a sole focus on sampling helps the user to zone in on the fundamentals when making their beats
Roland’s infamous SP series needs no introduction. First launched in 1998 with the SP202, the SP range has been adopted by producers all over the world from Madlib, J Dilla and Nujabes to James Blake and Flying Lotus. Notorious for its distinctive sound characteristics, performance style effects and portability the SP range has captivated a generation of beatmakers and helped inform genres like lo-fi hip-hop and the outsider house movement of the mid 2010’s.
The announcement of the next generation of SP in early 2021 was understandably met with high anticipation from the millions of dedicated users worldwide and rightfully so. The SP404MKii picks back up where the previous releases left off and arrives with a stacked set of new features. The most obvious physical upgrade to the MK2 is the introduction of a full graphic display and the jump to 16 pads from the 12 that feature on the previous iterations of the 404. The 404 has also levelled up in terms of connectivity, and now features a full set of In/Out connections via 6.3mm jack and the capability to be used as an audio interface via USB-C (which can also be used to power the unit!).
Although the 404 has some strong competition from the likes of Akai’s MPC and Elektron’s Digitakt the SP sets itself apart with its singular approach. Unlike the devices mentioned above the 404 is solely focussed on sampling. Whilst some modern producers could feel limited by this approach, a sole focus on sampling helps the user to zone in on the fundamentals when making their beats - which is something that can often be lost on more in-depth pieces of equipment and DAW packages.
