AKAI MPC Live III Review: Production Powerhouse?

The new AKAI MPC Live III has already caused quite a stir in advance. It expands the classic concept with lots of modern features. You can see some innovations at first glance, but a lot has also changed on the inside. We have taken a close look at all the new functions and content for you.

AKAI MPC Live III vs. AKAI MPC Live II

First, let’s take a look at the key specifications of the AKAI MPC Live III. For comparison, I have compared the respective properties of the AKAI MPC Live II (in brackets):

• Operating System: MPC3 OS
• Processor: 8 core (4 core)
• Memory: 8GB RAM (2GB RAM)
• Storage: 128GB (16GB)
• Plug-in tracks: 32 (8)
• Audio tracks: 16 (8)
• Polyphony: 256 (64)
• Number of simultaneous vocal harmonizers: 16 (1)
• Number of simultaneous DrumSynthMulti: 16 (1)

Links: AKAI MPC Live III, rechts: AKAI MPC Live II

The following functions and content have been newly added:

• MPCe pads (with four quadrants)
• Step-Sequencer
• Touchstrip-Controller
• Clip-Matrix
• integrated microphone
• Super timestretch algorithm
• CV-Matrix
• Envelope-Follower/LFO
• USB-C-Recording
• MPC Pro Pack (AIR Visual EQ4, Air Reverb Pro, AIR Utility, AIR Fabric Select)

Important information for users of version 2

Projects from an MPC II behave differently if you want to load them into a new MPC 3. This is due to the new architecture, especially the merging of tracks and programs. In order to preserve editing options, AKAI strongly recommends backing up projects from an MPC II beforehand. The manual explains more clearly what exactly needs to be paid attention to.

It is also important to know that the MPC Pro Pack, which is included with the AKAI MPC Live III, is chargeable for users of the MPC II.

Scope of delivery of the AKAI MPC Live III

The AKAI MPC Live III is delivered safely packed in a brown cardboard box with outer packaging. In my opinion, a carrying strap could have been attached directly to the product box, as KORG has been doing for some time.

In addition to the AKAI MPC Live III, the scope of delivery includes the corresponding power supply, a USB-C cable with screw device, four adhesive rubber feet, a duster and a quick start guide. You only have to take care of the SD card yourself.

The USB-C cable with one-sided screw device

Setting up the AKAI MPC Live III

In order to be able to use the AKAI MPC Live III to its full extent, it should first be set up individually. If you don’t yet have an MPC, you have to register yourself and the device online, install an app and connect the MPC to the Internet.

You can get started straight away and some projects, plug-ins and samples are already pre-installed, but some very useful tools are missing. Above all, the expansion “MPCe Expressive Kits”. Here you are offered various templates to use the new expression function of the MPCe pads.

The start screen of the AKAI MPC Live III

Specifications of the AKAI MPC Live III

Exterior

Since the architecture has also changed somewhat with the new functions, it is worth taking a closer look from the outside. The workmanship is of the usual quality and, as expected, the AKAI MPC Live III makes a very high-quality impression.

The new buttons and touchstrip controller as well as the color design of the MPCe pads are probably the first things you notice. The integrated microphone, on the other hand, is rather inconspicuous and sits in the middle above the speakers. Of course, all of this needs its space and so the new AKAI MPC Live III is larger and heavier than its predecessor. Here too, a brief comparison is worthwhile:

• Größe (B x T x H): 436 x 256 x 67 mm (412 x 244 x 46 mm)
• Weight: 3.9kg (3.4kg)

Interior

The interior of the AKAI MPC Live III has also been properly upgraded.

In addition to the new MPC3 OS operating system, the Live III offers an improved second generation 8-core processor that has four times the performance of the MPC Live II. With 8 GB of RAM and 128 GB of internal storage, the MPC Live III should be well equipped for future updates.

This means that a lot more is possible than before. With the AKAI MPC Live III you can now load up to 32 plug-in tracks and create up to 16 audio tracks. If you compare all of these numbers with the previous version, it quickly becomes clear how enormous this update is.

But it doesn’t just read like that, you notice it right away when you first test it. Audio files are played directly via disk streaming, which now works noticeably faster than with older models. Accordingly, projects load faster and audio is exported faster.

The new power can be clearly heard when starting the AKAI MPC Live III. However, the noise quickly dies down and during the test phase the MPC was quiet as night. It only got a little warm at the back of the case, but not too hot either.

Connections of the AKAI MPC Live III

The Live II’s already extensive connections have been expanded to include two elements. In addition to the existing six line outputs, the headphone output, the double MIDI inputs and outputs, the four CV connections for up to eight CV signals and the RCA input, there are now two combination sockets for XLR and jack as audio inputs.

