An Akai MPC3000 once owned by Jam & Lewis is currently on sale for more than $4,000

Akai MPC3000 Jam & Lewis
(Image credit: Reverb)

An Akai MPC3000 said to have been previously owned by super-producers Jimmy Jam and Terry Lewis  is currently up for sale on Reverb for more than $4,000.

Released in 1994, the 3000 is considered by many to be the best MPC ever made. It took the best bits of its predecessor, the MPC60, and increased the sequencer capacity, polyphony, memory and sample rate. Its sound is punchy yet dirty, and the simple workflow is conducive to fast creativity.

The seller of the Jam & Lewis MPC says that it’s been tested and works well. It still has its original screen backlight, which means that the display isn’t as bright as it could be, but it’s not that hard to fit a third-party replacement.

This model comes with a Zip drive and, intriguingly, some extra disks, one of which is said to contain files/samples from an old Jam & Lewis session. 

Jam & Lewis are one of the most successful songwriter/producer duos of all time. Best-known for their work with Janet Jackson, they were heavy users of the Roland TR-808, Oberheim OB-8 and LinnDrum.

Discussing their love affair with gear with MusicRadar back in 2021, Terry Lewis explained: “The technology is the inspiration. It’s not the complete thought. But it’s maybe the beginning. The genesis of whatever idea you might spawn. I can hear three notes and say ‘Ooh!’. That can be the beginning. So, yeah, the technology does help.”

It’s not clear which (if any) released Jam & Lewis tracks the MPC3000 was used on, but the seller believes that it’s “a little piece of history” that, other than a few minor scratches and cosmetic wear and tear, is in good condition.

You can check out the full listing over at Reverb.

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Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.