Akai has announced 2.0 OS for their flagship MPC5000 drum machine workstation, a free download for MPC owners. Now, the MPC itself has long been a bit minimalist in what it does – I think that’s part of its appeal, that it has resisted complexity. But users of the MPC1000 and 2000/2500 have as a result turned in some cases to an alternative firmware, JJOS, to get all the features they want. And Akai has generously looked the other way.

Akai says the 2.0 OS responds to user requests. Here’s what’s baked in:

  • Keygroup programs for chromatic, key-mapped samples (that wasn’t in there before, really?)
  • S1000/3000/4000/5000/6000, Z4/Z8 import
  • Effects automation recording, “an MPC first” (by which I assume they mean it’s the first time on the MPC, as this is commonplace in software, certainly)
  • Controller Grid Edit Window for graphical controller automation / event editing (something Roland has touted in the past on their machines)
  • “Chopshop” for slicing samples into smaller pieces, with a Zoom feature
  • MultiEdit: edit multiple pads at once
  • Quantize Track Mutes (something Ableton users, incidentally, have asked for but not gotten, although implementation on a computer is a different can of worms because of plug-ins)

Generally, it looks good to me – not anything that’s so impressive for those of us committed to computer workflows, but looks nice if you’re a 5000 owner. But as a non-MPC person, I’m not terribly qualified to respond. So I leave that to our MPC-using crowd. Let us know what you think, and whether you folks with devices like the MPC1000 and MPC2500 with the JJOS running are jealous – or don’t care.

Free download / more specifics:
www.akaipro.com/MPC5000

  • http://www.skratchworx.com Gizmo

    I'm sure there's only one opinion that Akai care about right now.

  • http://www.nickstutorials.com SoundDesignTutorials

    This doesn't look like it will hold a candle to JJOS, judging from some of the responses at mpc-forums and elsewhere.

  • RCUS

    Ugh, move on already. Really, with all the other options out there why in gods name do people still hype this machine? I understand starting off somewhere as a producer, but even as a beginner I think your money is MUCH better spent.

    Maybe I'm just jaded from my days at Sam Ash when customers would routinely return the 2000 because "it's got no sounds in it yo!"

  • Paul N

    RCUS made me giggle out loud just now.

    Back when worked in a music store the guys shopping for MPC's were always "producers" who had heard MPC was the top end "beat machine."

    Let me tell you- it sure was fun having to explain what a sampler and a sequencer did and were to someone who would follow up with a blank stare and a question like "but will it sound like (place hip hop act of your choice here)?"

    On the other hand- there were a couple of guys for whom this conversation led them down the path to the great gear wish list… A lot to be said for the gear addicted customer!

    It is, however, completely beyond me how this machine remains relevant to any work flow when cheaper software does more faster with more expandability. I think Akai see the end coming closer too- or they wouldn't be pushing into Ableton land…

    To each their own… but this all seems like tailored tuxes for dinosaurs to me… :D

  • http://soundcloud.com/cynic Cynic

    *yawn* where's that linndrum 2 again?

    ps: JJOS2xl users are laughing at you. we can do more at 1/4th the price. suckers!

  • http://www.myspace.com/inteliko inteliko

    Did they ever get the master transpose fixed?

  • will

    all of these things are in the jjos2. akai will never win. period. sorry. and the mpc 1000 with jjos2 is better than any other mpc. i dont have the energy to write a novel about why.

  • N.

    All that "trash-talk" from JJOS fanboys to Akai OS users is as fresh as week-old lettuce. Truth of the matter is, you have choices. Whatever works for you, works for you. I myself do not preach for one side or the other. I will only say that I haven't come across a single task I haven't been able to achieve on my MPC 2500, using the original OS, so I really can't justify paying an extra 100 dollars for features that don't really affect me that much. Then again my MPC needs are simple. Some people may have more extensive tasks for their MPC and they may be able to justify the alternate OS.

