In July 2021 Akai launched the possibility to use an external audio interface with their popular MPC product range. Independent from the MPC model that you owned (MPC-X, MPC-Live2, MPC-one and the Force) this upgrade was available and gave you the option of a maximum of 32 inputs and outputs. That is when using your MPC as a standalone device without a computer connection. Really forward thinking from Akai. The external audio interface must be USB audio class compliant. Which most newer converters are but it does not guaranty a proper working on forehand, with the Akai hardware.
Another big drawback is the sample rate. The Akai MPC only supports a sample rate of 44.1khz with external audio interfaces. Most studio’s work on 48khz sample rate these days. This sample rate gives the converters a little bit more “air to breath” in their internal AD/DA filter settings. Resulting often in a better sound stage.
Converter sound quality became the number one discussion topic of 2023 in the Akai MPC owner world. The build-in converters of their new top of the line Akai MPC-SE were missing punch and high-quality sound. Using external AD/DA converters gives the owner the option to choose an AD/DA converter of his liking and budget. It is a way out for users who want better sounding DA converters.
Here we are, facing the start of the year 2024. I wonder what are the possibilities today with external audio-interfaces linked to an MPC. Where are we from a technology point of view? Is it easy to setup on the Akai MPC? What about reliability?
During recording, how does it work with direct monitoring when recording for instance a vocal or guitar? The Akai MPC-X model has a highly underrated build-in monitor section that let you mix 4 analog inputs with the Akai output. Not easy to beat by an external interface.
Let’s dig into 3 creative scenarios of connecting your Akai MPC digitally with external converters and see where we are in 2024.
Option 1: StageConnect, a new audio concept
Hardware: Akai MPC, Midas DN4888 + Klark Teknik DN4816U
In 2022 a new concept was launched by the Music Tribe company for transporting 32 digital audio channels over one single XLR cable. It is called StageConnect. As the name suggests StageConnect has a focus on the live/podium market. But does not exclude any other usage either. The first PA mixer that includes a StageConnect interface is the Behringer Wing. Later, in 2023 the brand Midas launched their first StageConnect interface series with hardware units having 16 outputs, 16 inputs or a combo of 8 inputs and 8 outputs.
StageConnect
is a new
32 channel
audio network
Beside the Midas converters the brand Klark Teknik launched in 2023 a converter box that gives your computer, via USB, a connection with the StageConnect network. This connection can provide in total 32 audio streams (be it inputs or outputs). You can decide if this will be 32 inputs, outputs or any combination of these (8 inputs, 24 outputs etc.). The Klark Teknik USB interface is Audio Class Compliant. So now you feel where this is going to, I guess.
The price range is relatively cheap. The Klark Teknik cost around €200 euro and the Midas around €350 euro both consumer prices.
Testing the StageConnect
For this test I got the DN4888 Midas StageBox converter with 8 inputs and 8 outputs and the Klark Teknik USB interface. Both linked together using a XLR 110-ohm cable. This setup should provide the Akai MPC-X 8 inputs and 8 outputs via the USB connection of the Klark Teknik.
Main goal is to test if the StageConnect can work with the Akai MPC-X hardware. If it works I could extent it later with another 16 outputs or 16 inputs by simply adding another interface box to the StageConnect network.
Before jumping on the MPC I first did a computer setup test by connecting the Klark Teknik USB interface to my laptop. After some playing around with the switches on the back of the Midas converter (you must decide if it is a master or slave) a connection between all units and the laptop was established. Yeah, the new StageConnect network was up and running.
On the Apple MacBook-pro the Klark Teknik showed up as a standard USB audio interface at 48kHz with 24 bits. Music went fine back and forth from the computer to the Midas outputs and inputs. Next step, the Akai MPC-X.
So, I connected the USB cable into the USB hub of the MPC-X in standalone mode. Go to settings and select an external audio device. The Klark Teknik is immediately shown in the MPC audio interface list. So, select it and…bummer.
The MPC-X demands a sample rate of 44.1kHz and the Klark Teknik USB interface cannot follow the sample rate change that the Akai MPC requests. The Klark stays on the default StageConnect sample rate of 48kHz. That is strange because the StageConnect hardware can work on 44.1kHz according to its specifications. After some research It became clear that the Klark Teknik USB interface cannot be a StageConnect master and therefore cannot set the sample rate at 44.1kHz. The only equipment that can do this, at this moment, is the mixing console from Behringer called Wing.
There is simply no other hardware on the market yet that can manage the StageConnect configuration. If you set the sample rate of the Behringer Wing PA mixer on 44.1kHz the StageConnect network will follow this. In that case the Akai MPC can assign into the StageConnect network and use all the converters in the network.
Direct monitoring with StageConnect during recording
As mentioned at the start of this article, low latency monitoring of your input during recording is one of the nice features of the Akai MPC-X. When you switch over to an external audio interface this build-in monitoring will no longer work. When using StageConnect monitoring becomes more complex than the Akai internal solution. It can only be achieved by using an external mixer where the to be recorded instrument and sounds from the Akai are mixed into a headphone mix. Or you use the software input listening within the Akai MPC, if latency is not a big deal.
