AKAI Pro Updates MPC Live, MPC X With Ableton Link & More

Akai Professional has announced a major firmware update for the the MPC Live and MPC X that delivers new features for audio warping and time-stretching on the individual drum pad level for manipulating loops and hits on each pad within a drum program, improved Program and Audio editing, Bluetooth 4.0 MIDI capability and enhanced support for storage… Read More AKAI Pro Updates MPC Live, MPC X With Ableton Link & More

Can the MPC X win over some die-hard German MPC hardware users?

The MPC 2000. The 2000XL. The 500. These old Akai boxes inspired countless live sets – and many devoted fans still make them the centerpiece of their rigs.

But Akai abandoned the standalone hardware market for years. Native Instruments came along with Maschine, making the hardware just a controller for software running on a computer. And the MPC lost its place as the machine synonymous with the drum machine/sampler device.

Now, that looks set to change. Akai is back in the standalone hardware business with a new angle – get all the capabilities of a computer, running the same software, but without having to have a computer plugged in at all. And that goes up against Elektron’s own new standalone hardware – and Native Instruments’ own mature Maschine lineup back on the computer.

The toughest audience for the new MPC, then, has got to be those dedicated Akai MPC users. Ideally, you’d find some who are still using the older MPC onstage. And, ideally, they’d be German – well, partly because criticism sounds cooler than in English, and partly because of Germany’s wonderful culture of being honest, reflective, and articulate with opinions.

Berlin videojournalists did just that, and took the flagship Akai MPC X to the trio FJAAK (on Monkeytown Records). The result is exactly the sort of hands-on review I’d want to see – thorough, personal, musical.

They take a hard look at the “best-equipped MPC of all time.” (That sounds fair.) They express some reservations about all those expanded capabilities, but give the unit a great shakedown.

(Don’t worry – English subtitles.)

I think it’s nice to contrast this with the more limited approach (and smaller price and form factor) of the Elektron Digitakt.

For me, I’m still holding out for some quality time with the MPC Live, which seems to nicely bridge what you want in a standalone device with what you want in software (and works as conventional software/controller when your computer is connected). But the MPC X is big, beautiful, and a nice option if you’ve got the budget.

More:
http://www.akaipro.com/product/mpc-x

The post Can the MPC X win over some die-hard German MPC hardware users? appeared first on CDM Create Digital Music.

Akai Pro Announces iMPC for Samsung Galaxy

Akai Professional today announced that their iOS app iMPC, is now also available from the Samsung Galaxy Apps Store. iMPC for Android was created in collaboration with app developer Retronyms, and the app fuses the workflow of an Akai Professional MPC (Music Production Center) with tools for composing, editing and mixing music on the user’s… Read More Akai Pro Announces iMPC for Samsung Galaxy

Akai’s standalone MPCs just leaked – and they could replace your laptop

Welcome to the post-PC drum machine age. After years of leaving fans of standalone MPCs in the cold, Akai have unveiled machines that promise the flexibility of computer software – minus the computer.

And somehow all the specs and photos are on the Sweetwater website (doh!), so let’s copy-paste here. (For once, I’m glad not to be under an NDA.)

The MPC Live is probably the one you want, in a compact form factor and with a not-insane US$1,199 street price. And it’s no slouch:

mpclive-large

7″ touch screen
16 pads (hopefully these are these build on the quality of those on the previous MPC Renaissance flagship)
Weight: 2.5 kg (5.5 lbs)
Rechargeable battery (clever, that!)
16 GB of internal storage, plus external hard drive support
MPC 2.0 software has upgraded time warp and audio track recording (also putting it ahead of Maschine for DAW-like tasks)
Audio inputs: 2x 1/4″ plus 1 stereo RCA (and GND for connecting a turntable)
Audio outputs: 2x 1/4″ master, an additional 4×1/4″, plus the minijack headphone
MIDI I/O – 2 in, 2 out (that’s surprising on a small unit)
SD card
USB: 2x type A (for storage, presumably), 1x type B (for computer)
2.5″ SATA drive connector

Even the mid-range MPC Live has a surprisingly generous complement of I/O.

Even the mid-range MPC Live has a surprisingly generous complement of I/O.

We’ve already seen reasonably clever MPC software in the computer-tethered products. Now, the touchscreens on previous Akai products haven’t been the best ever, in my experience – though the bar is set high when you’re used to things like Apple’s superb iPad screens. But it absolutely beats menu diving – compare, for instance, the experience of using Pioneer’s new sample hardware. And perhaps they’ve upgraded the touchscreen component; that’ll be interesting to see.

