The MPC 60 came into our lives after we finished our first record and had to figure out how to play our songs on tour. We felt like bringing our old sequencer and drum machine on tour was stupid — too fragile. We wanted something that saved to disk. The MPC (MIDI Production Center) is a sampling drum machine (you sample your own sounds and assign them to these cool big pads) that can also play other electronic instruments via MIDI -- it is a sampler, drum machine and sequencer all in one. With the 3.0 system software upgrade and SCSI interface (so we can save data to a zip disk) available from Roger Linn’s website, we souped up the MPC 60 so it was no longer functioning like a thing of the eighties (although it still does not have nearly as much sample time as the more recent MPC 2000, 200XL or 3000). Although it ultimately became this central creative tool for us (we made all the beats on "Feminist Sweepstakes" with it including guitar samples, bass-lines, synthy parts etc), I learned the basics of how to use it in one mind-bending 3-day weekend when I sampled all the drum sounds from the HR-16B onto the MPC and replicated all our old beats and song structures on it. Then I re-sequenced all the MIRAGE loops so that the MMT-8 was out of the picture too . . . it was a pain in the ass. But in the process of doing all this reprogramming shit I discovered this whole world of stuff that I could be doing instead. I can’t tell you how much I treasure the MPC now. It’s like a friend or an arm . . . it doesn’t seem like a piece of equipment, but like a very special robot with human qualities and idiosyncracies capable of making artistic suggestions. I really really love it.

Rodney Orpheus is confirmed to use the Akai MPC60, as it is listed on The Cassandra Complex gear page, authored by Rodney himself.

As was typical in the early ’90s, the sequencing setup was based around an Atari 1040 ST computer running C-Lab Notator, MIDI-triggering a bank of Akai S1000 samplers and a Korg M1 synth. Additionally, on a recent trip to Japan, Nicolson had bought himself an Akai MPC60 sequencer-sampler that was to prove central to the beats on ‘Come Together’, not least because when he worked with US producer Jeff Lorber on sessions for UK boy band Brother Beyond in 1989, he had managed to come away with a library of drum samples.

“There was this timbale that I used on every single remix, which became a bit of signature,” Nicolson remembers. “I had all these pretty cool samples to use. They weren’t just 909 and 808. I had quite a good library, so the MPC was really helping me with a good base of sounds to work with.”

In this photo posted on Facebook, Afrika Islam shows off his Akai MPC60.

In an image posted on Instagram by DJ Aladdin, he is seen using the Akai MPC60 during a studio session, as indicated in the caption "DJ Aladdin on a wet Studio stormy session."

Irv Gotti is confirmed to use the Akai MPC60, as he mentioned in an interview: “And I met him and Waah, and they bought me an MPC60 and was like, ‘Produce.’”

In a YouTube video by Dynamik Bass System, the Akai MPC60 is featured as part of their lab setup, showcasing its role in their production process.

He mentions that he programmed samples with MPC60 and MPC1000

Shown Mikko synths he used and listed in 2006 from his website.

Current gear:

Apple PowerMac G5 DP running Logic Pro 7 Alesis QS8 master keyboard Roland JP-8000 synthesizer Clavia Nord Rack 2 synthesizer Gibson Les Paul Studio and POD 2.0 Genelec monitoring Collection of acoustic instruments

Some 80's stuff:

Akai MPC-60 sampler/sequencer (fully expanded) Roland D-10 synthesizer Yamaha CX5M music computer with YK-20 keyboard

At 1:47 in the linked video, the Akai MPC 60 can be seen.

Iñaki Vázquez stated that the Akai MPC60 was used to program percussion sequences, bass lines, and other elements during the early years of Fobia, as mentioned in the Focusrite Studio Tour - Episode 1 by Focusrite Group Latam on YouTube.

Used for Melodica, as stated in this excerpt from Blackalicious' March 2014 One More Robot interview.

How advanced was your studio at this point? What equipment was this primarily made on?

Gab: We were still in our dorm rooms then [laughs]. Everything was kind of makeshift. And although we all had been making music for a few years then, we were just in our learning phase.

Xcel: Basically, we used a MPC 60 and a Tascam 4-track. Not much really [laughs].

(...) From my talks with Shadow, it seems like he was an integral part of Melodica. How so?

Xcel: Well Shadow showed me the ins-and-outs of the MPC 60 so of course he helped [laughs].

Gab: Shadow was a big influence on Melodica beyond the beats he contributed. Besides the EP, he was very instrumental in getting us known in general.