Akai MPC Renaissance – the Pre-Review
When newer and revised versions of Akai’s MPC series are offered, users are skeptical about what to expect. The things they don’t want to see are huge changes in either the layout or the feel of the equipment. A step backwards would spell disaster for Akai, with many other cheaper software based controller options out there – and at a cheaper price. The feature that has always made the MPC stand out in a class of its own is its ability to act as a stand along device. Araabmuzik doesn’t need much to perform on stage – in fact he doesn’t even need a computer to trigger samples (although he has been doing this recently).
With the newest Akai offering, the MPC Renaissance, Akai is treating the MPC differently; in the eyes of a producer. It’s obviously a larger, less portable machine – and there are as many pots on the left-hand side as there are pads. Without getting into software details, the hardware itself has been improved. The pads retain the classic MPC feeling, but have a more “even” feeling and can be activated from all areas (including the corners) with ease. Akai also has decided to use “infinite motion” pots, with LED rings to signal their values at any given moment.
A longer, more comprehensive review of the MPC Renaissance, including the software, is expected to be up soon.