The LCD is a simple monochrome affair of 128 x 64 pixels and beneath it are four black encoders that, along with some of the buttons, blend mysteriously into the black background, a design trend only Douglas Adams could have predicted. Recording is always one track at a time and, unlike delay‑based loopers, the audio cycles around perfectly, with no option to age or degrade. In addition, the storage capacity for recordings has been increased and the new version has a larger display for a better overview. And with 16 different kits, users can instantly transform grooves with sounds from heavy rock to light percussion and everything in-between.

While text and encoders don’t exactly line up, I was more concerned about the viewing angle: unless you look more or less directly downwards, the bottom row isn’t always readable. Simply plug in a mic, instrument or other audio source to build great loops, mix or get endlessly creative with the intuitive controls! Dedicated buttons are offered for key functions, such as starting/stopping the entire machine or the rhythm section — a built‑in ‘super metronome’. Getting into the nitty gritty of the looping options only serves to expand the creative possibilities, further dispelling the lack of seriousness one may infer from the rather playful appearance of the RC-505 MkII. Confusingly, there’s a hidden rule: even supposedly free recordings must be multiples of the first’s length.The visual feedback for the loop tracks is excellent during playback/recording and the expanded LCD display can be set to mirror the loop rotations or show input/output levels simultaneously. update, the assigned effects can now be used simultaneously, and newly added effects types offer even more processing options to choose from.

It’s a basic enough affair of up to 16 steps with no smoothing between them, but is nevertheless a useful tool for introducing movement and unexpected twists. Furthermore, the complete input section has been revised and the RC-505 MK2 has been expanded with two XLR inputs for microphones that can be used in parallel and switchable phantom power. Some user configuration is possible for the encoders, too: for instance, you can allocate duties such as memory selection, switching display modes, controlling the rhythm variation and level, and so on. As you excitedly unbox, it’s plain the RC‑505 MkII is going to grab a significant acreage (420 x 234mm) of desk space, although it weighs less than 2kg. Though much of the layout remains familiar, the five loop tracks have grown in length to accommodate longer throw faders and an extra button, splitting the old Edit into separate FX and Track (select) buttons, the first of a number of performance-related tweaks that help push the creative efficiency of the RC-505 MkII.

I loved the original model and the RC‑505 MkII is larger, more powerful and addresses almost every shortcoming. The front panel is partly composed of shiny black plastic, of a type best suited to those who never sweat. As is often the case, it’s still best not to stray too far from the recorded tempo, unless you enjoy the resulting warbles. DJ PRO-ZEIKO performs with the HandSonic HPD-20, RC-505, A-800PRO, and SP-555, while graffiti sprayer and airbrush artist Jan-Malte Strijek creates a mural.

You can initialize the phrase memory of the RC-505 to the factory preset demo data by copying the WAV files included in this data to it.Via USB, you can plug into your computer and import/export WAV audio phrases, great for loop archiving or loading up phrases with live backing tracks or sounds for sampler-style triggering.