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Back in 1988, Roger Linn joined forces with Akai to produce the first MPC sampling drum machine. The MPC60 was its name. Such was its success that Akai have been developing variations, updates and modifications of it ever since.

The basic MPC concept is a simple, three-stage affair: firstly, provide sampling as standard, so that a library of individual hits and phrases can be recorded and saved onboard.

Secondly, put pads on the front panel to allow direct, touch-sensitive access to the sample collection.

And lastly, shove in a fully-fledged sequencer that allows the arrangement of these hits into a series of patterns, which can be easily chained together into songs.

The original units were brilliant for a number of reasons; the principal one being that suddenly three big areas of performance were housed under one roof.

But in these days of all-singing, all-dancing DAWs, our needs have changed and functionality of this type isn't just standard, it's been equalled and surpassed by the functions offered by software-based sequencers.

So, what does the MPC have to offer us now? And how does this latest model, the MPC500, Fit into the rest of Akai's range?

The MPC has endured, in part, as not everyone is as taken with the DAW concept as us studio types. The immediacy of the system described above shouldn't be underestimated and neither should its playability.

Also, the early days of DAW development, particularly when MIDI and audio were first housed under one roof, had many of us recoiling from horrible timing clashes between different types of data – none of which troubled the trusty MPC range.

It's easy to find interviews and testimonies from countless producers who continue to swear by their Akai units. For as long as this remains true, the legend will endure. So what does the MPC500, offer?

Hands on

The MPC500 joins the range at the bottom of the ladder at the bottom of the ladder, offering an affordable way to get your hands on the technology.

On the sample front, the 500 offers 16-bit, 44.1kHz sampling with 16MB of memory.

The sequencer offers 100,000 steps, with capacity for 99 sequences. Sequences can be ordered and saved into songs, 20 of which can be held onboard.

The 500 also breaks with the MPC tradition of offering 16 pads, with 12 instead present; the 500 is considerably smaller than its peers, so this is simply a decision designed to save space.

The rest of the top panel features transport controls, a volume control and gain dial for input sources, plus Akai's Q-link controller.

Elsewhere, assorted buttons provide access to the MPC's various modes, which we'll get to very shortly.

Round the back, you'll find line level stereo in and out, MIDI In/Out, USB and headphone ports and a toggle switch to power up the LCD's backlight.

The front panel features a slot for a Compact Flash card, while the underside of the unit reveals a big feature of the MPC500; a battery compartment for six AAs.

Add this feature to the new compact size and it's clear Akai want to push this box as a creative solution for live musicians.