mpc 2000xl lcd screen price

These screens utilize Super-twisted nematic display technology for a nice crisp and bright display available in Vibrant blue and White/blue backlights. Unlike the original design these are made to last.

These screens will fit in the MPC2000 or MPC2000XL. However, to make our screens work the best in both units, each unit uses its own firmware. So if you have an MPC2000 you will need one for the MPC2000 and if you have an MPC2000XL you need to order for the MPC2000XL.

These screens can also be inverted by using a jumper pin. This inverted mode will make the background white with blue letters, see INVERTED picture. The jumper pins are not included, if you have any questions please email us at sales@mpcstuff.com

PLEASE NOTE: We do recommend that you have the newest OS systems for your unit for optimal operation. For the MPC2000XL that is 1.14 or 1.20 (MCD Drive) and for the MPC2000 its the 1.72 version.These screens have been extensively tested and work great. In testing we have noticed one small thing when loading extra long samples, the bar that says load will show only half when loading. This does not effect the usage at all and the bar is not something that needs to be fully shown anyway. Its only the screen that shows the bar half. The sample is fully loaded just the same. This does not effect anything with the unit other than a small visual change for a split second.

If you have an MPC2000 (Not XL) if you have the 8 outs glitching of the screen in sample modes can be apparent it will not change the audio or function but glitching can occur visually on the LCD. So we do not recommend the 8 outs installed on the MPC2000 (not XL) unless you are ok with the screen glitching visually. If you have any questions, please email us at sales@mpcstuff.com

Brand new LCD replacement screens are finally here! After 2 long years of constant work, MPC Stuff has successfully remade the Akai MPC2000 / MPC2000XL V2 LCD Screens. These screens are outfitted with Super-twisted nematic display technology, for a clear and crisp, bright display. Using advanced technology, these units are made to last, unlike the original LCD screens that only lasted a few years. The new design does not have any update speed issues or major glitches in the display, as the V.1 displays did. These units work great, giving your MPC a brand new look and feel.

These screens work with the MPC2000 or MPC2000XL. Please note, each MPC unit uses its own firmware. So if you have an MPC2000 you will need to order one for the MPC2000, if you have an MPC2000XL you need to order for the MPC2000XL. Please make a note in your order what MPC unit you are working with.

These screens can also be inverted by using a jumper select pin. This inverted mode will make the background white with blue letters. The jumper pins are not included, if you have any questions please email us at bignoisempc@gmail.com

Note: We recommend you load the latest Operating Systems into your MPC for optimal operation. For the MPC2000XL that’s version 1.14 or 1.20 OS and for the MPC2000 that’s version 1.72 OS. These screens have been extensively tested in our lab.

During testing we have noticed one small thing when loading extra long samples, the bar that says load will show only half when loading. This does not effect the usage at all and the bar is not something that needs to be fully shown for functionality. Its only the screen that shows the bar half. The sample is fully loaded just the same. This does not effect anything with the unit other than a small visual change for a split second. Also, important if you have an MPC2000 Classic, if you have the 8 outs; glitching of the screen in sample modes can be apparent, it will not change the audio or function but glitching can occur visually on the LCD. If you have any questions, please email us at bignoisempc@gmail.com

AKAI MPC 2000 • MPC2000XL LCD SCREEN . AKAI MPC 2000 / MPC 2000XL LCD Screen The sale is for the internal LCD (Liquid Crystal Display) Quick Shipping - Professional Packing - No Excuses

The Akai Professional MPC2000XL MIDI Production Center combines a 64-Track MIDI Sequencer and a 32-voice Stereo Digital Sampler, with 16 velocity and pressure sensitive rubber pads, providing rock solid sequencing and drum programming combined with powerful sampling facilities in one convenient and portable desktop unit.

