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Akai MPC. The Akai MPC (originally MIDI Production Center, now Music Production Center) is a series of music workstations produced by Akai from 1988 onwards. MPCs combine sampling and sequencing functions, allowing users to record portions of sound, modify them and play them back as sequences. The first MPCs were designed by the American ...
Roger Curtis Linn is an American designer of electronic musical instruments and equipment. [1] He is the designer of the LM-1, the first drum machine to use samples, and the MPC sampler, which had a major influence on the development of hip hop. [2] Roger Linn is also a member of the Dead Presidents Society, a group of innovators in the field ...
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An AKAI MPC2000 sampling sequencer (1997) A sampler is an electronic musical instrument that records and plays back samples (portions of sound recordings). Samples may comprise elements such as rhythm, melody, speech, sound effects or longer portions of music. The mid-20th century saw the introduction of keyboard instruments that played sounds ...
MIDI, SMPTE [5][6] original E-mu SP-1200 (1987) The E-mu SP-1200 is a sampling drum machine designed by Dave Rossum and released in August 1987 by E-mu Systems. Like its predecessor, the SP-12, it was designed as a drum machine featuring user sampling. The distinctive character of its sound, often described as "warm," "dirty," and "gritty," and ...
Electro-mechanical sequencers. Wurlitzer Sideman (1959) Wall of Sound (mid-1940s–1950s) by Raymond Scott —early electro-mechanical sequencer developed by Raymond Scott to produce rhythmic patterns, consistent with stepping relays, solenoids, and tone generators [5] Circle Machine (1959) by Raymond Scott —electro-optical rotary sequencer ...
His setup included recording equipment in the bedroom and a vocal booth in the bathroom and closet. His gear consisted of a Numark mixer, Technics 1200 turntables and an Akai MPC 60. [9] [10] [11] While watching Young Guns, Warren was inspired by the line “Regulators: We regulate any stealing of this property, and we’re damn good, too ...