The optional SMPTE boards enable synchronization with SMPTE time codes.
MTC (MIDI time code), MMC (MIDI machine control) compatible.
Data can be exported to or imported from standard MIDI files.
Step edit functions enables you top edit individual events.
The velocity of each track can easily be modified.
It is possible to record 16 MIDI channels at one time.
Tap tempo feature allows the playback tempo to be set by tapping a key in the time of 1/4-notes.
Programmable tempo changes in mid-sequence or mid-song are supported.
Auto punch feature enables you to punch in or punch out automatically in the designated sequence.
Swing feature enables you to add a swing-feel to the rhythm.
16 velocity and pressure sensitive front panel drum pads and 4 pad banks provide a total of 64 pad/bank combinations.
The NOTE VARIATION slider controls the decay or filter value of the sound source in real time.
Since it is possible to convert MIDI sustain pedal data to note duration data, you can place sustain effects independently from the note data within a track.
The note repeat function and the after touch function pads enable you to easily enter drum rolls and hi-hat beats.
The UNDO SEQ key enables you to undo sequence recordings or edits.
Then to Now
Akai is now known for their range of samplers which still have major part in most production studios around the globe. And it is no surprise that it was them that produced the world's first sampler and sequence integrated rhythm machine with such a flexibility in sampling. It was back in later '80s that Akai produced the first Midi Production Center MPC60 in collaboration with Roger Linn, one of the originators of what is now called Drum machines. With his expertise of producing Linn Drum series Combination of sequences and keyboards, and sound modules were becoming popular at the time as the MIDI standard was coming of age.
MPC was designed to give us musicians the technology in one neat box that doesn't need qualified electricians around it to just keep on working. Surely he was popular along producers and studio technicians whose main concern is practicality. His name also become a mode in many hip hop producers and there are still many people coming into studio with just 2 turn tables and a MPC.
MPC60 was then followed by MPC60mk2 which incorporated a SCSI port and more memory, and It was superseded by the MPC3000 of which design was based on the 16 bit sampler S3000, which was already becoming popular at the time. (But there are still many people using MPC60s for the 'lo-fi' sound quality coming out of its 12 bit sampling engine. And surely the MPC sequencer was already such an advanced system.
However, the MPC3000 was surely a great machine, but its cost (it was probably the most expensive rhythm machine at the time, though much cheaper than other sampler co-operated systems) prohibited the use of those who are not making music commercially. At the same time, Akai's normal sampler (?) division was finishing the designs of S-XL range and the S2000 which in simple terms had higher specification with a modest price tag, which rang the bell of their MPC division. In fact MPC2000 has almost the same sound engine as that of S2000.