The MPC2000XL inherits many of the major features of the original MPC such as the legendary "feel" and "groove" so that you can be sure that your beats and sequences just swing. It also features the original MPC60"s intuitive transport and locate controls, the unique NOTE REPEAT function, plus new additions such as four bank keys to effectively provide 64 pads, multi-program playback, multi-track recording, simultaneous playback of a second sequence, Next Sequence key, Track Mute key, TimeStretch, Slice Sound, Resampling, plus folder file management. Add to these an improved friendly and intuitive user interface thanks to the graphic LCD, two MIDI ins and 32 MIDI channels via the two MIDI outputs, and options for multiple audio outputs, multi-effects, SMPTE Time Code and even Flash Rom memory, and you have a dependable "switch on and work" solution to computer sequencer headaches.

I"m having a problem with the lcd screen of my mpc 2000xl, if i"m direct in front looking at the screen, it"s difficult to see whats on the screen, only if I try looking at the screen from an angle, i"m able to see what"s on the screen.

The Akai Professional MPC2000XL MIDI Production Center combines a 64-Track MIDI Sequencer and a 32-voice Stereo Digital Sampler, with 16 velocity and pressure sensitive rubber pads, providing rock solid sequencing and drum programming combined with powerful sampling facilities in one convenient and portable desktop unit.

The MPC2000XL inherits many of the major features of the original MPC such as the legendary "feel" and "groove" so that you can be sure that your beats and sequences just swing. It also features the original MPC60"s intuitive transport and locate controls, the unique NOTE REPEAT function, plus new additions such as four bank keys to effectively provide 64 pads, multi-program playback, multi-track recording, simultaneous playback of a second sequence, Next Sequence key, Track Mute key, TimeStretch, Slice Sound, Resampling, plus folder file management. Add to these an improved friendly and intuitive user interface thanks to the graphic LCD, two MIDI ins and 32 MIDI channels via the two MIDI outputs, and options for multiple audio outputs, multi-effects, SMPTE Time Code and even Flash Rom memory, and you have a dependable "switch on and work" solution to computer sequencer headaches.

Three years ago Paul Wiffen concluded that Akai had brought the concept of the sampling drum machine up to date with the MPC2000. Now he takes a look at its successor to see how much more you get when you buy XL.

So does the same massive increase in capacity denoted by XL hold true in the world of sampling drum machines? Akai have just adopted this suffix for the new version of their MPC2000, a unit which I originally reviewed in SOS April 1997. Then, I decided that the MPC range had finally caught up with where other manufacturers had been when they went out of business 10 years before. This was thanks to the addition of looping and enveloping for percussion samples and tempo matching between loops. What new capabilities does the MPC2000XL boast to justify its gargantuan status? Or is it just a marketing ploy?

Well, the first addition is obvious enough with a single glance: the tilting LCD featured on earlier Akai units (but abandoned on the MPC2000) has returned, with three available positions. Although I did not particularly miss it on the 2000, I never tried to use that machine live. It is in the onstage environment, with lights and the resulting glare, that a feature like this proves its worth. Adjusting the tilt on the display is far easier than having to change the angle of the whole machine or, even worse, persuade the lighting guy to move one of his precious par‑cans. As the relentless march towards totally computer‑based systems in the studio and home continues, hardware manufacturers need to emphasise the better ergonomics of their alternatives, and that"s obviously what Akai are doing here.

In terms of controls, there are now four individual Bank buttons, allowing you to switch straight between the 16 sounds assigned to the pads in Bank 1 and Bank 4 without having to cycle through them by constantly pressing a single Bank button, as on previous MPCs. There is also a Next Sequence key which allows you to set up what you want to play next, while the current sequence plays uninterrupted.

The Open Window key soon proves to be your salvation when doing any kind of editing. Having selected the main mode you want to work in using the Shift key and the principal task using the function keys just below the LCD, you cursor around the screen to the parameter you want to edit. However, the overall sample display or whatever other visual feedback you get may not provide enough resolution to see what you are doing. I soon learned to press the Open Window key whenever I felt like this: this gives you a much higher‑resolution view of what you are working on (Sample End or Loop Start, for example).

