New Gear Review: MPC X and MPC Live by Akai
With the MPC X (above) and the MPC Live, Akai offers music makers an easy way to transition their work between hardware and software platforms.
When Akai introduced the MPC Studio series a few years ago, I was put off by the idea of using an MPC away from my computer, only to integrate it back into my Ableton Live-based workflow later on.
Though the Studio series may not have been the right fit for me then, Akai’s latest offerings have begun to bring most of my dreams for a throughly modern MPC to life.
With MPC X and MPC Live, not only have Akai conquered the hardware/software divide, they have done so in style, and with two machines that should appeal to producers and musicians from all walks of life.
Whether your work takes place in the studio or on stage, will the MPC X and MPC Live deliver for your needs? Let’s look a little closer and find out what they’re all about.
Features
The MPC X is chock full of features, the most distinguishing of which is the large, 10.1-inch touchscreen that the unit is built around. It’s almost as if the MPC X is a tablet computer inside of a music-making box.
If at first this puts you off, don’t let it! When a computer is devoted to doing one thing, it tends to do that thing very well, and the MPC X is no exception. Be warned however, that there is a learning curve at play here—but it is well worth your time to push through that barrier and dig to uncover all this unit has to offer.
The screen is responsive to gestures and touch, and there is no lag time while you are commanding it to do things. The redraw rate is also very fluid and quick, with no perceptible lag. I’ve been using an iPad Pro for about six months now, and the touchscreen on the MPC—while not quite as speedy as the iPad Pro’s—is at least in the same ballpark.
The knobs and buttons available on each unit are where the MPC X and the MPC Live really differ. While the X has a knob or button for just about every control, the Live only offers four knobs and a handful of buttons.
And of course, there are the pads. Although the pads on Akai’s various controllers feel alright, they never feel quite like an actual MPC. That is not the case here; these are classic MPC pads. The sixteen sturdy, rubber pads are highly velocity-sensitive, extremely responsive, and one of the best features on the machines.
Each pad incorporates a light at its base, which can be set to glow in response to velocity input. Both the Live and X have the same pads, which can be set to illuminate based on which ones have samples assigned to them. This is a must-have when you’re performing in a dark club.
The software of the MPC is exactly the same on both models. It is also the same as found in the provided computer software, which is great because it is extremely easy to move between each of the devices, and back into your DAW. With each element using the same software, you (and your devices) never have to relearn anything; setups always carry over completely and with ease.
Though the MPC X and MPC Live share many features, another big difference between the two units is the input/output connectivity. The MPC Live has the bare necessities for recording audio into it. You get two 1/4” line inputs and two RCA phono inputs. Missing is a mic input, but seeing as the target audience for this device appears to be producers on-the-go, this is not a serious omission.
If you are planning on using your MPC as the backbone of your studio, and you really need a couple of mic inputs, the MPC X has got you covered. There are two combination XLR-1/4” inputs on the back, along with two switchable 1/4”-RCA inputs, bringing the total to four inputs.
The first two inputs also have mirrored 1/4” ins on the front for quickly plugging in instruments such as guitars and keyboards without having to reach around to the back. This showcases a common theme that I discovered while reviewing the units: Akai has used their considerable knowledge and experience to leave virtually no stone unturned in the design of these units.
Both MPCs also have two USB ports for connecting controllers (any class-compliant controller will work). This is perfect if you’re a keyboard player in need of actual piano keys instead of the onboard pads. There is also a USB 3 port for high-speed connectivity to your computer.
The more streamlined MPC Live offers the same software as MPC X, but with the ability to take your work on-the-go, thanks to its rechargeable lithium-ion battery.
Additionally, the inclusion of a battery (found only in the MPC Live) is a big one for me. One of my main quests is finding gear that takes me away from making music in my studio, and more recently, away from my computer.
As long as I’m restricted by a power cord, working this way is just a dream. But Akai has ended this quest by including a lithium-ion rechargeable battery in the MPC Live—and it lasts up to the advertised six hours!
If you produce electronic music, you understand the value of expansion packs. Native Instruments are well-known for their Maschine hardware/software, along with the expansion packs they offer. Akai has taken a page from NI’s book and now also offer expansion packs for the MPC series of samplers and software. So far, most of these seem to be based around Hip Hop beats (which makes sense, considering the history of the MPC), but there are also a fair amount of other electronic music genres on offer, and the list continues to grow as time moves forward.
In Use
As I mentioned before, one of the biggest hurdles with using the MPC Live is the learning curve—it is insane. But once you’ve gotten your head around it, the hassles just melt away, and using the machine is a breeze.
As a point of reference, I am an expert at Ableton Live, and I’m pretty good using NI’s Maschine, but I’ve never used an MPC before (although I did use Akai’s rack-mounted samplers extensively in the 90’s). It took me around fifteen hours of banging my head against the wall to figure this thing out and become comfortable with it; it was probably one of the toughest undertakings I’ve experienced recently. This is mostly due to the fact that I was completely inexperienced with the MPC workflow going into this review, but I’m really glad I put the effort in because the reward has been worth it.