How do the Midas DN4888 converters sound?
As stated in my other earlier published reviews, sound quality is a subjective thing and related to taste as well. I setup a comparison with the FerroFish A32-pro Dante converter. Using Apple Music loss-less as source, switching between both the FerroFish and Klark-Midas soundcards. The output of both converters went into my analog mixer. I listened on the Audeze LCD-X headphone. Everything level matched.
The Midas DA converters sound surprisingly good. There is a sound color difference with the FerroFish converter on both the high and the lows and the stereo width. But it is subtle and related to your preference as well. For mastering or 2-bus applications I would not use this interface. His place is at the start of the signal chain where the individual instrument line signals enter your mixer or DAW. Especially if you use the DA converters for mono instrument outputs into a mixer, the StageConnect Midas DN4888 is a bang for the buck. It sounds tight.
Option 2: Yamaha RUio16-D USB, Dante-Analog-USB interface
Hardware: Akai MPC, Yamaha RUio16-D, Cisco Switch, Ferrofish 32-pro Dante DA converter.
The second creative way of connecting an external audio converter to your MPC is by going into a Dante network. A Dante network provides many interesting options for studio usage and MPC stand-alone users. One of them are the routing functions within the Dante network. You can connect any transmitter with any or multiple receiver(s) within the Dante network. The latency of the Dante network is very low with values around 400us. The other amazing thing is that Dante can add a maximum of 32 channels of inputs and outputs to your stand-alone MPC (even with the cheapest MPC-One model). For more insights on Dante please check my article “Dante & Akai MPC”.
At the time of writing (December 2023) you can find a few stereo USB to Dante interfaces that can work together with the Akai MPC. But there is (as far as I know) only one interface that can provide 16 Dante inputs and 16 Dante outputs to the Akai MPC, and that is the Yamaha RUio16-D that we are going to investigate right now.
Testing the Yamaha RUio16-D
The Yamaha is originally made with a different use case in mind. The product is targeted to audio engineers in the PA world who are using a Dante network and want to run some VST3 plugins on a computer. To do so you route the Dante channels to the Yamaha interface. Then the Yamaha interface connects to a computer via its USB port. On the computer you run the plugins and return the processed signal back in the vice-versa route. But hey, we are creative and will use this device in a different way.
With Dante
you can route
32 Audio channels
to any destination
The Yamaha RUio16-D is an audio interface with USB, Dante and analog I/O. It looks and feels robust with a full metal enclosure. The unit can serve as a bridge between the Dante network and USB computer signals and the analog I/O.
In more detail the Yamaha RUio16-D has the following I/O:
- A 16 by 16 Dante interface.
- Two analog inputs on XLR with pre-amp and 48V.
- Two analog outputs on XLR with source selection and volume control.
- A USB interface with 18 inputs and 16 outputs.
- Headphone output with volume control and source selection.
The goal of the test: are 16 Dante inputs and outputs accessible by the Akai MPC in stand-alone mode? Let’s go.
- Step 1: hook up the RUio16-D to the Dante network. Funny enough the unit does not support its power from the LAN network (PoE) like all Dante equipment. You must use an external USB power supply (strangely not included in the box).
- Step 2: Configure the unit in the Dante network. Most important: put the sample rate of the unit on 44.1kHz. That is the rate that the MPC supports for external audio interfaces.
- Step 3: connect the MPC to the USB port of the RUio16-D. Go to settings within the MPC and you will see that it has detected the Yamaha interface. Select it and “bam” you are connected into the Dante network world.
- Step 4: setup a 16-channel audio routing within the Dante network from the Yamaha RUio16-D to an existing Dante 16 channel output converter to hear your beautiful beats from the MPC. In this case I connected the Yamaha with the FerroFish A32-pro Dante converter and then into my analog mixer.
This test is successful, I have 16 outputs from the MPC and 16 inputs to the MPC. No clicks or pops. It works stable. I can route the MPC audio channels to any other device in my Dante network (if the sample rate matches). Being it a recording device, headphone amp or monitor controller.
But the Yamaha has more to offer. A pair of analog inputs and outputs. I connected a synth to the inputs of the Yamaha RUio16-D and made a recording. You can find the analog inputs on channel 15 and 16 (they replace the Dante channels 15 and 16 at that moment). A perfect sounding recording and the latency was the same as with the Akai internal audio device.
Direct monitoring with the Yamaha RUio16-D during recording
Because the Yamaha RUio16-D has its own analog inputs in the audio interface itself, I expect that the direct monitoring is a little bit easier than with the StageConnect option. The analog input signal on the Yamaha is also forwarded to the output channels 15 and 16 on the Dante network. So it is easy to create a headphone mix on your external mixer or route it to a Dante Headphone amp. Due to the low latency of the Dante network (400us) it behaves as a Direct monitoring.
