How the SP-303 connects hip-hop’s Holy Trinity: J Dilla, Madlib, and MF DOOMOnce dubbed a DJ sampler and effects unit, the SP-303 was originally aimed at turntablists. However, this compact phrase sampler managed to find its way into the hands of some of hip-hop’s most creative producers.
Introduced by Roland Corporation in 2001, the BOSS SP-303 Dr. Sample is a compact sampler with eight voices of polyphony, 26 effects, and a real-time pattern sequencer that offers external sync. Two banks of eight mono samples can be stored, with a total sampling time of over three minutes at 11.025kHz, and the option of using 22.05 kHz, and 44.1 kHz sampling modes and extending the sample memory with SmartMedia cards.

In the early 2000s, hardware samplers were the primary tools used by hip-hop producers, as DAW-based samplers, like many used today, were still evolving. However, there was some similarly priced competition in the form of the Yamaha SU200 and the KORG ElecTribe ES1. As a result, the SP-303 wasn’t an instantaneous hit.
Although the SP-303’s range of effects and sonic quality was impressive, you could only use one effect at a time which, according a 2001 Sound On Sound review, was a creative limitation. Also, when we consider that older samplers like the AKAI S950 were capable of time stretching over a decade before, the underwhelming initial response to budget samplers wasn’t so surprising.
Astonishingly, the SP-303’s pitch engine was not an improvement on its predecessor. However, with its basic pattern sequencer, it offered a more standalone solution than the SP-202. The digital degradation, jitter, and artifacts introduced when pitching a sample up or down became intrinsic to the 303’s sound, especially when combined with the legendary ‘Vinyl Sound’ compression effect.
The SP-303 was not a complete music production system like the MPC. Nevertheless, it began to develop a mighty reputation when producers like Madlib, J Dilla, and MF DOOM took a shine to its simplicity, creative immediacy, and lo-fi sonic aesthetic.
How Madlib used the SP-303
From about as musical a background as one can have, Otis Jackson Jr, AKA Madlib, grew up with an insatiable musical curiosity. When confronted with his dad’s record collection, it didn’t take him long to express himself through sampling — he flipped his first record at age 11.
Between the early and late 1990s, he truly came into his own as a prolific artist and producer, with his group Lootpack signing to Peanut Butter Wolf’s Stone’s Throw Records in Los Angeles in 1998.
This relationship between Madlib and Peanut Butter Wolf’s indie imprint was fruitful and would bring a cult-like status to both artist and label. A turning point in this journey would come during Madlib’s trip to Sao Paulo for Red Bull Music Academy 2002, where his travelling companions included Cut Chemist, Egon, and J.Rocc of The Beat Junkies.

Although Madlib enjoyed crate-digging with his compatriots, his approach to choosing records was vastly different from his fellow producers. Instead of listening to each record, searching carefully for samples, he would harvest a wide scope of outlandish records, returning to his hotel room with a massive stack under his arm.
According to a 2005 interview with Scratch Magazine, Madlib “did most of the Madvillain album in Brazil. Cuts like Raid I did in my hotel room in Brazil on a portable turntable, my (BOSS SP) 303, and a little tape deck.” During this time, he developed a certain affinity with the SP-303 workflow, saying, “I like to move quickly, and these little boxes are easy to use.”
In Madlib’s high-output workflow, it was the SP-303’s creative immediacy that made it an inspirational tool to use. While sampling vinyl with a Fisher-Price turntable sounds like a delightfully naive idea, it led to the creation of the genre-defining Madvillainy (2004) album.
From this point, the gritty sound of the SP-303 became almost mythical, influencing artists such as Earl Sweatshirt and Tyler, The Creator, who were inspired by DOOM’s laid-back cadence and unrelenting flow and Madlib’s eclectic production style.
How J Dilla used the SP-303
James Dewitt Yancey, AKA J Dilla, emerged in the early 1990s as one of hip-hop’s most influential producers. Only two years after he first touched an MPC, he was working on The Pharcyde’s 1995 album, Labcabincalifornia, now widely regarded as a classic.
This was the beginning of a journey that would take Dilla into studios with some of the most important artists in hip-hop history including D’Angelo, The Roots, and Erykah Badu. Under the mentorship of his manager and fellow hip-hop artist, Q-Tip, Dilla was able to navigate his path as a solo artist and producer.

