Bit of an update
Nothing too specific in this post. Just wanted to update a couple of previous posts.
Firstly, there’s the matter of the Akai MINIAK post where I went off on one about individuals spreading mis-information on the interwebs about things like the MINIAK, when they clearly lacked a) actual knowledge and use of the product and b) were clearly pumped up full of their own self importance.
Yesterday, my attention was drawn to the weekly podcast coming out of SonicState.com. In Show 124, Nick Batt and Dave Spiers made mention of the MINIAK and the ensuing commentary and referenced my article. To hear Dave Spiers, the man behind many great musical projects (KeyFax, Twiddly Bits, GForce Software) of which I have long ben a fan and admirer of, not only mention this blog, but appear to enjoy the content, was a real buzz. Here’s the clip:
So that was really cool. I’ll be joining in this weeks podcast via the chat room this afternoon at 4pm. Visit SonicState for more details.
I also recently passed my opinion on Prince and his new triple CD release, LotusFlow3r. I questioned the lack of official CD release outside of the US and the rather expensive alternative of signing up for his new website.
As I mentioned, many people were upset at this, and the fact that many online retailers here in the UK (HMV, Play, Amazon) seemed to be offering the album for price in the region of £30, when US customers can buy it exclusively from Target stores for $11.98.
Well, I noticed today that HMV have this little message on the LotusFlow3r page:
Prince
Do Not Stock: Legal Ban: Lotusflow3r (Lotusflower /Lotus Flower): 3cd£29.99free uk delivery
list price £42.99 – Your saving £13.00Availability: sorry this title is deleted
UNAVAILABLE
Legal ban? Uh oh. Looks like Prince has got his pack of lawyers busy again. Strange though as HMV Oxford St., London has plenty on it’s shelves at £29.99…
I’m guessing they’re imports, but am curious to know more on the “legal ban”. And, more to the point, for those of us too financially strapped to spend $77 on membership to his site, are we likely to see LotusFlow3r, on sale in a retail outlet here in the UK (and the rest of the world for that matter) for a price similar to that being charged in the US?
That’s all for now!
Oh, and next Saturday, 25th April, marks the 4th anniversary of the launch of the Failed Muso blog. Any suggestions on how I can (modestly) celebrate?
The power of the internet and the idiots that populate it
“With great power comes great responsibility”
Most recently used in the Spiderman movie, but often quoted elsewhere, this is a very accurate statement. The internet gives many individuals great power, but very few of them wield it responsibly.
I’ll cut to the chase and explain why I’m using that quote. A few years back, Alesis, an American pro audio manufacturer of synths, mixers, recording equipment and other hi-tech music devices, released its first synthesizer workstation, the Alesis Fusion. It was a brave and bold move into a market place dominated by the big 3 keyboard manufacturers, Korg (Triton), Roland (Fantom) and Yamaha (Motif). These three manufacturers were long used to vying for the top spot and Alesis’ move was questioned by many. They would have to bring something very new to the table besides a decent price point.
That was almost 4 years ago. Fusion ceased production last year. If you’re lucky, it can be found lurking in the bargain section of retailers or going for reasonable prices on eBay. Alesis no longer make a synthesizer workstation.
So, as you can probably tell, it wasn’t a truly successful venture. But why? Well, there are numerous reasons which could all be discussed at great length. I’ll mention a few here though. Firstly, the market was already saturated with established brands with their inherently loyal followings. Then there was the almost non-existent marketing. Also, the Fusion didn’t look the part. Its “retro-ish” exterior and layout broke from ingrained conventions. Then there was the functionality of the device. Its sequencer was linear, with no proper pattern based sequencing, much loved by many workstation users. The SATA port on the rear was never fully implemented. It took until v1.24 of the OS to get certain sync issues under control. Its presets were buried under a strange navigation system and the open nature of its internal architecture meant that many people got frustrated because they simply didn’t understand how to load, organise and store new sounds. Oh, and the manual was shockingly poor. Early versions claimed to have a Vocoder (printed on the packaging) but that never came about.