But Garro, what about the headphone output on the Yamaha RUio16-D? Can that be used during recording as headphone monitor mix? Well, it’s a bit funny but no you can’t. You can listen to the Dante channels 15 and 16 that the Yamaha receives from the Dante network, or the USB output channels 17 and 18. But it is not possible to listen to the analog inputs from the Yamaha or make any kind of monitor mix. I think Yamaha misted a big chance here. By the way, the sound quality of the headphone output I would mark as average but good enough for direct monitoring cases. Not for master applications. It does miss some low-end and high flavor compared to other headphone amps I have in my studio.
Option 3: An Audio Class Compliant audio interface
Hardware: Akai MPC, RME Fireface UFX
The third way connecting your Akai MPC with an external audio interface is just using the audio interface. Sounds easy but in practice it is not. The audio interface must be USB Audio Class Compliant. Based on experience and discussions in many user groups I know that not all Class Compliant interfaces are the same and work well with the Akai MPC. A lot of them generate clicks and pops or do not work at all.
Also, depending on the interface design and quality latency becomes an issue when playing back and recording audio.
Using a USB audio interface means that it will perform the DA conversion from the MPC to the analog outputs of the audio interface. These outputs are then connected to a mixer or recorder etc. There is no audio network integrated into the system like with Dante or StageConnect.
A deep manual diving
is recommended
before purchasing
For this test I use an RME Fireface UFX interface. This one is relative old but is USB class compliant.
It should give me a mighty 12 analog inputs and 8 analog balanced outputs + 4 unbalanced outputs (these are the headphone outputs). When connecting two additional external Adat interfaces I can even extent this with another 16 I/O….do I?
No wait, that is not true, in Class Compliant mode the RME interface behaves differently than when connected to a computer. When the sample rate is at 44.1kHz the first ADAT port will work (providing 8 analog in/outputs) and the digital AES output works as well.
This is one of the issues with audio interfaces in “class compliant mode”. You are never sure about it on forehand if it works and how many channels you get in this mode. A deep manual diving is recommended before purchasing an audio interface that must work with the Akai MPC.
Another attention point is the configuration of the audio interface. Almost all interfaces come with a computer application for routing and configuration. When attached to the Akai MPC you do not have access to this software. You have to rely fully on the user interface on the front plate of the unit itself. An important attention point when selecting your interface. The RME does have a full display and some knobs, so it is very well possible to configure it without the computer software, but it still feels a bit clunky.
Direct monitoring with the RME Fireface UFX during recording
There is no direct monitoring function available when using the RME interface in class compliant mode. This means we must create this outside the RME audio interface. We could loop back an input signal within the MPC to output 9/10 or 11/12 (the headphone outputs of the RME). It works but it is not “direct monitoring” because it will give some audio latency on the headphone.The other way to do it is making use of an external mixer where the to be recorded instrument or vocal first goes through and then it is sent to the RME inputs for recording into the MPC. Setting up a monitor mix with a mixer will give you a true low latency, monitoring.
Conclusion using an external audio interface with the Akai MPC in 2024
Hooking your Akai MPC up to an external audio interface is not as easy as it might sound. Most audio interfaces are not designed having this use case in mind. Monitoring during recording in the USB class compliant mode asks more creativity from you as engineer.
The most flexible way to go is by using the Yamaha RUio16-D USB – Dante – Analog interface. Dante itself has an extreme low latency and the routing functions of the Dante network are superb and give you many options for monitoring and recording. The fact that you can choose, mix and match your AD/DA converters that fit within your budget is a big plus as well.
If the in 2022 announced and in 2023 launched StageConnect system will be able (in the future) to set a sample rate on its audio bus without the use of the Behringer Wing PA console it might have a bright future in the studio and audio world. The Midas converters sound good and the fact that you can decide yourself how to divide the inputs and outputs between the 32 audio channels is a great upgrade in flexibility. At this moment (30th December 2023) there are almost no audio interfaces on the market that can offer this option. Price wise the StageConnect is very affordable.
The Dante network is the most flexible way to go. It is completely vendor independent. So, you can mix and match any manufacture of your liking in your setup and create one homogenous system. It will all work together.
For the near future, having a build-in option of the Dante interface in the Akai MPC-X or its nephew the world standard AES67 would cancel out the external Yamaha interface and offers all the routing flexibilities and massive digital inputs and outputs, right out of the box. This also implies that the Akai MPC would support higher sample rates with the outside world, fitting more in the current studio realities. Something I wish for in 2024 beside for now, a happy new year to you.
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About All4Dante
All4Dante is an independent platform for Dante equipment and networks. We perform tests and reviews of equipment in our own Dante lab and share the results on our platform. We see a future for Dante in the recording and pro-studio environment as well as in the music instrument segment. By addressing audience related topics we want to support the migration to a more AoIP world.
