Roland SPD-S

Included with the SPD-S is a CD containing a huge array of WAV files — some are in addition to those pre-loaded, while the others found on the CD will act as a 'backup' for the original samples should the SPD-S be accidentally wiped. A nice fat paper manual of over 140 pages (available as a download from Roland's website in PDF format) is also included, together with a small length of slit tape for jotting down user designation of samples, and the ever-essential external 9V power supply.

Samples can come from virtually any source you can think of; sample CDs, loop libraries, external microphone, instruments, and so on. All that needs to be done is to switch over to either line or mic. There are basically three available sample rates of 'fine', 'standard' and 'long'. How long can depend not only on the chosen sample resolution, but whether you require it in stereo or mono. It is worth bearing in mind that the internal memory is very limited, with only three minutes of fine resolution in mono, so purchase of a CompactFlash card would have to be made — a 512MB card will up the sample time to over an hour in mono.

The flat underbelly of the SPD-S has felt washers fixed at each corner to allow playing on any flat table-like surface, but Roland can provide the optional APC-33 bracket if you prefer to attach the device to a stand or rack.

Sitting just below the rubberised striking areas, within easy reach of the performer, are all the various controls for sampling and general SPD-S performance, including volume and effects level/frequency (depending on the effect selected). And to the far right are the controls for patch +/-, page selection, enter and exit. While safety for each of these is not of prime consideration — especially as the controls could so easily be clouted by a stray strike — and as performance will no doubt involve real-time control, it is wise to remember to make sure your stick aim is accurate! The LCD panel is quite miniscule, but it does display a surprising variety of information by doubling as input level meter, patch/sample name display, activity of read/write access, and much more.

To the right-hand side of the Volume knob is a series of nine LEDs representing each of the pads, and these illuminate to indicate which ones have been struck and which ones are being edited, depending on the mode selected. Any will remain lit for the duration that the designated sound or loop actually sounds — useful for knowing where each sound was initially triggered, especially as turning off a loop involves hitting the same pad once again to stop it. Four further LEDs show the general activity of a footswitch and optional external triggers, should you wish to use these during performance.

To the right of the LCD segment sits a bank of buttons for controlling activities like sampling, sample and patch editing, patch copying, effect selection, CompactFlash card functions, and so on. The socket for the memory card is situated down to the left-hand side of the SPD-S, within easy access for your hands and, fortunately, away from the sticks.

Once powered up, the LCD segment momentarily displays 'Welcome to SPD-S'. Then an inviting 'Join Us!' patch name appears, and the Patch and Effects buttons illuminate simultaneously. I plugged my headphones into the designated socket and made a quick check of the levels, just to make sure I wasn't going to get blasted away. Armed with a pair of sticks, I tentatively checked out the various pads, and as I started to listen to more and more of the samples and phrase loops, my imagination was working overtime, thinking about the variety of applications where I could take full advantage of the SPD-S in a live set.

Following the 'Quick Guide' in the manual makes sampling a doddle — I plugged a Shure SM58 directly into the rear of the unit (any good quality dynamic mic will be fine). To sample, press the Patch button, select a spare patch, and press the Sample button. The display will show 'select dest pad', which basically means the SPD-S requests you to hit the pad where you wish to assign the sample. The chosen pad LED will illuminate, and the SPD-S will enter standby mode, confirmed by the LCD displaying ' Stby'. At this point, it is possible to hear the input via headphones or the main output. The input level is adjusted by the input volume at the rear of the SPD-S to achieve maximum input without any possible clipping. Once happy with the level, press the Start\Stop button, and as soon as the SPD-S 'senses' input, it will automatically begin recording. Pressing Start\Stop once again puts the SPD-S into 'write' mode. From this point, you have to input a patch name, and pressing the Enter button will 'write' (save) to store the result. I also made a few samples with the line input, and took snippets from a variety of audio sources. The results were surprisingly good, and when some of the effects had been applied, amazing!

Having played around with literally every onboard sound on tap, I found the stick response excellent and the standard of samples, both in the internal memory and the supplied CD, just stunning. So too is the way in which the SPD-S integrates the effects and the amazing possibilities of adding your own samples — this box of tricks is literally limited by your imagination.

At the very beginning of the review, I believed this pad was purely for drummers, but I can envisage other potential uses — DJs, theatre production, and anyone else that may have the need for real-time sound effects. Vocal harmonies, drum fills, percussion sounds, and favourite riffs are all available at the strike of the stick, and for just under £400, there is a whole lot of serious enjoyment here for the money.  0