RECORDING September 2022 - 22

REVIEW
AKAI Professional
MPC Key 61
line outputs for audio, a 1
out, and two XLR 1
/4
/4
" headphone
" balanced combo
jacks for audio input. The audio input
is complete with +48V Phantom Power
and gain controls.
The MPC Key 61 can also function as
an audio interface and a keyboard controller
via USB. There is a USB 2.0 output
and a pair of USB inputs for connecting
external hard drives and other USB
devices. There is also an Ethernet port
along with built-in Bluetooth and WiFi.
On The Inside
The system runs on a quad-core ARM
processor with 4GB of internal RAM. Note
that while the MPC Key 61 can use an
external drive for added storage and can
be linked to your computer to control the
MPC2 Software, you cannot directly access
drives on your computer or vice versa.
Sonic Fabric
Onboard you will find a section of
more than 6,000 high-quality acoustic
piano, electric piano, Mellotron, string,
organ, FM synthesis, tube-synth, modern
synths and bass options galore thanks to
25 individual Fabric-XL-based plugin instruments.
Of course, you also get a wide
breadth of classic MPC drum sounds.
You can set up detailed performances
with easily edited splits and layers,
and each plugin offers a surprising
level of editing.
AIR
To mix your tracks and enhance your
sounds, you have the onboard AKAI suite
of AIR effects, including amps sims,
vocal effects, granular process, stutter,
half-speed effects and all the usual suspects,
along with a full-featured mixer.
The MPC Key 61 is also a digital multitrack
recorder. You can record vocals,
guitars, drums and more alongside your
sequenced loops and grooves.
This device does differ from many traditional
keyboard workstations. You can
work up entire songs all inside the unit.
However, they will be loop based in nature--just
how an MPC works.
22 RECORDING September 2022
David Blascoe
Longtime MPC User and Fan
As previously mentioned in my MPC Studio review (January 2022), for years, the
cornerstone of my production setup was a trusty old MPC1000. The associated quirks
and limitations quickly became touchstones that informed my style and approach to
sampling and sound design to this day.
Drop the Beat
As a drummer, beat maker and producer, I knew exactly how I wanted to proceed.
I dragged the MPC Key 61 in front of my drum set and plugged in a mono overhead
mic and a kick mic to the onboard XLR inputs. Once I got levels, I set it for an 8-bar
loop and recorded a simple groove. The input channels were quiet with plenty of
headroom, and I had no problem getting a great sound. I did some basic EQ and
compression with the included AIR Insert plugins. Then, I added a little tape echo to
the overhead for added flavor and viola! I had a vibey 8-bar breakbeat loop.
Next, I dove into the stock drum kits and stumbled upon a handful of kits labeled
Timbaland--very promising. After 30 minutes or so of tinkering and layering, I had
a finished loop with which I was pretty happy. While 30 minutes is not a lot of time,
remember that I am very familiar with the AKAI school of beat making.
Wrap Your Brain Around It
At the heart of the MPC Key 61 (and the entire MPC range) is the MPC 2 software-
a full-featured DAW of sorts that can accommodate entire song production. Since
almost all of us are married to our DAW of choice, there can be a steep learning curve
when first getting into the MPC world, but be patient. Once you get comfortable, the
legendary MPC workflow is in a class of its own and produces unique results.
Until We Meet Again
The MPC Key 61 excels as a sample-based beat making machine, and the added
synth sounds and keyboard take it to another level. As with any MPC I've placed
my hands on, the drum pads are above and beyond any other product I have used,
and they are so much fun to bang on. I think AKAI has done something special with
this one. In my opinion, you could go into a cabin in the woods with nothing but this
machine and make an entire record. That is saying something.-DB
A Trio of Use Cases