But, on the positive side, it offered 4 types of very powerful synthesis (Virtual Analog, FM, Physical Modelling and Sampling). All the other workstations out there only offered one of those as standard (sampling, mainly playback) and the others as additional paid for options. Its VA engine is extremely powerful, as is its FM engine. Sample wise, it has the benefit of actually being able to sample out of the box (unlike most of the others) and, with a little help from a small piece of free software, can import a number of other very popular formats. It’s a veritable sonic powerhouse and it retailed for significantly less than everything else in its league. It had a built in 40 or 80GB hard drive, it had on board 8 track hard disk audio recording via 8 external inputs, plus 32 tracks of MIDI. Powerful layer mix functions, ADAT and S/PDIF outs, big rotary knobs and a powerful modulation matrix, excellent quality key beds in 61 semi-weighted and 88 fully weighted versions. The hard drives also allowed for storage of an almost infinite number of sounds.
But, sadly, it failed. It sold enough to cover costs and give a satisfactory return on investment, but it didn’t set the world alight.
However, there was one REALLY big reason that Fusion failed to get a foothold. And that was the power of the internet and the idiots that populate it.
Even before Fusion made it into retailers, the forums and boards of the internet had started to fill up with posts and comments slating the Fusion. Virtually all were posted by fan boys of the big 3 (some even opined that these were direct employees of the big 3 themselves), and virtually all had not even seen or heard a Fusion! It was slated for its looks, its pedigree, its spec and its price. “Too cheap”, “Looks like something from the set of Buck Rodgers”, “No USB MIDI”, “No Pattern Sequencing”, “Alesis aren’t even Japanese, so how can it be good?”, and so on. Of course, Alesis shot themselves in the foot too. Poor marketing, silly little bugs, unimplemented promised features, poor choice of sample converter developer, clunky navigation of presets, and the like.
But the real damage was done by the power of the internet and the idiots that populate it. That is a provable fact. Sure, Alesis could’ve done things differently, but there is a vast amount of Fusion owners who use it completely and produce excellent results with it and from it. The fact that second hand eBay examples are still selling for good sums of money show the high regard it commands from those that ACTUALLY used it. The overwhelming majority of its online detractors never even got to be in the same room as a Fusion, yet still felt more than capable of writing page after page of error ridden bile about something they had no knowledge of. Because the Internet allows them to do so. It allows all of us to do so. It allows me to do this too.
So, why am I telling you the sad history of a short lived and much maligned keyboard?
Quite simply, it is happening again and I want to nip it in the bud. I want to call out the ignoramuses and challenge their idiocy and inaccuracies before they have a similar effect on a new product. The product in question is the Akai MINIAK. Launched only this week at Frankfurt MusikMesse (and launched late as the device got caught up in customs and only made it to the show for the last day or two), it has already been singled out by some self proclaimed “expert” as being the final nail in the coffin of Akai & Alesis. The offender, an individual who goes under the moniker of “SubAnalog” (he fails to give his real name anywhere) has posted comments on his and other sites, slating the MINIAK, but sadly his comments are riddled with inaccuracies and mistakes, as well as poor spelling, grammar and punctuation.
His own personal review (or attack) can be read here
For example, when referring to the MINIAK’s built in vocoder and its obvious similarities between it and the Alesis Ion & Micron synths:
The ION did NOT have a vocoder and I don’t think the Micron did either. It was a resonant filter. I called up the engineers at Alesis and they admitted that it was NOT a vocoder plus they also confesses that most fo the claims on the product sheet were wrong.
This mini(h)a(c)k is the freakin ION sound library. WTF – that was the worst synth I ever had BAR none
Follow up – for the record – NOT a vocoder. Looked over some specs and photos – that is a “tricked out” filter. There is NO carrier, you can hear the weakness, thus not a vocoder.
Same weak sauce as the ION. If you have never used a vocoder (I suspect Aleseis is in that category) you can be duped
Well, actually, the Ion DID have a vocoder, a 40 band one, just like the MINIAK, as did the Micron.
Another glaring mistake in this one man attack on Alesis:
Alesis specializes in:
Low ethics in their business practices (look at the mixer line and compare to Mackie. Case in point Mackie Onyx and Alesis Xenyx – hacks? – compare the specs and then theink “Why would you call it Xenyx?)