    But seriously, JJOS fans, before you continue with your (unnecessarily angry) rants against the original OS… How many classic tracks have been made over the years using the original OS on the MPC 60, 3000, 2000, etc? IF the original OS was as useless as you make it out to be, then the MPC wouldn't be too popular at all, would it?

    Once again, I'm not defending any sides… This is just a call for the tired old rants to stop cluttering forums and blogs. In the end, no one cares what OS YOU use. I certainly don't.

  • http://www.createdigitalmusic.com Peter Kirn

    I have to agree, here. I'm actually happy to hear raves about JJOS, just be specific. What's your JJOS got that Akai missed? My sense was absolutely that some happy JJOS users wouldn't see this as news – was just curious how that pans out in your actual music making. I need to do some forum digging to see if those threads are better, but, seriously, this is CDM — we'll all listen if you tell us specifically what you love about the thing. And yeah, even the hard core Ableton Live lovers / MPC haters will give you a fair shake. Believe it.

  • http://www.nickstutorials.com SoundDesignTutorials

    Agreed, no need to get angry or defensive about it. I've actually read some well-reasoned posts talking about the pros/cons of each OS, but it's true that most of the threads out there are filled with needless posturing. Kinda reminds me of the weird fanboyism that goes on with the Xbox 360 vs. PS3 thing. I suppose part of it is about justifying one's purchase after the fact.

  • RCUS

    "yo man. I brought it home, took it out the box and hooked it up. I hit the pad and nothin. ain't got no sounds in it man!"

    My reply: "Well, did you try ALL the pads?"

  • mcpepe

    S1000/3000/4000/5000/6000, Z4/Z8 import

    Can this be done with JJOS?

  • http://www.myspace.com/treesreachingdown Mike DoubleD

    Until the MPC 5000 gets JJ OS, I will not buy one.

  • bliss

    I'm holding out for the MPC7000.

  • apoclypse

    I've never been a huge fan of the MPC. I like software, its what I grew up with and what I'm used to. A lot "producers" out there think that just having the machine will magically make them sound like (insert big name hip hop beatmaker here), without really realizing that its just a tool. I've heard of producers who use Garageband and make hits (T-pain, if you are into that sot of thing). Its about the music not the tool.

    That being said, I think the future of these grooveboxes is something like Maschine. More and more beatmakers are moving to software as it provides more power and flexibility than something like the MPC. Even if they use he MPC heavily in their stuff they are still mixing down tracks to a computer or adding effects using plugins because the MPC effects kind of blow. What the MPC does well is sequencing, but something like Logic can do it better and faster than an MPC anyway.

  • Thomas Cermak

    computer plus software plus os = latency

    mpc = no latency

    final and only reason why I make beats on an mpc instead of live plus maschine (or choose your pick)

  • Rex Rhino

    Apoclypse:

    People use hardware (such as the MPC) because they don't like using computers for music. My computer 10 years ago blows away my in-production 'modern' MPC 1000, but I like my MPC. Software has already won the war… the people using hardware are unlikely to switch because NI attaches some drumpads to a hardware dongle or how many features you throw into Ableton. We just like hardware.

    Also, Logic (or any software) can't compare to hardware sequencers when sequencing external gear via MIDI just yet. The latency is much higher on the computer.

  • Thomas Cermak

    Now that I think of it. …

    I forgot to mention – I haven't tried ableton 8's new groove/swing parameters/quantization so I can't speak about that but there's something to be said about Roger Linn's swing quantize implementation in the mpc. That combined with zero-latency; next to no screen real-estate (hate screens since I see enough of them as a web designer); limited memory and functionality (which pushes me to think creatively); is why I use the mpc for most of my original composition … then record into live.

    Aloft all that, recording into my MPC forces me to think about analogue modularity. Let's say I record a soft synth into my MPC. Well, soft-synths often lack phatness, but since I'll record into my MPC I might as well send the signal through an actual amp (instead of using emulation) to acquire some real orotundity. Then, as often the case with my style of music (broken beat, glitch-hop), I'll record parts of the track into one stereo channel (again, perhaps sending the signal through something else analogue) and experiment cutting up and rearranging the whole mix in one channel. Works well for transitions.