Obviously, the fact that a £300 reduction in price has been achieved is quite impressive, particularly when hardware improvements like the tilting LCD have been added. Software expansion can often be added without extra cost (except for the man‑hours involved in writing the stuff, which can be spread over all the machines made), but in the case of the MPC2000XL, I suspect there is also a faster processor — as we shall see in the case of some of the new software capabilities.

All the improvements mentioned so far, whilst they might make the machine more reliable, more user‑friendly and more capacious, do not actually add to the suite of functions which it is capable of carrying out. However, I am happy to report that there are several additions to the functionality of the machine, and a couple of them are major ones, long overdue in my opinion. Three years ago, whilst praising the tempo‑matching in the MPC2000 (achieved by tuning the sample up or down), I remarked on the lack of time‑stretch in the machine. This was a particularly grave omission, since it is most often used on percussion loops, and by then it was a standard feature of all general‑purpose samplers.

Well, now at last there is a percussion sampler which offers time‑stretching, and Akai have clearly allowed the MPC2000XL to benefit from all the technology developed for their more general‑purpose samplers. Not only are there three levels of quality to choose from (processing times are related to the quality achieved, so you can do a low‑quality stretch to quickly check out if a loop works at the tempo of the target piece, and then do a higher‑quality version once you are satisfied that it does), but 18 different algorithms are available to suit different types of material. These include not only those obviously developed for use with rhythmic samples (Hfreq Rhythm, Mfreq Rhythm, Lfreq Rhythm, Percussion and Lfreq Percussion) but also more general ones suitable for a fuller loops (Music 1, 2 & 3) and those even more specificially targeted at chunks of vocal (Fem Vox, Male Vox and Low Male Vox) or orchestral hits (Hfreq Orch, Lfreq Orch and Slow Orch). This means that those irritating lifts of vocals or symphonic stabs which have been the curse of popular music for the last 10 years can now at least be in time and tune (instead of one or the other, as is often the case).

First of all, I decided to try speeding up a sample, as this is the more forgiving direction to go (the spaces in between the sounds get shorter, leaving the ear less time to notice problems). Getting to the time‑stretch screen is a slightly lengthy procedure involving selecting Shift/Trim, then Edit, then scrolling through all the available functions, which include Discard (data before start and after end), Loop from Start to End (ie. loop the whole sound), Make Section a New Sound, Insert Sound into Current Section, Delete Section, Silence Section and Reverse Section. When you finally get to the time‑stretch option, you have more choices to deal with; New Name (as a new sample is created), Ratio (the main parameter, setting the amount of change), Preset (the 18 algorithms listed earlier, each with its three different quality settings) and then the most neutrally named parameter, Adjust (more of this later).

I was just puzzling out exactly what percentage to enter in the Ratio field to achieve the degree of time‑stretching I wanted, and wondering if I was going to have to get my calculator out, when I noticed the innocent‑looking BPM parameter which had appeared above the F2 button. Pressing this opens the BPM Match screen, which is of course exactly what you need. The first parameter, Beat, allows you to set the number of beats in your source sample (you may want to go back and top‑and‑tail your sample properly, so that it is an exact number of bars/beats). If you enter this correctly, the MPC2000XL precisely calculates the value of the second parameter, Source Tempo, for you. Of course if you know the tempo already, you can simply enter it yourself. The final parameter on this screen is then of course the New Tempo which you want your loop to emerge at.

When I reviewed the MPC2000, it was already able to read sound data from previous MPC models such as the 3000 and 60 but not sequence data; this feature was planned as a future update. I am happy to report that the 2000XL comes with both sound and sequence data compatibility in place. Thanks to my friend James Asher who, you may remember, helped me out when testing the MPC2000 with his extensive library of MPC60 and 3000 sounds, I was able to try sound and sequence data together from the same floppy disk created on his MPC3000. We were not able to test the compatibility with data on hard disk or CD‑ROM, as they have changed the type of SCSI connector on the XL to the smaller SCSI2 50‑pin high‑pitch variety, and we didn"t have the appropriate cable, but as this side of the compatibility worked perfectly on the 2000 last time, I am sure that it is all still working fine. The same is true for sounds in S1000/3000 format.

