Roland P-6 Review One Year Later: Still Worth It?

When the Roland P-6 dropped last year, it felt like it came out of nowhere. A pocket-sized sampler pitched as a kind of SP404 Jr., but with a few tricks the flagship still doesn’t have. Now that the hype has cooled down, I want to share what it’s really like after a year of daily use. This review will take a look at the workflow, features, quirks, and how it actually fits into a beatmaking setup.

If you’re on the fence about picking one up, or you already own one and want to make the most of it, let’s get everything there is to know about the Roland P-6.

Why I Bought the Roland P-6

The P-6 has a small form factor but packs an impressive amount of features into it's tiny UI

I’ve always loved the SP404 MK2, but I wanted a smaller sampler with more old-school flavor. The P-6 brought back variable sample rates and added a granular engine, which immediately caught my attention. At launch it sold for $220, though now it typically sits closer to $269. Even with the slight increase, it’s still one of the most affordable ways to get into hardware sampling.

The closest competition is gear like the Sonicware Liven Lo-Fi 12 or the EP-133 KOII. All three bring something different to the table, but the P-6 stood out to me for one reason: its Elektron-style sequencer with deep per-step parameter modulation. Add in USB audio interface support and per-pad filters (something even the SP404 still lacks), and it felt like a no brainer.

Roland P-6 Features in Real Use

The P-6 is tiny, which means it packs a lot of menu-diving into its design. At first, the button combos and abbreviations on the four-character screen took some time to learn and get used to. But after about a month, things started to click.

My typical workflow looks like this:

• Sample something in (often from vinyl or my guitar).

• Resample with effects to grit it up.

• Sequence it with the step sequencer.

  -the steps on the P6 even have parameter changes and probability for more variation

• Dive into the granular engine for textures.

  
  

The sequencer quickly became one of my favorite parts of the P-6. Compared to TR-REC Mode on the SP404, the P-6 feels fluid and inspiring, with a far more programming friendly layout. The sequencer is a horizontal 16 steps rather than the 4x4 setup on the SP. Per-step modulation means every note can have its own timing, volume, probability and note tweak, which is powerful when you’re trying to add groove or subtle variations.

Here's a video of my typical workflow on the Roland P-6

Sound Quality

While The P-6 has 16 bit resolution, it's sound is more fit for overdriven, lofi aesthetics. It can do clean sampling just fine (at low durations per sample), but it's many sample rates and fx are definitely more suited for saturated, warbly tones. Lower sample rates are one of the sound design secrets of those early samplers that defined beatmaking in it's early days. While originally done to allow for more samples and hardware limitations, those sample rates can be found on the P-6. Sample time is limited, and dropping to lower sample rates gets you crunchy lofi character with obvious artifacts. But that’s actually the appeal of those sample rates, it adds a character reminiscent of the early MPCs. I’ve done side by side audio comparisons with the SP404, and while the SP is cleaner (and has FAR MORE per pad sample time, at 16 minutes per pad), the P-6’s grit cuts through a mix in a way I actually love, thanks to those lower sample rates.

For beatmaking styles like boom bap, lofi hip hop, or even experimental ambient, that grit can work in your favor.

Beatmaking Workflow

The strengths of the sequencer shine most when you’re building up a pattern, with it's easy programming and per step parameter changes. Once you've got a few patterns to create a song, the biggest limitation appears: No pattern chaining. Instead, you have to either mute/unmute tracks live or manually switch patterns. It’s not ideal, but once you get used to it, it can feel more performative than just hitting play on a set sequence of patterns.

For me, portability is the other major feature. I’ve built full tracks on the P-6 while traveling, on my couch, even while killing time before a recording session. It’s small, light, and runs on batteries, but still feels like a serious instrument.

Learning Curve

As a first sampler, the P-6 can be intimidating. Menu diving is part of the deal, and the granular engine takes time to understand. If you’re brand new to sampling, something like Koala Sampler on iOS might be a better start at a fraction of the cost. But if you already know the basics, the P-6 will reward you the more time you put in to understand it's features and 4 character screen.

This is the first beat I made on the P-6 and shows the learning curve and what sorts of menu diving you'll need to do for it's many functions

Build and Portability

The P-6 is all plastic, but sturdy enough to throw in a backpack. Battery life has been reliable, though I usually run it off USB power in the studio. I’ve even used it at the NAMM music convention as a field recorder and mini audio interface for recording audio from all of the brands I covered on the channel. It’s definitely built for life on the go.

Updates and Community

Given all the hype at launch, it's been disappointing to see that Roland hasn’t pushed any major firmware updates in the year since launch, just one or two bug fixes. There’s nothing broken, but there are some obvious quality-of-life features missing, like batch step editing or more flexible FX routing.

The silver lining is that there’s an active online community sharing tips, beats, and workarounds. I’ve also built a Roland P-6 Cheat Sheet that lays out shortcuts and workflows in a quick-reference format, which has been a lifesaver for me.

P-6 Beatmaking Cheat Sheet & Quick Start Guide

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Studio Integration

The P-6 works well as a standalone sketchpad, but I often pair it with other gear. In my studio, I use it as an “idea station,” building loops here and then arranging them later in the SP404 or DAW. It also pairs beautifully with the Roland S-1, especially for quick live jams.

USB audio interface support makes it easy to record directly into my laptop, which was a pleasant surprise at this price point.

What I'd Still Love to See Added to the P-6

The P-6 isn’t perfect. A few things I still wish it had:

• More polyphony for chords and chromatic playing.

• Better FX routing (currently the send effects bypass filters/bus fx so you'll get some strange interactions between the 2 audio lanes).

• A bigger, clearer screen.

• Longer sample times.

• True song mode or pattern chaining.

• A more flexible chop mode with movable slice points.

These aren’t deal breakers, but they do show where the P-6 sits in the larger sampler landscape.

My Roland P-6 Review Verdict

Would I buy it again today? Absolutely.

The P-6 isn’t meant to replace a full production workstation. Instead, it’s a compact, affordable sampler that punches far above its size. It’s perfect for beatmakers and sound designers who want the SP404 flavor with added sequencing depth, or for anyone who wants a portable idea machine.

If you need advanced sampling, long sample times, or a full all-in-one production box, this won’t be your only tool. But if you’re looking for inspiration in a pocket-sized package, the P-6 still delivers a year later.

In my 2025 Sampler Ranking video, I gave it an A tier ranking, and I stand by that.

Want Some Free Samples to Get Started?

Need some sounds to get started with the Roland P-6? Sign up for my mailing list and I’ll send you a free sample pack of dusty loops and one shots from analog synths and vintage drum breaks to get you going with this workflow:

Join the list and grab your free samples here