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1. #Native instruments maschine studio white software
2. #Native instruments maschine studio white plus
3. #Native instruments maschine studio white professional

Stereo input is switched between two line-level TRS inputs or a pair of phonos (with ground) for direct capture from a turntable. Audio-wise, there are six TRS outputs and a mini-jack headphone port. The back panel is packed with connectivity. The pads remain unsurpassed since I gushed about them in the MPD and Touch reviews, and I have to say I prefer the solid rubber function buttons to the hard plastic ones on the MPC X (at least on the prototype I saw). The MPC Live has the same front-panel layout as the Touch, except that the screen is flush with the surface instead of recessed, which feels like an improvement.

Part of the weight is the Lithium-Ion battery, which gives you up to six hours of untethered power (and from my testing that’s real hours, not Apple hours).

#Native instruments maschine studio white plus

For comparison that’s a bit more than my 15-inch laptop plus charger, or exactly the same as a Push 2. A tough metal case - and a lot more going on inside - results in a hefty weight of 2.7kg (5.9lbs).

The MPC Live is the same size as the Touch, but a little bit deeper, and it feels chunkier as the thickness is uniform across the unit. Despite a great deal of tidying up, Akai have not tinkered significantly with the MPC production workflow, which will either be a relief or a disappointment depending on your perspective. It also has some big new features, notably audio tracks, a new loop launcher Program type and modernised content browsing. The MPC DAW and plug-in finally hits version 2.0 alongside this hardware launch, sporting a much needed visual makeover with styling inherited back from the Touch interface.

#Native instruments maschine studio white software

However, they also have on-board CPUs that can run the MPC software independently. This is the foundation for the new MPCs, both of which, like the Touch, can be used as controllers (and audio/MIDI interfaces) for the MPC software. With the MPC Touch, Akai introduced a new interface that combines touch and physical control elements and, as we said at the time, offers a much enhanced experience compared to the software on previous MPCs. I got the chance to play with both in order to make comparisons, but this review will concentrate on the Live model. The MPC X is a larger, studio-based workstation that’s like a futuristic version of a Renaissance or MPC5000. The MPC Live is designed for portability and is, on the face of it, a stand-alone version of the MPC Touch (reviewed in SOS September 2016). Akai have evidently been listening and are returning to stand-alone in a seriously ambitious way, launching two new MPCs that offer uncompromising computer-free operation, as well as a hybrid controller mode, and project transition between the two. This demand never died away, in fact there’s a renewed interest in self-contained drum machines, grooveboxes, and mobile music devices in general. While this would appeal to a new group of beat-makers more comfortable with laptops than traditional drum machines, it left much of the existing user base yearning for a next-gen stand-alone solution.

#Native instruments maschine studio white professional

The return of the stand-alone MPC exceeds expectations.įive years ago Akai Professional took the bold decision to move their MPC range to the hybrid software-plus-controller model that was proving a runaway success for Native Instruments’ Maschine.