You know the new MPCS are a failure when...

If people are b***ching about $2,199 they will not entertain $10,000 for a machine. Akai wouldn't waste their time its not happeining.

You will come out way cheaper and better to use the 2.2.1 software on a laptop or desk top wuth win 10 or Mac. That is why they made the software si if you need more computer power you can or just stay standalone.

I will say this for the last time.

The MPC X/LIVE IS:
DAW/COMPUTER/SEQUENCER/DRUM MACHINE/MUSIC PRODUCTION CENTER.

Those are the facts. We have something real special with great potential. Akai seems to be working on making them good machines.

Unreallystic wrote:I'm still lost on this 10k MPC. Not on the idea of a true flagship, but, what can they really do, to make a MPC worth 10k? They could go the 100% standalone route by shoving a computer inside of it that is designed to run MPC2.0 and VSTs, but I mean I built a PC capable of that and shoved it inside of a PS3 (this was a while ago) for under $400. Even going high-end on it (think Ultrabook), would only be a stack maybe 2 more depending on how stupid they got. Slightly higher quality screen at those sizes would only be a little more in cost. They could get stupid on the inputs between quality and quantity I guess, but even at that I don't see how they could pass the 6k wall without just flat out charging more for dumb reasons.

I don't *personally* think a higher end model is needed.
-Unreall

Thing is l love my software DAWs. I love my 3rd party effects and l make all what l have in the computer work with the live and have no time beefing about the MPC live vs computer software.

I mak'em work together and something special always happens.

CharlesRandolph wrote:

Frisbi wrote:We still listen to masterpieces made with devices that were maybe one tenth of what we have now.
Or even less.
Grab a machine and take out the best of it. That's my idea.
Mpc or not Mpc.
I choose Mpc because is fast enough and it sounds good.

We still listen to masterpieces made with devices that were maybe one tenth of what we have now.
Or even less.

Do you have an example of the masterpieces you listen to now?

Massive attack
Portishead
bjork
Orbital
Orb

Just to say a few

Frisbi wrote:Massive attack
Portishead
bjork
Orbital
Orb

Just to say a few

I can guarantee they were using more than what you think. I know at one point Adrian Utley was using a Trident Series 75 which people are buying for 6000 to 7000 grand and recapping them. He's not using a MPC 500 and recording it to Tape Deck and putting it on sound cloud.

Also I think people forget that, if they sample. Their sound is also a combination of the records they are sample. Everything from the musician to the mastering engineers equipment is being captured.

CharlesRandolph wrote:

Frisbi wrote:Massive attack
Portishead
bjork
Orbital
Orb

Just to say a few

I can guarantee they were using more than what you think. I know at one point Adrian Utley was using a Trident Series 75 which people are buying for 6000 to 7000 grand and recapping them. He's not using a MPC 500 and recording it to Tape Deck and putting it on sound cloud.

Also I think people forget that, if they sample. Their sound is also a combination of the records they are sample. Everything from the musician to the mastering engineers equipment is being captured.

I am quite sure there were a lot of MPCs in these records, and they had a cpu maybe 10 times less powerful then Live, maybe less.
Watch Portishead and Massive Attack live concerts of the end of 90s.

CharlesRandolph wrote:

Unreallystic wrote:...snip...

In the world of audio 10K is not that much money. Symphonic orchestra musician for the Los Angeles Philharmonic or New York Philharmonic will spend twice that on their instruments. It's all about the build quality, inputs, outputs, software and close attention to detail.

Here is how they get people, they will buy 12 desktop modules for only 500 dollars. However when you add that up, it cost them 6000 dollars. Now what if they put together those 12 desktop modules into one machine, all while keeping the flexibility and the best function of those modules. That would be one beast of a machine.

You stated that In the electronic and hip-hop world, especially right now, no one gives two nickles about flagship. Yes but many of them do not give two nickles about lyrical skill, style, content and musician ship. But that's another story.

I didn't say 10k was a lot of money, not at all, I've priced brass instruments and got put in place already. No, my point is how do you make a MPC worth that magnitude in price? It would be different if this was an analog synth, and maybe that would be it, the Pioneer toraiz was overpriced by saying we have the Dave Smith filters thrown in...but as a sampler, there is really a limit in terms of value adds. Again, you could transform the MPC X into a true standalone DAW with VST capabilities, but that's just slamming an ultrabook inside, and throwing cost at some of the populat VSTs...which is less th value of a MPC and more just pre-packaging a bundle.
- Unreall

Come on. You have a very powerful machine if you are a Live owner.
Take the best out of it.
Learn how to use it, then it's up to your creativity and musical knowledge if you want to make good music.

A 10k MPC better be made in complete metal, circuits made in pure 14k gold. Pads like a glockenspiel and it better have an engine and 4 wheels so I can drive to the park and make beats at the parking lot.

Unreallystic wrote:

CharlesRandolph wrote:In the world of audio 10K is not that much money. Symphonic orchestra musician for the Los Angeles Philharmonic or New York Philharmonic will spend twice that on their instruments. It's all about the build quality, inputs, outputs, software and close attention to detail.

