The core MPC features are all present and correct: drum sampler, MIDI sequencer, rubber velocity-sensitive pads, and audio and MIDI I/O. Uniquely for the range, power comes via an external supply rather than an IEC mains lead, and as a nice side-effect of this cost-cutting measure you can also stick six AA batteries in the back if you want to 'keep it real' on the 6.55 to Peterborough. The subject of this review is the new baby of the family, the MPC500, which, although roughly a quarter of the size and weight of the MPC2500, still exudes a reassuring sense of robustness. To this end the MPC4000 developed the concept way beyond the original MPC brief, using top-flight sampling technology from the company's Z-Series rack monsters, while the MPC1000 cut down the hardware and software options to hit a more entry-level price point. With interest in hip-hop at an all-time high, Akai understandably want to reach out to new customers. In SOS January 2007 I looked at the latest update on the 'classic' MPC feature set, the MPC2500, and was delighted to find that Akai had managed to introduce a set of important improvements without compromising the streamlined operation central to the unit's appeal.

The MPC series of hardware sequencing and sampling workstations have an undeniable cachet in the field of hip-hop production, and the enormous success of this style of music in recent years has ensured their continued development well into an age otherwise dominated by computer-based MIDI + Audio sequencers. Akai's famed Music Production Centre goes mini.

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