Gear Reviews

Anatomy

Straight out the box I liked this big and weighty controller keyboard. It is USB bus powered so the lights came on and it was working with Ableton in seconds. I selected the MPK49 as a control surface from the MIDI preferences page and everything was mapped and ready to go.

Just for the sake of clarity, the MPK49 is not a synthesizer, it has no onboard sounds. It is just a giant MIDI instrument to control soft-synths and effects inside your sequencer. So the power of a controller like this can only be realized if you have spent time building a library of instruments in your sequencer software. If you haven’t, then mileage may vary.

Theoretically the MPK49 is all the control you could possibly desire: a 49 key semi-weighted keyboard, big rubbery pitch and modulation wheels, 12 MPC-style drum pads, 8 long faders, 8 infinite rotary knobs and 8 buttons all on one control surface. I use at least three pieces of MIDI gear in my studio to achieve the same results.

So let’s take a tour through the features and see how the MPK49 measures up in a studio session.

A Closer look…

The unit has a sturdy build, although at the end of the day it is all plastic and won’t survive fire or heavy rock ‘n roll abuse. Get a board bag if you’re going to take it out to party. The keys are semi-weighted and don’t feel cheap like many other controllers on the market. They seem a little stiff for my personal taste, although admittedly I do play with a stylish one finger technique (left and right hand), so I won’t deduct any points for that. As someone who normally uses a shorter keyboard in the studio it felt luxurious to play on this 49 key model.

For the serious keyboard players out there, it has input on the rear for a foot pedal, an expression pedals and MIDI input and output to send and receive information between other sound modules. Strangely, if you would like to use the MPK49 without a computer, you would need to go out and purchase a 6V power adaptor, something not mentioned in the manual.

The drum pads proved to be a bit of a dilemma for me. The Akai website, and indeed both the local distributor’s drum expert and technician all assured me that the MPC-style pads on the controller use the same contact membrane technology as that of Akai’s highly respected MPC series, albeit made from a different rubber. For those not familiar, Akai in fact made its name with the MPC, the drum sampler of choice for hip hop producers since the late 1980s. What you do get is four different velocity curves available from the global preferences, however I found them a bit stiff for subtle velocity detection and actually banged them quite hard to achieve close to 127 velocity. This may just be my demo model (it is brand new) so my suggestion is to test this to see if it is to your liking.

Something else to take note is that the MPK25 and MPK49 both have a drum pad layout of 3 across and 4 up. Most software and hardware uses a 4 x 4 grid layout so you’ll find yourself needing to trigger the missing notes on the keyboard; not ideal. If this is an issue I recommend looking at the MPK61 or MPK88, both of which have 4 across and 4 up.

One of the redeeming features of the drum pads is they can be played using different velocity modes: variable velocity, at full 127 velocity, or in 12-step mode, where the last note played is mapped out over the 12 pads at incremental velocity levels – I found this useful for programming drums with very precise velocity control e.g. hi hat patterns.

Enough about the bloody drum pads, the big rubber pitch and modulation wheels hang out in the left corner and light up in the dark. Very cool, I had lots of fun with these, but I’m that kind of guy.

The MPK49 has got a very nifty performance mode that allows you to lock to your sequencer’s tempo and play with the in-built arpeggiator. It has fully tweakable arp modes, range, gate and swing. The drum pads have their own note repeat mode that is a similar kind of thing. The combination of these two features will allow somebody with the rhythm of a white man like me to whip up some very musical sounding chords, melodies and rhythms in no time at all.

One of my favourite parts of playing with the MPK49 was assigning all sorts of things in Ableton functions to the knobs, buttons and sliders. I simply clicked on MIDI learn mode in the software, moved the hardware and was ready to tweak to my nerdy heart’s delight.

Natively, the 8 sliders control volume, the 8 rotary knobs control the macros of any selected channel and the buttons toggle record arm on and off. These can easily be re-assigned using the MIDI learn mode, but why bother when you have 3 banks in total x 8 knobs, buttons and sliders. Even I thought that was a little over the top control.