    All in all I love working with external samplers because they make you rethink the music. I agree that the monome and other cool tools are incredible, especially if you like approaching music step-sequentially. For me, I need to drum and avoid screens. I even love roland vdrums. And for drumming/percussion, which is integral to every aspect of the music I make, nothing beats zero-latency.

  • http://www.myspace.com/treesreachingdown Mike DoubleD

    My newest track, "Houston, we have a problem." uses the MPC1000/Battery2. Drums were coming from both the mpc and battery.. The sample was cut and played on the mpc though. I made that beat in under twenty minutes.

    Click my name to hear it on myspace.

  • tobamai

    I meet a lot of people who stick with MPC's because of the name recognition. They don't have a strong argument built around features, price, quality, or ease of use when compared to alternatives… because they usually don't know much about the alternatives, just that MPC's are what they need to be a producer (just like technics and SSL are what they need to dj). I think RCUS's experience sums that up best.

    Latency is an informed point to argue for a hardware box vs software and MIDI pads, but a little work and knowledge can get latency down low enough that it's unnoticeable. The real point to be made there is that an MPC just works without any tweaking or messing with settings and drivers.

    People don't mention it much, but that's the strongest benefit to using dedicated hardware: Dedicated hardware will always be simpler and more reliable than generic hardware running specific software. It's like comparing an instant coffee maker to a kitchen. The tools in the kitchen can make all kinds of different things. If you use all of those tools right you can make a cup of joe and you'll be able to brew exactly the coffee that you want with all kinds of options. But you don't really need a whole kitchen if you just want some coffee. The instant coffee maker is much faster to setup and to use. For most people it does exactly what they want right out of the box and there's less to go wrong.

    With an MPC coffee maker you have to stare into a tiny window and then read a manual to figure out what menu its at and if that's the kind of brewing you actually want or not.

  • http://www.funfreegamesonline.net FunFreeGamesOnline

    wow, amazing… I liked it

  • http://www.digitallofi.com Puffer

    I'm late onto the MPC, actually coming at it after already learning sequencing and beat creation on software. My first reaction was definitely "Hun?" It seemed like a super fiddly way of mapping and programming a beat. "Eh. Give me a pad controller, drum software and a sequencer and I'll work much faster." Then I found a 1000 for cheap at a pawn shop (with case and cards and 16MB of memory) and I figured I wanted to really see what it was like to use one.

    And, this is what sold me, when I wanted to learn I took it with me on low-key vacation down at the coast. I just packed the MPC and a pair good ear-buds, with the unofficial MPC cookbook, and spent two weeks working with. Since my DAW is a dedicated stand-alone machine, I don't already have a traveling rig set up. I didn't have to worry about licenses or dongles or drivers or where I was going to set all this up. Plus it's a fairly solid build.

    Lately I'm wanting to put some soft of performance together. Not attempting what I do in my studio, but something low-key that I could take an open-mic set and just plonk down and perform. I can see myself doing this with an MPC. Or play with a band and be as drama free as a reliable bass player.

    This is where NI missed the boat, AFAIC. Oh, they'll maybe get around if this makes it to version 2 of the hardware. It's just a dedicated controller for yet another software. Someone, I think on AI, said something about being able to sit on his couch and make beats. Yeah, well, sit on the couch along with a laptop and an audio interface and the cables. And don't we all think that Akai and Live are about to wipe the floor in this department?

    The MPC isn't going anywhere, no matter how good the tools get software wise, or how tight the integration/latency. First of all, it has the name recognition; it's like ProTools or AutoTune; it would take the company folding completely (or being bought by Gibson) to loosen it's ubiquity. But more importantly it's as close to a guitar or sax or whathaveyou for what it does. When I bought it at the pawn shop I just made sure it booted and the card reader wasn't damaged. Can't do that with Maschine. So some kid can walk into a shop, or log onto Craigslist, and walk off with something that is self-contained music tool, and for now that will have the edge. Will 80% of them be clueless pretenders? No more or less than people buying guitars, and drums, and, yes, software.