The audio track thing to me is huge, as it vastly increases the range of what you can do with just the MPC. I suspect for a lot of producers, that’s enough to finish tracks (even if they move back to the computer for mixing and mastering).

It seems that basically what you’re getting is the MPC Touch with the software running internally on an embedded system – and some significant upgrade to I/O and better software. But given the MPC Touch was already pretty darn good, this could move the MPC Live into must-buy territory.

Of course, if you want something bigger and more powerful / own a car to carry it around or want to leave something in the studio, there’s the US$$2,199 MPC X.

It’s got everything the MPC Live has, with a bigger form factor, a bigger screen, more dedicated controls, and more I/O.

The big'n.

The big’n.

So you get:
10.1″ multi-touch screen
CV/gate for analog connectivity – 8 of them! (seems it’s output only)
Audio inputs 3/4 are both jack and RCA a
8 outputs instead of 6
4 MIDI outputs instead of 2

Another sign that this is power over portability – there’s no mention of battery power.

A big, articulated screen, extra hands-on control, and loads of I/O are what you get on the MPC X, in exchange for being a bit less mobile and paying over two grand.

A big, articulated screen, extra hands-on control, and loads of I/O are what you get on the MPC X, in exchange for being a bit less mobile and paying over two grand.

The leaked specs don’t yet have weight, but then, you’re not really buying this one for portability.

That’s all very cool, and it should be big in the American market where larger equipment is more desirable. But worldwide, the MPC Live is already powerful enough that it seems it’ll be the winner.

Who should be a little nervous? All the competition, clearly.

It’s hard not to feel Native Instruments have missed a major opportunity here. I can’t imagine anyone buying the flagship Maschine Studio when it lacks so much connectivity, let alone the need for tethering to a computer, especially with a standalone MPC Live hitting this price point. And ironically, while NI have through their history pioneered the use of native software, they could have taken that same native software and made it run standalone. They certainly could have shipped a Maschine that looked like this – and I would have been one of the first to buy it. But even as a devoted Maschine fan, I’m going to wonder about whether I really want to play live with a laptop when I could ditch it for an MPC with similar capabilities. The same is true of the Traktor line – there really is some truth to the resistance to DJs showing up with computers.

(Of course, that said, it’s a shame the new MPCs don’t support Ableton Link – at least not that I can see.)

Pioneer have their own market niche because their Toraiz sampler has sync capabilities with the CDJ. But since DJ/producers often differentiate between live acts and DJ sets, I expect a lot will choose to do a live set with an MPC and just use CDJs when DJing. That’s already the case with the Elektron machines you see so often in live sets.

Elektron probably have the least concern. Their user base is pretty loyal, and the Analog line sounds absolutely terrific. But even some would-be Elektron customers may decide a sample-based workflow and more DAW-style flexibility is desirable – without all the menu diving.

Even Ableton ought to have a look at this and wonder if the Push is going to stay as desirable as a performance solution.

Don’t get me wrong – there are still advantages to computer software. When it comes to more complex arrangements, I’m all about a big screen. And past leaks suggest the new Akai hardware won’t support plug-ins. So these machines for many producers will be about live performance. Then again, there’s nothing stopping you from using the MPCs with a computer for those contexts. The category this will clearly damage is the computer-plus-machine area — meaning things like Push and Maschine look less desirable.

I’ll definitely be keen to test this. It’s still down to software – despite the embedded context, that’s what you’re testing. And I’m curious to see how you would integrate this with studio workflows on the computer.

But long before NAMM, it seems we have the big NAMM story for producers.

Just remember – drum machines have no soul. 😉

The post Akai’s standalone MPCs just leaked – and they could replace your laptop appeared first on CDM Create Digital Music.

Akai Pro Teases New Gear Ahead Of 2017 NAMM Show

Ahead of the 2017 NAMM Show, Akai Pro shared this teaser video, which captures reactions to their latest gear. They recently held artists events in London & Berlin, showcasing soon-to-be released gear. The video doesn’t reveal anything about what they’re introducing –  just the first impressions of producers, DJs and musicians from Europe and the UK.

SoniVox Debuts ‘Singles’ Virtual Instruments at 2016 NAMM Show

Virtual instrument developer SONiVOX announced at The 2016 NAMM Show that they have released the first five of its series of virtual instruments called Singles. SoniVox describe Singles as “bite-sized downloadable virtual instruments” which provide producers “a single high-quality instrument … Continue reading