SUMMER NAMM 2015: Akai announces "ultra-sensitive" new MPD pad controllers
'Thick Fat' MPC pads on the MPD218, MPD226 and MPD232
MPD: the next generation
SUMMER NAMM 2015: Akai loves a pad controller, and the company has just beefed up its range of them with the announcement of the second generation MPD series. This contains three models - the MPD218, MPD226 and MPD232 – all of which are said to offer better performance and expanded feature sets in comparison to their predecessors.
The design of the new controllers is said to have been based on extensive research and feedback from users. Each one now sports 'Thick Fat' MPC pads, which are said to be ultra-sensitive and amazingly responsive.
Other key improvements are as follows:
- The MPD218 has red light-up MPC pads and a greatly expanded control set of 6 knobs in 3 banks vs one control on the previous MPD18 model
- The MPD226 has an expanded control set of 4 knobs, 4 faders, 4 buttons in 3 banks for 36 total controls vs 12 controls on the MPD26
- The MPD232 boasts an all-new 64-channel 32-step performance sequencer, which the MPD32 did not have
There's also iOS compatibility - providing you have a Camera Connection Kit, that is - while each controller comes with a sizeable software bundle. This includes Akai Pro MPC Essentials, Big Bang Drums and Big Bang Cinema from Sonivox, Ableton Live Lite, and the Software Preset Editor.
"The MPD218/226/232 family marks an important evolution in our pad controller series. Six years of research and customer feedback has led directly to some of the most capable pad controllers we've ever developed," said Dan Gill, Product Manager for Akai Professional.
"Our goal was to create controllers that respond quickly and intuitively to the player's input, to make their playing experience the best it can be. We're very excited about these new units."
Click through the gallery to find out more about each individual model (including its price), and head to the Akai Pro website for further details. All of the new MPD controllers will be available in the summer.
Akai MPD218
- 16 Thick Fat backlit MPC pads
- 48 assignable pads accessible via 3 banks
- 18 assignable 360-degree potentiometers accessible via 3 banks
- MPC Note Repeat and Full Level
- iOS compatible using the Camera Connection Kit (sold separately)
- 16 configurable presets
- USB powered, no AC adapter required
- Includes Ableton Live Lite, Akai Pro MPC Essentials, Sonivox Big Bang Cinematic Percussion and Big Bang Universal Drums
Akai MPD226
- 16 Thick Fat RGB illuminated velocity and pressure sensitive MPC pads
- 64 assignable pads accessible via 4 banks
- 4 assignable faders, 4 assignable Q-Link knobs, 4 assignable Q-Link buttons
- 36 assignable controls accessible via 3 banks
- Classic MPC Note Repeat, MPC Swing, 16 Level, Full Level and Tap Tempo
- 30 presets total, with configurations for most popular DAWs
- iOS compatible using the Camera Connection Kit (sold separately)
- MIDI In and Out jacks for controlling external gear
- Dedicated Transport controls
- Includes Ableton Live Lite, Akai Pro MPC Essentials, Sonivox Big Bang Cinematic Percussion and Big Bang Universal Drums
Akai MPD232
- 64-part, 32-step sequencer to control pad events
- 16 Thick Fat RGB illuminated velocity and pressure sensitive MPC pads
- 64 assignable pads accessible via 4 banks
- 8 assignable faders, 8 assignable Q-Link knobs, 8 assignable Q-Link buttons
- 72 assignable controls accessible via 3 banks
- Classic MPC Note Repeat, MPC Swing, 16 Level, Full Level and Tap Tempo
- 30 presets total, with configurations for most popular DAWs
- iOS compatible using the Camera Connection Kit (sold separately)
- MIDI In and Out jacks for controlling external gear
- Dedicated Transport controls
- Includes Ableton Live Lite, Akai Pro MPC Essentials, Sonivox Big Bang Cinematic Percussion and Big Bang Universal Drums
I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.
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