The Akai S612 represented in its time a breakthrough in affordable digital sampling technology, combining three of the music industry's hottest buzzwords - "digital," "MIDI," and "sampling" - into one compact unit. Designed as a 2U high, 19" rack-mountable device, this sampler marked an impressive entry into electronic music for Akai, traditionally known as a Hi-Fi company before this event, despite some attempts to conquer the analog synthesizer market during early 80s.

Overview and Market Position

Unveiled at the Frankfurt Fair to considerable acclaim, the S612 stood out not only for its performance but also for its price point. While the retail price of approximately USD 2100 represented a significant investment back in the day, it was substantially more affordable than competing samplers on the market, making polyphonic sampling accessible to musicians with much more limited budgets.

The unit offered a streamlined approach to sampling without an integrated keyboard, assuming most users already own a MIDI controller. This design choice helped keep costs down while maximizing flexibility for guitarists, drummers, and other musicians who might prefer alternative control methods. Also probably first DJs, who knows...

Sampling Capabilities and Limitations

The S612 functions as a digital memory device that can capture any sound and allow it to be played musically via a MIDI keyboard. The sampling time varies from approximately one to five seconds, depending on the quality settings. While this duration is relatively short, the unit includes sophisticated looping functionality to extend sustain.

The sampling process is straightforward - users simply press the "NEW" button, set appropriate input levels using the LED bargraph meter, and capture the desired sound. The unit automatically switches to play mode upon completion, making the sampled sound immediately available across a connected MIDI keyboard.

One of the S612's standout features is its overdubbing capability, allowing users to layer multiple sounds. This function proves particularly useful for creating richer textures, transforming a single voice into a choir-like effect, or combining multiple instrument samples without requiring multitrack recording.

Sound Manipulation Features

Once a sound is captured, the S612 offers several ways to manipulate it:

Looping Controls:

• Two horizontal sliders labeled "START" and "END" allow users to define looping points
• Three mode options provide different playback behaviors:
  • ONE-SHOT: Plays the sound without looping, but allows for editing the start and end points
  • LOOPING: Cycles continuously between the defined points (A-B, A-B, A-B)
  • ALTERNATIVE: Creates smoother loops by alternating direction (A-B, B-A, A-B, B-A)

The ALTERNATIVE looping mode is particularly noteworthy as an advanced feature typically found only in more expensive units, allowing for significantly smoother loops with fewer audible glitches.

Sound Modification Controls:

• Three vibrato controls (RATE, DELAY, and DEPTH) for adding modulation
• A sharp-acting low-pass FILTER for managing bandwidth and quantization noise
• DECAY control for extending the sound after key release
• OUTPUT level and TUNE controls for final adjustment

The S612 also responds to MIDI velocity information, adding expressive capability to the sampled sounds.

Connectivity and Expansion

The front panel features both microphone and line-level inputs, while the rear panel includes the standard MIDI IN, OUT, and THROUGH ports. The unit can be assigned to receive on up to 9 MIDI channels, though the MONO/POLY selector's functionality isn't entirely intuitive.

For sound storage, the S612 works with an optional disk drive (sold separately for approximately £350) that connects via a multipin connector on the rear panel. Without this accessory, sounds can be recorded to quarter-inch tape, but users will need to reload and reconfigure looping settings each time.

The rear panel also includes additional connection points that appear designed for future expansion, potentially for a visual display unit or computer interface.

Sound Quality

With 12-bit sampling and a maximum bandwidth of 12kHz, the S612 delivers faithful reproduction of the original sound. While some quantization noise may be present, it's unlikely to be noticeable in a typical musical arrangement. Overall, the unit produces clear, uncolored sound that rivals much more expensive samplers.

Technical Specifications

• Form Factor: 2U high, 19" rack-mounting unit
• Sampling Resolution: 12-bit
• Maximum Bandwidth: 12kHz
• Sampling Time: Approximately 1-5 seconds
• Voices: 6 (polyphonic)
• MIDI: IN, OUT, THROUGH ports with 9-channel reception
• Inputs: Microphone (jack), Line level (jack)
• Looping Modes: One-shot, Looping (A-B), Alternative (A-B, B-A)
• Sound Controls:
  • Vibrato (Rate, Delay, Depth)
  • Low-pass Filter
  • Decay
  • Output Level
  • Fine Tuning
• Display: Horizontal LED bargraph meter for input levels
• Storage Options: Optional disk drive (approximately £350 additional)
• MIDI Features: Channel assignment, velocity sensitivity
• Approximate Retail Price: USD2100 approx (1980s)

The Akai S612 delivers impressive performance for its price point, offering capabilities previously only available in much more expensive units. While it has some limitations in envelope shaping and lacks CV/gate inputs for older equipment, its ease of use and sound quality make it an excellent entry point into the world of digital sampling for musicians on a budget.