Sequencers / Grooveboxes

Akai's MPC sampling workstations have been a studio fixture for nearly 15 years, and the MPC4000 is the most powerful one yet. But the world of sampling has changed dramatically since the MPC2000XL was released. Can an MPC still cut it in the 21st century?

Analogue sequencers may seem simple devices, especially when compared to their computer-based counterparts, but they can be put to fantastically complex uses in the right hands. We plumb the hidden depths of the new Oberkorn...

Sonic Foundry were the pioneers of loop-based PC sequencing with the initial release of Acid. More than three years on it's more popular than ever, and the latest version includes MIDI and video support among other new features.

Swedish manufacturer Elektron claim that their SPS1 rhythm synth is the most sophisticated drum machine ever built, with a stunning specification that includes no less than four different types of percussion synthesis.

Emu's eye-catching new Command Stations repackage the sounds of their MP1 and XL1 sound modules, adding hands-on sequencing and real-time controls. Can the company win fans with these late entries to the groovebox market?

For 10 years, Yamaha's compact QY 'walkstations' have offered an impressive set of tools for the mobile MIDI musician. Nicholas Rowland checks out the latest, which adds guitar and vocal processing.

Yamaha's RS7000 is a groovebox with a difference. Incorporating a sequencer, sampler and a synth, it claims to offer everything you might need for modern music production.

The latest in Korg's series of dance-friendly Electribe groove workstations is sample- rather than synthesis-based, but serves up the same beguiling blend of hands-on user interface and cutting-edge sounds and effects as its predecessors. Nicholas Rowland takes it for a spin...

It looks like a groovebox, but inside it's a powerful FM synth, fully editable via bundled software. Derek Johnson & Debbie Poyser modulate those frequencies...

Roland followed their first MC303 Groovebox with the well-specified MC505. Now there's the MC307, with a spec more like the 505, a price closer to that of the 303, and more DJ-friendly features.

Is it a home organ-style keyboard? Is it a real synth? Is it a complete crock? Paul Ward explores the Korg Sigma, an instrument with a serious identity crisis...

It may look somewhat toy-like, but Yamaha's latest desktop synth workstation is actually anything but - it features serious synthesis from the AN1x and a host of performance-friendly controls. Chris Carter gets modelling...

With its host of programmable backing patterns and an audio track for live recording, Boss's JamStation is designed to enliven the tedium of solo practice, or provide an instant sketchpad for ideas. Nicholas Rowland strikes out on his own...

The analogue-style hardware sequencer has always suited some ways of working better than its software cousin, and the latest company to try to bring it up to date are MAM.

Three years ago Paul Wiffen concluded that Akai had brought the concept of the sampling drum machine up to date with the MPC2000. Now he takes a look at its successor to see how much more you get when you XL.

There have been Grooveboxes and user -friendly MIDI file players, but it's been a while — nine years, in fact — since Roland last added a full-on hardware MIDI sequencer to their product line up. Now the MC80 seeks to bring the idea bang up to date. Derek Johnson & Debbie Poyser take the hard option...

Is it a synth, a sequencer or a sampler? The answer to all three questions is an emphatic 'yes', as Paul White finds out when he takes the E4XT Ultra into his studio.

In all the fuss about last month's launch of the Triton keyboard, you'd be excused for having overlooked Korg's other new products — the diminutive Electribe EA1 synth and ER1 beatbox. As Chris Carter discovers, you won't be able to ignore them for long...

Derek Johnson looks at a new baby hardware sequencer and GM/XG synth from Yamaha.

Gordon Reid gets twiddling with two small but perfectly formed analogue units aimed at the pockets — literally — of today's aceed‑hungry dancemongers.

Subtle timing nuances play a large part in the feel of much of today's rhythm-based music. Martin Walker bangs the drum about creative use of groovy time-tweaking functions.