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Akai Professional MPC XL: Illa J Demos Key Features and What’s New

Akai Professional MPC XL: Illa J Demos Key Features and What’s New
Drew Beaupré

The Akai Professional MPC has come a long way since the game-changing MPC60’s release in 1988. By far, the new MPC XL comes in as the most powerful model in its history, with its mammoth storage, plenty of RAM and enough included instruments and sounds to fuel anyone’s creative fire. 

MPC XL Specs at a Glance 

Before we dive into it, it helps to fathom the MPC XL’s immense potential by considering its unprecedented specs: 

  • 256GB solid-state drive 
  • 16GB memory 
  • Second-generation 8-core processor 
  • Two XLR/TRS combo inputs with preamps 
  • Two instrument inputs 
  • Stereo RCA input 
  • Stereo TRS main and eight additional outputs 
  • 8 Stereo 1/8" CV/gate outputs 
  • 2-in/4-out 5-pin MIDI DIN 
  • 24-channel I/O via USB-C 

And who better to show us the ropes of this latest flagship MPC than John Yancey, aka Illa J?

AKAI Professional MPC XL Video Demo with Illa J

The younger brother of the late J Dilla—a legend inseparable from the story of the MPC, particularly the MPC3000—and an accomplished rapper and MPC-based producer in his own right, Illa J reminisces about the magic of the old-school MPCs, some of the more modern MPCs and what makes the XL special.

“All of my mentors that produce use the MPC. It’s amazing to see how far it’s come, from very limited sampling time to the point now where you can pretty much do everything,” says Illa J. “It’s basically an SSL board mixed with an MPC. It really is an amazing piece of equipment. This is a full studio right here.”

What's New on the MPC XL

In this walkthrough, Illa J gives us a play-by-play demo of what the Akai MPC XL has in store for producers and beatmakers of all styles and workflows. “My favorite new feature is the Channel Command,” he explains. “Usually, if you wanted to adjust something on a specific track, you have to go to the mixer and the effects page. But now, I can just go straight to Track FX, Outputs or Submixes. It makes the workflow a lot easier.”

AKAI Professional MPC XL Top Panel View

Pictured: Akai Professional MPC XL Standalone Production Workstation

MPC XL Sound Palette and Plug-Ins

Then, of course, there’s the vast palette of sounds that take advantage of the incredible power under the XL’s hood. “You have so many plug-ins in the MPC,” he enthuses. “One of my favorite new plug-ins is Analog Dreams—got all types of basslines, pads and synth leads.”

MPC XL Control Surface and Workflow

Adjusting parameters on those plug-ins is easier than ever with the MPC XL’s 16 inline knobs, just below its giant touchscreen. Illa J elaborates: “Every parameter on the page is right here. It enables the workflow to be that much faster. I can just twist the oscillator instead of having to jump through the Q-Links to go to specific pages.”

Less menu diving and page flipping—more creating on the fly. Who wouldn’t want that?

Who Is the MPC XL for?

Given its astounding power, I/O and DAW-level control of your sound, the MPC XL transcends genre, catapulting it into uncharted territory. No longer is it only for hip-hop artists, producers, electronic musicians and DJs—it’s a formidable songwriting companion and studio hub for songwriters with a DIY ethos who are looking to arrange their music from start to finish.

Check out the full video to learn more of Illa J’s MPC XL tips and tricks, and how it can be a catalyst for your beatmaking, songwriting and producing flow. And if you like what you see, step into your local Guitar Center store to take it for a spin.

Drew Beaupré

Drew Beaupré is a multi-instrumentalist, audio engineer and writer. With a bachelor’s in psychology from Purdue and background as a gigging guitarist and drummer, he began his audio career at the world-famous Westlake Recording Studios, before venturing into live sound engineering for clients such as KCRW, Santa Monica College, CSULA and Nyjah Huston—eventually becoming studio manager at Guordan Banks’ Bank On It Studios in downtown L.A. He also has worked extensively with the industrial band Ministry, as an engineer at Al Jourgensen’s studio, as well as domestic and international touring stage tech for DJ Swamp and Joey Jordison. Prior to writing with Guitar Center, Drew has written for Fender and various music blogs.

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