Alesis do not produce the Xenyx range of mixers. They are made by Behringer. Alesis produce the MultiMix range. No doubt, he hates Behringer too!
Apparently, he also possesses the power of prophecy when referring to the MINIAK:
I told my audio friends over a year ago that this will be the demise of Akai.
All quotes above are taken directly from his posts, with all spelling, punctuation and grammar left the way he posted it.
Investigating deeper on to his website yields some scary stuff. Not scary like “shit your pants” scary, more scary like “two people actually had sex and gave birth to this retard” scary:
Yeah, I am rather a prick about this gear. My bio warns you, and here I am again doing the same. I just want to level the data here. So here’s some stuff to lessen the blow.
First, I am wrong sometimes. I read things incorrectly, use it wrong, make a poor call, and so on. I will admit when I am wrong. Sh!t, google caches all this crap, so erasing my idiocy does little good.
Next, if I am wrong – let me know. I will put a considerable amount of time into researching your claim. If you are wrong and I am certain I will let you know. Go ahead and rock that whois information, you will be sitting by a PO Box for a long while trying to fight with me. I live in Colorado and the gun laws are pretty liberal here, so there may not be a fight, only a blood stain.
Also, this little gem:
I have called too many manufacturers out on sh!t and you are a bunch of losers. Alesis – 2x I called you out and you ran with your tail between your legs. Each of those 2 times I fired off a long list of LIES you called “features”. All bullsh!t. 100%. Dean (the old rep) hated me for what I told him when I beta tested the Alesis Andromeda – it was and still is a piece of shit. I was only truthful and not willing to be caught up on the smokescreen.
Ever notice how I have no reviews of current Moog synths? That is because they are so riddled with weaknesses and overwhelming stupidity I don’t even want to waste my time (the little Phatty is the least annoying of the lot and over prices by about $800)
His bio reads like the ramblings of an under achieving egotist with overwhelming delusions of grandeur.
He seems to have feelings of utter contempt and hatred for all things Alesis (and Akai, being guilty by association) although it’s not clear why. Maybe he got blown out by an Alesis employee when he came on to them too strong, or he could be a disgruntled ex-employee (watch out for this gun toting freak turning up in Rhode Island soon!)
Either way, his ill-informed, uneducated, ignorant, wholly inaccurate and laughable comments will be seen by those who actually know what they’re talking about as a whole heap of venom ridden bullshit. Just check the comments after his slating of the MINIAK at SonicState. His subsequent silence speaks volumes. I was also made aware of a response made to his post on his own site about the MINIAK which attacked his crapulent diatribe that never made it past SubAnalog’s moderation. So this guy can dish it out, but cannot take it. Hardly the basis for building credibility in the field.
Sadly though, there will be a bunch of people who will read this and believe it all to be true, and worse still, believe that the writer actually knows what he is talking about, which he clearly doesn’t.
So why have I made such a lengthy post about this myself? Am I an Akai/Alesis fan boy? No. Am I an Akai/Alesis Employee? No. Do I own Akai/Alesis gear? Yes. Do I own gear manufactured by many other companies? Yes. Am I paid to write this? No. Do I have a personal grudge against the afore-mentioned individual? No. Do I believe in freedom of speech? Yes. Do I believe that everyone is entitled to their own opinion? Yes, so long as it is an informed and educated one.
This guy is an utter fool and idiot. I personally won’t stand up and defend the MINIAK for two reasons. One, it is an inanimate object that does not need defending. Two, I haven’t used it and therefore cannot comment on whether it is good or bad. If I get my hands on one, I will be sure to let you know. If I like it I will say so. If I dislike it, I will also say so. But until then, I will reserve judgement. What I am attacking here, is the ability of one fool to propagate mis-information and bullshit and pass it off as considered and valid opinion. Many will smell it a mile away and treat it with the utter contempt it deserves, but many will read it and take it as gospel. And the knock on effects of this tiny (and it really is tiny) ripple could be significant. I am not being dramatic when I say that livelihoods are what may be at stake.
