What is the best mpc?

Many instruments have changed the course of music history—technology and music have always been intertwined. Arguably the instrument that most defined music production in the 90s was the Akai MPC.

The legendary groove box has earned its place among game-changing, genre-defining music gear like the TR-808 and the SP-1200.

Arguably, it marked the single biggest step forward toward the modern DAW that exploded in popularity 2000s. Ableton and Logic owe a lot to the workflow and interface of the original MPC.

That’s why it remains one of the most sought-after pieces of music production gear—whether you’re looking for a modernized new MPC or vintage one on used gear sites.

In this article, we’ll explore the MPC in-depth—from its beginnings to where it lies in the music production gear landscape today.

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MPC stands for Music Production Computer. The original MPC launched with its first model the MPC60 in 1988. Notably, the first version was worked on by Roger Linn, creator of the LinnDrum.

The goal for Roger and Akai was to build something that was more user-friendly, and didn’t require the user to immediately dive into a manual—instead, the MPC was built to help users make sounds right away.

Akai also placed a major focus on making the MPC manufacturable at lower costs—bringing the price of the original MPC to half of that of comparable drum machines on the market in the early 90s.

Its further updates with the MPC60 MkII and beyond (MPC2000, MPC3000, etc) brought additional features at an affordable price.

There are many reasons why the MPC caught on so quickly. Primarily, it was more affordable than other machines of its time—so anyone could save up and purchase one.

But beyond its reasonable price, the machine was just incredibly useful for a wide variety of reasons.

The MPC had a good amount of sample time, so producers could directly record samples from vinyl and tape easily.

With its intuitive sample chopping tool, it was easy and inspiring to turn samples of funk drummers into fast looping breakbeats—or sequence chopped drum samples into hip hop beats.

It’s no wonder that sample packs made with the drum machine are so popular.

Check out MPC Sample Packs

Another particularly important feature of the MPC was its advanced sequencer capabilities.

Rather than locking beats to a programmed grid, the MPC allowed producers to record MIDI and loop rhythms into the sequencer—if they wanted a rigid, straight-sounding beat they could quantize it, but many producers loved the “broken” sounding of off-grid beat recordings.

This ability to manipulate the micro timing of snare, hi-hat and kick hits inspired the legendary producer J Dilla to create his own off-kilter brand of drum programming.

The sequencer in the MPC also worked as MIDI controller and could send MIDI signals via up to 16 channels to any MIDI controllable hardware like synths or drum machines, making it a great tool for controlling and sequencing external gear.

Essentially the sequencer made the MPC the perfect central brain for tabletop hardware setups because you could sequence everything you needed to make an entire track from it.

One game-changing tool was its “16-levels” functionality that allowed a producer to arm and record a sample of a piano chord, for example, and then immediately pitch shift and map the sample to its 16 pads chromatically.

This feature opened up tons of opportunities to sample and then create new melodies and chord progressions using interesting pitch-shifted chard—arguably it helped inspire the sound of Detroit house and techno in the 90s.

That pitched up and down house keys one-shot sound you’ll hear in early house and techno tracks were often created with the MPC. It’s a super popular feature that still comes included in modern versions.

The MPC’s finger-controlled drum pads were the best on the market. The way its pads were calibrated gave the real feeling of human input, especially if the producer had drumming and rhythm skills.

The inspiring expressiveness of the MPC’s finger pads made it easy to create interesting, more real-sounding drum parts.

Even today the MPC’s velocity-sensitive touch pads are among the most revered finger pads on the market.

The MPC has come a long way since the early days of the MPC60.

Over time new editions of the MPC brought on longer sample time memory, visual interfaces, more effects and added functionality.

2000s-era MPCs like the MPC1000 or the MPC2500 have not lost much of their value and still fetch fairly stable prices on vintage gear sites.

These 2000s-era machines represented the best production option for its time, since the DAW was only just becoming popular—producers like Kanye West, for example, often opted to use the MPC over a DAW since they were that much better.

That’s why buying a vintage MPC, over a modern one is a completely viable option!

But, of course, there’s the modern line of MPCs, the MPC One and MPC Live series which come with touch screen interfaces and essentially replicate everything you’d expect to find in a DAW.

Let’s take a look at the modern flagship MPC models.

The MPC Live II is Akai’s newest edition of the MPC.

It comes jam-packed with a ton of interesting features—perhaps most notably it is specifically designed for portability with its built-in speaker, battery, wifi connectivity.

The Live II builds on the touch screen functionality that debuted with the MPC X and the MPC Live.

Essentially working as a DAW in a box, the MPC Live II comes with plugins, synths, a huge sample bank and various arrangement views in its touchscreen section.

Of course, the Live II is a sampling powerhouse that makes it easy to create the best possible samples—especially with its phase point system that ensures that any samples are cut at the right place to eliminate phasing issues.

While the groovebox is definitely more oriented to the hip-hop beat maker community, it has a decent amount of functionality.

Like any workflow, there’s a learning curve that takes time to climb—some users have complained about its sequencer and interface which often leads to menu diving.

But all in all, this is a powerhouse central brain that essentially replaces any need for a DAW and is perfect for centralizing and arranging jams on hardware or with samples.

The MPC is the smaller, more affordable modern MPC.

Similar to the MPC Live, it’s best thought of as a DAW in a box, but with a slightly paired-down offering.

Notably, it doesn’t have the same portability features and must be plugged in, since it doesn’t come with a battery.

Still, the MPC One comes with tons of functionality—especially in the domain of chopping samples and arranging beats.

Naturally, this lends itself best to hip-hop and electronic producers, especially given the large sound bank it comes with that leans towards this style of production.

The MPC One also supports the same plugins as its live counterpart and can play polyphonic samples, making it a worthy option to be used as both a drum machine and a synth.

Even if you don’t have music theory skills, the MPC One makes playing chords easy with MIDI chord modes and the option to import MIDI data.

This is a great option if you don’t need the portability that the Live II offers and you’re comfortable with its smaller size touch pads and smaller (4GB) memory.

Time and time again the MPC has proven itself to be a powerful, all-in-one music production powerhouse that makes it possible to create entire tracks within a single piece of gear.

It’s no wonder that so many producers love the machine—whether that be for its unique workflow, respected pad feel or usefulness as MIDI sequencer.

Now that you know a little bit more about the legendary machine, go to your local music store and try it out for yourself.

Good luck with your MPC endeavors!

In this post, we'll take a closer look at the much-loved MPC line and share our pick for the best Akai MPC you can buy right now.

Only a few instruments have had a transformative impact on music.

The Les Paul electric guitar was one, ushering in the rock and roll era. The Minimoog was another, creating the entire electronic music/synth genre.

And then there was Akai MPC. While there were drum machines before it – notably the Roland TR-808 – the Akai MPC was the first that could reliably create complex, natural-sounding rhythms. The result was music that could be driven primarily by drums. Aka, hip hop.

The Akai MPC liberated producers and performers from the band. Before the MPC, if you wanted realistic drum patterns, you had to get access to a drummer – always a rare commodity. But with the MPC, anyone could create great beats on their own. The massive surge in hip hop production after the MPC was released wasn't accidental.

