Sonicware’s SmplTrek is a handheld pad sampler for self-contained music production

Roland’s SP-404 portable sampler sometimes feels like it sits in a product category all of its own, but it could soon be joined there by Sonicware’s SmplTrek, a handheld sampler that’s just made its debut on Kickstarter.

This compact device promises one-touch sample recording; it comes with a built-in mic and inputs for dynamic mics, electric guitar/bass and line-level sources, and you can also sample from your smartphone over USB.

Sampled sounds can be auto-sliced and split across the bank of pads and timestretched and pitchshifted to match the tempo and key of your song.

On the sequencing front, each of your projects can have 16 scenes, with each of these containing 10 sequencer tracks (these can handle loops, one-shots, drums, instruments and external MIDI). You also get three additional global audio tracks for recording the likes of vocals and guitar.

All parameter automation can be recorded and edited, and finished songs can be run through mastering effects and then exported to a single audio file. Hook up a USB cable to your phone or computer and you can also livestream your audio, adding your voice over the top.

SmplTrek comes with more than 500 sample-based sounds and more than 100 drum kits, and there are 30 effects, too. Samples are stored on SD card.

You can currently put down a Super Early Bird pledge for SmplTrek - this costs ¥35,500 (around £222) or more. The funding target has already been reached, so backers should start receiving their units in September.

Sonicware has previously released the ELZ_1 ‘gadget synth’ and Liven XFM and 8bit Warps grooveboxes. You can find out more about SmplTrek on its Kickstarter page.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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