The Evolution of Akai Rackmount Samplers: A Technological History

The Early Pioneers: S612 and S700

The S612, while revolutionary for its price point, was extremely limited by modern standards. Its successor, the S700, offered improvements but still retained many limitations of early sampling technology. These early models were essentially proof-of-concept devices that demonstrated the potential of affordable sampling technology.

The Breakthrough: S900 and S950

The S900 represented Akai's first truly professional rackmount sampler, but it was the S950 that became a legend in electronic music production. Despite sharing the same 12-bit processing and 8-note polyphony as the S900, the S950 made crucial advances:

• Superior 48 kHz sampling rate (compared to lower rates on previous models)
• Expanded memory of up to 2.25 MB (with 750 KB standard)
• Standard features that were previously optional, like crossfade looping and pretrigger recording
• 99 sample locations (up from just 32 on the S900)
• Compatibility with both double-density and high-density floppy disks
• Double-speed MIDI communication for faster data transfer to external computers
• First implementation of time-stretching - a revolutionary feature that allowed changing sample length without altering pitch

The S950's time-stretching capability proved crucial to its enduring popularity, especially among hip-hop producers who prized its ability to manipulate drum loops. The characteristic "grainy and grungy" 12-bit sound of the S950 became highly sought-after, giving it a second life decades after its introduction as a retro sound source. Artists like Fatboy Slim (Norman Cook) incorporated its distinctive sonic character into their productions.

The 16-Bit Revolution: S1000 and S1100

The S1000 marked Akai's transition to 16-bit sampling, representing a massive leap in audio quality still preserving a gritty sound so much appreciated by many sampling addicts. Key innovations included:

• 16-bit sampling (up from 12-bit)
• Larger display and improved interface
• Expanded memory capacity of up to 8Mb upon release and 32MB in 1990
• 16-voice polyphony (double that of the S950)
• 18 dB/octave digital filter
• More professional connectivity options

The S1100 built upon the S1000's foundation with significant hardware improvements. Most notably, Akai replaced their earlier converters with high-end Sigma Delta converters, resulting in cleaner, more transparent, and less noisy output. The S1100 also introduced direct-to-disk streaming capability and an enhanced effects section. Interestingly, some producers preferred the grittier, grainier character of the S1000, finding the S1100's cleaner sound less characterful.

The S1100 could be expanded with the S1100EX, creating a formidable multi-unit recording system that was advanced for its time and would still produce quality results by today's standards, if you're lucky enough to find or buy 1-2 S1100 brains and 2-8 S1100EX expander units.

The Professional Standard: S3000 Series

The S3000 series represented Akai's most sophisticated 16-bit samplers and became the industry standard for professional sampling. The series included various models with different configurations:

• S3000: The base model
• S3000i: Included internal hard disk
• S2800/S2800i: Cost-reduced variants with fewer features
• S3200: Premium model with additional features
• CD3000/ CD3000i: Integrated CD-ROM drive variant (with built-in SCSI card with the "CD3000i")

Key technological advances in the S3000 series included:

• Full 44.1kHz 16-bit stereo sampling (the professional standard)
• Expanded RAM capacity of 8 to 32 MB
• 32-voice polyphony (double that of the S1000 series)
• Synth-like architecture with resonant filters, two LFOs, and complete MIDI implementation
• Full digital onboard effects (delay, chorus, reverb)
• Digital I/O, SCSI interface, and multiple storage options
• Large LCD display for improved workflow
• MTC and SMPTE synchronization capability

The S3200 added a standard digital filter expansion board and a magneto-optical storage drive option, plus digital I/O, SCSI, and SMPTE interfaces as standard features.

The "XL" variants (S3000XL, S3200XL, CD3000XL) further refined these technologies with newer hardware, enhanced features and improved usability. The CD3000XL in particular combined the S3000XL's capabilities with a quad-speed CD-ROM drive for accessing the growing library of commercially available sample CDs. They also used regular SIMMs instead of a proprietary Akai's memory modules for the previous models.