Today, every DAW ships with built-in drum machines. But if you want to liberate your production and performance, you need a hardware instrument to complement it. This is why Akai continues to produce a huge variety of MPCs, and producers keep buying them.

The question now is: what's the best Akai MPC on the market currently? Which one is right for your needs?

I'll share some answers below.

Here's a closer look at the best Akai MPC for different needs in 2020:

From song-sketching to software control, the Akai Professional Force is the best standalone production center on the market today. The question isn't what can the Akai Professional Force do; instead, it is what can it not do?

The Akai Professional Force bridges the gap between software and hardware. It comes as an inbetweener of both worlds. It offers plenty of what the software gives you without feeling too much like a computer. As a standalone kit, you'll be hard-pressed to find a device as impressive as this bad boy.

It comes as a sampler, sequencer, and effects processor. As a result, it comes with a wide plethora of features. You get a bright display, plenty of tactile feedback, and connections to many other devices. Due to the technology, you can connect it to your computer and use it as a controller for software like Ableton Live. Therefore, it is unique on the market because it does almost anything you'd want as a producer.

The Akai Professional Force comes with in-built content, your power supply, a manual, adapters, and an Ethernet cable. Design-wise, it is one of the biggest of the lot, weighing up to 3.8kg. Thus, it isn't as lightweight as you might have liked.

Nevertheless, we love the design. It looks better in person. Some of the things that really caught our eye include the 6.9″ touch display, the eight knobs, and the 64 backlit RGB pads. With all these features combined into one product, you can see three data sets simultaneously. You also get other buttons, including a crossfade and data entry dial.

These are all in the box and included in the package. On the software side, we found that the Akai Professional Force ships Ableton Live.

Using the Akai Professional Force is a delight. It benefits from the fast assembly and is one of the quickest options to set up and start using. When connected to your WIFI network, it allows you to sync it with several other software and hardware.

Underneath the Akai Professional Force lies the hatch for HDD or SSD storage. Therefore, you can easily expand on the 16GB of storage and 2GB RAM.

It can handle up to 128 tracks and eight plug-in instruments.

What I don’t like

Well, there are two things that might cause some issues. First is the price. It also is not backpack friendly, so if you are looking for a portable option, you might have to look elsewhere.

If the first model we reviewed is too big for you, then you'll be pleased that AKAI has made the АKAI Professional MPC Live II. This model comes with plenty of similar features to our top pick but comes in a smaller size. It comes with a revamped layout that will certainly please most users. Among the new features include mixer, mute, timing correction, and other selections.

While the previous models had a master volume knob, this wasn't optimally placed. Thankfully, АKAI Professional MPC Live II has the knob in a more accessible location. There are up to eight outputs, four inputs, four MIDI in/out, and more ports than we can count. On the software front, it sports the 2.8 updates and a whopping 10GB of samples.

While all these additions are great, what really attracts us to the АKAI Professional MPC Live II is the speaker addition. Now, these speakers are convenient and simply irresistible. They offer far more functionality than expected because you do not need any cables or headphones to use the АKAI Professional MPC Live II. They dominate in quiet environments and can hold their own when included in a tabletop rig. When you consider the size of the speakers, the sound produced is truly remarkable.

Another notable feature here is the note mapping editing. You can use this function to customize MIDI notes to each pad in a program. As an excellent device, this offers solid sync options. The link is very reliable, and since there isn't a Master, anyone can link or leave whenever they like.

What I don't like

While we had a splendid time testing this model, it comes with certain drawbacks. For one, the speakers make it slightly heavy for something marketed as a portable unit.

The Akai Professional MPC One is one of the latest standalone music production centers from Akai. It takes much of the good found in several other devices by the manufacturer and applies it to itself to give you a compact model to produce music while being affordable.

As a standalone unit, it has plenty of things that you need to create music without much peripherals or fuss. You can make beats, program beats, mix samples, edit, and more with this unit. The design is simple, but it is easy to use and understand. Although it has some of the most impressive technology at this level, it comes in a portable size that can easily fit into a backpack.

There are pads and several dedicated knobs that allow you to immerse yourself into doing what you love – making beats. The Akai Professional MPC One also offers the use of hand gestures to improve functionality. All of these features are topped off with a bright 7″ touchscreen that makes it easier to splice, chop, and customize songs with just a touch. The velocity and pressure-sensitive RGB pads are expressive and easy to use. There are dedicated keys for almost anything, and these improve your working experience.

While it is a standalone unit, it comes with impressive connectivity. Therefore, you can connect your computer, keyboard, instruments, and controllers. The Akai Professional MPC One is fuelled by the MPC 2 software and offers several benefits.

What I don't like

While this is nearly perfect, it doesn't come with a rechargeable battery. Furthermore, if you have large hands, you might find the pads to be too small.

Looking for an ultra-portable MPC with the best pads on the market? Then look no further than the Akai Professional MPC Studio. Although there are some downsides to the hardware (more on that later), the portable nature, cost, and ever-improving software ensures that it is one of the best Akai MPC you can buy.

The Akai Professional MPC Studio is very similar on some fronts to the Renaissance reviewed above. It uses similar software. However, the Akai Professional MPC Studio comes at a lower price and is far more compact and portable.

The Akai Professional MPC Studio has a thickness of around 1 ½”. Therefore, it is so slim that it can fit into your bag without any fuss. Despite the slim appearance, it is sturdy. The brushed plastic case looks beautiful and sturdy, and the best feature, the pads, feels very responsive and great. They are slightly firmer than what you'd find on the market, but that is what makes them so good. There are up to eight pad banks with 64-note polyphony, with each pad lighting up to show you note events and several other functionalities.

Akai has done a phenomenal job with the hardware, and it combines functionality and compactness near-perfectly.

Connections are good on the Akai Professional MPC Studio. It comes with a power button, USB, the MIDI ins, and outs. Operating modes are very similar to what is found in the Renaissance reviewed above. Interestingly, there is very negligible latency in general when using the model.

What I don't like

There is no built-in interface, which can be a problem if you are used to having dedicated ports for sampling and splitting. While the jog wheel and Q-link dials are great, they are slippery and hard to hold, which can be inconvenient.

The MPC is a legendary beat making machine and AKAI has waded into the hardware and software combination with the Akai Professional MPC Renaissance.

First of all, on the hardware aspect, the Akai Professional MPC Renaissance is really impressive. Right out of the box, it is clear that this isn't your regular fickle MPC. It feels solid and weighty. It is also built to be a durable model. For instance, there are ends made of rubber and a chassis made out of solid metal. The pads on the Akai Professional MPC Renaissance are very firm and respond with just a touch. Although it features just a 64-note polyphony, it comes with eight useful pad banks.

The pads show different colors to indicate the velocity level and functionality. Additionally, we observed that the jog wheel feels solid and sturdy. As for the screen, it does an excellent job. On the software front, you will find this to be one of the easiest to use. It runs a powerful software relatively easily. Installation is pretty straightforward, as you can do it using a DVD.

