"Whilst demoing I use the DDrum 2 for drum sounds and the MPC60 as a notepad. I prefer the MPC60 to the Mac, because it's much quicker and much easier to use. Let me see... (switches on the MPC60, DDrum and the SSL) I'm just taking stereo outs from here to the desk, because I'd much rather use the desk inputs for other things. For example the drums, which take up 11 channels."

Mentioned in this June 1, 2001 Remix article.

Although DJ Hi-Tek samples his drums primarily from vinyl or from live drum performances, he's fond of laying Roland TR-808 kicks behind his sampled bass drums “just to keep it thumping,” he says. Hi-Tek samples his drum hits with a classic Akai MPC 60 sampling workstation.

Having a good ear for the right sounds is as important as being a good programmer, according to Hi-Tek. On top of that, you have to learn sound engineering and how to use effects and signal-processing techniques such as compression. Hi-Tek often leaves his drums raw, or he may run the beats and the individual sounds through compression twice before recording the track, depending on how it all sounds. One of his tricks involves running sounds through his mixing board before sampling them, so that he can “freak” the sounds. For example, he may turn a snare into a hi-hat sound by thinning it out with the mixer's EQ. “When I first started, I was just using straight MPC, cranking the beats out,” he muses. “The more I got into engineering and learning how to run sounds through the board, the more I started expanding.”

In this video at 6:50 Havoc talks about his intro to production and first pieces of gear "...Yea when i first started...everybody knows that i started with the...y'know the MPC 60.."

can be seen in this post from June 20, 2020

Among the gear in this picture, Jonathan Snipes of clipping. has a TR-909, a TR-808, a LinnDrum, an Oberheim SEM, and an MPC 60.

Teddy Riley confirms his use of the Akai MPC60 for drum tracks, stating, "The MPC-60. Now that they have the SCSI port for it, we can use the hard drive to load up sounds. I play a lot of live stuff into it. I like to do all my percussion live and in real time, using sounds that I made and put into the Akai so it will come out the way I want it to swing." This information is supported by an interview on soulandfunkmusic.com.

"A tea kettle, an [Akai] MPC 60, and the E-mu 6400 sampler. I have a very small studio, and along with that I use the [E-mu] SP-1200. They’re both very old pieces of equipment from about 1987. They’re both mono. The quality of the sampling on the SP and the MPC is quite low, so any sample you put in there comes out the other end with the sound of that machine. The MPC has a bit more memory, it’s a bit more versatile, and the SP is very brutal, very gritty, and it has a great rock solid feel, even though when you analyze it the groove is actually quite wobbly. [The limited sampling rates] help me create a style rather than wallowing around in a laptop that’s got unlimited everything and 2,000 plug-ins and every keyboard ever made. I prefer to acquaint myself with two or three bits of equipment that are quite limiting, and just push those and that limit." - Mr. Scruff in the Studio

Video footage around 04:07

At 6:50 you can see Alan showing off his MPC60, commenting on it's sequencer being amazing and that you can "put down beats in 10 minutes" with it.

Mundo Muzique cites the gear used on "Mentasm" in this RedBull Music Academy Interview:

In Joey’s Studio we used an Akai MPC60 drum machine, Casio FZ-1 sampler, Alesis effects, Mackie 32-8 Mixer, and Tascam DAT recorder. We both had more gear than that, but those were the important pieces for the “Mentasm” project.

At 0:54 Warren G says, "Plugged my VCR into my MPC 60".

"Sonically, we did it in my older studio before I had Pro Tools on an [Akai] MPC-60. We came up with a really cool drumbeat, and it all started with that. Jed was doing all the keyboard parts, and it was a very keyboard-oriented song. Then Jed came up with that quirky trumpet. We were talking about Miles Davis, and he actually played that with a trumpet sample. It was just so cool, it sounded like the night. It kind of had that feel. So that's what we went for."