    That said, when I saw the 5k in a store I was less than impressed; it just feels cheaper than the 1k/2k. I've just updated to JJOS1 and I'm learning that. Which has led to my second "Ah Ha!" moment; it really does improve things vastly. Once I strain at the limits of that for a while I may graduate to OS2. Or I may, as Thom says above, use the limitations to keep me focused and doing what is necessary rather the dreaming what is possible.

  • Thomas Cermak

    "but a little work and knowledge can get latency down low enough that it’s unnoticeable"

    sorry for the rant tobamai – I've spent years trying to reduce latency within various daws to achieve a latency low enough to please me. the lowest latency I've come across is 6-8 milliseconds throughput, and I've never been able to achieve that on my own machines reliably with more than 6 sample playback within ableton Live. the mpc can handle 32 sample (16 stereo) playback without a hickup. obviously the chip is ancient as shit and the linndrum 2 will probably smoke its ass when it goes public.

    And I do appreciate your metaphor. it hits on exactly what I don't enjoy about music production inside a traditional daw: there's way too much choice and often too many variables for errors to emerge from. for myself, I require limitations to get work done and to force me to think creatively and musically (with sound). sometimes that means a four track, sometimes that means a hand recorder, awhile ago it meant "tracker". Once I realized how often visuals distract me from rhythm (maybe because I'm dyslexic), I sought out something to help me infuse rhythm into every dimension of my "computer" sound. Back in 2000 (2001?) I heard this guy's music. His name was Scott Herrin. After autechre's LP5 I thought no one would ever make more beautiful music. I was wrong. Vocal Studies & Uprock Narratives shattered my idea of electronic music. Worse yet as I found out. That album was made all on an MPC.

    I teach ableton live workshops and I find that students of computer music are greatly hampered by the latency of their systems, and the hindrance of choice they are given. I have to teach them so much that they forget about all these wonderfully small features that they could exploit to produce wicked ambiance or beats. An MPC, yes with all it's limitations, has arguably just the right amount of complexity to its feature-set to allow a fair amount of users to exploit rather quickly.

    All this being said, I find that the MPC sucks for live performance. Live kicks ass (even with high latency) simply because of the step-sequencing and clip mixing you can whip up. I shared the stage with Scott once and I realized then the limitations of the MPC. He mostly just doubled beats to a backtrack played off of his mac the entire show.

    So here's to the beauty of both worlds.

  • vasculator

    ok just to get back on track. differences between akai os and jj os here.
    http://stansteez.com/files/pdf/JJOS_Comparison.pd

    this chart does not cover the new features of jj os2xl however.

    also JJOS does not run on the 2000/2500 just the 1000 and 2500.

  • vasculator

    one of the nicest features of jjos2xl is mono and stereo crossfade looping that works perfectly.

  • http://newcleardawn.com The Bob Campbell

    I like the idea of a hardware box with pads and dedicated buttons for sequencing, jog wheel for data edit on samples etc

    I think there's still room for it in 2009, despite computers and software.

    But what I can't get my head round is the simple fact that I can build a quad core computer for say £400-£450 UK money that includes a 20 inch LCD screen and 250gb+ hard drive – throw in Kontakt3, and any low cost sequencer e.g. Reaper, add an Akai MPK49 (oh the irony) for £260 and I'm all in for £1000.

    So £1000 gets you sequencing, sampling and editing power several magnitudes beyond the MPC5000, yet people are expected to spend upwards of £1500 for Akai's effort?

    It's been said before in other forums and I'll regurgitate it again, Akai (or rather Numark) seem to be trying to recycle technology from the early 90s, strangely removing what was cool about that era (bit crushed low sample rates etc).

