street priceThe Alesis MMT-8 is a dedicated hardware MIDI sequencer that offers a tangible alternative to computer-based sequencing solutions. It presents itself as an affordable yet capable sequencing tool that prioritizes operational simplicity and direct access to functions through a dedicated control panel.
The unit features a control layout reminiscent of multitrack tape recorders, with eight track buttons accompanied by red LEDs, plus familiar transport controls including Play, Stop, Record, Fast Forward, and Rewind. A 32-character backlit LCD display provides essential information without the complexity of computer-based interfaces.
The MMT-8 employs a part-and-song construction method. Sequences are built from individual parts, with each part capable of containing up to 682 beats of 8-track recording. The innovative aspect of this design is that each of the eight tracks can simultaneously hold all 16 MIDI channels, keeping them separable for later editing and reworking. This effectively provides the potential for 128 simultaneous data streams (8 tracks × 16 MIDI channels), though they ultimately route through a single MIDI output.
The system can store up to 100 parts and 100 songs in memory simultaneously. Songs are constructed by chaining these parts together, similar to the workflow found in most contemporary computer sequencers. Parts can represent different sections of a composition such as intros, verses, and choruses.
The recording process is designed for efficiency. When initiating recording, the MMT-8 automatically selects the lowest numbered empty track, then progresses to the next empty track with each subsequent recording. This automatic track selection eliminates the need for manual track management, though manual selection remains available for overdubbing or re-recording specific tracks.
The first track recording establishes the part length (1-682 beats), which operates without traditional bar structures or time signatures. The sequencer supports punch-in and punch-out recording by pressing the Record button during playback, similar to tape-based workflows. However, it cannot begin recording from a midpoint within a part—recording always starts from the beginning.
Parts can be extended either by doubling their length or by adding empty beats, with these operations affecting the entire part rather than individual tracks.
Post-recording quantization offers several modes:
The system does not offer quantization during recording or a "tidy up" function that would selectively correct only significantly mistimed notes.
The Merge function addresses the practical limitation of eight physical tracks. Once tracks are filled, MIDI data from multiple tracks (for example, tracks 1-7) can be combined onto a single track (such as track 8). As long as each musical part resides on a separate MIDI channel, this merged data remains extractable and editable. This effectively allows unlimited overdubbing despite the eight-track structure—the only real limitation being MIDI bandwidth itself rather than the sequencer's architecture.
The copying system provides comprehensive flexibility:
This last capability is particularly powerful for extracting single MIDI channels from tracks containing multiple channels. A useful technique involves copying selected data types to the same track, effectively erasing unwanted MIDI information while preserving desired elements.
The erase function can remove entire parts or songs, or selectively delete specific data types while preserving others. Available for selective erasure: notes only, pitch bend, aftertouch, controllers, program change, system exclusive data, or specific MIDI channels.
Transposition operates across a range of ±99 semitones, suitable for adapting sequences to different vocal ranges or creating octave doublings. Octave doubling is accomplished by copying a melody to another track, transposing one version by 12 semitones, then merging the tracks. While the MMT-8 can incorporate transpositions when chaining parts (useful for key changes in choruses), this requires copying and transposing parts rather than transposing during the chaining process itself.
The edit function allows note-by-note scrolling through recorded data. When editing a track in Part mode, individual MIDI events display with the following information:
All MIDI data types can be edited, including pitch bend, aftertouch, controllers, program change, and system exclusive information. Additional MIDI data can be inserted at any point in the sequence, useful for adding notes or controller messages without re-recording entire passages.
Song Edit mode provides the interface for chaining parts into complete compositions, displaying the song number, step number, and assigned part for each step in the sequence. Parts can be inserted or deleted within song structures.
The unit features the complete MIDI specification with three MIDI ports (In, Out, Thru). The MIDI Echo function routes incoming MIDI data to the MIDI Out, allowing downstream equipment to monitor and respond to incoming information. Incoming MIDI data can be re-channelized to any desired MIDI channel, enabling use with keyboards limited to single-channel transmission (such as the DX7 Mark I).
MIDI channel assignment offers two approaches: channels can be assigned either to the track itself or to the data contained within the track. This distinction becomes significant when moving data between tracks—the former approach allows instrument reassignment by track, while the latter maintains data-to-instrument associations regardless of track location.
The MIDI Filter provides selective recording control for the following data types: notes, pitch bend, aftertouch, controllers, program change, and system exclusive. Song pointers are recognized for synchronization purposes.
The sequencer does not support tempo changes within songs or parts—only one tempo can be assigned per song. Time signatures are not implemented in the system architecture. The display does not indicate which beat position the sequencer stopped at, reverting to the part name when playback stops. Track LEDs do not illuminate to show which track is actively recording or which tracks contain data. The edit display does not play notes as you step through them, nor does it allow real-time audition of parameter changes before committing them. MIDI keyboard input cannot be used to edit note values directly.
The MMT-8 shares its grey plastic case design with other Alesis equipment of the era. It includes click track, MIDI clock, and tape data storage capabilities comparable to those found on the Alesis HR-16 drum machine. The loop function repeats parts or songs indefinitely but drops out of record mode when looping, preventing continuous overdub workflows common in drum machine operation.
| Production start | 1987 |
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| Production ended |