The History of MPC

For over 30 years, MPCs have cemented their place in the creative vocabulary as full-fledged instruments, enabling performance and inspiring a whole set of techniques ranging from sampling to finger drumming.
A look back at this rich history…

The beginnings

It was in the mid-80s that the sampler truly broke into the home-studio scene with the arrival of Akai’s S series MIDI modules (S612, S700, S900, S950, S1000). To complement this new line of rack samplers, the Japanese manufacturer naturally turned to Roger Linn for a rhythm-focused sampler project. A well-known drum machine pioneer, Linn had already made a strong impression with his company Linn Electronics—in particular with the iconic drum machine that bore his name, the Linn 9000.

Roger Linn then set out to design the first MIDI Production Centers (MPC60 and MPC3000), later renamed Music Production Centers, alongside David Cockerell (co-founder of EMS) who handled the hardware side. The MPC60 was released in December 1988 at a reasonable $5,000 price tag.
This first workstation already featured the elements that would ensure the future success of the line, including, for the very first time, a matrix of 16 velocity-sensitive pads to trigger samples (up to 13 seconds max at 12-bit / 40 kHz). It also included a 3.5-inch floppy disk drive for loading and saving samples, as well as an LCD screen.
The internal sequencer could handle up to 60,000 MIDI events, with 99 tracks per sequence, 99 patterns, and 99 sequences that could all be created, edited, and stored within the unit. It also came with a variety of external controls for both live and studio use, including a linear fader that allowed smooth transitions, for instance between a closed and open hi-hat.
Most artists using it built their patterns in real time, spontaneously layering drum parts over a loop to create grooves that flowed naturally with the feel.

Among the most respected beatmakers, J Dilla also worked extensively on the early MPC60 before moving to the MPC3000.

Takeoff

In 1991, the MPC60 MKII was released, almost identical to the original but with a plastic casing and a front headphone jack.

It wasn’t until 1994 that the MPC3000 arrived, featuring stereo sampling at 16-bit / 44.1 kHz (22 seconds, expandable to 44), additional memory via SCSI connection, and 32-voice polyphony. By the late 90s, Roger Linn’s collaboration ended, giving way to the MPC2000 (1997) and MPC2000 XL (1999), which would embody the very essence of the MPC concept. The MPC2000 offered a 64-track sequencer, 2 MB of RAM expandable to 32 MB, and mono/stereo sampling at 16-bit / 44.1 kHz. The MPC2000XL—with eight assignable outputs, 256 samples, four pad banks, and built-in effects—quickly won the hearts of hip-hop legends like Kanye West, MF DOOM, and Pete Rock, as well as beatmakers like Marco Polo and RJD2.

The MPC4000, released in 2002, returned to high-end specs by combining features from the MPC60, 3000, and 2000XL into a 24-bit / 96 kHz unit with 512 MB of RAM, before being replaced in 2008 by the MPC5000—a model that added a synthesizer, arpeggiator, and 8-track direct-to-disk recorder.

In 2004, the MPC1000 marked the end of the MPC2000 era. This model introduced USB connectivity, six separate outputs, and expandable RAM (via compact flash) up to 128 MB. In 2006, the MPC500 brought the MPC experience into a battery-powered portable format, while the MPC2500 (2007) offered a high-end alternative to the MPC1000 with expanded features.

The computer era

With the unstoppable rise of DAWs, standalone hardware machines were gradually eclipsed by software solutions and controllers better suited to modern music production. After a five-year break, the MPC Renaissance marked a major shift in 2012, combining retro-style pad hardware with dedicated MPC software for macOS X / Windows, offering a hybrid hardware/software solution on par with standalone units. The hardware controls echoed the MPC3000, while the screen recalled the MPC1000 / 2500. The software—running as a VST, AU, or RTAS (AAX) plugin—could also integrate seamlessly with external DAWs. This was followed by the first MPC Studio, a compact aluminum controller with a wide display, later upgraded in 2016 with the MPC Studio Black and once again refreshed with the MPC Studio 2 MKII, bundled with the Akai MPC 2 software.

This was followed by several Mac and iOS applications, including iMPC iOS for iPad paired with the MPC Fly controller in 2012, extended to iPhone and iPod in 2013. That same year, Akai released the MPC Element, a USB control surface with a transport cover and 14 mm-thick multicolor pads.

2015 brought the MPC Touch, an advanced pad controller with a 7-inch multitouch screen to manage MPC software.

At NAMM 2017, Akai revisited the standalone concept with the portable MPC Live. Weighing just 2.7 kg, it featured 10 GB of pre-installed sound banks and plugins, six individual mono outputs, a phono input, two MIDI I/O ports, an SD card slot, and two USB 3 ports. Released alongside it, the MPC X became the ultimate studio MPC, offering two XLR / 6.35 mm combo inputs with mic preamps and phantom power, a 10.1-inch multitouch color screen, OLED displays above each Q Link, 16 GB of internal storage, SATA drive support, an audio interface, and a powerful multicore processor running MPC software 2.0. It matched the MPC Live’s connectivity, adding eight configurable CV/Gate outputs for vintage synths. At NAMM 2020, Akai introduced the compact MPC One and the upgraded MPC Live II, which added stereo speakers, wireless Wi-Fi and Bluetooth connections, plus a rechargeable Lithium-Ion battery offering up to five hours of autonomy.