    Now if someone would like to step up to the podium with a box that runs on a core2 or quad and has a touch screen lcd, multiple channels and instances of effects, etc Maybe it'd be worth calling a music production centre but increasingly now we're in 2009 the mpc is starting to look anachronistic.

    I guess the Open Labs or Receptor were hinting at these kinda possibilities but I guess it's a niche market.

    For me, it's the all in one box that is interesting, I'm amazed there isn't an MPC-like device that *doesn't* come with an OS but is in fact a midi keyboard/pads 'shell' with knobs on, bare bones pc and audio interface inside, leaving the user to roll their own.

    Having said that, i'm sitting in front of an MPK49 usb'd up to a Macbook and you know what? I guess it's already here.

  • http://newcleardawn.com The Bob Campbell

    p.s. the comments about latency I think are still erroneous. I'd usually be the first to defend hardware (e.g. 80s analog synths) for being absolutely instant to the touch, but I spent an hour with the MPC5000 this afternoon and I really can't detect any difference in the latency of the pads and the latency I experience in the studio with an MPK49 driving Kontakt3 via an RME HDSP9652 set to 3ms (128 samples which I can in fact drive lower if I wished).

    What I did notice though was a nice touch of latency accessing the MPC's menus whenever I hit the mode buttons :(

  • tobamai

    For The Bob and Thomas: Latency is a funny issue. Some very experienced musicians won't notice the difference between an MPC and an MPD32 while others find a MIDI pad controller unplayable. There's a lot of variables going into this from physical attributes like the particular pads used, playing style, and even distance from the speakers (move your rig another ten feet from your speakers and try drumming, you'll be surprised how different it feels). There's also things like past experience (a pianist expects a little latency on keys while a drummer does not), latency, and of course jitter.

    So you're certainly in the right to rant about that. It's wrong of me to say "unnoticeable." Just because I'm okay with the latency I have doesn't mean it's really the same. For anyone who might read this who's thinking about an MPC vs a MIDI pad controller, try them both and see how sensitive to latency and jitter you are.

  • Thomas Cermak

    I totally agree with Bob – I use an mpc 100 with JJ OS and will probably never buy another Akai product. That's why, as I know I've said before here that, I'm loyally waiting for the linndrum 2 because of my worship of Roger Linn's design genius and not Akai's profiteering.

    And I totally agree with Tobamai.

  • Claude Ravel

    I use an all soft set up for media music production. I also have a MPC2000xl that I love with a passion. It IS an instrument.

    Also my blond 2000xl with 8 out, FX card and smpte, has retained it resale value, way, way way, beyond any other piece of gear/computer. You should see my collection of $2500 plus Macs, now worth about 2 cents apiece.

    I know CDM is an Ableton rent boy fest, but I would never finish a track in Live, as the smearing and summing sound terrible to me. No desire to debate, it sounds bad to me. It is a great live performance tool, I am an owner since Live 1 and wish they had just stayed focusing on performance.

  • N.

    Ahhh I see we now went into the hardware vs. software debate. It was bound to happen. The defenders of software have made very good arguments for it and perfectly understandable, especially from the cost-efficiency standpoint… BUT… there's just something about hardware, beyond "name recognition" and hype, that just appeals to us "out of the box" people. Let me try and number some of my arguments for it without writing too much.

    1. As has been mentioned, the latency issue. Sure, with a good computer/soundcard setup, you'll get almost negligible latency… but it's always there. With hardware you get instant response. Turn it on, play a key, twist a knob, etc… you get exactly what you expect… without any lag at all.

    2. In this age, we are all tethered to our computers almost 24/7, be it for work, play, communication, browsing, etc. It's nice to be able to work on music if inspiration strikes, every once in a while, without having to spend even more hours staring into a computer screen.

    3. Limitations. I actually find that the inherent limitations of hardware help spark creativity. I think the "too much of a good thing" theory applies here. In the software realm, you basically get what seems like an infinite amount of virtual instruments at your disposal. You have SO many options, that sometimes you just don't know where to start. With a few dedicated boxes, you just leave more space in your brain to focus on making music, instead of just going crazy trying to "pick your weapon".