I urge you to be individual, free thinking people. Try things out for yourself. Listen to the good and bad and make your own mind up. And when you see such vitriolic tirades like his, smell the rat that it is and cave its head in with a shovel! ;o)
UPDATE:
Well, it would appear I have some very esteemed supporters on this issue, namely Nick Batt of SonicState.com and the mighty Dave Spiers, the man behind GForce (makers of fine software instruments such as MTron Pro, Minimonsta, Oddity, impOSCar, VSM, etc).
Check out the clip that mentions this subject below…
© Sonicstate.com. Reproduced by kind permission of Nick Batt, Sonicstate.com
Check out the entire SonicTALK Podcast 124 and others HERE.
More info on the Akai MINIAK
More details have been released on the Akai MINIAK synth, launched today at Musikmesse…
Create YOUR sound
The MINIAK is the first synthesizer from Akai Professional to be developed in partnership with the world-renowned Alesis synthesis team. The MINIAK brings together the control of the Akai Pro MPD, MPK, and APC series with powerful DSP sound-generation technology. The MINIAK is a perfect synth for producers in the studio and live performers on stage because, while it is extremely compact and portable, it’s a serious instrument for creating sounds for both performance and production.
The MINIAK puts up to eight multi-timbral voices at your fingertips, each with three oscillators. You can create interesting and unique sounds and take advantage of the more-than-600 preset sounds and store up to 1,000 programs in the MINIAK. The synth also has two multi-mode filters, three envelope generators, two LFOs, stereo effects, and a 40-band vocoder. On top of all of this sound-melding power, the MINIAK has a comprehensive sequencer with step and dynamic real time phrase sequencing, a drum machine/rhythm sequencer, and an arpeggiator to aid in creating the landscapes and textures you’re after.
Rounding out this complete instrument are high-resolution, 24-bit balanced 1/4″ inputs and outputs. The MINIAK has a 37-key semi-weighted keyboard with velocity sensitivity and aftertouch for all-in-one performance. It can also be used as a sound source for MPCs, computer software, and keyboards via MIDI.
UNDER THE HOOD
A MINIAK program is a sound built from the MINIAK’s internal oscillators, filters, and envelope generators. The MINIAK’s more than 600 preset programs span the range of classic analog synthesis sounds. If you’ve heard it before, you will probably find it in the MINIAK’s presets.
In a synth, oscillators generate raw sound. Their output is fed into the filters, whose output is fed into the amplifiers. As the signal moves along that path, you can manipulate the mix at several points and apply modulations, envelopes, and effects to create a custom palette of sounds.
SOUND GENERATION
The oscillators can produce different waveform types and shapes to create various harmonic structures, which our ears perceive as different timbres. Here are some of the waveforms you can create with the MINIAK’s oscillators:
Sine – Smooth, pure sound
Triangle – Fuller than a sine wave
Sawtooth – Harsh sonic character
Pulse – Harmonically rich, ranging from full-sounding square wave to a sharp impulse wave
The MINIAK’s oscillators can produce continuously variable waveforms, so it can can hit any point between these examples.
You can connect external audio sources – other synthesizers, mixers, guitars, and more – using the 1/4” inputs. The jacks accept either balanced or unbalanced cables. You can mix in the external audio sources with the MINIAK’s oscillators. The resulting combination is then sent through the MINIAK’s filters and effects. A special group of programs including vocoder programs exists just for use with the external inputs.
The outputs of the oscillators, the noise generator, the ring modulator, and the external inputs are fed into a virtual mixing board called the pre-filter mix. From here, the signal hits the filters. For each source, you can specify its level and its balance: how much is sent to Filter 1 and how much is sent to Filter 2.
FILTERING
The oscillators produce very raw sounds. To shape and fine-tune the sound, filters give you tools for dampening certain harmonics and boosting others. Filters alter the frequency content of the signal and can have a drastic effect on the sound. Each of the MINIAK’s voices contains two filters, and each filter can be one of the following different types, each with its own character and sonic flavor.
They are: Bypass, Low Pass: ob 2-pole, tb 3-pole, mg 4-pole, rp 4-pole, jp 4-pole, al 8-pole; Band Pass: ob 2-pole, al 6-pole, octave dual, band limit; High Pass: ob 2-pole, op 4-pole; three Vocal Formants, four Comb Filters, Phase Warp, Frequency, Resonance, Key Tracking, Envelope Amount, Offset, and Absolute.