Other features I enjoyed were the no-fuss, intuitive LED interface. Unlike some other brands out there, no parameters were ever more than a click or two beneath the surface.

I managed to whip up about 20 cool MIDI clips in Ableton using instruments, drum racks and samplers I had in my library. Overall I found myself using the MPK49 to control multiple functions, rather than clicking with the mouse. So if you’re looking for a MIDI controller keyboard to create and tweak lots of parts quickly, this is a sound bet and a solid workhorse (to mix a metaphor or two).

Verdict

The MPK49 comes with a copy of the Ableton Live 8 Lite. Basically it’s a hobbled version of the software, but you can upgrade to the full version at a 33% discount. The included CD also contains the VYZEX editing software and a user manual that makes it seem like an impossibly complex space ship flight panel. Why do user manuals seem like they are written by a depressed German scientist and then translated into English via Japanese?

So to sum up this big monster controller keyboard: AKAI has built itself a name for hi-quality performance hardware and this is no exception. Apart from the layout of the drum pads and a few other design quirks, I would be very happy to have the MPK49 as the master controller sitting in my studio or running a live show on stage. Is it worth the R 5,895.00 price tag? Well, that’s for you to decide so go try one out.

SA Distributor: Musical Distributors

Expect to pay: MPK25: R 3,795.00 | MPK49: R 5,895.00 |

MPK61: R 7,995.00 | MPK88: R 11,995.00

Anatomy

Numark seem to release a new controller very often and currently their website boasts no less than 16 variants on this theme. Clearly they intend covering every possible type imaginable!

The N4 fits neatly between the NS6 [Numark’s pro-level 4-deck controller] and the company’s Mixtrack Pro, their entry-level 2-channel controller. If the three were siblings the N4 is the typical middle child; it may struggle to differentiate itself from its bigger brother or smaller sister!

Size-wise it also fits snugly between the two aforementioned devices and unpacking reveals a well-built and solid machine. The shiny fascia will need looking after when transporting though to avoid nasty scratches but overall it looks pretty good in a ‘semi-pro’ kind of way.

Included in the box is a power adaptor and discs with Serato DJ Intro and Virtual DJ LE. On the rear of the unit you will find XLR master outputs (impressive) as well as RCA outs, RCA booth outputs and dual pairs of RCA inputs for line-in which also caters for turntables via the phono switch.

Naturally there is also a phono ground connector. The N4 also offers two mic inputs with a shared 2-band EQ and both mini and ¼ inch headphone jacks. Headphone sound quality is decent and thankfully loud enough.

The jog-wheels are identical to the Mixtrack Pro but the 4 channel layout, the loops, cues, FX buttons and transport section remind me of the Numark NS6. The mixer is a proper built-in mixer. In other words if you connect CD-players or turntables you can use the N4 as a conventional DJ setup. Of course the beauty of this is that you can combine both digital DJing and conventional.

An added feature is that with the use of Timecode vinyl or CDs you can also use said devices to control the software in Serato. General ergonomics are pretty standard – I do like the way the loop, FX and general master section is neatly tucked away at the top of the unit with a nice silver facia.

Other notable buttons not seen on too many units are the 4 Video fade buttons for use with Virtual DJ.

In Use

The N4 is designed for use with Serato DJ Intro or Virtual DJ LE, both of which are included in the package. Typically I opted for Serato first to test the unit (what is it about Virtual DJ’s rep?) but was not impressed with its very, very limited feature set.

Firstly it offers only 2 decks – not too much of an issue I guess as most DJs only use 2 decks, but other limitations I can’t get my head around include no cue points and no history! Oh, and you cannot widen or shorten loops with Serato DJ Intro either.

So whilst Virtual DJ may not score as high on the ‘coolness’ barometer, if I owned one of these units it’s certainly the program I’d use. Aside from 4-deck control plus Timecode capabilities, you also have full use of looping (a slightly clunky combination of shift-key and loop buttons is required to shorten or lengthen loops), video capabilities and an upgrade path to Virtual DJ Pro which will offer you full-screen video mixing too.