    4. Related to #3… if you have a few dedicated machines, you just invest a lot more time in learning to get a workflow with them. You dedicate yourself to getting the most out of their potential. I think, on the other hand, having a generic environment with an almost infinite amount of virtual instruments makes you lazy. You never invest time in mastering these plugins. You just keep collecting them and if you can't get instant gratification from one of them, you just load up the next one.

    5. Let's talk about something a little more superficial now… aesthetics. It just feels GOOD to have a sturdy, beautiful looking synth, drum machine, etc in your hands. All those knobs, those keys, those lovely LED's… and they respond immediately to your touch. That is just sexy. And hey, look at software synths. A lot of them actually LOOK like hardware synths. A lot of them are even EXACT emulations (at least in terms of interface) of hardware synths (think of Arturia). And even the ones that have more "software-like" designs still keep hardware-like attributes, such as knobs and sliders (think of Zebra 2, FAW Circle, Fabfilter Twin, Massive, etc). Manufacturers know that most people prefer an interface that they can relate to and could imagine as a real instrument. If not, then what we'd have is a bunch of plugins consisting of nothing but number boxes. Not very inspiring if you ask me.

    Anyways that's just my SUBJECTIVE look on things. Just trying to give people some perspective on why some people prefer hardware. I use BOTH hardware and software and sometimes I'm just in the mood to use hardware, other times I'm in the mood to use software (or sometimes it's just the only choice, like if i'm on the road), and other times I'm in the mood to use both. It's good to keep an open mind.

    And I told myself I'd try to keep the writing to a minimum. Yikes, so much for that plan.

  • yourk

    "N." Said "How many classic tracks have been made over the years using the original OS on the MPC 60, 3000, 2000, etc? IF the original OS was as useless as you make it out to be, then the MPC wouldn’t be too popular at all, would it?"

    Funny you should try to make that point N.

    EVERY one of the models you have mentioned has had the operating system updated AFTER the machine went out of production AND the MPC60 and the MPC3000 have had their OS updated by a third party, Namely Roger Lynn's company that he formed after separateing from Akai. Also the MPC3000 has several operating system improvements that are available here, http://www.mpc3000.com/updated_os.htm

    So there are Two Different companies that are making third party OS for the MPC3000.

    This is not just a JJOS issue. This is an issue of Akai having a 20 year history of delivering great harwar but having only a few operating system successes during that time.

  • http://firebrandboy.com Philip Cunningham

    "People use hardware (such as the MPC) because they don’t like using computers for music."

    Amen to that! A setup where you aren't able to check e-mail, twitter, facebook, myspace, cdm, make blog, 8bitcollective etc is an ideal one for me. Glad people are chiming in on this topic as I've always been interested in an MPC.

  • http://www.darrenhalm.com Darren Halm

    Wow. So many haters. I use a 2500 original OS and 1000 JJos right now. I like working with the hardware. Between that and my Allen and Heath mixer, I can leave the laptop off while working with parts. Not to try to flame on a site thats pretty much all about making laptop music, but do people really still care about watching dudes flip between scenes in Ableton in a live setting? Watching electronic music live these days is as dull as it was 10 years ago. At least nowadays we have people like Elijah Torn and Micah Frank using technology with real instruments and alternative, interesting control mediums.

  • IT CROWDED

    I work on a computer 8-12 hours a day.

    The last thing i want to see when i get home is a Monitor screen.

    Thanks goodness for my MPC2000 and the hardware synths that it controls.

  • N.

    "Funny you should try to make that point N.

    EVERY one of the models you have mentioned has had the operating system updated AFTER the machine went out of production AND the MPC60 and the MPC3000 have had their OS updated by a third party, Namely Roger Lynn’s company that he formed after separateing from Akai. Also the MPC3000 has several operating system improvements that are available here, http://www.mpc3000.com/updated_os.htm

    So there are Two Different companies that are making third party OS for the MPC3000."

