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New filtering is provided by way of 6-pole digital dynamic filters.

The new filter design not only supports multi-mode filter types, but also new variations such as the triple filter consisting of three independent 2-pole filters. Filter modulation is part of the point APM assignable program modulation matrix which has more than 30 modulation items freely assignable as either source or destination.

Akai Professional MPC Music Production Center - Akai - Encyclotronic

Modulation items also include 3 independent envelope generators and 2 syncable LFOs. Furthermore one source can be assigned to multiple destinations and likewise multiple sources can be assigned to one destination just like on a vintage synth matrix patch board. Real-time control is provided by two note variation sliders and four Q-Link knobs. Let's Get Physical With these issues in mind, let's get to down to business.

Significantly too, the MPC also possesses 99 percent of the Z-series' sound-manipulation capabilities, making it much more of an all-round sampler than its forerunners. For example, where previous MPCs only dealt in Drum programs ie.

Owners of previous MPCs will also see that the sequencer section has also benefited from a course of steroids, with grid-style editing, both of sequences and continuous controller data, plus an increase in the maximum resolution to ppqn and the ability to create phrase libraries from sequence data. The Japanese law of hi-tech design normally means that increases in power and features are accompanied by an exponential decrease in the physical size of the instrument concerned.

Akai MPC4000

But in this case, quite the opposite is true. Weighing in at The positive side of this transformation from middleweight to Sumo-size is that the MPC feels like it would happily survive life on the open stage Certainly, any negative thoughts I expressed on the flimsy feel of the Z8 don't apply here. Of course, we AKAI AKAI MPC4000 Music Production Centre know that size isn't everything, though where it usually does count is in the LCD department.


The MPC sports a generous x pixel backlit affair which betters even the Z series in terms of viewability. As AKAI AKAI MPC4000 Music Production Centre as having its own contrast control directly to hand, it is also tiltable if that's the proper word for itwhich is a tremendous boon to anyone working under stage lighting conditions.

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As with previous MPCs, the 16 soft rubber velocity- and pressure-sensitive pads are arranged in the traditional MPC four-by-four formation. Each measuring an inch square, they are comfortable to play, with adjustable sensitivity to suit any tap style. A series of buttons above the AKAI AKAI MPC4000 Music Production Centre enable you to switch between six banks of pad assignments, thereby giving you fast access to 96 sounds.

AKAI AKAI MPC4000 Music Production Centre The pads can also be used to trigger sequences and as mute buttons for tracks within a sequence. The rest of the knobs and buttons are arranged logically enough, with dedicated buttons for all of the unit's main functions and 'soft-function keys' immediately under the LCD to guide you through their various screens and submenus. Bottom right are the transport style controls for the sequencer. Along with the expected Play, Stop, and Record, these controls include fast locate buttons enabling you to advance quickly through steps, bars, events and to the beginning and end of sequences and songs.

My only problem here was that I kept inadvertently pressing the Play Start button with the heel of my hand while working on other sections of the front panel — mdash; potentially embarrassing on stage if you set off the sequencer when you're not supposed to! On the left of the front panel are the six 'Q-link controls' in the form of four knobs and two sliders.


If you read the Z8 review or are AKAI AKAI MPC4000 Music Production Centre with Akai's digital multitrackers, then you'll remember that these are 'soft' controls that can be programmed to give you real-time control of a whole host of parameters, including volume, pan, filter cutoff, resonance and more, either of the individual programs or of all the sounds at once. You might also remember that the ability to manipulate sounds in real time was one area where I thought the Z8 scored rather highly, but the MPC has a couple of extra Q-tricks up its sleeve, which I'll reveal later. Sampled Delights The full details of what the MPC sample-and-synthesis engine has to offer is best grasped by reading my review of the Z8. However, here are some edited highlights of what MPC owners can look forward to: You can sample and resample with effects.

Forat Music and Electronics

Akai have clearly been feeding their filter section added fibre. The new generation of six-pole filters is much grittier than anything heard before, and given that you can control resonance and cutoff in real time via the Q-Link controls, there's a lot of fun to be had here. New modulation matrix: This now works much more like an olde-worlde synth matrix patch panel, with more than 30 modulation items freely assignable as either a source or AKAI AKAI MPC4000 Music Production Centre.

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The Akai Professional MPC Plus Music Production Center combines a Track MIDI Sequencer and a voice 24bit Stereo Digital Sampler, with Designed for professional audio production, the MPC Plus offers all the advantages of dedicated hardware, features a large LCD plus the computer.

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