Akai MPC XL

Sampling Workstation

By Simon Sherbourne

Akai go large with the super heavyweight MPC XL.

The MPC Live III was first on stage when Akai unveiled their next generation workstation platform late last year. My review in the February 2026 issue of SOS detailed the massively upgraded specs, new MPCe pads and a unified Force/MPC OS that integrates linear and clip‑based beatmaking. I concluded it is unique among its peers as a standalone DAW.

Now Akai’s flagship X‑series MPC has had the same treatment, including a redesigned layout to incorporate the new step‑sequencing features. I’ll cover everything that’s new and unique on the appropriately named MPC XL, explore the latest software features and consider which model is best for individual needs.

Music Production Console

The MPC Live III now has most of the capabilities of the larger model (eg. mic pres), so if portability and space are important you’re probably going to lean in that direction. This leaves a niche where the XL can really spread out and be the centrepiece in a studio or serious live show setting. The XL is big; even more so than the already imposing X or, say, Roland’s TR‑1000. It’s about two inches deeper than the X as the touch‑sensitive Q‑Link encoders have re‑formed behind the pads along with their displays and the new chunky step buttons.

The MPC XL measures a desk‑dominating 543 × 488 × 94mm and weighs in at a healthy 7.2kg.

Although this layout breaks the MPC’s long‑standing 4x4 encoder convention, for my money it’s a huge improvement. All key function buttons can now be sensibly grouped to the left and right of the pads, and there are even Shift buttons on both sides for one‑handed operation. Many functions that are buried in the OS or require two‑steps to reach on the Live have dedicated buttons. For example there’s a Chop button to take you straight to sample slicing, with a secondary Convert function: an essential operation normally hidden in a Shift layer on screen.

In the space freed up to the left of the screen there’s now a channel command cluster, with controls like mute, solo and level for the selected track, and buttons for banking. This also provides shortcuts to channel and mixer views like the track effects, which I used constantly. The top‑right mixer panel, which provides control of the various physical inputs, has gained extra metering.

The 10‑inch adjustable‑tilt display is much the same as before, and is one of the key advantages of this larger format MPC. Touch editing tasks that can be awkward on the other MPCs feel easier here, and the plug‑in and instrument UIs come alive. The screen is further away in this layout, but feels comfortable when you’re at the MPC with your arms on the front rest. With a MIDI keyboard in front of the unit it’s a bit more of a stretch.

The new panel is a huge win, but there’s a puzzling omission. One thing I was sure Akai would fix on a MkII X was the lack of a push function on the main encoder. On the other MPCs you can click the encoder to confirm selections; here you have to hunt for the Enter buttons in the cursor cluster or the numeric pad. In fairness, many encoder changes are instant and don’t need a confirmation, but for list selection and file operations it’s a shame.

Desktop Power

Commonly we talk about the trade‑off between the hands‑on, focused experience of a standalone production workstation versus the power and versatility of an off‑the‑shelf computer. These new MPCs disrupt this line of thinking with internal computing specs that read like a decent laptop, along with flexible workflow choices that include linear multitracking and a DAW‑grade internal mixer.

Like the Live III, the X has an 8‑core ARM processor, but the XL has double the RAM at 16GB. Likewise the internal NVMe drive is 256GB where the Live has 128. Even so, the internal user SATA bay is still there if you want it. The project performance ceiling is set the same on both devices: 32 internal instruments, 16 audio tracks and 256 total stereo voices. Everything responds and loads fast, and you simply don’t think about CPU and memory load during any typical usage.

With two phantom‑powered combo inputs on the Live III the connectivity gap has closed a bit, but there are still differentiators. The XL has an additional pair of line inputs and outputs for a total of four in and eight out. There are also four MIDI out ports, and twice as many CV outputs: a total of 16 available across eight TRS connectors.

As on the Live you get a pair of regular USB ports at the back to host USB MIDI devices or drives (not to mention audio interfaces up to 32 I/O), and the XL has an extra one at the front for easy access. The new USB‑C port is purely for connection to a computer or phone. Not only can you sample directly from a phone or tablet, you can stream 24 channels of audio back and forth to your computer. This is a much simpler way to integrate the MPC into your desktop DAW than using the MPC plug‑in and switching to controller mode. Controller mode is still useful if you want to work with VST plug‑ins in the MPC environment, but the software has fallen behind the hardware and things like the Arrangement are yet to be implemented.

On the back panel we find two combo jack/XLR audio inputs along with a pair of quarter‑inch jack and phono inputs, accompanied by a ground connector and line/phono level switch. Next up are eight quarter‑inch audio outputs, four MIDI inputs, four MIDI outputs and eight TRS CV/gate outputs (for a total of 16) and, finally, a trio of USB ports. Phew.

Still unique to the X tier are the instrument inputs on the front, which take guitar‑ and bass‑level inputs. I love having these available and with a bit of work you can even get some usable tones with the built in plug‑ins. This is especially true for bass, which works nicely through the amp sim and Flavor plug‑ins. Guitars work pretty well for cleaner sounds, especially paired with the lovely new AIR Reverb Pro. Overdriven sounds are not so good, and you can’t get anything close to a satisfying metal chug even with careful input level adjustment. I’m not sure if the impedance is not quite right, or if we just need a new high‑gain plug‑in option.

