If they can get those chunky 606 hats and that snare, I’m sold! Those are the only 2 things where I feel like the Rytm falls short
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ah oh yes. The RD-8 is now a permanent part of my audio toolkit. Ive already used it on many songs, and while the inverted phase issue is a bit of a PITA, its easily corrected with a phase flip.
The multitrack outs are a bit on the noisy side, so I’m using expanders/gates when needed, especially the tom circuits seem noisy on my unit.
But all in all, I dont lust for an og 808 anymore, which is all I wanted from the RD-8. Very happy with the purchase considering the price. RD-6 and RD-9 will be bought as soon as they are available.
Please bear in mind that only sync the RD-8 to my DAW manually by ear and only use the internal sequencer on the unit. I cannot vouch for 100% satisfaction when using ext MIDI or ext MIDI clock sync since I dont use them. I have read that many people struggle with using ext MIDI, erratic sync and inconsistent accent behaviour has been reported when using with MIDI.
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Thanks for the info, I think I would only use analogue clock-in if I were to sync it.
Not heard anything about inverted phase issues, what does that mean in layman’s terms?
You know the RD8 features a master out and individual outs right?
So there are two discreet signal paths inside. The sounds that are sent to master also get sent to the fx section (wave designer and the filter), whereas any sounds taken from individual outs are sent dry. The way these two signal paths are engineered inside is based on phase inversion tricks, and they result in the sounds of the master output being out of phase with the sounds of the indiouts. Result is, if you combine indiout sounds with the sound of the master out, via an ext mixer or whatnot, you get one phasey mess of an combined output.
You need to correct this by flipping the phase of the master out channel from you mixer / DAW.
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Yeah I have noticed the double triggering also. Has this been fixed in firmware or is there a work around. If I cant sequence this with the digitakt I will probably send it back.
I thin it was fixed a while ago. ( rd8 firmware update )
Cheers for your reply will get the firmware updated ASAP was driving me mad trying to sequence this with Digitakt earlier.
Can any other DT / DN and RD-8 users confirm this please?
Yeah great latest firmware has solved it thanks again for taking the time to reply.
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I remember seeing a video of a guy making some maddeningly good techno with this machine, but I can’t for the life of me find it anymore. I think it might have been on twitter. Anyone know what I’m talking about?
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No, sadly. I think it might have been someone pretty famous, but I’m really clutching at straws here. Knowing me, I’ll be trying to find that thing for a good hour now. And then be like, yeah, cool. Thanks for your effort 
And I found it! You can probably call him famous 
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FYI
New firmware 2.0 has been released.
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Cheers for the heads up.
Edit some nice enhanced workflow adjustments
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I just received mine. I … Am not impressed. Maybe it’s not the rd-8’s fault, could be my workflow. I’m going to end up resampling the sounds and applying fx… Straight 808 sound with no fx is pretty dated. As much as I want to like it, it’s just a really big box for something I’ll probably sample one shots from 
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Tbh that’s all an 808 type clone will give you, especially one like the RD 8 that keeps things true to the OG in terms of no midi cc etc. That said there are a few good additions like the FX section that you can use to good effect (excuse the pun!) in a ‘playing’ environment.
The RD is good for backing up a beat or loop, even just using the kick and some of the perc. Of course you could sample all the sounds and then move it on. Horses for courses I guess?
Ps. If you haven’t already update the firmware. The latest version in much better than the version mine shipped with. Known sync issues have been addressed and a few other niggles have been ironed out and tweaked.
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This is true, and something I think a lot of people overlook in the excitement of “finally an affordable classic” in a way it is like classic cars, not many people would want a replica of an 80’s car for their daily driver, with no modern features, and music gear is no different.
Not saying for a moment that everyone thinks like this, but I think a lot of people will eventually come to the realisation that a lot of big, limited, cheap gear isn’t as useful as a few modern pieces with more features and more possibilities, sure they are cheap but once you have a few the cost soon adds up.
I am genuinely surprised that Behringer show no signs of stopping and that people still seem to get excited about each new clone.
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Solidarity here. I only had mine for a couple months before selling it. It’s too big, the buttons and knobs felt too plasticky, and the lack of MIDI CC implementation were ultimately deal-breakers for me. I debated keeping it as a teaching tool (my 10-year-old loved banging out beats on it) and it sounded great, but it ultimately went the way of the dodo in my studio and it’s very likely the last piece of Behringer gear I’ll buy.
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I must admit I get excited and that’s fine for me. I know what I’m getting, limitations and all but maybe I fall into their target matter. I want those sounds, those designs and that whole vintage vibe. I’ve got vintage synths alongside new and use them for different things.