After setting up the software, we must say that everything looks perfect, especially in the standalone mode. Despite heavy use, it did not, at any point, crash down.

If you have been using MPC for some time, be ready to be impressed by the performance of the Akai Professional MPC Renaissance. It simply gives you a lot of control and seamlessly integrates software and legacy data. It is a good audio interface that will give you impressive value for money.

What I don't like

Akai Professional MPC Renaissance is excellent, but there are some chinks in the armor. For one, if there are plenty of things running in the DAW, you will suffer from some latency. We also observed some bugs when using some plug-ins.

The remarkably powerful Akai Professional MPC X has all it takes to replace your DAW, whether live or in the studio. It is the latest flagship from the Akai brand, and as such, comes with features that are not found in many other options on the market.

Unlike other iterations that acted as controllers for DAW software running on your system, this Akai Professional MPC X model is a hybrid, standalone unit. Therefore, it runs its OS via the multi-core processor. It comes with all the power and computing power required since it has a 2GB RAM and 16GB ROM. Therefore, you can run the software natively.

Design-wise, it imposes itself on your desk with its sturdy appearance and solid build. It has a metal build with red plastic sides and a padded armrest to ensure plenty of comforts. Other parts, like the switches, jog wheel, Q-links, feel tough and easy to use. There is an OLED display showing things like functionality.

The pads are made of rubber and continue Akai's tradition of making top-quality pads. They are arguably the best out on the market and give you incredible sensitivity and accurate expression. As a self-contained unit, it allows you to record audio straight to the hard drive or an SD card. If you like, you can install your SSD drive in the SATA bay below the device.

The 10″ touchscreen is smooth and responsive. It feels like a smartphone and helps you to quickly understand how to use the model.

In use, the Akai Professional MPC X is excellent, with sampling and chopping a walk in the park. The quality of the audio interface is amazing too.

What I don't like

Well, there is no way to connect a mouse to the Akai Professional MPC X. The 2GB RAM is barely sufficient when you are loading WAV format files into the Akai Professional MPC X. We also did not like that the internal drive cannot be read by the computer.

Even though this article is about the best Akai MPCs, what if you don't want an MPC?

Here's your answer: the Native Instruments Maschine MK2.

The Native Instruments Maschine MK2 model comprises of a self-contained production environment and comes with plenty of features to rival some of the best models from Akai. A notable reason why this model is so highly rated is that the controller and software are tightly integrated. Therefore, almost all the functions of the software can be run straight from the hardware. With this design, you can perform live or create an entire album without looking at the screen.

As a new model, it comes with some changes. Perhaps the most notable physical change lies in the pads. These are now backlit and multi-colored. It looks beautiful and is functional in actual use. Using the Maschine software, you can set sounds and groups without much fuss.

There is added functionality from the encoder, which makes everything work smoother than before. The previous model had pads that felt good, but the Native Instruments Maschine MK2 takes it up a notch and feels more so. As they are velocity-sensitive, the lightest touch will trigger a response and allow you to play beautifully.

The Maschine 1.8 software is another selling point of the Native Instruments Maschine MK2. It comes with new features that improve the playability and overall functionality of the device. Some of the best features include saturator tape, transient master sustain, time-stretching, and pitch-shifting functions.

What I don't like

While the new processes in the software are welcome developments, we didn't like that they are offline processes.

The legendary MPC has a new lease of life thanks to the massive growth of EDM and hip-hop. Consequently, there are more Akai MPCs on the market than ever.

Hopefully, this guide will help you zero-in on the best Akai MPC for your needs.

For more recommendations and advice, don't hesitate to reach out to me here.

Check our other MIDI controller recommendations

References:

• Akai Professional Force.
• Best Portable MPC: АKAI Professional MPC Live II.
• Best Drum Machine: Akai Professional MPC One.
• Best Pads: Akai Professional MPC Studio.
• Best Vintage Akai MPC: Akai Professional MPC Renaissance.

Since the ’80s, the Akai MPC (which stands for ‘Music Production Center’) has given musicians the ability to create percussion from any kind of sound.

In fact, you could say modern music’s evolution is intrinsically linked to the legendary MPC, and few would argue with you.

They feature massively in hip hop and electronic music, and have created a new art form in the process.

We won’t bore you with how amazing they are. You’re here, so you already know that. You want to know which is the best MPC to buy today, right? Well you’re in the right place.

In this article, we went on a search for the best, here’s what we found.

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The first on our list is the 1000 model, an ‘old skool’ device that’s packed with features. There are 16 velocity and pressure-sensitive pads that can be set to different levels, tunings, attacks, decays or filters.

It also packs a 32 voice drum sampler as well as two onboard effects processors, and a multitude of inputs and outputs. Although it’s an old skool machine, you get both analog and digital ins and outs, including MIDI, USB, and jacks and there’s an optional memory card that can be used to drag and drop files from the machine to your PC/Mac and vice versa. It’s powered by a kettle lead, so you don’t need to worry about unusual adapters that are expensive to replace.

Everything on this is controlled by buttons and wheels so it will suit people averse to touchscreen, while the screen is small and digital, with aligned buttons to select your options.

Who is it suitable for?

This small and sturdy machine will suit those looking for something robust with older technological features. The lack of touch screen and the small screen might not suit those used to more modern products.

PROS

CONS

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Like the 1000 model, this is one for those who like things vintage.

For a start, this sampler is larger than the 1000 so it can make it a bit easier to use, but it has a lot of the same features, including 32  built-in voices and 16 velocity-sensitive pads. Everything is controlled by buttons and wheels which are linked up to a small, digital screen.

In addition, it has a built-in floppy disk (remember those things?) with a lot of included sounds. This supports samples from external libraries and can be used to insert more sounds.

The inputs/outputs are also different. As well as having a floppy disk rather than a memory card, this machine is pre-USB. There are MIDI ins and outs as well as jacks and phonos and the machine is plugged in using a power adapter.

There are swing and quantize functions to achieve consistency in your beats and all of the necessary editing tools including pitch shift, tuning and looping are accessible using the buttons. There’s also a built-in speaker on this device.

This device will suit those who have a penchant for older gear. It has all of the necessary features to successfully trigger samples and create beats, while it lacks newer input options and modern editing technology.

PROS

CONS

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The 2500 is similar to the previous two products. It also contains 16 velocity and pressure-sensitive pads which can be set to different levels, tunings, attacks, decays or filters.

As well as MIDI and jack ins and outs, there’s a CD-Rom drive and a memory card insert. This increases your options when it comes to both importing and saving sounds. It’s powered by an adapter.

There are two onboard effects processors and extensive editing tools including quantize, loop and pitch shift. Although everything is controlled by buttons and wheels, the screen is a little larger than some of the other machines and is also angled to face towards you. This makes it a little more user-friendly when sitting for a long time or performing on stage.

You also get an additional two Q knobs and sliders which can be assigned to any feature that suits you, to make instant editing a reality in your performance. There’s also a small built-in speaker.

