Akai Pro MPC Live II Hands-On Demo

[embedded content]

The latest loopop video takes an in-depth look at the new Akai Pro MPC Live II, compares it to the MPC One and takes a look at what’s new in MPC version 2.8.

The MPC Live II is a portable standalone MPC that offers built-in speakers, a multi-touch display, a rechargeable battery, DIN MIDI, Ableton integration and 8 cv/gate outputs for connectivity to modular gear.

Topics covered in the video:

0:00 Intro
0:30 Live II vs I vs One
2:15 Buttons
3:30 Connectivity
5:45 Size
6:50 Storage
7:30 Speaker test
9:50 Version 2.8
10:15 “Cons” fixed
10:25 Track select
10:35 Q-link overlay
11:45 Pad perform
12:35 Timestretch
14:30 Retro record
15:25 Custom chords
16:10 Other misc
16:25 Multi MIDI
17:30 MIDI settings
18:45 Config & arm
21:00 Live looping
23:15 Pros & cons

Unreleased Avicii mix from 2011 to broadcast next week

The mix will broadcast on SiriusXM’s BPM channel on 24th May

DJ Mag Staff

Thursday, May 14, 2020 – 14:32

A previously unreleased mix from Avicii will be broadcast on SiriusXM’s BPM channel on 24th May. 

As part of the dance music channel’s live-streamed DisDance Festival from 22nd – 24th May, a mix recorded by the late EDM star in 2011 will be broadcast exclusively on the Sunday.

Other sets during the digital festival will come from the likes of Above & Beyond, Armin van Buuren, Alison Wonderland, Calvin Harris (as Love Regenerator) and many more. See the full line-up below. 

Tune in to DisDance Festival here.

Last month, a tribute mix for Avicii was shared on Tomorrowland’s One World Radio to mark two years since his death. The Swedish EDM star’s legacy and influence on the world of electronic music endures, with hit ‘Wake Me Up’ being named as the highest charting dance track of the decade. Earlier in the year, Avicii was awarded two posthumous Swedish Grammys for his album ‘TIM’, which was completed by friends and collaborators. Just this month, ‘TIM’ won the award for Best Album at this year’s International Dance Music Awards. 

Dark emotions pour out of quarantine-themed compilation from Moscow’s Kotä

The strangest thing about the pandemic moment may be its incongruous surface of normality. That’s where music can play a role. From Russia and beyond come some beautifully frightening sounds.

Image at top: Rezo Glonti/Aux Field, from Georgia. 2014, but fits the mood of the sounds, even if unintentionally (and check his track starting the compilation)

Everything about the virus is essentially invisible. But beyond just SARS-CoV-2, the pandemic touches on some of the crises of our societies – their fears, biases, and inequalities, propaganda and disinformation, and the cruelties of our hyper-connected world and its often privatized health infrastructure. And then there’s a personal side of the loneliness and isolation of our technologized world – feelings that predated COVID-19 and can hardly be cured by a Zoom chat.

It’s a matter of coping with accelerated loneliness and dissociation, fragmentary futurism. But it’s hard to put that into words in any language; a lot of these things are feelings.

What struck me about joining this compilation from Kotä is not only that I found sonic expression to be cathartic for myself, but that I felt the same cathartic release listening to everyone else. Social media can make us grow apart. But in sound, without even needing a common language, we can feel closer.

And music is this mysterious vessel into which your darkest feelings can transform into delight.

Memento was assembled by Moscow-based platform Kotä quickly. Each track is meant to be a “fingerprint” of the lockdown time. What strikes me is how much common sonic language there is here – without any coordination. A know a number of us worked from present field recordings – I did – but the synthesized sounds and sense of pattern and time have parallels, too.

Aux Field — Tbilisi
D. Dzhincharadze — Krasnodar
Vlad Dobrovolski — Matovo village, Kalugskaya oblast
Peter Kirn — Berlin
Wolffflow — Moscow
Vladimir Gorlinskiy — Moscow
Brinstaar — Начало мая (the name of the track “The Begining of May”) — Moscow
Gleb Glonti — Moscow
yerofeyev — Moscow
Dmitri Kourliandski — Moscow
Sasha Serechenko, Kate Pryanik – Vladivostok, ostrov Russki
Symphocat — St. Pete
::vtol:: — Moscow
Дмитрий Бёрн — St. Pete
Ekaterina Bazhenova–Yamasaki — London
Fesikl Mikensky — Moscow

I have no idea if this is just me or if you’ll get some of the same feelings of familiarity.

But I hear a rich journey from each diverse track. And then there are utterly transcendent, unexpected moments – like the sudden chimes of Vladimir Gorlinskiy’s “Weddinner,” which to me recalls Orthodox bell ringing but also suggests some ritual older than Christianity. Gleb Glonti leads the Kotä project, and his unadorned field recording is perhaps the most arresting. Sasha Serechenko and Kate Pryanik enter like a splintered dance solo, piercing the dense textures of the rest of the music. ::vtol::, who has been a frequent friend on the site for his sound art and electro-mechanical and media inventions, creates a yawning oppressive ambience that sucks you in for a full half-hour. Ekaterina Bazhenova and Fesikl Mikensky conclude with firey, violent distorted destruction.

