Akai MPC60
| Spec | Detail |
|---|---|
| Manufacturer | Akai |
| Year released | 1988 |
| Synthesis type | Sample-based + sequencer |
| Architecture | Digital |
| Polyphony | 16-voice polyphonic |
| Notable users | DJ Premier, J Dilla, Public Enemy |
| Known for | The drum machine and sampler that became the heart of hip-hop production |
Overview
The Akai MPC60 is a digital sampling drum machine and MIDI sequencer released in 1988. Designed by Roger Linn and manufactured by Akai, it combined a 16-voice sampler with a pattern-based sequencer in one unit. Unlike earlier drum machines that used analog synthesis or preset sounds, the MPC60 let users record their own samples and play them back chromatically or as drum hits. Its 12 velocity-sensitive pads, borrowed from Linn's earlier drum machines, made it feel like an instrument. The built-in sequencer allowed users to create patterns and chain them into songs, all without a computer. The MPC60 became a cornerstone of hip-hop production because it offered a complete music-making solution: sampling, sequencing, and tactile control. Its robust construction and intuitive workflow set a standard for later MPC models. Though digital technology has advanced, the MPC60 remains respected for its sound and the role it played in shaping modern beat-making.
History & design
Akai released the MPC60 in 1988, a collaboration with Roger Linn, who had already designed the LinnDrum and Linn 9000. Linn sought to create a machine that combined sampling and sequencing in a single box, addressing limitations of separate units. The MPC60 featured a 12-pad interface, a small LCD screen, and a floppy disk drive for storage. Its design emphasized real-time performance and easy pattern creation. The sampling engine offered 16-voice polyphony and up to 13.1 seconds of sampling time at a reduced rate, expandable with memory upgrades. The sequencer provided 99 patterns and 20 songs, with quantize and swing functions. The MPC60 was followed by the MPC60 II, which added a headphone jack and minor improvements. Although expensive, it found a home in professional studios. Its design influenced subsequent Akai MPC models, which continued to evolve with more memory, effects, and computer integration. The MPC60's legacy is tied to its role in the golden age of hip-hop, where its workflow and sound became iconic.
How it works
The MPC60 is a digital sampler, meaning it records and stores audio as digital data. When you sample a sound, the MPC60 converts the incoming analog signal into digital information using an analog-to-digital converter. This digital data is stored in memory. The sampling rate is fixed at 40 kHz, with a maximum sampling time of 13.1 seconds (mono) or 6.5 seconds (stereo) depending on memory. Playback uses digital-to-analog conversion to turn the stored data back into sound. The 16-voice polyphony allows up to 16 samples to play simultaneously. Sounds can be assigned to the 12 pads, and each pad can trigger a sample. The sequencer records note events (which pad was hit, when, and with what velocity) rather than audio. It uses a pattern-based system: you record patterns, then chain them into songs. The swing function adjusts the timing of notes to create a shuffled feel. The MPC60 also functions as a MIDI controller and sound module, allowing it to control other gear. Its synthesis type is sample-based; it does not generate tones from oscillators but relies entirely on recorded samples.
Signature sound
The MPC60's sound is characterized by its 12-bit sampling resolution and 40 kHz sampling rate. This gives it a gritty, warm character with a noticeable aliasing and quantization noise, often described as 'punchy' and 'lo-fi' in a musical way. The analog output stage and dynamic filters contribute to its distinct tone. When you sample a drum break, the MPC60 imparts a slightly compressed and textured quality that many producers find desirable. The swing function, with its adjustable percentage, is key to its groovy feel, allowing beats to shuffle in a way that feels human. The sequencer's timing is tight, but the swing adds a natural looseness. The 12 pads are velocity-sensitive, so hitting them harder produces louder sounds, adding dynamics. The MPC60's sound is not clean or transparent; it colors the audio in a way that became a signature of hip-hop production in the late 1980s and 1990s. Even today, producers seek out the MPC60 for its characteristic sonic fingerprint, which is difficult to replicate exactly with modern clean samplers.
Notable users & recordings
The Akai MPC60 has been used by many influential hip-hop producers. DJ Premier, one half of Gang Starr, is known for his work with the MPC60, using it to craft beats for artists like Nas and Jay-Z. J Dilla, celebrated for his unique swing and sample-based production, also used the MPC60, though he later moved to other MPC models. Public Enemy's production team, including Hank Shocklee and Terminator X, utilized the MPC60 on albums like 'It Takes a Nation of Millions to Hold Us Back' and 'Fear of a Black Planet'. The MPC60 appears on countless hip-hop records from the late 1980s and 1990s, often credited in liner notes as the primary drum machine and sampler. Its use extends beyond hip-hop to house, techno, and pop, but its association with hip-hop is strongest. Specific recordings are not always documented, but the MPC60's presence is felt in the rhythmic foundation of many classic tracks. Its influence on the sound of an era is undeniable, and it remains a tool of choice for producers seeking its distinctive character.
Legacy & influence
The MPC60 set the template for the modern music production workstation. Its combination of sampling, sequencing, and pad-based performance became the blueprint for Akai's subsequent MPC series, including the MPC3000, MPC2000, and MPC Live. The MPC60's workflow, with its focus on pattern-based sequencing and swing, influenced how beats are made across genres. It helped democratize sampling by putting a powerful, user-friendly sampler into the hands of musicians who might not have had access to expensive studio equipment. The MPC60's sound is still sought after, and its swing function is emulated in software. Its legacy is also tied to the rise of hip-hop as a dominant cultural force, providing the rhythmic backbone for many seminal records. The MPC60 is a historical artifact that represents a turning point in music technology, where digital sampling became accessible and integral to popular music. Its impact on production techniques and the sound of hip-hop is profound, and it continues to inspire new generations of beatmakers.
Frequently asked questions
Q: What is the difference between the MPC60 and later MPC models? A: The MPC60 was the first in the MPC line, offering 16-voice polyphony and 12-bit sampling. Later models like the MPC3000 improved sampling resolution to 16-bit and added more memory and features. Q: Can the MPC60 be used as a MIDI controller? A: Yes, the MPC60 has MIDI in, out, and thru ports. It can sequence external MIDI gear and be used as a controller for software, though its primary function is as a standalone sampler and sequencer. Q: Why is the MPC60 considered important in hip-hop? A: It provided a complete solution for sampling and sequencing in one unit, with a swing function that gave beats a human feel. Its sound and workflow became staples of hip-hop production during its golden age.