This device will suit those looking for something to trigger samples with on stage without using a PC. The CD-Rom and flash drive give you the option of regularly updating your samples, without taking your laptop on the road. It won’t be suited to those looking for a modern product.

PROS

CONS

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The 3000 has 16 pads which are sensitive to aftertouch as well as velocity and pressure. In addition, you get some excellent built-in drum sounds and all of the editing functions you need to modify or loop your beats.

There’s internal storage as well as disk storage which is limitless. An old machine, it can keep going for years and years, and it has been through The Chemical Brothers, Dr. Dre and Puff Daddy, to name a few.

It’s an expensive machine, but it’s unlikely to let you down with its sturdy build and trusty buttons, wheels, and faders. The screen on this one also angles towards you, making it easy to see on stage or comfortable to sit down with for a long period.

There are MIDI and audio inputs and outputs, though, of course, this product has no USB. However, there is a very useful built-in speaker.

It will suit those who want a substantial machine to sit in their studio. It’s perfect for making beats for hip hop music and has a lot of editing features. It won’t suit those who require something USB compatible.

PROS

CONS

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The 4000 introduced a level of connectivity that hadn’t previously been seen. You get jack, XLR, and phono audio ins and outs, MIDI ports, a USB connection, and a place for a memory card. The device is also powered via kettle lead.

It also packs a built-in speaker, angled screen and 16 velocity and pressure-sensitive pads.

Built-in effects include reverb, delay, auto-wah and compression and you can also pitch-shift, quantize and modulate your samples. This machine has all the features you could wish for in an old skool device, but with a price tag to match.

Like the 2500, this has assignable Q knobs and faders which make it performance-friendly. This machine is also, unlike the others, a pleasant, blue color. This can be a lot easier on the eye than the grey Akai products.

This device will suit those looking for a professional product with a lot of features to get used to. The excellent connectivity makes it a genuine contender amongst newer products, so it’s perfect for those torn between modern and old skool. The price tag means it won’t suit those on a budget.

PROS

CONS

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Building on the success of the 4000, this has all the features and connectivity, plus an advanced screen that shows you the shape of your waves. There’s a massive 64mb memory built-in and an optional CDR drive to save your projects onto.

There are over 300 virtual synth sounds included, making it great for those just starting their library of sounds and there’s a 4-bus effects processor built-in with more than 40 effects.

Again, the screen is angled and the pads are velocity and pressure-sensitive. This product also has 4 assignable Q controls and faders for instant editing during performance.

As a professional MPC, it has a price tag to match. It also has a modern look an exciting amount of features and amazing connectivity.

This device is the perfect old skool beatbox, which will suit those who know they definitely want to go for something which isn’t touch-screen. It won’t suit those who require the hands-on involvement of a touch-screen device.

PROS

CONS

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There are 16 knobs that can be set to control just about anything and 16 pads which can also be assigned to trigger whatever you like. The pads have excellent sensitivity to velocity and there are four banks, for you to save multiple projects or settings to.

The Renaissance has an impressive amount of inputs and outputs: from MIDI to jack to XLR, meaning you’re unlimited in terms of what you can sample and there are two USBs to enable fast audio integration.

It’s pricey, and is difficult to use as a standalone device but combined with the included software, this machine has no limits and it also comes with a massive 9GB of sounds, to more than get you started.

The Renaissance is perfect for the serious sampler who intends to spend a lot of time in the studio, with the device to capture and manipulate a series of different sounds. It will be less suited to those who want a simple set of pads to create beats on.

PROS

CONS

By the late 1980s, the drum machines had enjoyed a decade or two of unbridled success as the go-to option for beat making.

Meanwhile, around the same time, hip hop artists were using samples of recording – especially jazz and rare groove samples – to create new compositions. The MPC, created by drum machine expert Roger Linn while employed by Akai in Japan, managed to bring the two elements together: a standalone drum machine and a sampler, making a new type of instrument in the process.

Up until this point, Grooveboxes such as those by E-mu Systems required knowledge of music production and cost a pretty dollar (up to $10,000 in some cases) – in short, a price way out of reach for most amateur music producers. This bit of hardware was revolutionary in the sense that it made this affordable for the first time.

So which music are they used in? Some notable examples:

With the technological advances of the last twenty years, modern MPCs now have sequencer capability, and most have deep connectivity with computers allowing them to double up as a midi controller for tapping out a rhythm in a DAW.

First up, do you need it for gigging, home/studio use, or both? If you’re going to be playing live, consider getting a standalone unit that frees you up from needing a computer.

If you’re only using it at home or in the studio, you might be more inclined to use the MPC in combination with your Mac or PC. Most standalone units have the option of being used in combination with a Mac or PC, too, giving you the option for when you’re in the studio.

Do you need a built-in screen? Nearly all these machines have one, but the modern ones naturally have better, higher-resolution displays that are similar to those of a smartphone, making it easy and intuitive to edit samples with your fingertips.

Some models still rock a more old school display, which you might prefer if you enjoy the tactility of buttons.

Many standalone models can be powered off rechargeable batteries. This is an obvious advantage in terms of portability and can be really useful in live performances or while traveling.

If you’re using one in combination with a laptop or desktop, BUS power is also often a useful feature, allowing you to power it off USB with no need for an additional AC or DC adaptor. Many of the more powerful devices do require an AC or DC adaptor though. This is fine if you’re using the device as part of a permanent home studio setup, but might be less ideal if you’re traveling about.

It goes without saying, which you buy depends entirely on your needs and preferences.

If the goal is to have something you can use at gigs, and you don’t mind bringing along a laptop or notebook, the Studio or Touch are great choices. Both of these work with software to trigger and edit samples, and they’re portable enough to carry with your laptop. The studio has no touch screen, making it better suited to the oldskool musicians out there, whilst the touch has – as the name suggests – a smartphone-style touch screen.

Please note in this article I’m going to assume you’ve already researched and discounted all the other sampler/groovebox options out there and just need help deciding on the best standalone MPC for your specific needs.

These MPCS all differ in a variety of ways but it’s very important to realise that all three MPCs use the exact same CPU and RAM; there is no difference in computing ‘power’ and all three machines have the same memory limits (2GB, but nearly half of this is used by the operating system).  They also all run the exact same internal software with the same features (the only exception is the MPC One does not have Ableton ‘Live Control’ Mode, more about this later). Here’s the main screen of the MPC firmware which gives an overview of all the main features of the operating system.

These MPCs are all completely standalone units – that is, they don’t need to be plugged into a computer, they provide a complete ‘in the box’ workflow all controlled by the large touchscreen UI and a combination of buttons, dials, knobs and pads. They can all also function as dedicated controllers for Akai’s DAW-like MPC Software (which comes free with all these MPCs).

All these MPCs can be used a powerful MIDI sequencers, capable of controlling dozens of connected hardware synths, sound modules, modular synths and even iPad synths, and at their heart all have a powerful sampler with the classic MPC chopping features along with other goodies such as pro-quality FX, built in plugin instruments,  keygroup sample instrument support, audio tracks, step sequencer, piano roll, looper, clips, automation and a range of performance enhancing features including the XYFX interface.

