He left out (or unaware) the fact that MPCs he didn't work on also can do swing in real time.
So Roger Linn discusses the fact that the Tempest does Swing in real-time while the MPCs he worked on didn't. Old Roland drum machines like the R8 and R70 nailed it.in my opinion.
#FL STUDIO SWING QUANTIZE SOFTWARE#
The developers of the software choose to implement the Swing/Groove their own way. Everything Roger Linn described in the interview can be found in the MPC 60/3000 manuals.Įvery drum machine or workstation I have ever owned had a Swing or Groove function.
The MPC swing has always came down to some basic math. The only reason i can see why NI hasn't done it yet is because they haven't figured out what to do when when users create new patterns in groups or sounds that have swing on them. Even if it where something as simple as Garageband/LogicX's groove tracks where I can define a groups groove as the groove for other groups. In logic I usually hit play and cut at playhead while the sample is playing, in Reason I would normally use Recycle to chop. However I generally tend to cut my samples in Maschine pretty tightly compared to Logic or Reason. Just that little extra millisecond can make a whole difference. In Reason I checked the samples and found that the samples weren't always on the in-terms of start points. I just get more bounce out of those even without doing much in the way of adding swing. I feel that Maschine doesn't groove like Logic or Reason myself. I'm not saying that the MPC doesn't have some sort of magic but I think there are many factors as to why it grooves the way it does.
I first introduced swing – as well as recording quantization – in my 1979 drum machine, the LM-1 Drum Computer."Ĭlick to expand.I always hold that the samples are generally cut more sloppily on older grooveboxes without the kind of detailed display that Maschine has (even on the MK1/2), since cutting is mostly done by ear. And unlike the MPCs, my new Tempest drum machine makes it very easy to find the right swing setting because you can adjust the swing knob in real time* while the beat plays. Between 50% and around 70% are lots of wonderful little settings that, for a particular beat and tempo, can change a rigid beat into something that makes people move. And for straight 16th-note beats (no swing), a swing setting of 54% will loosen up the feel without it sounding like swing. For example, a 90 BPM swing groove will feel looser at 62% than at a perfect swing setting of 66%. The fun comes in the in-between settings. And 66% means perfect triplet swing, meaning that the first 16th note of each pair gets 2/3 of the time, and the second 16th note gets 1/3, so the second 16th note falls on a perfect 8th note triplet. For example, 50% is no swing, meaning that both 16th notes within each 8th note are given equal timing. In other words, I delay all the even-numbered 16th notes within the beat (2, 4, 6, 8, etc.) In my products I describe the swing amount in terms of the ratio of time duration between the first and second 16th notes within each 8th note. My implementation of swing has always been very simple: I merely delay the second 16th note within each 8th note.
Swing – applied to quantized 16th-note beats – is a big part of it. Roger Linn: There are a few factors that have contributed to natural, human-feeling grooves in my drum machines. Can we start by talking about the MPCs – particularly the MPC60 and MPC3000 – and why they’re so highly revered? Are they actually measurably better in some way than other sequencers or is it a bit of an urban myth which has snowballed since the 80s? ‘MPC swing’ is the watchword for tight, funky timing. 25 years on from the release of the MPC60, it’s still held in incredibly high regard and there’s a mystique attached to the timing. "Attack Magazine: The main idea which prompted this discussion was a conversation we had in our office about the magic of the 80s MPCs. Here's an excerpt from an interview with Roger Linn, inventor of quantize, swing (on drum sequencers) and MPCs.
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