The S2000 represented a more compact and affordable option within this generation, bringing many high-end features to a lower price point and still is one of rare vintage samplers to buy at only USD200 nowadays.

The Digital Age: S5000/S6000 and Z-Series

As digital audio workstations began to emerge on computers, Akai responded with increasingly sophisticated samplers designed to integrate with computer-based systems:

The S5000/S6000 series utilized embedded i386 processors and featured:

• Much larger displays compared to previous models, the biggest ever used in a rackmount sampler
• Expanded memory capacity up to 128MB via SIMMs
• Enhanced connectivity and computer integration
• More sophisticated sample organization capabilities
• first-time appearence of the USB (as option)

The Z4/Z8, Akai's final dedicated rackmount samplers, released in 2002, represented the pinnacle of hardware sampling technology:

• Intel ARM processors for faster operation
• Expanded memory up to 512MB via DIMM SDRAM
• 24-bit/96kHz sample resolution (a significant leap from the 16-bit era)
• Powerful integrated effects section
• Advanced computer integration capabilities
• Much smaller displays and switching to PC editing

Here's the question: was their naming convention and the paradigm shift from "S0000" intentionally chosen to emphasize that they would be the LAST ever rackmount samplers from Akai, despite the availability of the S7000 name etc? 

Legacy and Influence

Despite production ending in 2002, Akai's rackmount samplers continue to influence music production. Many of these units remain in use today, prized for their distinctive sonic characteristics and workflow. The S950 in particular has experienced a renaissance in hip-hop production for its distinctive 12-bit "crunch". Also the S1000 and S3000 raise in value each year, but still cost less than USD1000.

Rather than continuing to produce increasingly specialized and potentially expensive hardware with diminishing returns, Akai pivoted to transfer their sampling expertise to their newer MPC (Music Production Center) series, later MPC controllers and software solutions. But the legacy of their rackmount samplers persists in the sonic DNA of countless recordings and in the design of modern sampling software.

The rackmount machines that we cover in this article, they weren't just tools — they were revolutionary devices that democratized sound manipulation and helped create entirely new genres of music. From hip-hop to electronic dance music to ambient soundscapes, Akai's samplers provided the technological foundation upon which modern music production was built.

Why has Akai not produced rackmount samplers since 2002?

The primary reason appears to be the rise of digital audio workstations (DAWs) on computers. Despite the fact that Akai always responded with increasingly sophisticated samplers designed to integrate with computer-based systems, this cannot last forever.

The final shift to software-based production offered several advantages over dedicated hardware samplers:

1. Greater processing power and memory capabilities than dedicated hardware.
2. Easier workflow with visual interfaces and mouse control.
3. Continuous updates without requiring new hardware purchases.
4. More affordable entry point (a computer plus software vs. specialized hardware).
5. Integration with other production tools in a single environment.
6. Cheaper, cheaper and cheaper price.

1988-1998 "The Reign of Akai"

Finally, Akai made a strategic business decision to evolve with the market. They felt that if they did not discontinue some obsolete products and their concepts, they would lose not only the market share but become unprofitable. It seems they literally did it too late, taking into consideration the severe problems that Akai Professional encountered at the end of the 90s that led to the sale of the brand in 1999 and bankruptcy in 2004, followed by a recreation of the brand by Jack O'Donnell and later merger into the inMusic brand. So yes, today's Akai has almost nothing to do with the golden era of rackmount sampling, what we might call 1988-1998 "The Reign of Akai".

This was the right move commercially, as the industry had fundamentally changed and maybe even inevitable. However, there's clearly something special about these hardware samplers that software hasn't fully replicated, given that vintage units like the S950, S1000, and S3000 continue to be used and are increasing in value.

The characteristic 'grainy and grungy' 12-bit sound and distinctive workflow of these machines created a unique sonic fingerprint that producers still seek out, showing that sometimes technological "limitations" create desirable artistic qualities that more advanced technology can't easily reproduce.

Here's the full list of Akai's rackmount samplers