RECORDING September 2022

Table of Contents for the Digital Edition of RECORDING September 2022

Fade In
Fast Forward
Audeze LCD-5
Plugin Outlet: Slate Digital FG-DS 902
Session Log: Bleed and Leakage with Lou Reed, Part 2
AKAI Professional MPC Key 61
Mixing My Band: Üfer Two More Skip the Last
Soundware Showcase: KeyPleezer LivingRoom Upright
Ramin Djawadi: Two Decades in the Game of Scoring
The Latest in Logic Pro
Bettermaker Stereo Passive Equalizer
PSI Audio A17-M (new) Studio Monitors
Under the Influence of Dolby Atmos—Talking with Jonathan Morrison
Soundware Showcase: GoranGrooves Handy Drums
Inside The Studio With Mark Hornsby: Mixing the Tom Hemby Band
API Select T25 Tube Compressor
Plugin Outlet: Audified MixChecker Pro
Inside The Box with Joe Albano: Virtual Tape
Plugin Outlet: Arturia FX Collection 3
Fade Out
RECORDING September 2022 - Intro
RECORDING September 2022 - Cover1
RECORDING September 2022 - Cover2
RECORDING September 2022 - 1
RECORDING September 2022 - 2
RECORDING September 2022 - 3
RECORDING September 2022 - Fade In
RECORDING September 2022 - 5
RECORDING September 2022 - 6
RECORDING September 2022 - 7
RECORDING September 2022 - Fast Forward
RECORDING September 2022 - 9
RECORDING September 2022 - Audeze LCD-5
RECORDING September 2022 - 11
RECORDING September 2022 - Plugin Outlet: Slate Digital FG-DS 902
RECORDING September 2022 - 13
RECORDING September 2022 - Session Log: Bleed and Leakage with Lou Reed, Part 2
RECORDING September 2022 - 15
RECORDING September 2022 - 16
RECORDING September 2022 - 17
RECORDING September 2022 - 18
RECORDING September 2022 - 19
RECORDING September 2022 - AKAI Professional MPC Key 61
RECORDING September 2022 - 21
RECORDING September 2022 - 22
RECORDING September 2022 - 23
RECORDING September 2022 - 24
RECORDING September 2022 - 25
RECORDING September 2022 - Mixing My Band: Üfer Two More Skip the Last
RECORDING September 2022 - 27
RECORDING September 2022 - 28
RECORDING September 2022 - 29
RECORDING September 2022 - Soundware Showcase: KeyPleezer LivingRoom Upright
RECORDING September 2022 - 31
RECORDING September 2022 - Ramin Djawadi: Two Decades in the Game of Scoring
RECORDING September 2022 - 33
RECORDING September 2022 - 34
RECORDING September 2022 - 35
RECORDING September 2022 - 36
RECORDING September 2022 - 37
RECORDING September 2022 - 38
RECORDING September 2022 - 39
RECORDING September 2022 - The Latest in Logic Pro
RECORDING September 2022 - 41
RECORDING September 2022 - Bettermaker Stereo Passive Equalizer
RECORDING September 2022 - 43
RECORDING September 2022 - PSI Audio A17-M (new) Studio Monitors
RECORDING September 2022 - 45
RECORDING September 2022 - Under the Influence of Dolby Atmos—Talking with Jonathan Morrison
RECORDING September 2022 - 47
RECORDING September 2022 - Soundware Showcase: GoranGrooves Handy Drums
RECORDING September 2022 - 49
RECORDING September 2022 - Inside The Studio With Mark Hornsby: Mixing the Tom Hemby Band
RECORDING September 2022 - 51
RECORDING September 2022 - 52
RECORDING September 2022 - 53
RECORDING September 2022 - API Select T25 Tube Compressor
RECORDING September 2022 - 55
RECORDING September 2022 - Plugin Outlet: Audified MixChecker Pro
RECORDING September 2022 - 57
RECORDING September 2022 - Inside The Box with Joe Albano: Virtual Tape
RECORDING September 2022 - 59
RECORDING September 2022 - 60
RECORDING September 2022 - 61
RECORDING September 2022 - Plugin Outlet: Arturia FX Collection 3
RECORDING September 2022 - 63
RECORDING September 2022 - 64
RECORDING September 2022 - 65
RECORDING September 2022 - 66
RECORDING September 2022 - 67
RECORDING September 2022 - 68
RECORDING September 2022 - 69
RECORDING September 2022 - 70
RECORDING September 2022 - 71
RECORDING September 2022 - Fade Out
RECORDING September 2022 - Cover3
RECORDING September 2022 - Cover4
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