A photograph taken during the recording of Radiohead's "In Rainbows" at their studio "Butts Furlong" shows Jonny Greenwood utilizing an Akai MPC60.

the Akai MPC60 is listed in this blog

In this photo, Aphex Twin looms over his equipment, including the MPC60 towards the upper-right-hand corner. The drum pads and MPC60 logo can be spotted beneath other equipment, all adorned with Aphex Twin stickers.

In a feature on the Native Instruments Blog, Mike Shinoda is shown using an Akai MPC60 in his studio, highlighting his innovative approach to blending Bollywood, hip hop, and metal.

In a 1992 performance on "Tato de América," Gustavo Cerati used the Akai MPC60, an electronic instrument known for its innovative use of MIDI sampling. This device, popular among early '90s hip hop artists in the United States, allowed for advanced sound manipulation, highlighting Cerati's forward-thinking approach to music production.

Nodfactor re-publishes an article from a February 2006 edition of Scratch magazine where Alvin “Aqua Boogie” Blanco interviews J-Dilla. Aqua Boogie asks what equipment did J-Dilla start with, to which he replies “I started with the SP-12 then moved to the SP-1200 and then shortly after that the MPC-60, then the MPC-62, then the MPC3000 and I’ve been on the MPC 3000 ever since then. I’ve tried other samplers but the 3000 is best for me for what I like to do.”

Albums which use AKAI MPC-60 : • Revolutions

• Chronologie

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This clip from a 2008 Crate Kings article talks about how DJ Shadow ditched the Akai MPC 60 and MPC 3000 as his main production tools. Shadow said:

"At the time, in 2002, I felt as though ‘The Private Press’ was the best record I could ever make on the MPC, and I was eager for a change. It was also important to me that I not get stagnant and start repeating things I had done in the past. So I switched it up and forced myself to "go back to school," in a sense. I felt that if I refused to rely on the MPC and learn new techniques my music would change, for better or worse, and change was what I craved most."

Following the meeting with Large Professor in the late '80s that led Preem to switch to the Emu SP12, he also used an Alesis drum machine, and eventually settled on the Akai MPC60.

In the makeshift living room somewhere round the back of the Odeon, Vince has a few home comforts. TV, video, fridge full of cold drinks, and something which says more about his musical standpoint than anything else I can think of. Whereas a guitarist might have a trusty old acoustic propped up against the sofa, Vince has got a small workstation consisting of Mini-Moog, Akai Linn MPC-60 and Roland MC-4 sequencer, handy for those moments of inspiration and last-minute adjustments to the live set. He points enthusiastically to the Akai Linn.

"This is really good. We use this for all the drum sounds live. All the drum sounds on the last album were generated from synths, so I had to regenerate them for the tour. Obviously I couldn't take an ARP 2600 on the road and start messing about with bass drum sounds for every song, and there's lots and lots of percussion sounds, so they were regenerated and sampled into that thing. I must admit it was a real life-saver, it's so simple. You just hit Record, press the pad and it's down. Only 16-bit recording inside, but the resolution's quite high. Eight outs, 32 drum sounds. So it's in my tank!"

In this video with Red Bull Music Academy, Just blaze says he used an MPC 60 at 01:00:52.