I started making beats in 1995. My first setup was an Akai S3000XL paired with a sequencer software called Vision by Opcode Systems, since Akai’s S-series samplers didn’t have built-in sequencing. Everything I made up to Giant Panda’s “88 Remix” was created with this setup.
In 2003, I got my first MPC60 from my label partner, Sausen. He had picked up a broken one for free and passed it along to me. That’s when I started using the MPC60 together with the S3000—programming everything on the MPC, with drums on the MPC60 and all other sounds on the S3000.
While working with House Shoes on his debut album Let It Go (TRES 2012), I listened closely to his beats and noticed how simple yet effective some of them were. I always knew a beat didn’t have to be complex to be good, but that’s when the idea really sank in. It made me reflect on my own approach and realize I could probably do everything I needed using just the MPC60. I ended up making beats exclusively on it for several years. Every track on Doronko Beats (TRES 2018)—my first beat album—was created using the MPC60 alone.
The MPC60 was Akai’s first MPC, developed in collaboration with Roger Linn and released in 1988. Along with the MPC60II, it's the only model in the series that samples in 12-bit, giving the recorded sounds a rougher, grittier feel compared to 16-bit machines like the MPC3000, 2000, or 4000. Because of the limited sampling time (26.2 seconds on my unit), when I use just the MPC60, I record samples from vinyl at 45 RPM with +8 pitch on my Technics turntable, then slow them down inside the MPC. This adds even more texture and warmth—something I really love. You can mimic this effect on 16-bit machines, but it just hits different on a 12-bit sampler.
In 2020, I added the Maschine Micro MK3 to my workflow. These days, I build out my beats in Maschine, but I still stick to the same sampling method: sampling vinyl at 45 RPM and +8 pitch into the MPC60, slowing the samples down inside the MPC, and then importing them into Maschine. This process remains essential for capturing the raw texture of 12-bit sampling and the distinct character introduced by pitch-shifting.
One of the defining features of the MPC60 is its groove and swing. I don’t know the exact science behind it, but the rhythmic feel it creates is unique—something it shares with other classic drum machines like the E-Mu SP-12 and SP-1200.
My MPC60 has been fully customized by Bruce at Forat in Los Angeles. Bruce worked directly with Roger Linn on the development of both the MPC60 and MPC3000, and he’s a true master. I was lucky to be able to bring my machine to him for service whenever needed while I lived in LA.
Here are the customizations Bruce has done on my MPC60:
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Installed the latest operating system (OS 3.15)
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Maxed out the sampling time (26.2 seconds)
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Installed SCSI
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Replaced the floppy drive with a flash drive
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Added a bright green screen
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Added +15dB gain on all outputs
OS 3.15—developed by Bruce, if I’m not mistaken—also introduced swing settings for 1/16 triplet and 1/32 triplet notes, which weren’t available in earlier versions.
The best upgrade I’ve made to my MPC60 is the +15dB gain mod on every output. This significantly boosts the signal level, which makes a big difference during mixing. Thes One (of People Under the Stairs) once told me that proper gain staging is critical when mixing. If you have a high-end console like a Neve or Trident, it’s not a big concern. But for regular folks like me, those consoles are out of reach.
High-end boards come with amazing mic preamps and gain stages. On a more affordable board or DJ mixer, turning up the gain might increase the level on the meter, but the sound often lacks body and presence. I use an Aries 16.8.16 console, which is decent, but the mic pres aren't great. That’s why it’s important to feed a strong signal into the board—so I don’t have to crank the gain. The +15dB gain mod on my MPC60 helps me do exactly that.