A USB-C input has also been added and the two original USB inputs are even retained. The USB-C port supports up to 24 audio tracks and up to 32 MIDI channels.

Last but not least, the SD card input and the connection for the 19-volt power supply should be mentioned. Thanks to the built-in lithium-ion battery, the MPC can also be operated for a few hours without a power supply.

The back of the AKAI MPC Live III

New 3D sensor technology of the RGB pads

The new MPCe pads bring completely new dimensions to the world of the AKAI MPC Live III. The popular quality of the velocity-sensitive pads has remained the same. However, up to four samples, articulations or effects can now be loaded onto a pad. These four sections are called quadrants and are located in the corners of each pad. With 16 pads, that’s a total of up to 64 samples per bank or 16 samples per bank, each with up to four articulations or effects.

The new MPCe pads

For example, you can trigger four different drum sounds, play a sample in different variations and articulations, or even crossfade between different sounds. This is, above all, but not only, a completely new playground for finger drummers. There are also new expansion packs that are therefore not compatible with older models.

The setup is a bit bumpy at the beginning, so I recommend working with the MPCe Expressive kits at least to get started. There are different templates for a wide variety of applications.

The fact that the MPCe pads are slightly larger than the previous MPC pads is not noticeable at first glance, as they are a little closer together.

Up to four sounds can be stacked and distributed across the quadrants

RGB buttons for step sequencing and much more

The AKAI MPC Live III has been given 16 new function keys. They form a vertical line at the top and are initially intended as step sequencers. For longer sequences there is a forward and a back button, which makes the step sequencer very useful across the entire song structure.

Different functions can be called up below each button:

• Drum Seq: Programming individual notes
• Note-Seq: Programming multiple notes
• Step Edit: Velocity, Ratchets, Probabilty, Nudge, Hüllkurve, Filter, Tuning, Layer, Slice
• Note Length: Adjustment of note length
• Last Step: Length of a sequence
• Automation: Parameter Locks
• Clip Launch: play clips
• Row Launch: play rows (Clip Launcher)
• Track Select: Select one or more tracks
• Track Arm: make one or more tracks ready for recording
• Track Mute: mute one or more tracks
• Pad Mute: mute one or more pads
• Next Seq: Triggers Sequencing
• Q-Link Pad Grid: Free assignment of several parameters to a button
• Visuals: different light modes, including for metering
• Edit Actions: opens the track edit window

The AKAI MPC Live III sequencer series

Programming is intuitive. In drum mode, the last pad touched or its quadrant is displayed in the sequencer or can be programmed there. In Note mode, a note is played and then automatically switches to the next step to program the next note or a rest.

Although nothing is possible with the functions mentioned above that would not have been possible before without a sequencer, the operation and workflow are significantly different. For me personally, it’s a great expansion that I’d love to find its way into all future MPCs.

Additional parameter locks can be implemented in the list view

The extended CV area of ​​the AKAI MPC Live III

The CV area has been expanded and will have the modular fans among us rubbing their hands. In the edit window of a CV track, each CV output can be configured individually as usual and a distinction is initially made between a melody track (CV/gate) and a drum track (gates only).

LFOs and envelopes can also be played out via the CV outputs and there is now also a step sequencer as a modulation source. The signals can also be shifted using an offset and linked together in a modulation matrix. Not only does everything in the studio run wonderfully in sync, you also potentially save a lot of money.

The CV matrix of the AKAI MPC Live III

Clip-Matrix, Ableton Import & der Live Control Mode

The new clip matrix makes it possible to directly import Ableton projects. But even those who don’t use Ableton will find a new way to optimize their workflow here. Anyone who is not yet used to non-linear work should not be afraid of it.

The principle follows that of the clip matrix from Ableton Live. The tracks are displayed vertically and there are any number of rows horizontally. Each row has a slot for each track in which clips can be created. Individual clips or entire series can then be played using the pads or the sequencer.

In live control mode, Ableton Live can also be operated with the MPC. For example, transport functions and control of the mixer are possible. Ableton devices and third-party plug-ins can also be controlled this way.

Clip-Matrix der AKAI MPC Live III

Der Touchstrip-Controller der AKAI MPC Live III

The touchstrip controller further enhances the live performance of the AKAI MPC Live III. There are ten different modes and the touchstrip can also be deactivated if necessary:

• Q-Link: Q-Link control
• Pad Level: Volume of a pad
• Track Level: Volume of a track
• Touch FX: to control the Touch FX plug-in or for external MIDI devices
• Notes: for playing notes (with root note, scale, octave, velocity, number of notes)
• Pitchbend: behaves like a pitch wheel
• Mod Wheel: behaves like a modwheel
• Sustain: behaves like a sustain pedal
• Expression: behaves like an expression pedal
• Crossfader: behaves like an individual crossfader (bottom = left, top = right)

If necessary, the touch strip function can also be deactivated. This was very welcome when working with the touchscreen, as I used the touchstrip more often than I would have liked.