Therefore when it comes to deciding which MPC to buy, it really just comes down to comparing price, hardware features and overall form factor.

The following table gives a quick comparison of features that can differ across the standalone MPC models. Beyond this, the MPCs share the same features, such as CPU, RAM, software etc.

*Wifi and ethernet are currently used for three purposes. Firstly they can sync files with your online Splice account, secondly they can be used for Ableton Link and thirdly for Ableton Live Control.

** MIDI devices can be connected via the traditional MIDI DIN ports, via bluetooth, or via USB (up to 32 devices via a USB hub). You can also connect USB-to-MIDI interfaces to increase the available MIDI DIN ports.

If you’re like me, you probably already have a studio stuffed to the brim with samplers, synths, computers and keyboards, so an increasingly important buying factor for many these days is the footprint of any gear you buy. Where is is going to live? The MPC One and MPC Live II are very desktop friendly, they can tuck into small spaces or sit comfortably on a floor stand. The MPC X not so much! If you go for the X then it’s probably going to become the centrepiece of your studio – and once it’s in place all your other gear has to fit around it!

If you’re often carrying your MPC around, then portability is an important factor – the smaller and lighter the better, especially if the MPC can sneak its way into a laptop bag. Here, the MPC One is the clear winner and at 2.1kg and 27cm wide it’s a similar weight and size as a 16″ MacBook Pro. The MPC Live II at 3.38kg and 41cm wide is probably still within the limit of being considered portable, although it’s nearly 0.7kg heavier than the original MPC Live.

Finally  there’s also the ‘beats on the go’ factor – whether it’s banging out a tune on the train or in the park, or lounging around chopping breaks on your couch, these smaller MPCs again have the MPC X nailed. But with its internal battery and built in speaker, the MPC Live II is of course the ‘out of the box’ winner here – just pull it out, turn it on and make beats anywhere (but you might want to use headphones if you’re sitting on a train!).

That said, all these MPCs can actually be powered for several hours by off-the-shelf 19V rechargeable laptop batteries, which give the MPC One a bit more flexibility for mobile beat making, albeit for an extra $95 battery cost and around 600g extra weight to carry around. Here’s Flux with one of these batteries:

As you might expect, the more expensive the MPC, the better the audio input and output options. The MPC X is by far away the winner here, with eight individual audio outs, two standard inputs, dedicated mic inputs (with phantom power), instrument level inputs (to directly connect guitars, Rhodes etc) and phono/turntable input (with grounding). Definitely the most studio ready MPC for recording vocals and instruments.

The MPC Live II keeps the phono inputs but forgoes the mic and instrument inputs and goes with 6 individual outs, while the MPC One has the tightest selection, with just two individual outputs and no mic, phono or instrument inputs.

How big a deal is this? Well it depends on your needs. For example, you typically only need lots of individual outputs if you intend sending certain sounds or internal instruments separately out of your MPC, e.g. for tracking stems or for running those to a mixer or external FX.

However many producers will instead bounce down their individual track stems to WAV files using the MPC’s internal export options, or via the ‘bounce to audio track’ function; at this point they can just load those WAVs into their favourite DAW.  And remember that you can actually perform complex mixdowns entirely within the MPC.

So if you are bouncing/exploding/mixing down internally, you’ll probably never need more than two outputs. There are other reasons for needing more than two outs, but you’ll probably know if you need those options, in which case the Live II or the X would probably be a better fit.

Overcoming the lack of phono inputs on the MPC One is also less of a problem these days as most modern turntables have ‘line level’ outputs, or you can just run the turntable via a standard DJ Mixer first (which converts phono level to line level for you).

As for recording quality mic performances on the MPC Live II and the MPC One, you’ll need some kind of mic preamp when using condenser mics, or use a mixer which often have these built into a couple of channels. You might get away with using a dynamic mic directly into an MPC audio input, but it will be noisy. For field recording direct into an MPC Live II or MPC One, you could use a portable recorder like the Zoom H1n; apart from recording directly to its internal drive, it also has a stereo line out which can be connected to the MPC audio inputs with a suitable cable. I’ve used this with good results.

MPC 2.10 UPDATE: With MPC 2.10 many of these issues are potentially nullified as the MPCs can now use a class compliant USB audio interface instead of the internal MPC audio device. For example if you connect a ‘4 in 8 out’ audio interface to an MPC One, your MPC One will now effectively have 4 ins and 8 outs, and will be able to record with the mic and instrument preamps built into your interface.  Be aware that at the time of writing, some class compliant interfaces may experience issues, we’re still waiting on Akai to publish a list of officially supported devices. Check out the MPC-Forums USB Class Compliance topic for some more insight.

This is very difficult area to judge as it really comes down to personal taste. Obviously the MPC X has been given the full suite of buttons and dials, with more than double the buttons of the other two MPCS ensuring that you can access any screen in the MPC OS without needing to reach for the touchscreen. It’s also the only MPC that retains the classic MPC ‘cursor’ keys for button-based navigation, and the only one with dedicated ‘STEP’ and ‘BAR’ buttons to quickly navigate the sequencer timeline.

Then there’s those 16 Q-Links which give you immediate hands on control of essential parameters which dynamically change depending on the screen you are currently using (you can also manually configure these to suit your exact needs). And the little OLED display above each dial lets you know exactly what that currently assigned parameter is.

With the MPC One and the MPC Live II, there’s only 4 physical dials – to access the other 12 Q-Links you have you hit a button to select the appropriate virtual Q-link ‘bank’, This is of course nowhere near as intuitive as the MPC X and (for me at least) means that the Q-Links tend to be used a lot less on the MPC One and the MPC Live II.

Are the lack of dedicated buttons an issue on the MPC Live and MPC One? Maybe, but probably not as much as you might expect. You do tend to adapt your workflow accordingly, plus on the two smaller MPCs all the missing ‘dedicated’ shortcuts can be found as secondary functions by holding down the SHIFT or MENU keys. And remember you can of course revert to using the touchscreen to navigate the OS, although the menu diving can sometimes get a bit tedious.

Another area where these MPCs all differ is overall the layout of elements. Both the MPC One and the MPC X place the screen directly above the pads, while the MPC Live II (just like the MPC Live I before it) places the pads to the left of the screen. Q-Links are on the right for the Live II and the MPC One but on the left for the MPC X. Function buttons are also arranged somewhat differently on each unit (and perhaps a little bit arbitrary).

One layout isn’t necessarily better than the other, and I do feel this is simply another area where you quickly adapt your style accordingly.

A couple of other things to mention. The MPC X has that bigger titling screen, it’s the same resolution as the 7″ screen so everything is just scaled up in size – this means if you have big fat fingers you’ll probably enjoy the touchscreen UI a lot more (some areas of the UI are a bit fiddly to use at the best of times). The adjustable screen is also definitely an ergonomic bonus as it helps avoid having to ‘hunch’ over your MPC. The workaround for the other MPCs is to use some kind of tilting stand.

Oh, and about those ‘compact’ pads on the MPC One – in my opinion they are absolutely fine (I have average size fingers). If you are used to the normal sized MPC pads it will take you a few hours to adapt, no problem at all. If in doubt, try them out in a music store.