After filtering, the signal is fed to the post-filter mix. For each filter output, as well as a pre-filter signal of your choice, you can specify a level and a pan.
OUTPUT PROCESSING
In the output stage, the MINIAK allows you to apply a drive effect and add some compression, distortion, or other amplification effects. The MINIAK allows you to set up twelve modulation routes. Each of these is a virtual connection between some physical or internally generated source and some program parameter. Basically, a mod route tells the synth to automatically grab a knob and tweak it while a note is playing. Although there are quite a few sources that you can use for your mods, the most common ones involve the LFOs and the envelopes.
LFOs
LFO stands for low-frequency oscillator. LFOs are not designed to produce sound, but instead to tweak a program parameter according to a looping pattern. For example, if you are looking to add vibrato, you need the pitch to continuously waver up and down. Each of the MINIAK’s voices contains two LFOs, each of which offers rate, depth, shape, and tempo sync. The MINIAK’s LFO can sync to the internal clock or any external source via MIDI.
ENVELOPES
If you hit a note on a piano, you hear a burst of sound energy as the hammer strikes the string, followed by lower level of loudness as you hold down the note and let the string ring out, which fades quickly as soon as you release the note and the damper is applied. Synthesizers model this behavior using ADSR Envelopes. ADSR stands for Attack, Decay, Sustain, and Release, and represents the different stages that the sound goes through over the life of the note. The MINIAK also has an envelope that is specifically designed for loudness, called the Amp Envelope. Envelopes are useful in all sorts of mod routes, which is why you can hook up any of the MINIAK’s envelopes to any modulatable program parameter. Each of the MINIAK’s voices contains three envelopes: Amp Envelope, Filter Envelope, and Pitch/Modulation Envelope.
SEQUENCING
The MINIAK has extensive sequencing and arpeggiation performance capabilities. Arpeggios and sequences both respond to a key-press by playing a series of notes over a programmed rhythmic pattern. An arpeggio loops over whatever notes you are holding down on the keyboard. If you hold down a chord, the MINIAK will generate a melody by playing each note of your chord individually. A sequence has a melody line built in so you can hold down a single key and the MINIAK will play back that melody relative to that key. Pressing another key will transpose the sequence.
The MINIAK has MPC-style step sequencing and recorder-style dynamic real time phrase sequencing. There’s also a drum machine/rhythm sequencer for the built-in drum sounds.
EFFECTS
The MINIAK has a full compliment of stereo effects including Chorus, Feedback, Theta Flanger (Phaser + Flanger), Thru Zero Flanger, Super Phaser, Notch Frequency, String Phaser, 40-Band Vocoder, Analysis Gain, Sibilance Boost, Band Shift, Synthesis Input, Analysis Signal In, Analysis Mix, six types of Delay, and three types of Reverbs.
With the extensive sound generating and manipulating power of the MINIAK, the sounds you dream up are as easy to create as twisting a few knobs. And creating complete soundscapes with the sequencer and arpeggiator couldn’t be easier. Step up to the only synth with the Akai Professional name… the MINIAK.
Synthesis: virtual analog (subtractive), noise generator, FM
Polyphony: up to 8 voices
Timbrality: up to 8 parts
Oscillators: 3 per voice with continuously variable waveshapes, sync, linear and exponential FM, Ring Mod, routable modulation matrix per voice.
