
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FYI guys, support came back to me & offered one free plugin of my choice to be added to my account! I asked for JURA, as per overwhelming recommendation here. Yay! 
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My initial post was a reaction to the 2nd video…
Further exploring all this…
If you want to build effects racks: make fx configurations on different submixes. From the main page, change the audio out to different submixes to A/B compare and finetune the racks.
Or just to get different sounds from the same instrument.
Unfortunately the audio out setting cannot be automated…
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Appreciate the reply, but can I still install the new Ni plugins and stuff, I have no idea if sample chopping is similar too?. Should I skip and get a Live again as unsure.