All three MPCs ship with an internal disk which has around 2GB of free space (the rest taken up with the supplied sound library). The problem is that this disk is not accessible for back up or transfer purposes, so I find it’s best to just leave this as a ‘read only’ disk and instead use an ‘attached’ disk.

Probably the easiest option these days is to use an SD card, these are cheap, reliable, fast enough and I’ve had no problem getting a 512GB SD card to work, including this micro SD in an adapter. All the MPCs support an SD card and once in the slot you’ll not even notice it is there.

Alternatively you can use USB disks but this will use up one of your USB ports although you can use USB hubs to expand this on all models. It’s important to note that the MPC One is only USB 2.0, while the others use USB 3.0, so USB speeds will be slower on the One.

The third storage option is to install a SATA disk inside your MPC, but this is only supported on the MPC X and MPC Live II. I’d recommend an SSD if you go this route, mainly due to the lack of mechanical parts, reliability and their silent operation.

Check out my article comparing the different Standalone MPC disk options.

If price is important to you then the MPC One wins hands down. It’s currently a whopping 40% cheaper than the MPC Live II and nearly 70% cheaper than the MPC X. Don’t forget, the MPC One runs the same software and has the same CPU and RAM, so you are definitely getting a lot for your money.

The MPC X, in my opinion has always been somewhat overpriced considering there is no bump in CPU or RAM, and that mouthwatering $2200 is a tough pill to swallow when you look at what’s available for much less from the other two MPCs in the range. However, that bigger screen, complete suite of I/O and all those lovely Q-Links and buttons are always going to come at a price.

The MPC Live II sits somewhere in the middle but is still a little overpriced for my liking, especially considering the large number of similarities to the MPC One.  But it is unique with its internal battery and speaker as well as it’s decent I/O.

As you can see, each of these MPCs is a powerful, modern sampling groovebox, all of which are also more than capable of acting as a centrepiece for a sample and MIDI-based studio, so I don’t think you can go wrong with any of them.

Best Beginner Option: If you are just starting out and have a limited budget my pick would definitely be the MPC One. It’s  great entry level MPC and perfect if you don’t really have any specific need for all the additional inputs and outputs found on the more expensive units. It’s small, takes up minimal desk space and can be carried around easily. Storage options are a bit more limited, but SD cards are fast and cheap so I don’t think you’ll miss the internal SATA option. It has the same software features of its big brothers and the exact same CPU and RAM and is very competitively priced. It might be worth trying one in the flesh to make sure you are happy with the smaller pads, but in my opinion they are perfectly fine.

Best ‘Beats on the go’ Option: With its internal battery and speakers the MPC Live II is definitely the most naturally suited to making music whenever the mood takes you, snd with its decent array of audio ports and flexible MIDI options it’s equally at home in the studio.  If the MPC One didn’t exist I’d be recommending the MPC Live II to everyone, but as it stands I just think that unless you really need those extra ports and are going to make good use of that internal battery, the MPC One edges it with its comparable features, ultra-portability and significantly lower price, and don’t forget it can be used with an external rechargeable battery if you really need that additional portability.

Studio Workhorse, Money No Object Option: If you crave those 16 Q-links, the complete array of robust buttons, the dedicated mic inputs, the additional I/O, that bigger tilting touchscreen and have no desire to take your MPC anywhere, then the MPC X might be the one to look at… if you can afford it. Just remember that those additional MIDI ports can easily be replaced with a USB MIDI interface and internally the MPC X is no different to the MPC One or MPC Live II.

Our first answer we can give you is: there is no such thing as the best Akai MPC. Everyone will give you a different answer to this question, especially if you search around the net. Most people tell you the MPC they’ve personally used. They definitely appeared numerous times in our best drum machine guide for a reason, but which particular model is to be determined. We’ve been able to try quite a few of these awesome machines and have searched up and down the internet for reviews and feedback on each model to spell it out for you.

There are some important factors to first take into consideration when shopping around for your MPC sampler/drum machine. Are you an all-in-one person? Are you going to supplement your MPC with a computer set up? Performing live? Take these into consideration:

This gem of a drum machine is discontinued, and relatively rare at that. However, that doesn’t mean it isn’t available somewhere around the net. If you can find one of these for a decent price, it is recommended for more of the sampler enthusiasts. Considered rare and pretty ‘vintage’, the MPC60 is old but a collector’s item. It still works to make music, and the sound you get from it has that warmer, older feel. It won’t give you that SP1200 dungeon cloaked audio, but it comes close. Here’s a video made by the creator, Roger Linn. You can tell just how old it is due to the video being a VHS! (what are those anyways?)

Not recommended for those newer to the sampling game, although you can use it as a sequencer to accommodate your production on a computer. You can probably find one around eBay or Craigslist. If you’re going to drop that much money on an MPC, we recommend skipping this one unless you know what you’re doing. This is just flat-out old school, which we’ll never judge — for some that’s all they want!

Main features: 12-bit (can you say grimy?), 40Hdz, stereo sampler, lower memory at 13.1 sec and expandable to 26.2 seconds, no filters, 16 velocity and aftertouch soft pads, supports MIDI, MTC, SMPTE controlling

Why you should get it:

Why you shouldn’t:

This little piece of equipment is Akai’s first portable MPC. This is also an outdated piece of equipment, typically seen on eBay or Amazon used (if new, very expensive). This isn’t necessarily an MPC you’ll need if you’re starting to sample and want to keep up with the latest trends of the music scene. A standard, portable fun toy and can also be used as a MIDI controller. It also comes with some preset drum sounds that are stated to sound pretty solid.

It has been noted that this thing takes some learning in order to make music. The sequencing and sampling is a bit tedious. The only appeal here would be the lower price and mobility, as well as perhaps somebody seeking to collect a more vintage type of drum machine. Continue on to the MPC 1000 if you’re looking to drop some money on a portable MPC.

Main features: 12 velocity and pressure sensitive pads (with 4 pad banks available – 36 total pad options), can be battery or wall powered, compact flash drive, has USB port, on-board effects (two stereo effects and one master effect)

Why you should get it:

Why you shouldn’t:

Made in 2003, this is one of the most popular MPC’s on the market, and one I have used numerous times. I first purchased mine from eBay in 2005. I loved it. Unfortunately, I had to sell it to make rent (broke college student woes). The portability is great, as I would sometimes take it onto my balcony when it was raining and make some music with the great vibe of nature. I was also able to take it to my friend’s house and make music with him (he had a studio quality microphone). If you’re looking for an affordable, popular, and mobile MPC, this is the one to buy. They are still being made today and are timeless.

This is arguably the best MPC in terms of overall features. Smaller in size than most and great portability. This is stated to be an excellent starter MPC (the higher versions are a bit more advanced in terms of usage and user-friendly (but once you master it, there aren’t many limits). You also have the option to purchase an external hard drive (like most of the MPC’s) and use it for storage, as there is only a small amount of internal capacity (here’s a nifty video on how to expand.) The sequencing capabilities are very easy and smooth. Combine tracks, sounds, copy and paste…the works. We recommend the MPC 1000 for not only starters but those who want to be serious about their music yet still afford the MPC they buy. Not to mention it is portable — if you feel like making music in the rain like me.

