For the record. The arranger workflow I mentioned is not The workflow or even my fav. No such thing for me. It is just one workflow I use optimized for writing complete songs (avoiding loop trap) that don’t follow a static or predictable structure beside beginning and end.
When making hip hop or house beats or any genre with very specific and predictable structures, I pretty much stay in Clip Matrix or Seq modes and have a workflow/template specific for that.
Same for making ad spots, film scores or creating sound boards for broadcasts like live sporting events or podcasts. I have workflows optimized for that.
As @Phillip mentioned, MPCs were brilliantly crafted to allow for flexibility and bending them to your creative will. The more you finish complete ideas, projects or songs the more you find your unique sauce for how to do it. The key to being proficient is actually finishing shit. Unless of course you’re just a blips and blops casual hobbyist that just likes to make noise which is also a perfectly great use for MpC.
You have great tips for using all sequencer tools, but at the end of the day nothing gonna make sense until you use it them yourself & find your own workflow(s) & create personal project templates. One of the best ways to go find what works is to learn all the tools & methods just to know what’s there & wings it.
Also have the mindset to use features in ways that they weren’t meant for, like using the clips names as post-it notes or even writing verses using multiple clips or whatever.
Akai gives you wings, but you gotta learn to fly on your own!
I’ll start with a mediocre IDM/Glitch piece: Early polymeters experiment using Basimilus Iteritas 1-shots and Egoist tempoed loops (using Akai’s Pro Ten time stretch).
Thank you!
I just made clips of differing lengths:
1:3:48, 2:0:0, 3:3:0, 4:0:0, 4:0:48, 8:0:0.
Then recorded the Clip performance to the Arranger.
Oh, and this was on the Force, but ofc it’s doable on the MPC.
This should be fun. Nice track that’s not the typical MPC-type beat.
Here a track that was made as I got caught in a MIDI loop with the DR202, Force & a MIDI patchbay. When I would press a key it would do whatever the hell is going on:
There is something weirdly Jazzy about this. I can see this being a score for a scene in a 70’s era film where a detective is tracking somebody through the streets at night. It has that chaotic suspense vibe all over it.
Bingo! I could hear this in on 1 of those type of flick. It really does sound Jazzy & chaotic. I made this middle of a session, recorded it as a reminder to come back to & took notes on how to recreate this sonic madness. I want to come to it & really see how far I can push it!
The links on the site for them are dead at right now, but when I hovered over the image more text of the description appeared so I kept shrinking the screen size magnification until all the test appeared. You just got to blow it back up unless you’re a Falcon👀
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Classic analog-style EQ. Stereophonic EQP is a modern interpretation of Pultec-style equalization for mixing, mastering, and creative sound design workflows. It brings classic analog-inspired tone shaping together with Stereo and Mid/Side processing, Tube Warmth saturation, and practical modern controls for MPC and desktop producers.
Apache is my favorite break and this is sick! 
