Roland SP-404 MKII review

by Greg Scarth on 10.12.2021 at 14:24pm.
Last edited: 10.12.2021 at 14:31pm.

Roland’s cult classic sampler gets a reboot. Greg Scarth explains why the MKII might win over a whole new generation of producers.

Fifteen years is a lifetime in the world of studio technology. You’d be forgiven for assuming that Roland’s SP-404 sampler had been consigned to history, but the arrival of a MKII version a full decade and a half since the original reminds us that there’s life in this cult classic yet.

First of all, a quick history lesson. The SP series was originally launched under Roland’s Boss sub-brand, debuting in 1998 courtesy of the Dr. Sample SP-202, a portable, battery-powered groovebox that looks a little clunky by modern standards but offered a unique take on sample-based music-making – cheaper and more immediate than the dominant Akai MPCs of the era; more focussed on live performance and aimed to appeal to DJs as well as producers.

If there’s one artist who really helped solidify the cult classic status of the SP series, it’s undoubtedly the legendary J Dilla, best known for his use of Akai MPCs but equally adept on other samplers. While he was hospitalised with chronic illness in 2005, friends from Stones Throw Records brought the producer a Boss SP-303, a stack of records and a turntable, hoping that the sampler would form the basis of a small portable production setup. During that hospital stay, Dilla completed at least 29 tracks, which formed the basis of the masterpiece Donuts, released just days before his untimely death early the following year.

The SP series went on to be heavily associated with the LA beat scene, earning cult classic status, but Roland seemed to lose interest in developing the range much further, settling for a couple of minor updates but no major overhauls. Until now. The SP-404 MKII represents a new generation of SP, updating the last model in the series. It’s not quite an all-new model but definitely not just a refresh. Think of it as a continuation of the SP series ethos, always quite distinct from other samplers in the way it prioritised ease of use and targeted DJs as well as hip-hop beatmakers and other musicians.

The basic concept is much the same as the original models: an all-in-one groovebox which allows you to sample sounds, create patterns and sequences, perform in real time and take control of a range of effects. The raw numbers for the MKII are impressive, with a total of 16 projects, 160 samples per project and a maximum 32-voice polyphony (i.e. the number of samples you can play back simultaneously).

There are a few noteworthy changes from the original SP formula, bringing the 404 up to date with features like ¼-inch inputs and outputs, an SD card slot and a much improved OLED screen. For fully portable use, the MKII can run on AA batteries or a USB power bank, with the USB port also allowing the unit to hook up to iOS devices or computers as an audio interface. In performance terms, the most obvious change comes in the form of the new bank of 16 performance pads, as opposed to the 12 on the original. There’s also an additional Sub Pad off to the side, giving a total of 17 velocity-sensitive pads for triggering samples. Importantly, the feel of the pads is good considering their size. You wouldn’t really expect the subtlety of a high-end pad controller, but they’re certainly responsive and controllable enough to express yourself either when recording or when triggering samples in real time, with nice options like mute groups and a roll function to give you added versatility.

There’s typically a bit of a learning curve with any all-in-one groovebox, purely for the reason that there’s a lot to get your head around in terms of everything from sound design to sequencing. The SP-404 MKII isn’t the kind of instrument where you’ll immediately understand every feature, but even relative newcomers to music will be able to pick it up and get something out of it, even if it starts just by playing back preset patterns and using the excellent effects to jam out a performance.

In use, it quickly becomes obvious why the SP series is associated with artists like Flying Lotus and Madlib. The SP-404 MKII factory sound content leans in heavily to the sound of hip-hop, lo-fi beats and the LA beat scene, but it’s the way it encourages you to make music which really defines its creative potential. The SP-404 lends itself perfectly to anything based around loops and real-time performance. Import some suitable samples of your own and you can happily find yourself in house or techno territory, with the effects section offering huge potential to twist your loops and patterns in all sorts of ways. There are 37 effects in total, ranging from basics like filters and delays to more specialist options like guitar amp simulators.

Some of the 404’s approach might seem a bit idiosyncratic if you’ve come from different grooveboxes, but that’s part of what gives it character. There are quite a few shift functions, but relatively little in the way of menu diving, meaning that the whole workflow feels smooth and inspiring. Compact samplers can make it fiddly to edit sounds, but the MKII does a really good job of making things straightforward. The OLED screen might not be huge, but it’s clear and effective when it comes to giving feedback on the 404’s features.

The sampler market has changed immeasurably since the release of the original SP-404, from the evolution of software like Ableton Live through to the appearance of hybrid instruments like NI’s Maschine series. Some of the hype of the original SP samplers might now sound a little dated (“It’s next to impossible to create phat, slammin’ tracks without a good sampler…”) but the principles are still good.

It’s noteworthy that it sits in its own space in the market: relatively affordable for a serious standalone sampling groovebox, offering something quite different to rivals like the Korg Electribe Sampler or Akai MPC One. The SP models were always about affordability and ease of use as much as outright power and features, so it’s good to see the MKII hasn’t lost sight of that original ethos. The 404 is an instrument which has liThe mitations, but that’s no bad thing. The SP-404 MKII proves that there’s still plenty to like about the SP series, some 23 years since the launch of the range.

Greg Scarth

More info/buy

Roland SP-404 MKII review

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