I use the channel outs. 8 hardware outs means 8 channels. Stereo samples I usually mix down to L+R mono on a single out so it tracks over a single hardware channel - this way I can have a dedicated channel for my hats, one for snare, etc. This is great for outboard or post processing.
The live loop, metronome, stereo poly stuff is all mixing down out over a mono channel on the hardware so it is certainly not true polyphony.
With 16 or 32 poly these extra voices have to be mixed down onto a single mono channel output? Iād rather have them choke than mix. To each their own.
I think of the 8 channels as creative constraints - amazing music has been made with less polyphony.
Just my 2cents about why I personally am happy with the 8 outs.
I definitely would like 16. If it just had 8 tracks then fair enough but itās got 32 tracks so 8 poly is a bit constraining. Can be a simple pref to limit it to 8 for old skool behaviour?!
it seems the desire for internal FX etc has disappeared since most now have the unitsā¦I guess the reality for everyone now is more poly rather than FXā¦
Here is how itās done on the MPC60 (16 voice).
Dunno how it is on the MPC3000 (never had a 3k before)ā¦ but it might be the same by just hitting āBank 2ā button, irdk.
First pic shows āAssign Outsā - Assigning track/sample/pad to one of the chosen 8 hardware outputs.
Second pic shows āDrum Mixā - Which gives you an internal-mixer (for levels and pan) that outputs through the stereo-mix/bus hardware outs.
Additionally, a simple & easy press of the āBank 2ā button, quickly transforms those āAssign Outsā and āDrum Mixā pages to show pads/samples 17-32.
(even though the mpc60 was only 16voice, you could still load 17-32samples/pads on āBank 2ā ā¦so, this approach would also work with 32voice)
Iām in the same boat. I canāt really imagine needing more than 8 voices. Especially considering you can use far more than 8 samples as long as they arenāt triggering at the same time on the same outputs. Worst case scenario Iād record what I have and layer in recording. Iād much rather have an onboard reverb or some internal memory.
I would love more polyphony but for me it would be fine if this was implemented:
An option to let two or more tracks play out the same output so you could put your kick and snare and hihat through output 1. Bass on output 2 and all percussions on stereo out 3-4 for example. Use 5-6 for stereo samples and live-loops on output 7-8.
Would also be great for using external effects, put all your drums through 1 or 2 outputs and compress them all together for example.
Stereo looper tracks with the possibility to load file/sample in a looper track.
Together with the upcoming bounce pattern to sample feature, you could stem things together and play them from a looper track instead of taking from the 8 voices.
You can have every live-loop play out the same output so it should be possibile.
On that last video AMA Brad did he mentioned briefly the idea of layering. So ideally you could have a pattern with Tracks A1-A3 for example Kick Hi Hat Snare and then bounce them to pad A1 freeing up the other 2 tracks for further poly. I really wouldnāt be surprised if after the Kordbot gets its long deserved updates that we see some further enhancements to the S2400.
Yes it would be great, at least if the s2400 could automatically allocate the tracks that are not manually link to a channel, to find an empty one. That would safe a lot of programming
With the bounce feature youād still need to manage output assignment. I doubt you will immediately delete whatās on pad 1-3 after bouncing and putting the result on pad 4.
Just in case you want to tweak something afterwards.
That means more samples assigned to more pads in general. One might create a project just for layering stuff.
Nevertheless, the bounce feature is highly needed because the current resampling function is limited.
I gotta say, I donāt get this at allā¦ A drummer has 4 voices (2 hands + 2 feet). Then you can have 2 mono voices + 1 stereoā¦ and use 4 banks of 8 samples and 4 banks of midi tracks! Not seeing limitations at all voice wise. More work on the sequencer would be cool - like different track lengths, etc.
A real drummer also has a ton of sounds overlapping with no cutting-off while jamming.
Yes, 2 hands and 2 feet and hitting many different drums at different timesā¦ but, many of their tail/sustain/release sounds continue to ring and overlap each other.
ā2 hands and 2 feetā ā voices
Their particular drum-kit (whether it be simple or complex) = voices
ā¦kinda comparable toā¦
Our middle/index fingers on left & right hand ā voices
The drum machine/sampler/synth = voices
Regardless, I donāt really care comparing production to a real drummer. Iād rather compare it to a TR-909/808; which has 12 voicesā¦ since I donāt make band-type music. I make house and stuff.
Also, a sampler is not used only for drums - can also load synth, pads, piano, strings, vox, fx, etc., etc. sounds too.
Edit:
Another example of why the ā2 hands and 2 feet of a drummer" analogy ā 4 voicesā¦
The grand pianoā¦
10 fingers ā 10 voices
The 88 keys of a grand piano = 88 voices
Very cool! Sounds like youāre doing something similar to me. I never expected the S24 to be an everything box. It has become a great addition to my studio and I plan on using it live as well.