Among other things, a hold function can be activated or deactivated in the settings.

Der Touchstrip-Controller der AKAI MPC Live III

AKAI MPC Live III microphone

The integrated microphone is not just a gimmick, but is actually quite good for recording sounds. There are certainly better options for vocals, although the quality is by no means inferior and is certainly sufficient for certain applications.

This is a condenser microphone, further details are not known. It is also possible to record in stereo, where the signal is simply duplicated.

The integrated condenser microphone of the AKAI MPC Live III

Stem separation with the AKAI MPC Live III

Unfortunately, Stem Separation is still only available after purchasing this additional feature (at a price of $9.99). Information and a Soundcloud player with sound samples can be found on the manufacturer’s website.

The information about the time required to render the stems varies depending on the algorithm. According to AKAI, with the desktop version it takes 25 seconds for one minute of material. With the standalone version, on the other hand, a full 85 seconds. To separate entire songs into stems, the desktop version is generally recommended.

After being separated into the individual components, the individual stems can be directly adjusted in terms of volume, pitch and panning. Of course, they can also be edited in an audio track.

Stem separation with the AKAI MPC Live III

The MPC Pro Pack

AIR Fabric Select

AIR Fabric Select is a modern instrument plug-in based on samples from two layers. Anyone who likes to use presets will certainly be happy about this, as there are quite a few of them. Post-processing is only possible to a limited extent and your own samples cannot be imported. As a free addition, AIR Fabric Select is a nice extension.

AIR Reverb Pro

The new AIR Reverb Pro offers more control than the AIR Reverb. There are different modes for the early reflections and the reverb tail can be fine-tuned with an equalizer. The pre-delay can also be synchronized to the tempo and the stereo width for the input and output can be increased and decreased. With integrated modulators, the AIR Reverb Pro manages to create both quite natural and surreal spaces.

AIR Visual EQ4

The AIR Visual EQ4 is a parametric 4-band equalizer, meaning there are parameters for boost/cut, frequency and filter quality for each band. Compared to the AIR Para EQ, which is also a 4-band parametric equalizer, the AIR Visual EQ4 offers more filter types including peak, notch, bandpass, and low and high pass filters.

There is also a visualization for the audio signal, which certainly makes life a little more pleasant, and not just for beginners. Unfortunately, slight increases and decreases are difficult to see visually. A point for the cutoff frequency is also missing and the plug-in currently does not have a touch function.

AIR Utility

AIR Utility is a useful mixing plug-in with various functions for input and output signals. For inputs, the phases can be rotated left and right, there is a mono and a mid-side circuit, the stereo width can be increased and decreased and the bass component can be converted to mono within a selected frequency range.

For the output there is a mute function, a DC offset switch as well as a gain and a panning control. Please note that the gain control can only be used to reduce the signal and not to increase it.

Further functions of the AKAI MPC Live III

USB-MIDI-Interface

The AKAI MPC Live III can send and receive up to 24 audio channels (24 bit/48 kHz) and up to 32 MIDI channels via USB-C. With Studio One Pro 7 (and probably all other DAWs too) the MPC worked perfectly as a plug’n’play interface.

Up to 24 mono channels can be recorded via USB-C

Envelope-Follower & LFO

Somewhat hidden in the Q-Link editing mode, there is an envelope follower or optionally an LFO. To be more precise, there are up to 16 of them. There are all the necessary parameters for the envelope follower and seven different waveforms for the LFO.

The new envelope follower of the AKAI MPC Live III

Improved timestretching algorithm

In addition to the previously known timestretch algorithms “Proten” and “Repitch”, there is now the “Super” option. Using an FFT algorithm, significantly improved quality is achieved and artifacts only appear with very large changes or can be better avoided with smaller changes.

The super timestretch algorithm is enabled by default

The AKAI MPC Live III in practice

Despite the new architecture, you can quickly get into a familiar workflow with the AKAI MPC Live III. For many functions I didn’t even need to look at the manual, but for a few other functions I had to search on the Internet.

The operation of the clip matrix seemed a bit questionable in some places, but I’m still mostly used to linear work. In the beginning, it often happened to me that completely different clips and sounds from my arrangement were copied into the clip matrix.

The step sequencer is a bit difficult to use in some places, but is still a great and useful addition. After a few days, I knew pretty quickly when to access the step sequencer and when to access the arrangement window and piano roll.

At its core, the MPC remains an MPC, just a little larger and equipped with even more functions. The implementation could have been designed much worse and I’m already very excited to see what future updates will bring with regards to the new functions.