I’ll be the first to admit I know I’m out of the ordinary in that I’m happy to have a synth that I might only use for one sound or type of sound. Most folks have a select few items, they trade up or down depending on desires etc. I’m a hoarder when it comes to instruments 
I’m not sure the analogy holds up completely here. There is a different level of utility, availability, and reliability where say a clone synth is concerned.
Most people that want a vintage, or otherwise desirable car keep it garaged 90% of the time. They don’t really use it, unless maybe it’s on a special day, or in the one season of the year (in a lot of climates) where they can take it out in good weather. They maintain it a completely different way, and use it a different way. Many of these people also have a cheaper work-horse or daily driver as you say.
With synths, I would say it’s a bit different, especially in case where the sound is 99-100% of the way there. One can use the synth to make music. Daily. Never having to recap the vintage gear, buy a rare part, rebuild the power supply, etc. The desire to not use it as much because it’s an expensive or rare vintage piece goes out the window. It can now be used live, it can be used in contexts that maybe one wouldn’t want to use a vintage piece. Sure, there are people that perform on vintage gear. That’s fine too.
Also, not everyone can afford vintage gear, but are still just as musically talented as someone that can. Should they just sit and wish they could get it?
Personally, I have a policy against buying vintage gear period. I don’t want the hassle. I design and build synthesizers, so it’s not like I COULDN’T recap a synth. That process just sounds awful to me. I’ve done this for other people and it’s nerve-wracking making repairs on something that can’t easily be replaced. (as opposed to say just putting something new together) I certainly love and appreciate vintage gear. I have a thing for archaic technology in general, but that doesn’t mean I want to own and maintain it.
You can do the Behringer debate all day long. I’ll stay out of that. However, I think these clones fill MANY gaps for many different types of musicians.
For me, I LOVE acid. Enough to where I’d love to grab an Avalon for one example. However, they’re scarce, they aren’t planning many if any future runs, there aren’t many out there, and they already sell used more than new in some cases. So, I don’t buy one. The TD-3 and Cyclones are well priced, more or less nail the sound, are readily available, and can be replaced. I’ve owned/own both, and have zero problem with the fact that they’re basically clones (give or take a few additional features that an original 303 doesn’t have by default). I wouldn’t want to own an original 303. It’s not worth the additional cost, maintenance, or as a status symbol of some kind.
Having these clones available does not lessen the market or desire to purchase a “real” item either. Someone that wants to buy a “real” 5U/MU Moog Modular system isn’t going to all of a sudden decide that a Behringer Moog Modular clone will do just fine instead.
I also prefer a boutique modern synth in most cases to a vintage clone, but I’m very particular about it. For example, I’ll buy an expensive Waldorf or Sequential, but I don’t really have a use for a full-blown MiniMoog Model D. If all of a sudden I wanted a MiniMoog sound, I’d be more apt to pick up the B-clone, just to fill in a gap that I don’t need a full blown “real” version of. To me, I don’t need that sound to the tune of a couple grand, nor the space in my studio. I could see using it from time to time though, so maybe a B-clone, or a DIY Moog clone might do just fine.
There are TONS of use cases out there. They don’t have to clash, or be debated so heatedly among the community. Use the tool that fits what you want to do, from basic utilitarian up to and including just collecting for collecting’s sake even for all I care. There is obviously a market for everything being discussed here, and none of these markets should be discouraged from buying tools and making music with them. Nor should anyone be discouraged from building any devices as long as they’re not violating laws regarding IP.
I’m not saying anyone shouldn’t have an opinion on it either though. Personally, I like it when someone designs something new. Whether iterative or revolutionary. I’d rather buy modern boutique than mass produced vintage myself, but I definitely wouldn’t try to discourage anyone else from getting what they want, can afford, etc.
In the case of some of these B-clones, they actually DO include some new features, or streamline the process of creation. I’ve said it before, but I’d take the RD-8 over a real 808 any day of the week. I gel much better with how its sequencer works, and I like the feel of it. It’s also built like a tank despite what some people say. Also, even a basic MIDI implementation that many of these clones have is more than their vintage counterparts ever had. In a day where MIDI-CV-MIDI devices are plentiful, that may not seem like a big deal, but there was a time where you could only buy Kenton or Encore for this task. Seeing it all over the place is a fairly new thing. I find that it’s quite handy even when a device has a limited MIDI implementation. Not everything needs it to be full-blown.
I guess what I’m getting at is that there is a reason some people get excited over new B-clones. I do over a few of them, (though not all). But everyone has that one piece of gear they always wanted, and for many were unattainable for artificial reasons. It doesn’t hurt anyone including those who prefer vintage or modern boutique gear for these people to be excited over it. Buy what you like, and what does the job for you. Everyone should.
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