Having been exposed to his work through the circulation of his beat tapes, Dilla crossed paths with Madlib in the early 2000s and the pair went on to form the Jaylib collaboration. Although the duo’s Champion Sound (2003) album on Stones Throw was recorded separately in Detroit and LA, Madlib’s influence made the SP-303 a part of its creation.
During this time, there was a creative cross-pollination between these two great producers as Dilla became part of the Stones Throw family. As a direct result, he would make the move to LA in 2004, and the SP-303 reportedly became a part of his beat production workflow for his next and final solo album Donuts (2006) until his death in February 2006.

There are contrasting accounts about what gear Dilla used in his final days. According to revered musician and friend of Dilla, Karriem Riggins, the Stones Throw crew visited him in the hospital with a 303. “They brought him a little BOSS [SP] 303 sampler and little 45 record player,” he says. “That’s what brought him through to make a lot of music that we hear on Donuts.”

Other reports state that, when the Roland SP-404 came out in 2005, Peanut Butter Wolf gifted Dilla the new sampler as he continued creating music until his passing.
How MF DOOM used the SP-303
Although he was born in West London, the story of Dumile Daniel Thompson aka MF DOOM within hip-hop began in New York in the late 1980s with the graffiti and breakdance crew, KMD — his stage name back then was Zev Love X. It didn’t take long before the trio were signed to Elektra Records and released their debut album Mr. Hood in 1991.
For most of the 1990s, following the death of his brother, DJ Subroc, Dumile went into exile, making his eventual return as MF DOOM in 1999 with his debut album Operation DOOMsday on Bobbito’s Fondle ’Em Records. Under the guise of this new Marvel-inspired supervillain, MF DOOM became a mystical figure. With his unique wordplay on the mic and the atmospheric sample-laden beat productions under his Metal Fingers alias, the legend continued to grow.
Having moved to Atlanta in the late 1990s, DOOM happened across Madlib’s beats through a mutual contact at Stones Throw. Slowly, the seeds were sewn for a new collaboration that would stand the test of time: the now iconic album, Madvillainy.

As Madlib was also an instrumentalist, staying in the same house in LA (and working in Madlib’s The Bomb Shelter studio) exposed DOOM to a different side of hip-hop production. In an interview from late 2004, he mentioned being put onto the SP-303 through Madlib and Jay Dee (Dilla) and it becoming one of his favourite pieces of gear. Sometimes pictured holding the 303, he also commented on the “live feel” of its looping and sequencing workflow as well as the overall simplicity of its interface and raw sonic character.
what’s he holding? byu/riah-lanee inmfdoom

In another interview, DOOM described Madlib as a true partner in his musical journey, saying that he had rekindled the fun for him.
The Legacy of the SP-303
Although Roland replaced the SP-303 in 2005 with the release of the SP-404, it was the 303 that remains an undeniable thread that connected Madlib, Dilla, and MF DOOM. The stripped-down nature of its design encouraged collaboration, and although there are other ways to achieve lo-fi sounds, the 303 allowed an artist to invite another into their creative process without being hindered by technicality.
Over the years, the feature set within the SP series became more comprehensive, but the phrase-sampling workflow remained. This enables producers to access the same creative platform no matter which model of the SP series samplers they use. The key remains in the samples themselves and how you put these puzzle pieces together.
A prime example of this in a modern context is the LA boom-bap producer, Dibia$e. As one greatest exponents of the SP series samples, his use of SP-303 and SP-404 samplers is easily recognizable in the sound of his music.

In an interview by Gino Sorcinelli, Dibia$e describes how he used the SP-303 and SP-404 for its compression, even when he produced his album Swingology 101 (2011), using Reason 5. He also details how the SP-303 has a unique feature that allows you to sample the input and sequencer simultaneously. This allowed him to create sounds over a record playing, a feature that was subsequently discontinued.
The SP-303, and even its predecessor the SP-202, will forever remain on the radar for modern lo-fi hip-hop producers. Once they’ve mastered the latest model (the SP-404 MKII), there is a tendency to go back and explore the grittier sound of the SP-303. As Madlib, J Dilla, and MF DOOM discovered, its limitation made it a catalyst for creativity and meaningful collaboration.
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