- #AKAI PROFESSIONAL MPC STUDIO GRAY SOFTWARE#
- #AKAI PROFESSIONAL MPC STUDIO GRAY PC#
- #AKAI PROFESSIONAL MPC STUDIO GRAY PLUS#
There's a nod towards the sound of previous machines, courtesy of various 'vintage' emulations in software, the current models being the MPC3000, MPC60 and SP1200.
#AKAI PROFESSIONAL MPC STUDIO GRAY SOFTWARE#
Considering that the Renaissance is focused on working in the software domain, two assignable outputs might be enough.
#AKAI PROFESSIONAL MPC STUDIO GRAY PLUS#
Further connectivity is present in the form of 24-bit digital I/O, plus phono inputs (complete with preamp) and two combined XLR/balanced jack inputs with phantom power. This is in marked contrast to, say, the MPC5000, which had eight. It means that there's only room for two assignable audio outputs, in addition to the main stereo pair. This maintains the legacy connection with existing MIDI rigs but gobbles up a fair proportion of the available space. Unusually, two footswitch sockets also reside at the front, although when you check the rear you can see why: it's chocka!Īkai have opted for six MIDI sockets in total two In and four Out. Intent on covering every base, Akai have provided front-facing headphone jacks in both regular and miniature versions, capable of monitoring the main mix or individual outputs. Running your eyes and hands over the smooth surface, there's no sign of skimping, from the many dedicated buttons and numeric keypad to the reassuringly balanced data wheel. Weighing in at a shade under 5kg and occupying a generous 50cm x 33cm x 7cm of desk space, the Renaissance's cold metal base is framed in grey plastic. For some operations, a mouse and monitor are far more inviting, but the transport and navigation controls are superb, the solid output of years of MPC evolution. The tilting blue screen is adequate, its 360 x 96-pixel resolution delivering retro small text and basic graphics. It's a hefty machine and it looks built for action. I doubt anyone will be seriously disappointed with the Renaissance hardware, from its 16 pert and weighty encoders to the tough grey pads with coloured back-lighting. The Renaissance's back panel is awash with socketry and offers dual combi jack/XLR inputs, the traditional MPC phono inputs, stereo and assignable outputs on quarter-inch jack, and a generous four MIDI outs.
Due soon, it's a trimmed down version that dispenses with the audio capabilities and multiple MIDI ports of the Renaissance.Ĭlaiming backwards compatibility with previous MPCs and largely consistent with their workflow, could the Renaissance be the gateway drug to lure more hardware freaks into a world inside the box? The Hardware Those who don't need a new audio interface, or simply want to save a few bob, should check out the MPC Studio. Not content with that, it serves as a 24-bit, 96kHz audio interface with multiple MIDI ports, too, while backlit pads, assignable Q-link controls and buttons galore offer maximum tactile gratification.
#AKAI PROFESSIONAL MPC STUDIO GRAY PC#
The Renaissance has the look and feel of quality stand-alone kit, yet it functions exclusively as a controller for a software host running on your PC or Mac.
If so, maybe the Renaissance marks the moment the empire struck back. I don't know if it grated when Native Instruments' Maschine appeared, applying MPC-like control to all those desirable software elements. But after a long reign and many hardware generations, not even Akai can resist the vast and constantly shifting world of computer-based production and its DAWs, virtual instruments and gargantuan sample libraries.
It seems like Akai's MPC range has been around forever, revered for solid sequencing, a straightforward interface and no-nonsense sampling. The legendary MPC brand is reborn in a form that aims to marry its famous hands-on ethos with the unlimited possibilities of the software world.
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