MPC Live II

B
ack in 2017, Akai
made something of
a U-turn with their
iconic MPC range.
Following several
laptop-reliant
iterations – MIDI
controllers designed for bespoke
software, effectively equivalents to
NI Maschine – the company released
a pair of MPCs that once again took
things out-of-the-box with built-in
CPUs that allowed them to operate
as completely standalone, DAW-
rivalling production tools.
years we’ve seen any new hardware
in the MPC range. Announced within
six months of one another, the
second generation MPC Live and
MPC One both sit at the smaller and
more portable end of the range. So
what sets these two apart?
Back to Live
The most obvious update for the
MPC Live II comes in the form of a
chunky black built-in speaker sat
across the full width of the
hardware’s bottom edge. I’ve waxed
lyrical within these pages on multiple
occasions about my skepticism of
the need for companies to keep
adding speakers to their synths and
grooveboxes – they rarely sound
decent, offering no substitute for
headphones or proper monitoring
and – in the case of Volcas, POs, etc,
– have more capacity to annoy those
around you than aid your music
making. I’m forced to admit though,
it’s a nice addition here.
Crucially, the Live II’s speaker
actually sounds good, offering
decent volume, a surprisingly good
stereo image and – crucially – a fair
amount of low-end presence. I still
wouldn’t rely on it for mixing or
in-depth sound design, but for
setting up kits and bashing out
patterns it works nicely. It fi ts well
with the rechargeable battery too,
making it easy to up sticks and work
on an idea away from the studio.
There are other, less obvious
tweaks to the Live hardware too.
Most notable of these is the addition
of four stereo mini jacks on the rear
for outputting CV signals. CV was
already included on the larger MPC
X, but given the proliferation of
accessible analogue gear and
Eurorack systems, it makes a
sensible addition here too. CV
sequencing slots nicely into the
existing MPC workfl ow, and the
ability to trigger and sample
analogue hardware adds to the
appeal of using the MPC Live as the
hub of a live setup.
There have been a few tweaks to
the control layout too, the most
signifi cant being that the master
volume has moved from being a
small dial on the rear panel to a
chunky front panel knob. This is a
smart choice, rectifying one of the
more annoying elements of the
original’s design.
Are you the One?
The MPC One is the smallest and
lightest of the range, at just over
2kg. Conversely, despite being the
most readily-transportable, there’s no
battery here, meaning it needs a
power supply at all times. This is a
shame, perhaps, but the inclusion of
a rechargeable battery would have
driven up both the price and weight,
negating the device’s USP.
Despite the smaller size, Akai
have done an excellent job of
arranging the One’s layout so as to
include as much control as possible.
The same high-quality 7-inch
The behemoth-like MPC X was
the fl agship, but the MPC Live was
the standout. Equipped with a
rechargeable battery for completely
wireless operation, the Live really
nailed the balance between
self-suffi ciency and versatility –
stripped back enough to allow users
to free themselves from the shackles
of their studio computer while
powerful enough not to leave them
hankering after their DAW.
While several software updates
have brought new features into the
mix, 2020 is the fi rst time in a few
THE PROS & CONS
+
The most
comprehensive
laptop-free music
makers on the
market right now
CV outputs on both
are a great addition
The Live II’s built-in
speaker sounds
surprisingly meaty
-
Software workfl ow is
still a touch on the
convoluted side
Akai MPC One & MPC Live II | Reviews
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FMU358.rev_akai.indd 75 15/05/2020 13:47