Encoders & Sequencer

We covered the new step sequencer in the Live III review, but there are some significant advantages to the implementation on the XL. A subtle but meaningful difference is that the step button mode labels are backlit, and the buttons are much bigger than on the Live III. This makes it more comfortable to use, and meant I wasn’t shining my phone torch on the panel to switch modes.

The other notable feature is that the encoders and displays can be combined with the buttons in a new Q‑Link Step Sequencer mode. This does also exist on the Live III in the MPC 3.7 update but makes most sense with the XL layout. The mode enhances a number of the step button modes. For example, in drum sequence mode, the encoders set velocity for each step, allowing you to quickly create dynamic parts without even touching the buttons. In other modes like Step Edit the encoders set parameter locks within the selected step.

The encoders have always been way more usable on the X than any of the other MPC variants, and on the XL they are brilliant: consistently providing the best way to interact with most parameter controls and editing functions using the dynamic Screen Follow mode.

Macro Performance Control

One area I’ve enjoyed exploring more since I reviewed the Live III is the extensive performance control capability in the new MPC software. This makes use of whatever controls you have on your particular device: encoders, step buttons, touch strip and now the pads too. It really shines on the XL with the encoders and dedicated displays.

Management of all macros (and a suite of internal modulators I didn’t even know about!) is collected within Q‑Link Edit mode. Here you can assign and define macro control of multiple internal parameters across the project for live performance, modulation and automation writing. If you’ve followed the development of the Force some of this will be familiar.

The latest software allows you to use the X/Y tracking and pressure sensitivity of the MPCe pads as macro controls separate to the dedicated drum track mod matrix. Assignments can be limited to the current drum track or opened up to the whole project. Somewhat oddly, you have to set up pad macros within an existing drum track, and in Project mode they get triggered from all drum tracks in the project. Unless you want the macros to also trigger pad sounds, you need to keep them in a separate bank. It might make more sense to have a non track‑based ‘Q‑Link Pads’ mode.

Following the theme of making features more accessible, the XL’s touch fader has two associated buttons for quickly assigning the function. Holding the dedicated Touch FX button pulls up all the cool Touch FX modules on screen for selection.

Using encoders and pads to create interesting dynamic changes is reminiscent of the excellent Performance feature on Elektron’s Analog RYTM. You can even set up Scenes in a similar way, assigning buttons to toggle between different settings. All can be set to momentary if you like. I configured an encoder to dial in a high‑pass filter then snap back to the previous settings when released. On top of all this there’s a Snapshot system which can capture the state of all parameters, but this is tied to clip scenes in the Matrix view. It would be fantastic if you could capture and recall snapshots in the Q‑Link buttons mode as well.

Feature Refinements

The XL of course has Akai’s new MPCe pads with their innovative positional sensitivity, which we explored in detail in February. These still only work in drum tracks, but 3.7 does add an easy way to assign samples to the four corners of the pads, without having to dig into some quite complex mod matrix programming. There’s also a new system called Partial Presets that allows you to apply previously saved subsets of parameters to a pad without affecting the samples.

The MPC is generally very good at this kind of thing. Many of the features like MIDI control setups or CV modulation patches can involve a lot of complex setting up, but you can usually save anything you do as a preset for future re-use.

The Matrix clip launcher hasn’t had any tweaks so my wish list from the Live III remains. One thing I’ve realised is that there are many subtle settings and it took a lot of experimentation to set it up so that (for the most part) clips record when I expect them to, don’t record when I don’t want them to, and record to the Matrix not the Arrangement. It’s still not quite there but there’s no doubt it’s a brilliant way to work. In particular, the ability to record a clip/scene launching performance complete with automation and the movement of all your prepared macros straight into an Arrangement (of which you can have multiple) is unrivalled. I’ve given up any hope of Maschine getting this after 15 years of asking.

Final Thoughts

The MPC XL is perfect if the MPC is at the heart of your workflow and you’re primarily studio‑based. Many things that feel two steps away on the Live are just there on the surface, and encoders with displays make a massive difference. If working on the move is something that appeals, or if the MPC is more peripheral to your process, then it’s the Live that makes more sense. The XL also carries a premium price tag, so don’t rule out the still capable One and Keys models.

As an all‑round production workstation the MPC XL is without comparable competition.

With the XL overlapping many of the features of a desktop DAW, I did ask myself whether it’s not just more convenient to work on the computer. What the XL offers though, beyond being an incredible drum machine, sampler and synth workstation, is immediacy and focus. I kept it switched on all the time and it became my go‑to place for jamming and recording, and the ability to capture impromptu arrangements meant I was more likely to progress ideas without needing to switch into editing headspace. The icing on the cake is the multitrack USB transfer for finishing. As an all‑round production workstation the MPC XL is without comparable competition.

Pros

Much improved layout.
The amazing pads.
24‑channel USB streaming.
Dedicated track mix controls.
Extensive CV support.

Cons

The main data dial is still not a push encoder.

Summary

The XL is the pinnacle of the MPC experience, offering direct, hands‑on access to all key working areas, and a wealth of customisable performance control.