street priceSeveral years after the introduction of the original MPC Live, Akai Professional has returned with a refined sequel that builds upon their successful standalone workstation formula. The MPC Live II emerged as a thoughtful evolution rather than a revolutionary overhaul, maintaining the core functionality that made its predecessor compelling while introducing several key enhancements that address workflow limitations and expand creative possibilities.
Since the original MPC Live's release, Akai has been steadily expanding their standalone production ecosystem. The flagship studio model MPC X, the compact and affordable MPC One, and the forward-thinking Akai Force have all joined the family. Throughout this expansion, Akai has demonstrated their commitment to the platform through numerous software updates, introducing on-board synth plug-ins and Ableton Live control capabilities.
The most immediately noticeable addition to the MPC Live II is what initially appears to be an arm rest along the front edge. This metal speaker grille houses what might be the device's most unexpectedly brilliant feature: built-in speakers that deliver surprisingly robust audio. Unlike the often underwhelming speakers found in portable instruments like the Novation Circuit or OP-1, the MPC Live II's angled, front-firing speakers produce a substantial sound with respectable low-end response and appreciable stereo imaging.
The sound quality is comparable to home audio systems like the Amazon Alexa or a basic TV sound bar, evoking comparisons to classic boomboxes. This addition transforms the MPC Live II into a truly portable production workstation that can be enjoyed without headphones or external amplification—perfect for impromptu jam sessions, collaborative work, or simply moving around the house while crafting beats.
Beyond the speakers, the MPC Live II retains the same internal architecture as the original but refines the external design with expanded panel layouts and connectivity options. The unit now features eight channels of CV output via stereo mini-jacks (matching the MPC One's configuration), with each connection independently assignable as Gate, Note, or modulation.
The control surface has been thoughtfully reorganized to maximize the limited panel space without compromising the full-sized pads that distinguish the Live from the more compact MPC One. By shuffling the pad control buttons along the top of the unit, Akai has created room for additional dedicated function buttons and an improved master volume control knob.
New dedicated buttons include Undo, Copy, TC (Time Correction), Step Sequencer, and Automation editor shortcuts along the top, while Mix, Mute, and Next Seq buttons have been added below the screen. These additions significantly improve workflow fluidity during both production and performance scenarios, reducing reliance on menu diving or pad shortcuts.
The MPC Live II ships with a substantial software update that addresses several longstanding workflow limitations. One of the most welcome improvements is that pad positions are now maintained when switching between tracks and views, allowing consistent playability across different modes. This seemingly minor change dramatically improves the playing experience, eliminating the frustration of constantly readjusting to changing pad layouts.
Additionally, a new Track focus shortcut (accessed by holding the Main button) enables quick track switching from anywhere in the interface. The Time Correction (quantize) function can now be toggled globally from either the screen or by double-clicking the new TC button, streamlining rhythm adjustments.
Perhaps the most significant functional advancement is the MPC Live II's enhanced MIDI management capabilities. Previous MPC iterations struggled with handling multiple MIDI sources, limiting their utility in complex setups. The new software introduces a detailed port manager and expanded record/monitoring modes that address these limitations.
Users can now connect and utilize USB MIDI interfaces and devices via USB hubs, with comprehensive port management options for naming connections, configuring sync settings, and specifying whether ports handle notes, control data, or both. The system even introduces some features that surpass traditional DAWs, such as the ability to designate specific inputs as "Masters" (which always play the currently focused track) and enhanced monitoring options including a "Merge" mode that combines playback and input monitoring simultaneously.
While not exclusive to the MPC Live II (the feature is unavailable on the MPC One but present on the MPC X), the ability to control Ableton Live represents significant cross-pollination from the Akai Force. Users can toggle into Live control mode from the main menu, with wireless connectivity enabling seamless integration without cable clutter.
The implementation provides comprehensive control over Ableton's Session View, including clip launching, scene triggering, recording functionality, mixer control, and device parameter adjustment. Remarkably, the MPC's own tracks can run in parallel with Ableton, synchronized via Ableton Link over the same wireless connection, creating powerful hybrid performance possibilities.
