By astral_Signal
Mon Jun 24, 2024 2:46 pm
HI all,
I recently pulled the trigger on purchasing the MPC Live 2. I have had limited time with the unit unfortunately due to work and life commitments, but from what I have tested so far I have been impressed. Apart from the obvious learning curve like any other piece of equipment, the design and functionality is very solid. I used to own the MPC 1000 back in the day & I became very familiar with that workflow, in fact it very much altered my approach to beat making and production at the time, especially the level of creativity it encourages the user.
I am utilising the 4x individual analogue outputs in addition to the 2x physical master outputs (6x analogue outputs total), which ultimately was the selling point in comparison to the current MPC line-up as multi-track recording is important (to me at least!). My audio interface (RME Fireface 800) hosts 8x analogue line level inputs/outputs, so I have plenty of flexibility here with possible future routing ideas. The line level stereo input on the MPC is getting a feed from my dedicated phono pre-amp via 2x mono analogue splitters, which also feeds the audio interface. The analogue splits were the only solution to avoid AD/DA round-trip conversion, and so far they have been flawless.
So my post relates to the line level outputs on the Live 2:
The Akai MPC Live 2 manual states that the analogue outputs are specified at +9dBu. My audio interface (RME Fireface 800) specifies that analogue input level @+4dBu is +13dBu. So this is a difference of 4dBu between the two systems. There’s no mention in the Akai manual regarding +4dBu, but I can only assume that it is as +4dBu is the industry standard operating level for professional audio, consumer grade is rated at -10dBV.
Still with me?
In order to match dBu between the MPC and my audio interface I have conducted a simple test with a test tone: 1 KHz sine wave @ -20 dBFS RMS. The tone is generated in Izotope RX 11 Audio Editor, and waveform stats confirm -20 dBFS. The tone is exported as a 24-bit 44.1 KHz stereo file. The file is then imported in Avid Pro Tools, and inserted into a 24-bit 44.1 KHz session. A VU meter confirms -20 dBFS.
This file is transferred to an SD card and imported on the MPC Live 2. File is assigned to 3 pads in the same program, which then are output assigned via pad mixer (which I learnt while writing this to see if it was even possible, but here we are!). Simple sequence is recorded for two bars (tone duration is 30 seconds). Output level across all 6 audio outputs are monitored both in Pro Tools and other metering options (analogue/digital).
This is where things get interesting.
With signal routed out of the MPC and monitored directly in Avid Pro Tools along with additional digital metering systems (RME digicheck), input level is 4dB under the target +4dBu which is to be expected. In the channel mixer, I can boost each main output (1-6) faders independently as stereo pairs and this allows me to raise output level by +4dB. Unfortunately +4dB across all 3x main outputs does not actually meter -20 dBFS, in fact there are pretty odd fluctuations across the board, especially on only side of a line output (generally right channel). I will note that all cabling is brand new Mogami Gold TRS - TRS (6ft), and I have physically switched cable orders with the same results.
Final main outputs to get as close as possible to -20 dBFS:
1/2 = +4.28dB (Left = 20.00 / Right = -19.98)
3/4 = +4.32dB (Left = 20.00 / Right = -19.98)
5/6 = +3.94dB (Left = 20.01 / Right = -19.95)
With limited testing, I have yet to find a way to boost/attenuate main output level fader by 0.1 increments, which would be fantastic in this situation, and I also haven’t seen a way to un-link main output left/right pairs to boost/attenuate independently. If this is possible please let me know!
My guess is that the Akai have utilised inefficient op-amps in the hardware design and manufacturing which have produced these inconsistent levels. Fortunately, I have these numbers applied to a dedicated project file which I will either need to load in for every session or assign as the default template file, as I haven't seen a way to store/save main output levels as project default levels.
Apologies for the long post! Just wanted to share my initial audio calibration findings and I hope this has helped anybody else too! Has anybody else noticed odd level behaviour from the line level outputs, what was your solution?