Main features: 44.1KHz sample rate, 16-bit linear WAV, Two filters, ability to add 2 general effects and one master effect (reverb, compressor, chorus, flanger, etc), 16 velocity and pressure sensitive pads, 64-tracks per sequence, MIDI capabilities. All of the necessary features in an MPC. Please note: The USB port is not intended for MIDI controlling. You need a MIDI-to-USB cable for that.

Recommended use: Live performance, at-home production, portable purposes, semi-professional music making. Great starter MPC.

Why you should get it:

Why you shouldn’t:

We’ve seen some good deals on Amazon and eBay, but none really on Guitar Center as of now.

Made in 1997, the MPC 2000 is stated to be one of the first ‘easy-to-use’ drum machines. Rumored to have the ‘digital’ sound, a more new-wave type of drum machine that is worth the price if you have the money. A bit more advanced coming from the 1000. 2MB memory which can be expanded to 32MB, it includes CD-quality 16-bit, 44.1 KHz sample rate in mono or stereo. Most of these available are used, as Akai has not listed this model on their website any longer.

Some say this is the overall best MPC if you’re looking for an all-in-one rig and an MPC to be the backbone of your music studio. The XL version (1999) adds a few more features to it. If you’re looking at a 2000, you might as well just get the XL as it has some necessary additions: four bank keys, track mute key, MIDI soft thru, device naming, time-stretch, resampling — some critical features to have with an MPC. The software is a bit more friendly to the user. It is another entry-level, studio quality sampler/sequencer made by Akai. Dr Premier, Kanye West and Dr. Dre have used this thing. This MPC uses zip disks which some say is outdated technology. It doesn’t necessarily matter besides convenience and workflow. But hey, producers like DJ Shadow, RJD2 and Kanye West were able to get around with it, why can’t you?

Main features (XL): 44.1 KHz sample rate, 16-bit, add up to 4 effects, 300,000 note sequence capacity, supports MIDI controlling, velocity pressure-sensitive pads

Why you should get it:

Why you shouldn’t:

We’ve found some here and there on all three main channels.

Although we stated there isn’t necessarily a best MPC, some would say that it’s a toss-up between this and the 1000. A plus of this model is the smaller size, simplicity and easy-to-use chopping software. One of the most popular MPC’s on the market made by Akai, the 2500 is stated to be fast and have powerful software similar to the 1000 but without certain buttons and menus (so it is easier to use). Pretty available as Akai still makes these, you can find one slightly used for around 1,000$. It is worth the money if you are able to afford it, and is stated by some to be the best bang for your buck considering the more expensive models have features that aren’t absolutely necessary.

Main features: 32-voice drum/phrase sampler with up to 128MB of RAM, twin on-board effects processors, four Q-link controllers, 10 analog outputs, USB port, chop-shop for sample editing, supports up to 2GB card or an external hard drive with the capacity of your choice

Why you should get it:

Why you shouldn’t:

This bad boy was introduced in 1994, just hitting the 20-year mark. The 3000 has a great thick sound, some say to be the absolute best in terms of feel. If that’s your preference, I’d stick with this one. You can always go for the 60 if you absolutely need a warmer, some say old-school sound, but the 3000 is stated to have a sound that is “crunchy and hot”, not very “digital” like some of the newer models. Manipulating the samples are stated be a bit more on the tedious end, but once you do learn how to do so, the capabilities are endless. This isn’t necessarily for a beginner. It has 16-bit stereo 44.1Khz sample rates, and the on-board memory is 32 MB (not a lot). It’s a great machine if you want an all-in-one analog type of equipment setup. The pads are dynamic like most MPC’s, giving you a velocity and aftertouch type of feel (legendary pads). Gives you 16 pads but 4 pad banks for a total of 64 possible sounds. You can attach it to MIDI, MTC or SMPTE.

Main features: Lowpass filter with resonance and envelope, 16 velocity and aftertouch pads, a solid on-board operating system for all-in-one music production, included sequencer, 4 pad banks, 2MB RAM (22 second sampling time).

Why you should get it:

Why you shouldn’t:

A huge plus for this MPC is it having a hard drive to quickly load your sounds as well as having four MIDI outs to control all of your rack mounts. Stated to have “too many options” (is this even possible?), this is what we were speaking about when we stated that the 2500 is your best bet in terms of professional music if you can’t afford these higher models. If you’re buying an MPC that you need to do everything and have more all-in-one capabilities, this is a great model to buy. It’s a bit more on the traditional analog end, and as the years go by people are switching to mostly digital setups. But hey, if you buy this, you will not be disappointed, and you probably know what you’re doing.

Not recommended for only computer supplementation, as the features would go to waste, hence not being worth your money. Stated to be heavy and easy to use. Used by Just Blaze and the like, the sequencer can be a bit confusing at first but once you’re able to get a hang of it you can do some great things. This is for serious producers.

Main features: 44.1kHz, 48kHz or 96kHz sample rate, 128 sequences, 16 velocity and pressure sensitive drum pads, 6 drum pad banks, MID capable, dimensions: 526 mm (W) x 170 mm (H) x 453 mm.

Why you should get it:

Why you shouldn’t:

This is Akai’s most advanced MPC ever created, and will probably stay that way for good. As we’ve seen Akai stay afloat in the music equipment realm by going digital with the Studio and Renaissance, this is basically the last of a dying breed in terms of all-in-one analog MPC stations. Don’t get me wrong, this thing can go crazy if you supplement it with your setup, but it would probably be a waste of money if you bought it for that. The sequencing engine is a lot more advanced in the 5000 and it comes with some virtual analog synths. 64MB on-board memory is a lot, and it has a huge screen size (twice the size of a 2500). If you can think of something a drum machine needs, the MPC 5000 has it.

If you have the money, and you want the absolute best MPC in terms of features capability, and just an overall beast, buy this. We don’t get recommend it if you want something to go along with your computer setup. Also, always remember you’re going to have to learn the operating system built-in, and with the 5000 that’s going to take some time. But once you do, you are literally at the top of the food chain in terms of MPC’s. Definitely check this out, unless you want something a bit more up-to-speed with the rest of the game, continue reading to the Studio and Renaissance.

Main features: Three-oscillator synth engines with arpeggiator, 14-voice drum/phrase sampler, 64MB built-in memory (expand up to 192MB), built-in hard drive, CD-R/DVD drive, USB 2.0 port, master compressor, equalizer, 40 new effects, direct-to-hard disk recording, preset 300 virtual synths, huge LCD screen (240 x 128), 12 Q-link controllers.

Why you should get it:

Why you shouldn’t:

We’ve seen them on all three channels both used and new. Best pricing usually on Amazon.