Here is how they get people, they will buy 12 desktop modules for only 500 dollars. However when you add that up, it cost them 6000 dollars. Now what if they put together those 12 desktop modules into one machine, all while keeping the flexibility and the best function of those modules. That would be one beast of a machine.

You stated that In the electronic and hip-hop world, especially right now, no one gives two nickles about flagship. Yes but many of them do not give two nickles about lyrical skill, style, content and musician ship. But that's another story.

I didn't say 10k was a lot of money, not at all, I've priced brass instruments and got put in place already. No, my point is how do you make a MPC worth that magnitude in price? It would be different if this was an analog synth, and maybe that would be it, the Pioneer toraiz was overpriced by saying we have the Dave Smith filters thrown in...but as a sampler, there is really a limit in terms of value adds. Again, you could transform the MPC X into a true standalone DAW with VST capabilities, but that's just slamming an ultrabook inside, and throwing cost at some of the populat VSTs...which is less th value of a MPC and more just pre-packaging a bundle.
- Unreall

This would be a good start.

Do you remember the MUSE RECEPTOR QU4TTRO that came out in 2013? This is what the Flagship MPC could be. All the Receptor needed was the hardware and sequencing combinations of the MPC. This is an example of what I meant by an Limited Edition MPC XL. Akai already has it's OS, hardware form factor. They just need to ramp up the internal specs and i/o count. KEYWORD: LIMITED EDITION

Specs: (2013)
Price: $3000 US
Hosted VST and VSTi
With 16 GB RAM
2 TB HD
Intel 64-bit, Quad Core (8 thread), 3.9Ghz peak, 8MB cache
16 GB (DDR3)
8 channels balanced mic/line inputs
8 channels balanced line outputs
8 channels ADAT digital optical in/out
stereo S/PDIF in/out
10/100/1000 ("Gigabit Ethernet")

Includes Uniwire for DAW plug-in capability
UniWire allows you to connect one or more RECEPTORs to a computer-based digital audio workstation using only Ethernet cables - no audio or MIDI cables are needed. By starting UniWire instrument and effects plugins, your digital audio workstation communicates with RECEPTOR as if it were both a virtual instrument and a virtual effect.

Frisbi wrote:I am quite sure there were a lot of MPCs in these records, and they had a cpu maybe 10 times less powerful then Live, maybe less.
Watch Portishead and Massive Attack live concerts of the end of 90s.

This is massive attack studio in 2005.







Direct Link: https://www.soundonsound.com/people/massive-attacks-new-studio

Unreallystic wrote: I didn't say 10k was a lot of money, not at all, I've priced brass instruments and got put in place already. No, my point is how do you make a MPC worth that magnitude in price? It would be different if this was an analog synth, and maybe that would be it, the Pioneer toraiz was overpriced by saying we have the Dave Smith filters thrown in...but as a sampler, there is really a limit in terms of value adds. Again, you could transform the MPC X into a true standalone DAW with VST capabilities, but that's just slamming an ultrabook inside, and throwing cost at some of the populat VSTs...which is less th value of a MPC and more just pre-packaging a bundle.- Unreall

When I posted about a LIMITED EDITION FLAGSHIP, I said between $7500 and $10000. However, others just ran with the $10,000 part. Yet after the build of the machine, we have to calculate companies ROI and the retail store mark up, shipping, packaging, export/import tariffs, and LOCAL TAXES. The price could be lower if it's only pre-order/direct sale.

I've priced out a rig built around MPC Renaissance and Software 2.0 and to get what I need it's 4200K in parts. I can have case built to house the MPC REN so it feels like 1 piece.

CharlesRandolph wrote:

Frisbi wrote:I am quite sure there were a lot of MPCs in these records, and they had a cpu maybe 10 times less powerful then Live, maybe less.
Watch Portishead and Massive Attack live concerts of the end of 90s.

This is massive attack studio in 2005.







Direct Link: https://www.soundonsound.com/people/massive-attacks-new-studio

Great.
What about Blue lines?

he said so he can drive it lol OMG lol Green you are insane lol

Ill-Green wrote:A 10k MPC better be made in complete metal, circuits made in pure 14k gold. Pads like a glockenspiel and it better have an engine and 4 wheels so I can drive to the park and make beats at the parking lot.

Frisbi wrote:What about Blue lines?

They said they used Ensoniq EPS Keyboard, a Numark I775PPD mixer and a few other low-end gadgets. Yet they tracked the music at Coach House Studios, Hot Nights, Cherry Bear Studios, Abbey Road Studios, Eastcote Studios, Konk Studios.

Article: http://www.musictech.net/2015/03/landma ... ve-attack/

Danoc wrote::lol: he said so he can drive it lol OMG lol Green you are insane lol

Ill-Green wrote:A 10k MPC better be made in complete metal, circuits made in pure 14k gold. Pads like a glockenspiel and it better have an engine and 4 wheels so I can drive to the park and make beats at the parking lot.

DANOC, what's insane is that ILL GREEN is building custom made desk for the MPC LIVE. If that desk was retail ready, it would cost 2K and up. He's over here making custom furniture for KING LOUIE. Talking about 10K for a machine is too much.