Filters: 2 multi-mode resonating filters per voice with 16 filter types
Modulation: 2 LFOs with multiple wave shapes, sample and hold, tracking generator, freely-routable modulation matrix per voice
Effects: 4 drive effects, 1 per part; master effects
Sequencing: step sequencer, arpeggiator, drum machine/rhythm sequencer, and phrase sequencer
Program memory: up to 1,000 programs and multi-timbral setups
Velocity sensitive: Yes
Keyboard: 37-key, semi-weighted
External control: MIDI in/out/thru
Inputs: 2 balanced 1/4” TRS, mic
Outputs: 2 balanced 1/4” TRS, 1/4” TRS headphone
Controls: pitch wheel, two assignable Q-Link modulation wheels, X, Y, and Z parameter knobs, pattern play, phrase arpeggiator, latch arpeggiator, keyboard octave, tap tempo, program controls, data push-knob, config, store, master volume
Pedal Inputs: Assignable expression pedal, sustain pedal
* Eight voices, each with three oscillators
* Up to eight multi-timbral parts with stereo effects and 40-band vocoder
* Two multi-mode filters, three envelope generators, two LFOs, sample and hold, tracking
* generator
* Dynamic real-time and step sequencers, arpeggiator, and drum machine/rhythm
* sequencer
* Stereo bus effects including reverbs and delays
* 24-bit 1/4″ balanced stereo analog outputs and inputs
* 37-key synth-action keyboard with velocity sensitivity
* More than 600 preset sounds
* Sound banks: bass, lead, pad, string, brass, keys, comp, drum, SFX
Includes
* MINIAK synthesizer keyboard
* VPM1 gooseneck microphone
* Power supply
* Quick start guide
New from Akai at Musikmesse! MINIAK, MPK88 and MPD18
Three excellent new additions to the Akai product line introduced tomorrow at Frankfurt Musikmesse. The MINIAK looks particularly tasty! 
)
AKAI PROFESSIONAL ANNOUNCES MINIAK SYNTHESIZER
Virtual-Analog Synthesizer with Vocoder Developed in Partnership with Alesis
Cumberland, R.I. (April 1, 2009) – Akai Professional, the name synonymous with music production, announces the MINIAK, the synthesizer specifically designed for today’s music production and performance styles. The MINIAK will make its debut in Akai Professional’s stand, B 21 in Hall 5.0 at Musikmesse, April 1 – 4, 2009. Held in Frankfurt am Main, Germany, Musikmesse is the world’s largest fair for musical instruments, live music and the music business.
The MINIAK is the first synthesizer from Akai Professional developed in partnership with the world-renowned Alesis synthesis team. The MINIAK brings together Akai Professional’s excellent control feel with powerful DSP sound-generation technology. The MINIAK is a perfect synthesizer for producers in the studio and live performers on stage because, while it is extremely compact and portable, it is also a powerful instrument for creating sounds for performance and production.
The MINIAK enables users to create programs with up to eight multi-timbral voices, each with three oscillators. The user can create interesting and unique sounds and take advantage of the synthesizer’s more-than-600 preset sounds. Users can create complex and refined sounds using the MINIAK’s two multimode filters, three envelope generators, two LFOs, stereo effects and 40-band vocoder with gooseneck microphone. The MINIAK also has a comprehensive sequencer with step and dynamic real time phrase sequencing, a drum machine/rhythm sequencer and an arpeggiator.
Users will appreciate the MINIAK’s high-resolution, 24-bit balanced quarter-inch inputs and outputs for excellent sound quality. The MINIAK has a 37-key semi-weighted keyboard with velocity sensitivity for all-in-one performance. It can also be used as a sound source for MPCs, computer software and keyboards via MIDI.
“We have been watching a trend in music production towards using more synth sounds alongside samples,” said Adam Cohen, Director of Business Development, Akai Professional. “The MINIAK is the perfect way for anyone to get into synthesis, yet it is powerful enough for any professional to create the precise sonority they are after.”
The MINIAK will be available from musical instrument and professional audio retailers Q3, 2009.
AKAI PRO FURTHER EXPANDS MPK LINE WITH 88-KEY MODEL
MPK88 Performance Controller Features Exclusive MPC Technologies
Cumberland, R.I. (April 1, 2009) – Akai Professional, the name synonymous with music production, announces the MPK88, a new addition to its popular MPK series of keyboard controllers with MPC pads and technology. The MPK88 will make its debut in Akai Professional’s stand, B 21 in Hall 5.0 at Musikmesse, April 1 – 4, 2009. Held in Frankfurt am Main, Germany, Musikmesse is the world’s largest fair for musical instruments, live music and the music business.
The new MPK88 draws on the design of its siblings in the MPK series. The MPK49 and MPK25 each combine a MIDI-over-USB keyboard controller with genuine MPC pads and a sampling of the technologies that have made Akai Professional’s MPC series such an iconic music-production tool. The MPK88 brings the utility and creative control of its siblings to more dedicated piano and keyboard players, thanks to its fully-weighted, hammer-action keyboard with assignable keyboard split and aftertouch. Akai Professional designed this performance keyboard controller to specifically deliver the feel that serious keyboardists demand in a high-quality instrument.
