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The MPD24 takes its design cues from Akai's MPC range of samplers

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Akai’s legendary range of MPC samplers debuted with the MPC60 back in 1988. Its 16 pressure- and velocity-sensitive pads became the MPC range’s trademark, that quick and easy beat-programming making it a big hit in hip-hop circles. It’s this appealing ease-of-use of that Akai are looking to recapture with the new MPD24.

This isn’t the first time Akai have launched an MPC-alike MIDI controller: the MPD16 was released back in 2002. Although this offered a reasonable approximation of the MPC’s front panel, it wasn’t without its problems, such as the lack of any kind of display and some quirky pad behaviour. The MPD24 certainly looks like a more serious piece of kit, but have Akai managed to sort out the performance issues under the hood?

Features

The MPD24 gives you six sliders and eight knobs (all of which send CC messages), 16 MPC pads and a small selection of transport controls. The unit plugs into a USB port via an included cable that both carries data and provides the power. If you do want to use the unit away from your computer to transmit MIDI (it has a MIDI Out), you can do so by plugging in a 6V mains adapter. You don’t get one of these in the box, though - it’s an optional extra.

The MPD24 is plug-and-play in the truest sense: as soon as your sequencer recognises it as a MIDI input, you can start bashing away. There’s no real need to delve into preset storing and editing if you don’t want to. Simple controls such as the Full Level button (which sets the velocity output of each pad to 127) ensure that you can get MIDI data into your sequencer with the minimum of fuss. The equally-useful 16 Level Mode, which sets each pad to transmit the same note value but at a different velocity, is another boon, particularly for recording each hit in a drum pattern as a separate take.

So how do the pads perform? Well, we feel that they’re something of an acquired taste. A solid tap is required just to register an input (even with the most forgiving sensitivity and velocity curve), so they can’t really be used for ultra-fast, soft playing. This was also true of the MPC2500, though, which the MPD24’s pads are derived from, so if you simply want a straight emulation of this, you’ll be right at home.

Pressure sensitivity is an added bonus, as you can use this to send aftertouch data. This can lead to some really expressive playing, especially when you’re using an instrument such as the supplied BFD Lite. And with four selectable pad banks, you can have a huge array of drum sounds at the ready if you take the time to assign them - just the thing for live work.

The assignable knobs and faders have a smooth action that makes them fantastic for entering cutoff sweeps or effects automation. Basically, they feel great when you’re using them. It’s a shame that the transport controls only send MMC data, though – they can’t be switched to simply output MIDI. We were surprised to find that Ableton Live didn’t respond to the MMC signals, so the transport controls were of no use.