This may be seen as a bit controversial given Roger’s recent comments about his royalty payments, but by all accounts, this was a user requested feature. The design of the MPC Renaissance is clearly heavily inspired by the classic Roger Linn MPC3000, certainly in terms of the overall colour scheme, the palm rest and most definitely in terms of the transport buttons (more about those later).
Of course if you need portability on a regular basis, Akai are clearly hoping you’ll show an eager interest in the forthcoming MPC Studio. However, I don’t think many people are buying the MPC Renaissance with portability in mind make no mistake, lugging it around in a bag or backpack for extended periods isn’t going to be ideal but for the occasional gig or transport to another studio, it’s not going to represent any type of ordeal. The MPC Renaissance weighs just under 5kg but due in part to that lower profile and the design of the side panels, which have a ridge for your fingers to sit under, the MPC Renaissance can be carried around with a lot less effort than the weight may suggest. What makes the Ren very different to previous ‘flagship’ MPCs is that it has a much lower profile, and this helps it move away from the more traditional ‘box-like’ quality that some MPCs possess. The MPC Renaissance is pretty much the same width as an MPC5000, but with the smaller depth of an MPC2500. Generally speaking, the MPC Renaissance certainly has a well built, quality feel about it.
The top and bottom casing are made of metal, while the grey sides are a svelte matt rigid plastic. Everything seems to have been built tightly and well put together, and there’s no creaks or loose sections.
Upon lifting the MPC Renaissance out of its box, the first impression is that it is a solid, well weighted machine. MPC Renaissance Review: Overall Build & Looks Only mildly evolutionary from a hardware perspective.
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