While this might not seem like the optimum choice of input to some users - particularly given the fairly modest overall range of input options - it certainly remains faithful to the MPC’s heritage as a beat-maker beloved by the vinyl-chopping producers of early hip-hop, jungle and breakbeat. The latter of these is obviously aimed specifically at sampling directly from a vinyl turntable. In terms of recording inputs, the Live features a stereo pair of 1/4" jacks and a stereo RCA input, switchable between line and phono, complete with ground peg.
Sampling and sequencing remain the heart of the MPC experience and the Live is flexible in both departments - both are handled by the MIDI tracks section of the OS, which can host sampled Drum Programs, Keygroup Programs (ie, sampled instruments and kits) or output MIDI to external devices. Given its size and standalone credentials, it’s impressive what the MPC Live is capable of. The only misstep is the back panel on/off switch, which is loose and cheap-feeling it’s a minor, albeit slightly odd, weak point in an otherwise impeccable build. The 16 pads remain a high-point of the MPC design - in terms of playability and feel they’re head-and-shoulders above most pad controllers on the market. The 7-inch touchscreen is bright and clear, and is generally responsive under the fingers. The rubber-topped metal chassis looks smart and feels sturdy, as do the buttons and rotaries. The quality of the hardware is generally very high. Sampling and sequencing remain the heart of the MPC experience A SATA slot allows the built-in storage to be expanded too. There’s a 16GB hard drive onboard which comes stocked with 10GB of factory content. Under the hood, the processor packs 2GB of RAM.
The Live is also equipped with both Bluetooth and WiFi - the former can be used to hook up MIDI devices, and although the latter doesn’t currently have any applications, Akai has expressed an intention to roll out wireless sync and file transfer in a future update.
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