There is no current upgrade path from Serato’s DJ Intro. Both do have their pros and cons though. For example if you’re partial to a bit of scratching this is all but useless with Virtual DJ (jog-wheels way too sensitive) but works quite well with DJ Intro.

The hardware works great though and is auto-mapped to function seamlessly with both applications. One may not enjoy using the shift button for some functions (in Virtual DJ) but other than that it is a unit that is feature-packed and boasts an intuitive layout. It feels nice and solid in use and that’s important.

Verdict

Not quite the entry-level Mixtrack Pro and definitely not aimed at the high-end club DJ the NS6 targets, the N4 is a genuine mid-market unit that should find its way into a lot of recreational DJs and mobile DJ setups. Build quality and a sense of solidity are certainly in its favour and the feature-set cannot be ignored.

For example mobile DJs currently using a conventional rig of CDs and a mixer will find this unit offers some enticing options with the built-in mixer and Timecode capabilities. Video integration (albeit limited) is also another genuine plus for those hosting their own parties or doing mobile DJ work.

SA Distributor: Viva Afrika | Tel: 021 250-3280

Suggested Retail Price: R 5,358.00 incl. VAT

What Is It?

The Samson Auro D412 is a 2-way active loudspeaker with about 250W of programmable power, peaking at around the 400W mark through a bi-amplified system. The speaker is optically limited to ensure that they are not going to be overdriven and there is a multi-band processor as well as an internal 24 dB/octave time aligned electronic crossover to tighten up the output.

The Auro D412s are extremely compact when comparing them to other 12” speakers on the market and while the versatile speaker housing is of a lightweight polypropylene plastic they still tip the scales at 16.25 kg each. I say the housing is clever because the Auro D range is cleverly designed to run at either 30 or 45 degree monitor angles for near and far field coverage on small or larger stage spaces.

Samson have provided a two band shelving EQ and a strange level control rotary which handles both your line and mic in. Just remember that for the level control the 12 o’clock position is the 0db max mark for both the line and mic input so you will only be able to use one of the TRS or XLR inputs at a time. Right below your input section is the XLR line output to let you link up more active cabinets and there is a green power light and red peak light located on the back-panel of the D412 where you can actually see and keep an eye on it. Power input is via a standard kettle cord connection and there is a user serviceable fuse underneath your power on and off switch.

All of the Samson Auro cabinets are fitted with a standard 1 3/8-inch (35mm) speaker stand receptacle and have two fitted handle’s to cart them around, as well a single fly point on the top if you feel you want to suspend them.

Who Should Own One?

The Samson Auro D412s would be a perfect fit for mobile companies who are looking for a compact system that punches way above its size, and coupling the D412s with an active sub will really enhance the experience especially if you are looking at outdoor or medium indoor venues. Musos and DJs would also be advised to check out the Auro 412D for use as a small PA or doubling back as a really decent set of monitors. They are certainly compact enough to keep in the boot of your car just as a back-up option.

Another consideration would be for presentations, practice spaces and for travelling fitness instructors who need something lightweight but with a bit of punch.

The Verdict

The Samson Auro D412 measures in at 356 x 275 x 546mm and when I first got the box I had to check them again because they looked like a set of 10s!

But sure enough, after lifting up the weighty cabinets out the packaging I was reassured that I indeed had the correct models. That’s one of the best things about the D412, they really are ridiculously small for the volume of music they can put out, and they have been tuned to be flat in their frequency response, so they sound great on a whole stack of music from live, to electronic to dance. They will be fantastic booth and stage monitors and should be well suited to small shows and PA work.

My only real hang-up with the D412 is with the control panel on the back. The rotary controls for your EQ’s and level control are small and dinky but to be fair they are safely recessed behind the plastic frame of the speaker.

Also you have two sets of inputs but they cannot be used at the same time so that’s a little limiting. But those small issues aside the Auro D412 is a superb piece of kit that could give years of loyal service to anyone looking to get themselves a compact system or monitor.

Price: R 3,795 per speaker

Supplier:  Audiosure

Tel:  (011) 790 4600