You use the real deal techstream, I think we're up to 12.30.029 at this point? You can view live data, all live data, including mfg specific PID's. If it works for newer cars, I'm certain it will do what can be done for mine.ĭon't knock the knock offs! They are not really knock offs. PS, my car is 2005 Solara but this question is about the software and hardware and its use and not really about my car. Will the software be disabled by Toyota if I don't connect weekly? I have a OBD2 to USB cable that came with one of those $18 kits** that I've since learned is pirated from Toyota, but maybe the cable is good enough? **If it worked TBH I'd probably still use it, but there is some problem with the key, and I'd be happier with buying from Toyota if $55 will get me up and running, and I won't find out I have to buy, for example, a $100 cable or a yearly subscription.Īlso, says " the application must connect to TIS weekly", but I was planning to buy only 2 days for $55. Have any of you bought Techstream Lite from Toyota, and were you satisfied? I already know how to read and erase codes and read freeze-frame data, and how to program fobs and keys and stop the seatbelt chime, but I figured since this is specifically for Toyota, it will give more engine and obd2 data, and control over some body features I don't even know about.īut I'm not sure if I sign up for 2 days at $55, I will get all the software I need.
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Furthermore, during the load process, there was a constant whine, which I traced to the USB connection taking power from my Mac. To give you an example, a single 32MB WAV took 1 minute 48 seconds to load. Up to 48MB of samples (stereo or mono) can be loaded at a time, but even with the fastest card I owned, this could be a lengthy process. After doing it again and being puzzled some more, I decided to abandon Akai’s program and bulk-process my WAVs in Wavelab, based on the requirements stated in the manual. Several of my samples, apparently processed without error, were mysteriously empty. Alternatively, a standard card reader can be used either way, you’re now able to build kits full of your own samples. I then dragged the resulting WAV files to the SD card in the MPX16, conveniently transformed into a card reader by booting while holding the ‘Main’ button. After I specified a folder for the output files, it was all over. With my usual childlike optimism I chose a random bunch of samples, dragged them into the conversion utility and clicked the ‘convert’ button. Akai provide a file conversion program - a fairly primitive affair and different to the one I tried in the earlier review. It’s important to stock a card with suitable audio as soon as possible, the key word there being ‘suitable’ because, as discussed in January 2014’s MPX8 review, there are some file-format restrictions. The 10 internal kits are a means of making noises if you don’t yet have an SD card they feature combinations of classic drum-machine samples, bass synths, shouts of ‘yeah’ and so on. Kit ChatĪfter a short boot-up, the MPX16 automatically loads the default kit, i01. The card slot is stated to support any SD type but, remembering my experiences with the MPX8, I made sure to source the fastest I could find, a class 10. Alternatively, an external adapter is supplied so you can function without a computer present - and there’s a good reason why you might want to, which I’ll come to later.Īpart from the small collection of built-in factory samples, all storage operations require an SD or SDHC card. The two MIDI ports are of regular proportions too and joined by a USB connector capable of carrying power. I was glad to see all audio connections are full-sized quarter-inch jacks, which in this case means stereo inputs and outputs, plus a headphone socket. Aftertouch only becomes relevant in the MPX16’s role as a MIDI controller. The aftertouch is polyphonic and has a light response, but sadly it’s not applicable to any of the internal samples. On the review model, I wasn’t able to trigger a note with a velocity less than nine and while hitting the maximum was easy, getting a predictable spread took practice. The pads perform well enough once you accept there’s no way to adjust their sensitivity. The pads light in amber, green and red to indicate whether a sample is assigned, currently playing or selected for edit. This encoder is usually the most important control as it alone (by the action of pushing and turning) can modify values in larger increments. A blue, backlit screen dishes out information and its editable fields are navigated by a pair of buttons with a combined value encoder and enter key providing assistance when necessary. Most edit operations are performed in a 4x5 matrix, accessed by a single button and four encoders labelled A-D. With so much going for it, is there anything not to like? Sweet SixteenĬompact and portable at just 29 x 14.5 cm, the MPX16’s red and black plastic shell isn’t heavy but feels durable enough for a life bouncing around in a backpack or hand luggage. The addition of resonant filters for each of its 16 pads, plus 16-bit sampling and sample editing are just some of the many enhancements in this, Akai’s smallest, lightest and most affordable sampler to date. With twice as many pads, more memory and costing less than double, the MPX16 is the logical next step. Its samples resided on cheap and available SD cards and even though somewhat sluggish when loading large files and picky about the formats it would accept, it was priced to smooth over such inconveniences. The Akai MPX8 was a neat little sample player and MIDI/USB drum controller. Akai’s MPX16 has more pads and functions than its MPX8 predecessor, but remains just as reasonably priced.
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