In addition to the premium keybed, the MPK88 gives the player 16 MPC pads that are velocity and pressure sensitive and can access four banks of sounds each, for access to 64 sounds at any time. The MPC pads are the most recognizable feature of the MPC series, which has been among the most influential devices in the creation and production of music for the last two decades. The MPK88 also puts the player in command of their software with assignable Q-Link faders, knobs and buttons. The user can assign any Q-Link to control nearly any parameter in their software for hands-on, mouse-free performance. The MPK88 also has two assignable footswitch inputs and an expression pedal input.
Two technologies pioneered in the MPC series and built into the MPK88 are MPC Note Repeat and MPC Swing. These note-modifying features can be heard in many of the most popular tracks over the last two decades. MPC Note Repeat is a capability that enables the MPK to automatically play a rhythm pattern, such as 16th notes on a hi-hat, for accuracy and speed of entry. MPC Swing is sometimes referred to as “the heart and soul of hip hop,” because it turns perfectly aligned sequences into human feeling time alignments. Users can specify exactly the degree and timing of swing they want to apply for the perfect feel. The MPK88 also has an arpeggiator, which enables performers to build creative riffs instantly.
The MPK88 sends MIDI values over USB and a traditional MIDI jack. The controller works with most MIDI recording, sequencing and performance software as well as sound modules, synthesizers and other MIDI-compliant hardware, for musical performers from keyboard players to producers to DJs and VJs.
The MPK25 and MPK88 come with Ableton Live Lite Akai Edition software, one of the most popular and powerful performance and production programs in the world. Ableton Live Lite enables musicians to spontaneously compose, record, remix, improvise and edit musical ideas in a seamless audio/MIDI environment.
“Professional keyboard performers now have the control they need on stage and in the studio,” said Adam Cohen, Director of Business Development, Akai Professional. “The MPK88 has weighted keyboard action plus the performance flexibility and control of the MPC pads and technology.”
The MPK88 joins the semi-weighted MPK49 and MPK25 controllers, which have 49 and 25 keys, respectively.
The MPK88 will be available from pro audio and musical instrument retailers in Q3, 2009.
AKAI PRO MPD18 BRINGS MPC PAD CONTROL TO ANY SETUP
MIDI-Over-USB Pad Controller is Small and Portable for Versatility
Cumberland, R.I. (April 1, 2009) – Akai Professional, the name synonymous with music production, announces the MPD18 portable pad controller. The MPD18 will make its debut in Akai Professional’s stand, B 21 in Hall 5.0 at Musikmesse, April 1 – 4, 2009. Held in Frankfurt am Main, Germany, Musikmesse is the world’s largest fair for musical instruments, live music and the music business.
The MPD18 is the smallest-sized model in Akai Professional’s line of MPD pad controllers. DJs, programmers, producers and other musicians will find this MIDI-over-USB controller to be perfect for triggering samples, controlling software, and a variety of other applications. Its small footprint makes the MPD18 easy to integrate into any setup for stage performance, studio production or musical creation on the go.
The heart of the MPD18 is its bank of 16 velocity and pressure-sensitive genuine MPC pads, an Akai Professional exclusive. Users can access three different banks of sounds from the pads for a total of 48 sounds at once. The MPD18 also borrows the MPC series’ assignable Q-Link controllers, enabling users to control nearly any parameters in their software in real time on an assignable Q-Link fader and an assignable Q-Link button.
Users will find the MPD18 to be convenient, sending MIDI information over its plug-and-play USB interface for use with Mac or PC without installing any drivers. The USB connection also powers the MPD18 so musicians can use the controller with no power supply. The MPD18 can control nearly any MIDI software, as well as MIDI hardware, such as synths, sound modules, samplers, sequencers, drum machines and more.
“The MPD18 gives you the iconic control feel of the MPC in a compact footprint that’s easy to fit in any setup,” said Adam Cohen, Director of Business Development, Akai Professional.
The MPD18 will be available from musical instrument and professional audio retailers Q3, 2009.
