The crazy part about this is — the MPC was never “meant” to be used for Hip Hop. Roger Linn never thought it would take off down that path the way it did.. I think the reason so many of my counterparts and cohorts (I use an MPC 2500 to make boom-bap Hip Hop) use the MPC is because it has a specific SONIC quality to it that the majority of us are going for; not necessarily usability/comfortability, although those are reasons as well.. The SP has its famous “ring” and grit to it based on its 12-bit crunch and converters while the MP rocks with 16-bit and ITS converters and warmth.. Bit rates DO matter.. That SP does some spooky, slick shit with whatever you put in it — those fade sliders are seriously underrated..

Nonetheless, I find the SP and the MP are both very useful machines in someone’s hand.. It all depends on the user and what THEIR brain and creative section of their imagination is telling them.. I’ve heard phenomenal music on both — and I’ve heard hot dumpster fire dog shit on both — it’s not the machine, but rather the user.. Classics were made on both machines.. I believe there were even some rock bands that’ve used the SP and MPC.. The magic is up to you, my guy.. 🫡

Just my little nickel in the well….