When new music equipment, instruments, and recording technologies are introduced, they can influence how music is produced, and consumed. These advancements often lead to changes in sound, and production techniques, and sometimes contribute to the creation of new genres. For example, in 1986, Akai released a piece of equipment which became a go-to choice for many musicians and producers and impacted the development of sample-based music.
It is nothing but the S900 – an 8-voice, 12-bit sampler. Its sample rate varies from 7.5 kHz to 40 kHz, which allows it to sample up to 11.75 seconds of audio at a sampling rate of 40kHz, or up to 63 seconds with lower rates. The launch of this product was revolutionary, as the previous samplers could not sample anything longer than a few seconds and had only one available sound storage spot at the time while Akai made it possible to have up to 32 samples simultaneously. [1]
The Akai S900 made sampling technology more accessible by offering an affordable option of around £1700 for newly started producers. Before that, sampling was often an expensive and complex process, limited to high-end studios, so the release of the S900 provoked a boom in experimentation among a wider number of musicians.[2]
MIDI integration in the Akai S900 meant that the sampler could communicate and synchronize with other MIDI-compatible devices. This allows musicians to control the S900, trigger samples, and coordinate between different instruments and equipment during recording or shows. [2] The sampler’s compact design also made it more practical for both studio use and live performances compared to some larger models available in the 1980s. This is also why it became a popular substitute for drum machines in home studios. [3]
As one of the early digital samplers, the Akai S900 contributed to the broader shift from analogue to digital sound processing during the 1980s and 1990s. This sampler became defining to the sound of many artists, including Fatboy Slim, Moby, Depeche Mode, Dr. Dre, Portishead, New Order and Tangerine Dream. [4] [5] [6]
[1] www.synthmuseum.com. (n.d.). Synthmuseum.com – Akai : S900. [online] Available at: https://www.synthmuseum.com/akai/akas90001.html [Accessed 4 Nov. 2023].
[2] Kraft, Espen. “S900 – This Made Akai the KINGS of Sampling.” Www.youtube.com, 20 Jan. 2022, www.youtube.com/watch?v=Qy-X0FaPpJk Accessed 4 Nov. 2023.
[3] Fishman, Paul. “Akai S900 Sampler (IM Jul 1986).” International Musician & Recording World, no. Jul 1986, 1 July 1986, pp. 84–86, www.muzines.co.uk/articles/akai-s900-sampler/11018 Accessed 5 Nov. 2023.
[4] www.soundonsound.com. (2017). Classic Tracks: Fatboy Slim ‘Praise You’. [online] Available at: https://www.soundonsound.com/techniques/classic-tracks-fatboy-slim-praise-you [Accessed 4 Nov. 2023].
[5] Ward, Phil. “Under New Orders (MT Apr 1994).” Music Technology, no. Apr 1994, 1 Apr. 1994, pp. 44–48, www.muzines.co.uk/articles/under-new-orders/7751 Accessed 4 Nov. 2023.
[6] Trask, Simon. “Dream State (MT Jan 1991).” Music Technology, no. Jan 1991, 1 Jan. 1991, pp. 40–46, www.muzines.co.uk/articles/dream-state/764 Accessed 4 Nov. 2023.