I will post a first impressions of the Live 2 overall soon.
I recently pulled the trigger on purchasing the MPC Live 2. I have had limited time with the unit unfortunately due to work and life commitments, but from what I have tested so far I have been impressed. Apart from the obvious learning curve like any other piece of equipment, the design and functionality is very solid. I used to own the MPC 1000 back in the day & I became very familiar with that workflow, in fact it very much altered my approach to beat making and production at the time, especially the level of creativity it encourages the user.
I am utilising the 4x individual analogue outputs in addition to the 2x physical master outputs (6x analogue outputs total), which ultimately was the selling point in comparison to the current MPC line-up as multi-track recording is important (to me at least!). My audio interface (RME Fireface 800) hosts 8x analogue line level inputs/outputs, so I have plenty of flexibility here with possible future routing ideas. The line level stereo input on the MPC is getting a feed from my dedicated phono pre-amp via 2x mono analogue splitters, which also feeds the audio interface. The analogue splits were the only solution to avoid AD/DA round-trip conversion, and so far they have been flawless.
So my post relates to the line level outputs on the Live 2:
The Akai MPC Live 2 manual states that the analogue outputs are specified at +9dBu. My audio interface (RME Fireface 800) specifies that analogue input level @+4dBu is +13dBu. So this is a difference of 4dBu between the two systems. There’s no mention in the Akai manual regarding +4dBu, but I can only assume that it is as +4dBu is the industry standard operating level for professional audio, consumer grade is rated at -10dBV.
Still with me?
In order to match dBu between the MPC and my audio interface I have conducted a simple test with a test tone: 1 KHz sine wave @ -20 dBFS RMS. The tone is generated in Izotope RX 11 Audio Editor, and waveform stats confirm -20 dBFS. The tone is exported as a 24-bit 44.1 KHz stereo file. The file is then imported in Avid Pro Tools, and inserted into a 24-bit 44.1 KHz session. A VU meter confirms -20 dBFS.
This file is transferred to an SD card and imported on the MPC Live 2. File is assigned to 3 pads in the same program, which then are output assigned via pad mixer (which I learnt while writing this to see if it was even possible, but here we are!). Simple sequence is recorded for two bars (tone duration is 30 seconds). Output level across all 6 audio outputs are monitored both in Pro Tools and other metering options (analogue/digital).
This is where things get interesting.
With signal routed out of the MPC and monitored directly in Avid Pro Tools along with additional digital metering systems (RME digicheck), input level is 4dB under the target +4dBu which is to be expected. In the channel mixer, I can boost each main output (1-6) faders independently as stereo pairs and this allows me to raise output level by +4dB. Unfortunately +4dB across all 3x main outputs does not actually meter -20 dBFS, in fact there are pretty odd fluctuations across the board, especially on only side of a line output (generally right channel). I will note that all cabling is brand new Mogami Gold TRS - TRS (6ft), and I have physically switched cable orders with the same results.
Final main outputs to get as close as possible to -20 dBFS:
1/2 = +4.28dB (Left = 20.00 / Right = -19.98)
3/4 = +4.32dB (Left = 20.00 / Right = -19.98)
5/6 = +3.94dB (Left = 20.01 / Right = -19.95)
With limited testing, I have yet to find a way to boost/attenuate main output level fader by 0.1 increments, which would be fantastic in this situation, and I also haven’t seen a way to un-link main output left/right pairs to boost/attenuate independently. If this is possible please let me know!
My guess is that the Akai have utilised inefficient op-amps in the hardware design and manufacturing which have produced these inconsistent levels. Fortunately, I have these numbers applied to a dedicated project file which I will either need to load in for every session or assign as the default template file, as I haven't seen a way to store/save main output levels as project default levels.
Apologies for the long post! Just wanted to share my initial audio calibration findings and I hope this has helped anybody else too! Has anybody else noticed odd level behaviour from the line level outputs, what was your solution?
I will post a first impressions of the Live 2 overall soon.