    Touche', yourk.

    But i would think that all these machines were fairly popular, even before those OS updates. then again, maybe I'm wrong about that too.

    Like I said in my first post, I'm not putting down the JJOS, since I'm pretty sure it's an improvement over the original OS… i just haven't felt compelled to use it yet. The original OS is working fine for me. Call it laziness, if you'd like. Call it blissful ignorance. I'm fine with that :)

    If and when the moment comes that I find myself needing extra functionality, I'll be sure to give JJOS a try.

  • clarity

    Don't forget about the Vailixi OS for the MPC3000 from Mansell Labs – http://www.mansell-labs.com

    Yes, it's real, and it works beautifully.

  • http://Beatmakerstools.blogspot.com diggiti

    People havent learned yet

    Theres no reason to buy a Brand New AKAI MPC

    Why record Vocals,etc ON the a Drum Machine when I have Protools,Ableton live,Logic?

    The ONLY thing you use the MPC for is the Sequencer. The timing is perfect

  • http://beatmakingtools.blogspot.com/ diggiti

    the MPC5000 is a monstrosity !

    Can someone ELSE to create adrum machine for JJOS to run on

  • starving student

    ok I'll be short and quick, if you can't understand why someone would prefer an mpc over a laptop then (gulp) you're not a musician

    think about it, nobody ever has to explain why they would rather play a guitar than steinbergs

    virtual guitarist or a moog rather than minimonsta or other moog emulating software. honestly you guys are killing me. a computer is a computer and an instrument is an instrument, certainly a computer can be an instrument but it has some ways to go before it

    can compete on that basis with a turntable. comparing features of different os's is one thing but comparing a computer to an mpc i'm talking about the two boxes themselves is like comparing apples and oranges. they've made controllers that integrate with computers but they have in no way made computers and controllers that integrate with humans on the level of an mpc or any other stand alone instrument for that matter. any musician would know this.

  • starving student

    not so short I guess, but for the hard heads just to clarify, I am an ableton Live nut, I've been using it since version 1 and will not ever stop using it.

    my point is just because i'm an ableton fanboy that does not mean that my sense of reality is suspended, ,, I'm on the ableton site all the time talking about comparing features but there is no way that the mpc feels like less of an instrument than a computer desktop or laptop for that matter running any software. as a matter of fact the mpc is more of what all of you went from desktops to laptops for, because a laptop was closer to the feel of an instrument, well the mpc is even closer. here's a better analogy– the mpc is actualy a computer right, it's got software inside it and a controller that surrounds it, the controller and software are intergrated much better than any other type of computer and controller besides other drummachines, so which one is closer to a set of drums…..the mpc, it sure as hell is not a laptop hooked up to your novation or mpd or usb whatever, thats all i'm sayin and i know you all know this already so then why talk about mpcs like you don't know why us dumb dumb mpc users still use them?

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  • Chance

    Software versus the MPC. Some people, like myself, get mesmerized by the pretty screen of the computer and the multitude of choices.

    The MPC is so simple; it allows me to create without getting bogged down.

    I have a Protools rig with all the plugins in the world, but when i'm ready to create; it's the MPC, everytime.

  • http://www.djboogy.com Dj Boogy

    If it ain't broke , why try to fix it . I make all my beats with the MPC 2500 and can compete with anyone in the industry . With the JJ os XL it does the job nicely , don't beleive me ? Go to my site and listen to the beats this beast can make !!!

  • Musiciansrestpads

    I HIT UP JJ TO SEE IF THEY ARE MAKING A OS 3.0 FOR THE MPC 5000 SO IM WAITING ON THE EMAIL WILL GET BACK TO YOU SOON ..

  • seek

    I guess nothing back

  • Christopher Butera

    I know it’s been a while since this was written, but I have a question for you Peter… Being as you say you are not an MPC person, therefore not particularly qualified, why did you get the job of reviewing the OS update? Is there no one there that does use MPC’s, or at least own one?