Brinstaar not only contributed a gorgeous track but also, as always for the label, mastering – which navigates our murky compositions with clarity. His approach has the depth of fine-quality black-and-white film stock, in bringing out that spectrum.

For me, there’s a full through-plot here – a brooding nightmare from which you wake strangely calm, not disturbed.

If you do speak Russian, there is what I’m told is a really eloquent text that fully embraces the philosophy of this moment, composed by Oleg Sobolev for Stellage:


The most sobering message, especially as my native country and Russia at the moment face some of the deepest losses, is to “remember that you are mortal.” He calls for us to mourn so that those lost in death statistics don’t become simply abstract numbers.

“To listen is to experience,” he says, with sounds in which we hear tragedy and alienation “together and separately.”

I thought the worst form of whataboutism was to simply fall back on existing death. But that’s the whole point – disease is just an added reminder of that loss. Being silent in that pain requires us to deny life itself.

We’ve heard that architecture is frozen music. But maybe music is frozen time, captured feelings. We remember we are mortal, remember what it is to be alive, and then truly mourn those who are suddenly gone.

Music is often something we make alone. It’s something we can do alone. But then someone is always listening. And you hear things and feel that togetherness again, that sense of shared feeling that sometimes nothing else can provide.

Oh, and this tagline from Oleg I can quote, as he does, in English:

“If there’s a Hell below, we all gotta go.”

I feel long after this virus time is gone, I hope to come back and listen to this compilation – for that feeling, something deeper.


Akai Pro MPC Live II Offers DIN MIDI, Ableton Integration & Modular Connectivity

[embedded content]

Akai Pro has introduced the MPC Live II, a portable standalone MPC that offers built-in speakers, a multi-touch display, a rechargeable battery, DIN MIDI, Ableton integration and 8 cv/gate outputs for connectivity to modular gear.


  • Standalone MPC
  • No Computer Required
  • Powerful Multicore Processor System
  • Built-in Stereo Monitors
  • 16 Full-size Velocity Sensitive RGB Pads
  • Brilliant 7-inch Multi-Touch Display
  • 2 GB RAM, 16GB Onboard Storage, Over 10GB pre-installed content
  • Mac & PC Controller for MPC Software (included)
  • Stereo Inputs 3 Stereo Outputs
  • Phono Level RCA Jacks
  • 2 x MIDI In & 2 x MIDI Out
  • 4 TRS CV/Gate Jacks, 8 Outputs Total
  • USB 2.0 Slot for Storage Drives or Midi Controllers for use in Standalone
  • SD Card Slot
  • 2 USB 3.0
  • Expandable SSD Bay

Pricing and Availability

The MPC Live II is available now for $1199 USD.

Drive-in raves to take place in the UK this summer

The events are set to take place in London, Birmingham, Bristol, Cardiff, Edinburgh and Glasgow

DJ Mag Staff

Thursday, May 14, 2020 – 11:23

A series of drive-in raves are set to take place in the UK this summer. The events are set to take place in London, Birmingham, Bristol, Cardiff, Edinburgh and Glasgow.

Dates are set to be announced once Government guidelines allow them to take place, with the Facebook event for the drive-in raves stating that they will ensure “people have access to entertainment while also adhering to social distance”.

The events are hosted by Electrikal Sound System — a 50kw custom-built soundsystem that has played at events including Boomtown Fair Street Party, Belladrum’s Temple of Dub, and Outlook and Dimensions in Croatia — and TimeWarp.

Several clubs in Germany hosted “drive-in raves” earlier this month as a way of circumventing lockdown restrictions.

You can sign up for to receive ticket information for the UK drive-in raves here.

EDC shares set-times for virtual festival

EDC Las Vegas has shared the set times for its virtual festival, taking place this weekend. 

David Guetta, Afrojack, Don Diablo, Nicole Moudaber, Oliver Heldens and TOKiMONSTA are among the artists locked to play the live-streamed event, which takes place this weekend (15th – 17th May) in place of the real festival.

EDC Las Vegas was originally supposed to take place this weekend, but was postponed to October due to the COVID-19 pandemic. Last month, Insomniac Events – the promotion company behind EDC – announced a 100% digital event in its place. The Virtual Rave-A-Thon will be broadcast from 5pm – 2am PT each day.

Hosted by Insomniac founder Pasquale Rotella, the EDC-themed virtual rave will also feature live-streamed sets from Tchami, Claude VonStroke, Zeds Dead and KSHMR. 

Check out the full set times below. 

You’ll be able to stream the festival via Insomniac’s YouTube channel.

EDC Las Vegas is the latest festival to move into the virtual world due to COVID-19.  In the wake of its cancellation, Burning Man revealed that it would be hosting an online edition of its annual gathering this year. 

You can keep up to date with DJ Mag’s live streams via our YouTube and Twitch channels.