The MPC2000XL also enjoys compatibility with all the optional expansion boards for the MPC2000. These are the EB16 effects board and the IBM208P separate eight output/SPDIF I/O board. This means you can put effects on the sounds in the XL internally or bring the sounds out separately for external EQing and effecting, and sample and output in the digital domain. The avantage of this backwards compatibility is that the optional boards are all already available (although I didn"t get a chance to evaluate them).

Although the MPC2000XL is an evolutionary rather than a revolutionary product, building as it does on the capabilities of its MPC predecessors, it nevertheless adds unique capabilities like time‑stretch and Sound Slicing to the MPC dynasty. Owners of large MIDI setups may find the dual MIDI Port limiting for extended sequencing, but for medium‑sized studio and live setups the MPC2000XL makes an ideal centrepiece for those who eschew computers. The fact that several hardware and software refinements, like the tilting display and increased note and sound capacity, have been added at the same time as a £300 price drop is the icing on the cake.

As mentioned in the main text, the unexpanded MPC2000XL is supplied with 2Mb of RAM, expandable to 32Mb. The manual points out that, at a sampling rate of 44.1kHz, this gives you a total sampling time of 21.9 seconds in mono and 10.9 in stereo, while the fully expanded machine boasts 378.6 seconds in mono, 189.2 in stereo. If your"re wondering how much extra time you can coax from the machine at lower sampling rates, however, you may be in for a shock, as the Akai can only sample at 44.1kHz — whether from analogue or digital sources. Nevertheless, once sampled, you can resample audio at lower rates, as explained elsewhere in this review — but in this day and age, it does seem a little antiquated that 48kHz audio from DATs will not be recognised unless it is first sample‑rate converted.

Like time‑stretching, the other major addition to the software manipulation tools in the MPC2000XL has been available in computer software for some time. When you select Zone mode, you find an additional function amongst the available Edit options: Slice Sound. At first, I thought this might be a hardware‑based equivalent of Steinberg"s Recycle program, using attack transients to identify and isolate the separate percussion events in a loop and then trigger it at variable tempos without the need for repeated time‑stretches. This, and the REX files that allow the results to be used quickly and easily inside VST, I regard as one of the few major advances in music technology to have been completely developed in the software sector. It would have been great to have the same facility in a stand‑alone unit.

Once you have fine‑tuned each zone start and end and had a cup of coffee to revive your flagging spirits, you can then use Slice Sound to make your single sample into the selected number of individual samples. Additionally, if you tick the Create New Program option, you will find the individual samples automatically laid out across the 16 drum pads (hence the maximum of 16 zones, presumably). Interesting results can then be obtained by triggering them in different orders, using the Note Repeat trigger function which has always been the MPC series" unique feature, or just using them as individual sounds in a new sequence.

Sadly, there seems to be no way to go to the next stage of triggering them with exactly the timing of the original sample and varying the tempo, because as it stands the MPC2000XL cannot automatically create a sequence which triggers the individual samples in their original timings. For me, though, this would be the main reason why you might want to Slice a sound — to allow real‑time variation of tempo during playback. This makes it quick and easy to match the loop with other material in your song if you don"t know the tempos involved. Perhaps Akai plan to develop such a sequence generator in the future as a software update.

This beautiful MPC 2000XL w/maxed RAM installed comes with This is a used unit and being almost 20 years old (the Akai MPC2000XL was released in 1999!). you can expect some signs of wear like small scratches/dents but all that is just cosmetic and it is expected in a unit this old, but as stated before everything was replaced inside so it is working as new. | eBay!