Akai has chosen to include a big sticker on the box highlighting the Live’s six hours of battery life. In order to put this to the test, I decided to head up to my living room and sit on the sofa while learning how to use this thing, sans power cord. I was very pleased when I was up there still smacking away on it about six hours later. Weather permitting, I could have just as easily gone and sat outside. Now, I didn’t set a timer, but the life span of the battery certainly falls somewhere in between five and six hours, which is great.
Also, in the beginning of April, I used the MPC Live on stage during a DJ set to trigger samples and loops to match up with the tunes I was playing on the CDJs. On the trip up to the venue (about 5 hours away from where I live), I sat in the car as my friend drove, and got all my sounds together. Then, during the performance itself, I just put the unit on a computer stand, plugged in the audio cables provided by the venue, started up, and jammed. No worrying or searching for a power outlet—just plug in and go!
Upon further consideration, I’m not really surprised that the Live has a decent battery life. Think about it: these new MPCs are really just tablet computers with hardware built around them. Yes, there are lights on the pads that use energy, but aside from that, there really isn’t that much else there. The hard drive is an SSD drive (no moving parts), and there is no mic input, so even if you’re recording, it shouldn’t be draining that much power. All in all, the mobility of the Live proved to be invaluable as I took it along in my travels.
As mentioned above, the MPC X has a ton of knobs and buttons—almost one for every screen or function. Once you get used to operating the unit smoothly, this level of control really makes a difference. I found myself moving around productions much more quickly than on my computer.
Equally important is the fact that the knobs feel great. I’ve always been a big fan of the feel of the knobs on Akai’s many controllers, and the MPC family is no exception. They have just the right amount of resistance to not feel too light.
Although the MPC Live does not have nearly as many knobs and buttons, the ones that are present have been implemented extremely well. As a matter of fact, the low knob count on this unit was a point of concern leading up to this review—but I was pleasantly surprised. Akai has designed a piece of hardware that actually reminds me of how Ableton displays controllers in the Session View. A yellow box on the screen shows what you’re controlling with the knobs (a system which Akai calls Q-Link), and a button switches between different controlled items. It works surprisingly well, and enables just four knobs to easily control quite a few parameters on any given screen.
By now, it should be apparent that I really like the hardware features on the MPC X and Live, but how well does it integrate with the software in real-world use? The answer is: great. Once you get used to the MPC architecture, the software is easy to navigate and use.
On the MPC X, it is possible to seamlessly fly around between the different screens by way of all its buttons. There are lots of little shortcuts that aid in chopping beats and assigning samples to programs and key zones. Although there is a large amount of bouncing back and forth between menus on the MPC Live, Akai has implemented buttons and the Q-Link knobs creatively and intuitively, so the nightmare that could be never seems to materialize.
One of the best parts of the software that powers both machines is that it is standard across the entire modern MPC line. This is great because it means that if you start your beat on the road, and then want to bring it into the studio, there is no difference in workflow. I was pleasantly surprised to find that when I connected the MPC to my computer to use it in Control Mode, it operated exactly the same. There was really no learning curve to overcome, no matter which environment I was in, be it hardware or software.
Akai is also very dedicated to updating their software and fixing any bugs that may arise. During the review process, they released software version 2.2, which adds external controller functionality for certain (limited) parameters within the hardware.
To Be Critical
Although I really enjoyed my time with these machines, it did not come without frustration in certain regards. For instance, it is impossible to reorder the tracks in the software or hardware. Meaning, if you are working on a beat, and you create the snare drum part before the bass drum part, there is no easy way to reorder those tracks later. This is not a deal breaker, but it will definitely dig under the skin of OCD producers like myself.
Another irritating aspect was that there is no feedback on the Save screen to reflect that you have pushed the “save” button. On a couple of occasions when I pushed it, nothing happened for a second, so I thought I hadn’t pushed the button properly. But when I pushed it again, I realized that the program had been saving, only to be canceled out by the second time I pushed it.
On another occasion, while I was working on samples in the car, I went to purge my unused samples, and the car bumped, so my finger hit the “Purge All” button instead, and I lost all of my work. This could have been prevented with a simple “Are You Sure?” prompt.
Additionally, you can’t access the MPC’s internal hard drive from the computer. While not a big deal, it is annoying. But I’m guessing this is in place so that people can’t go in and tamper with the operating system of the MPC.
And to reiterate, the learning curve is steep, especially if you are not already used to the MPC workflow. This is exacerbated by the fact that certain items are just not located in a logical place. Case in point: the polyphony is set up in the LFO/Modulation Tab—what?! It took me forever to find that one! I shouldn’t have to consult the manual to change the polyphony of a program.
Summing it Up
Overall, the MPC X and MPC Live are solid pieces of equipment, from both a functional and build quality perspective. They feel like tanks. The MPC X is lighter than I expected, and the MPC Live is heavier, but these are not bad things. The MPC X still feels like it can withstand the rigors of heavy studio use, while the Live feels like it can easily handle the beatings of touring life.
Not only are these new Akai samplers easy to use, but they’re also fun. I really enjoyed the ease of navigation using the X, as well as taking the Live out of my normal studio environment to channel some creativity in a new space.
So if you are wondering, “Which should I buy?” The answer is: either. Both are fantastic machines, so it really depends on your specific needs. With the MPC X sporting street price of $2,199, and the MPC Live at $1,199, both machines are a great value for anyone who aims to up their MPC game.
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