Used for Homework, as listed in this excerpt from a 1999 interview and this excerpt from a late 1995 CODA interview.

Autechre uses the Alesis MMT-8 Multi Track MIDI Recorder sequencer

Included in equipment list

Featured in Gear List on Richard Barbieri's website.

"What do you remember of the hardware setup you had in the early days?

Andy: We had an 808, 303, 202 and 101, a monophonic digital synth, Akai 950 sampler and a few other analogue keyboards. We hired in an Akai S1000 to record the first EP.

Ed: Also the Oberheim Matrix 12 and Matrix 1000, which were pretty important. Sequencing was initially an Alesis MMT-8 then Dr T’s on Commodore."

"At first, I was sequencing from the 505 - I could mute some of the percussion sounds and send out simple MIDI patterns - then we got the Alesis MMT-8."

"A lot of it's the usual stuff, like an Atari with C-Lab software, although I still use an old Alesis MMT8 because I don't like screens"

Used on People's Instinctive Travels and the Paths of Rhythm, as stated by recording engineer Bob Power in this November 8, 2016 Wax Poetics interview.

Also, back then, MIDI was in a very primitive state. MIDI is the language that computers, synthesizers, and samplers use to speak to each other. It was extremely primitive at that point. Q-Tip was sequencing on an SP-1200, and Ali had an Alesis eight-track MIDI sequencer and an Akai S950. Sampling technology was very primitive. The S950 had maybe a second and a half worth of memory. Putting together those complex, elaborate constructions was so difficult. It took a lot of time. We had to do things bit by bit because of the undeveloped memory for samplers at that point. We had to be creative in the way we approached things. People say we used twenty-four tracks, but we really had twenty-two tracks to deal with because you needed to print a synchronization code on one track and use another track as your guard band. Because samplers would only hold less than a second worth of sound at one time, we ended up putting little bits of things across different tracks and combining them later.

Tommi’s black and grey MMT-8s are seen in their setup for all Deli Girls gigs

Per the album of MMT-8 backup data (in audio format) Finest Quality, Big Time Data offered on Shawn's own Bandcamp page

When I think about the ALESIS MMT-8 sequencer I feel a wave of nausea and panic as well as a sense of achievement. We bought this sequencer to loop the samples we made on the MIRAGE in time with our beats on the HR-16 B (so we would not have to trigger the mirage by hand). The MMT-8 was designed as a companion to the Alesis HR-16 and HR-16 B (they match although the MMT-8 is grey instead of black). It really wasn’t that hard to figure out how to use cuz it combined familiar elements from drum machines, 4-tracks, telepathic communication. Initial confusion resulted from the fact that in none of the individual equipment manuals (mirage, HR-16B or MMT-8) could we find any allusion to how we might make MIDI connections to get the machines to work together (we found this info in the excellent book “MIDI for Musicians”). After we had programmed most of our songs for the first record and were getting ready to go into the studio, we had this brilliant idea that we should try to BACK-UP the sequences on the MMT-8 and the HR-16 B in case something bad happened. This involved recording a tone out of each machine on to a cassette tape. We weren’t convinced this was actually saving our data, but the next week when the MMT-8’s internal battery died and we LOST EVERYTHING, we learned that indeed somehow that tone on the cassette had the power to give it all back to us. Thank god.

In this live video for the color sessions, we can see the Alesies MMT-8 in front of Clara Cappagli on her left, at the 1:28 mark The color, plugs layout and foldable instructions opened all seem to match the MMT-8