Could Korg’s MPS-10 drum/percussion pad and sampler be a serious rival to Roland’s SPD-SX Pro?

Roland MPS-10
(Image credit: Korg)

Korg has launched what appears to be a rival to Roland’s SPD-SX Pro - arguably the best electronic drum pad right now - in the shape of the MPS-10, and it's billed as nothing less than “a gamechanger in drum and percussion technology.”

That said, the basic premise is pretty familiar: you’re presented with six velocity-sensitive pads that are used to trigger sounds. These are accompanied by four smaller CC pads, which enable you to do everything from applying filters and real-time tonal changes to firing off “EDM-inspired” drum rolls.

A total of 2,350 assignable instruments are included, powered by more than 3,000 samples, so you can expect “nuanced variations” when you hit harder or softer. Effects include a default master reverb and filter, along with two insert slots and a further master effect slot, and you can apply processing on a per-pad basis.

The Smooth Sound Transition (SST) feature is designed to maintain the flow when you strike a cymbal or repeat a sample, and you can create immediate silence with the appropriately named sound off button. There’s also a four-track looper, complete with dedicated effects, and you can import your own sounds via USB flash drive and assign them to pads.

You can also create your own kits using the MPS-10 Editor, which runs as a web application.

External triggering options include dual trigger-in terminals that, with the help of a Y-shaped cable, enable you to use up to four triggers at a time, and there’s an additional bass drum trigger.

Although the MPS-10 is a bit of a departure for Korg, the company does have some expertise in the percussive department. In fact, it was developed by the team that previously created the WaveDrum and Pearl e/Merge.

The MPS-10 is set to cost $999/£949. Find out more on the Korg website.

Ben Rogerson
Deputy Editor

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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