The MPC Studio is one of Akai’s newest and most advanced MPC’s today, albeit not recommended as a standalone drum machine. First of all, the MPC Studio is super sleek. It’s under one inch thin and has a really nice aluminium body. This is a newer version of the MPC, which aims to incorporate the drum machine into a computer-based setup. The pads are MPC-quality (as always by Akai), so they’re the best in the biz in terms of feel. Portability is great with this since its thin size. The LCD screen is nice as well. Users around the net have stated that the Studio is great for price and DAW software incorporation since it’s only $400. Some have compared it to the MPC Element since they both incorporated an MPC pad type of rig with computer integration, but it’s a bit more expensive (the Element is only $150). The Studio has some more software and sounds that come with it, as well as a few more capabilities in terms of DAW integration.

Main features: Simple computer integration to act as a MIDI pad controller or other MPC production tasks with your tech-based setup, 1″ thin, includes MPC software, 128-track sequencing, 16 backlit MPC pads, USB-powered (no adapter hassle), big LCD screen, four knobs that are touch-sensitive for control in the MPC software, 8 pad banks, 7GB sound library, mapping and real-time fiddling with VST’s.

Why you should get it: You want a step up from the MPC Element and really want an MPC to supplement your computer-based setup.

Why you shouldn’t: If you’re looking for a more vintage type of MPC with a warm sound. This is more digital, and is made specifically for computers. Also, if you don’t need the MPC software, it doesn’t seem worth it, plus it isn’t standalone but merely something supplemental.

The Renaissance is MPC’s newest, most powerful machine available. They describe it as their fusing of the MPC layout and workflow with computer incorporation. It’s the newest and more tech-friendly MPC, as Akai has felt pressure to start making products (including their MPC’s) to pertain to the computer movement of the digital music world. They also include a huge 9 GB sample library with sounds from the 3000 and other expansions. Pro Tools Express is also included in the box, so if you’re looking for some software to make your music, this is definitely a great package for some money-saving. Reviews around the net have talked about the “MPC Ren”‘s construction being sturdy as well as the pads having that legendary MPC feel. Edit functioning is relatively simple for looping. The step mode’s a plus and as we spoke about previously, the software bundle is killer if you’re going to be using it. Buy the MPC Ren if you want the newest MPC out there that’ll keep you satisfied, especially if you need the software.

Main features:  Incorporates computer and MPC collaboration, 16 backlit MPC pads, 16 Q-Link controls, clear LCD screen, Pro Tools Express included, four channel USB 2.0 ports, up to 8 pad banks (most of any MPC), MIDI ins and outs (2 in and 4 out), 128-track sequencing, 9GB sound library included, works with both Mac and PC.

Why you should get one: If you want the newest MPC, are serious about your music, or want to incorporate this with a computer-based rig. Perfect supplement for your setup.

Why you shouldn’t: If you’re looking for a more vintage, traditional drum machine. The earlier versions aren’t nearly as digital. That’s based on your preference.

Akai continues to keep up with the times and with the touch, you can guess — have implemented touchscreen capabilities and more. The MPC Touch brings us a 7″ multi-color display to include this feature, which also allows you to grab and pinch waveforms, adjust envelopes, mess with samples, add FX, draw some MIDI events, and more. This is one of the main reasons we’d recommend this one — if you aren’t really into the fancy touch screen stuff, there are more capable models out there. However, aside from the touch screen, you have included MPC Software 2.0 and 20,000 sounds (from AIR, CR2, Toolroom, Sonivox, MVP Loops and Prime Loops).

Don’t forget those lovely drum pads (is it an MPC without them?). It acts as a 2in-2-out audio interface to supplement with your existing setup in case you don’t have an AI yet.

Main features: 7″ color multi-touch display, 16 velocity-sensitive MPC pads (with RBG back lights), step sequencer, phrase looper, pad mixer, sample edit control, 4 touch-sensitive controls, MPC software 2.0 and 20GB of sounds

Why you should get one: If you want a side piece of gear to grab some MPC-quality drums and touch-compatible creativity to supplement your current home studio setup, or if you want a flair of MPC added with both new capabilities and (a few) old.

Why you shouldn’t: If you wanted a standalone drum machine with an old school feel.

Now we’re moving back to standalone MPCs, and the MPC Live in particular caught our eye when it first came out for quite a few reasons. it’s standalone with no computer needed, is portable, like the Touch has the same 7″ touch display, battery-powered (Li-Ion charged via USB), brings us MIDI ins and outs, 2 GB of AM, and 16GB of on-board storage (it can support a full-sized SD as well). This is essentially the MPC 1000 of the 2010’s. Considering it runs off batteries, we’re only getting up to 6 hours of play time but to us that’s relatively high considering it’s an entire standalone drum machine. A trend we’ve seen with pretty much all recording equipment brands (especially InMusic) is including sound packages in their products. This particular MPC does this pretty well — 10GB of sounds called The Vault 2.0. You can get a lot of sample sounds in here that allows us to make some tunes right out of the box, although you can always add your own on top of it all. Lastly, this is supportive of some MIDI gear in case you have a keyboard or two to play with — there are two USB 3.0 slots in the rear.

Main features: Portable, 16 velocity-sensitive pressure-sensitive drum pads (RGB lit), 8 banks for the pads, 4 360 degree touch-sensitive Q-Link Knobs, 4 Q-Link Knob columns (get to it via Q-Link buttons), 1 360 degree encoder, 22 function buttons, 2 GB Ram, 16 GB on-board storage, Ableton Link over WiFi, supports Bluetooth 4.0 MIDI

Why you should get one:

Why you shouldn’t:

We’re glad Akai is still staying true to their roots when it comes to creating beastly standalone drum machines. If you want the newest, baddest, most complete MPC that keeps in mind that vintage MPC signature as well as all of the current technologically advanced trends, here’s your answer. With a mixture of both vintage MPC features and new technology, we have 10.1″ touch display (full-color), 16 touch Q-Link controls (with OLED displays), RCA inputs for turntables, 16GB of on-board sounds, expandable SATA drive bay (for an SSD or HDD drive), USB slots for MIDI, and more.

If you want even more standalone power, there are some CV ports for traditional synthesizers, drum machines, or really anything you want to (or know how to) use the VC gate for. This feature alone helps give the X drum machine a name for itself as a modular sequencer for advanced users. It also comes with The Vault 2.0 (a trend with the past few models) in 10 GB of sounds to get going as soon as it arrives on your door step.

Main features: 63 dedicated-function buttons, 16 velocity and pressure-sensitive MPC pads with 8 banks, 2 GB RAM, 16 GB on-board storage, 10″ touch-screen, numerous connections (such as RCA, 1/4″, XLR, MIDI, USB, and more).

Why you should get one:

Why you shouldn’t:

Some other aspects to remember:

You can also always take a look at MIDI keyboard controllers or MIDI drum pads if you’re looking for something to accommodate your current setup. Regardless of which route you go, Akai gear in general has been prestige since they first came out and will continue to dominate the music equipment market for times to come. I just miss the old school MPC’s, but that may be the vintage side of me…I wish I still had my 1000 to play around with from time to time to bring me back to the good ol days. Maybe I’ll grab one for fun if I can find it for cheap. Thanks for reading.