Since the original MPC Live's release, the platform has gained three additional standalone synthesizers, expanding the sonic palette available without connecting to a computer. Additional workflow improvements include MIDI routing between tracks and a Retrospective Record feature that captures notes played when not in record mode—particularly useful for capturing spontaneous ideas.
The encoder interface has also been refined with a graphical overlay that appears when touching the Q-Link controls, providing visual feedback that's especially helpful when the screen isn't in Follow mode. This feature works particularly well with instrument and effect views that have margins at the screen edges, though it can occasionally obscure content in other views.
Despite the significant advancements, some limitations remain. The MPCs still require loading all samples into RAM rather than streaming from disk, which constrains the potential for audio track recording and multi-song live sets. The sequence-based structure, while powerful for certain workflows, lacks the fluid scene system found in the Akai Force for arrangement building. Additionally, the absence of a microphone/instrument input means users need external preamps or mixers for direct recording of acoustic sources.
Beyond its standalone capabilities, the MPC Live II continues to excel as a controller for the MPC software or plug-in. When connected to a computer, it transforms into a comprehensive control surface with the added benefit of functioning as a 2-in/6-out audio interface. All connected USB, MIDI, and storage devices become available to the computer, creating a seamless bridge between hardware and software workflows.
The ability to transfer projects to the plug-in version maintains all elements in their native, editable form while allowing individual routing to DAW tracks—a powerful solution for transitioning from hardware sketching to software finalization.
With its battery power, built-in speakers, comprehensive connectivity, and enhanced workflow, the MPC Live II emerges as what might be described as a "social workstation." It encourages collaboration and mobility in ways that few other production devices can match, offering a modern take on the classic experience of sharing music through portable systems.
In a standalone hardware space where few manufacturers are pursuing such comprehensive solutions, Akai continues to push boundaries with thoughtful iterations that maintain core functionality while addressing user feedback. The MPC Live II represents not just an improvement over its predecessor but a reimagining of how production hardware can integrate into creative and social workflows.
Country of origin / production: China
Recommend product to a friend| Usage area | |
|---|---|
| Sound Module/ Tone Generator | |
| Groovebox/ MPC | |
| Sampler | |
| Usage Design/ Form Factor | |
| Without Keys, Desktop | |
| Archetype | |
| Digital (D) | |
| Tone Generator / Sound Synthesis | |
| Synthesis Method | Digital Subtractive |
| MIDI in/ out | |
| IN | |
| OUT | |
| IN count | 2 |
| OUT count | 2 |
| Pads Matrix | |
| Pads Count | 16 |
| Pads Count, vertical | 4 |
| Pads Count, horizontal | 4 |
| Multicolor Pads | |
| Velocity | |
| Variable Touch Response | |
| Display | |
| Color resolution | 16M colors/ 24bit/ True Color |
| Resolution: Diagonal | 6.9 |
| External controllers | |
| CV/ Gate IN | |
| CV/ Gate OUT | |
| Audio out | |
| Stereo | |
| All voices mixed in one output | |
| Analogue: 1/4" (6.35mm) | 2 |
| Analogue: 1/4" (6.35mm) headphones preamplified | 1 |
| Audio in | |
| Analog 1/4" | 2 |
| RCA | 2 |
| Built-in speakers | |
| Stereo, 4 speakers | |
| Computer Interfaces | |
| USB | USB PC Link |
| USB | USB Storage |
| USB | MIDI through USB |
| External drives/ memory cards | |
| SD (SecureDisk) | |
| Power | |
| Power Supply | External |
| Power Supply | Internal, Accumulators |
| Amperage | 3.42 A |
| Dimensions | |
| Height | 46 mm |
| Width | 412 mm |
| Depth | 244 mm |
| Weight | 7.45 lb |
| Weight | 3.38 kg |
| Case/ body | |
| Metal&plastic | |
| Color | |
| Black | |
| Production start | 2020 |
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