street priceThe Akai X7000 keyboard sampler emerged to fight the Roland's S-10, both units matched at identical price points with closely comparable facilities and quality. The X7000 distinguished itself with a striking light grey appearance, featuring a front panel dominated by a row of 16 buttons that serve dual purposes: calling up samples in one mode and accessing parameters for editing in another.
The X7000 boasts a five-octave velocity-sensitive keyboard (C-C scale) with six split points, providing an extra octave compared to the Roland S-10's four-octave, four-split configuration. The instrument delivers six-note polyphony and includes a modulation wheel for expressive performance. The 61-key keyboard covers a six-octave range and responds to velocity for dynamic playing.
Built around 12-bit sampling technology, the X7000 offers variable sampling frequencies from 4 kHz to 40 kHz, with corresponding sampling times ranging from 8 seconds down to 0.8 seconds. The frequency response spans 25 Hz to 16 kHz. The unit can store six separate samples simultaneously in its internal memory, expandable to 16 samples with the optional ASK70 memory expansion board, which also increases split areas from 6 to 16.
The integrated 2.8-inch disc drive handles sample loading, though it accommodates only one sound per side of the disc. Each disc side offers 128 kbyte of storage capacity on a single spiral track, with the medium rated for approximately 2000 passes. This single-sound-per-side limitation means complex multi-sample instruments, such as realistic grand pianos requiring separate samples for each octave, would need five disc sides.
One of the X7000's standout features is its autoloop facility, which automatically creates seamless loops from short samples by analyzing the signal and identifying similar segments that merge smoothly. This automated system excels with pure tones like bass notes or organ sounds, producing excellent results. However, samples with internal movement, such as swirling strings, prove more challenging to loop successfully.
The creative overdub facility allows layered recording through the rear-panel microphone or line inputs. Users can record an initial sample (such as vibes), then overdub additional layers (strings, then brass), building complex composite sounds. While quality begins to deteriorate after approximately three overdubs, the ability to trigger multiple sounds from a single button offers useful creative possibilities.
Unlike the Roland S-10, the X7000 features comprehensive multi-MIDI functionality, enabling all six samples to run simultaneously from a sequencer. The unit provides separate outputs for each sample and supports MIDI channels 1-16 with multiple operating modes including OMNI ON, OMNI OFF, and MULTI MODE, each offering special mono, mono, and poly options.
The extensive edit section provides control over scan parameters (start, end, loop), multiple scan modes (one shot, loop, alternating, drum trigger, auto loop, reverse, forward), LFO modulation (speed, depth, delay), output parameters (release, level, filter, velocity), and comprehensive tuning options. Master tune and program tune both offer ±100 cent adjustment, while transpose spans ±5 octaves with constant pitch on/off capability. Key range assignment covers MIDI notes 0-99, and audio trigger functionality can be enabled with assignable MIDI note numbers.
External connections include MIDI In, Out, and Thru jacks, microphone input, line input, and line output jacks. Level controls include adjustable recording level (min-max), monitor level (min-max), and output level (min-max).
The X7000's sound quality matches its rival S-10, and it offers advantages including the extra keyboard octave and useful multi-split capability. However, the S-10 was noted for maximizing memory space through sample layering, detuning for thickness, ganging samples for extended length while maintaining bandwidth, velocity-based sample switching, and various other software tricks—features that the X7000 had the technological capability to implement but lacked in its feature set.
Country of origin / production: Japan
Recommend product to a friend| Usage area | |
|---|---|
| Sampler | |
| Usage Design/ Form Factor | |
| With Keys | |
| Archetype | |
| Digital (D) | |
| Polyphony | |
| Voices | 6 |
| Tone Generator / Sound Synthesis | |
| Synthesis Method | Digital Subtractive |
| Sampler | |
| Sampler Format | Linear |
| ADC | 12 bit |
| Power | |
| Power Supply | Built-in, internal |
| Dimensions | |
| Height | 110 mm |
| Width | 1039 mm |
| Depth | 346 mm |
| Weight | 14 kg |
| Case/ body | |
| Metal&plastic | |
| Production start | 1986 |
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