tnx i will move to that thread then (got mine yesterday)
I wouldnât let these go then. When i tried to replace gear that was a center piece in my setup it mostly didnât play out as expected. For me it was better to add pieces and only let go of stuff that i didnât use a lot.
A new Genre has been created by Roland. Its called MuteStep.
hereâs my tuppence for anyone that cares. i certainly donât. and havenât used one so arenât really in a place to comment, but this forum is all about pointless opinions. 
so based on comments here, reading manual and videos:
waft thoughts
it sounds incredible. modulation and sequencing depth seems awesome. thereâs some great innovation (weak beats!?) here for speed and experimentation. instantaneousness of the interface seems fast and fun. the IO is spot on. mostly it seem an amalgam of everything people love from performative drum machines over the last 30 years.
but:
the track select buttons shouldâve been velocity/pressure sensitive trigger pads (thereâs even some extra room there to make them bigger) for each track.
select track could/should then be SHIFT + PAD. each button could be a pseudo pressure morph per track a la rytm.
at what point in development was the new kit load silence (100ms?!!?!) OKâd?
no way, no way. especially for experimental users wanting to create songs/performances with palette changes every pattern.
are global FX really tied to a kit? and totally reloaded with new kits? so FX trails cannot persist over transitions? I think the MDs way of loading new tracks when a trig occurs allowing kit overhang spoils my perspective.
no skipback? this blew my head off of the spmk2. and thought it would become a mainstay on all devices forthwith. with all the memory and potential a 1-2 minute recording buffer to capture loops or performances internally would be great.
Had the chance to test the thing yesterday and it is unbelievable how powerful it is and the look is a dream
Yes, the best sounding drum machine I have heard. Capable of just about any drum sound as far as I can tell, deep sound creation possibilities and a great sequencer (removed performance video as noticed it was posted above- but its a banger!)
My Future combo will be Tr-1000 for main things ARmk2 for analog sequences and maschien plus the one shot fx and voice shooter âŚman i dont need nothing anymore
Not such a far fetched idea considering both the 808 and 909 spawned numerous music genres.
I so rarely buy things as soon as they come out, so I didnât jump on this straightaway. The more I read and watch, the more this thing just seems absolutely incredible. Now theyâre all sold out in the UK! Iâm getting nervous about whether Iâll be able to get one when the come back in stock. Donât feel comfortable pre-ordering.
Probably people upthread were rolling their eyes at how hyped I was getting for the Kuniyuki demo before launch day. Well, now you know.
Even if I wasnât going to get one of these for myself, Iâd still be hyped to hear what people are gonna do with this, especially the likes of Kuniyuki and the Detroit crews, and especially live. Canât wait till the mixing board recordings from club shows start showing up.
And kinda relevant to the pattern change thing, I think the default assumption for a lot of the artists and styles this is most aimed at is that youâll rinse all the goodness out of a single pattern for a relatively extended time before moving on. After working a pattern like that, nobodyâs really gonna gaf about a tiny gap on the weakest of weak beats as you move on to the next track/section/idea.
Not that it shouldnât be capable of doing other things and issues or annoyances shouldnât be looked at, but it seems to be designed with that particular way in mind.
Could you recommend me particular a Kuniyuki record? Not heard of them before.
And whatâs going on with midi-out sync while this âtinyâ delay on switching of patterns happens?
Or it capable for live purposes only as all in one single box with one pattern compositions?
They said:
4 years of developing,
Big dev command,
Musician feedback,
And blah, blah, blahâŚ
Timing is tight as long as itâs the master. As slave itâs not tight. That gap seems to be an acknowledged issue in the manual. Frankly I canât see how that doesnât affect people who perform live - itâs 100ms. At 128bpm thatâs a 1/16th note or so.
All These Things is imho the biggest stone cold classic to start with, but especially the Theo Parrish remix.
But also and possibly more so an incredible performer, I posted a bunch upthread while we were waiting - I would say just search on my posts in this thread ⌠but Iâve also posted a bunch of nonsense in this thread. More recent one here, but thereâs a lot of live stuff on YouTube.
Thank you. Look forward to it.
TR8s, Digitakt, Ableton. Canât id the controller. Some hand drum. The essence of hybrid.
This is actually incredibly inspirational. Guy is mad talented. He will probably push the 1000 to its limits.
Like I say, my uninformed personal take from the outside is that it depends a lot on how you want to play it. If youâre spending 3-4 minutes working a pattern 100ms on the last a of 4 is much less of a deal than if 100ms if youâre wanting to change up patterns every few bars. Hopefully they improve it, but if stuff like that and p-locks that work exactly like on Elektron are must-have features, probably only Elektron is really gonna deliver.
This brings Elektron back to life
is this also on the Tr8S?
it seems a very big miss from Roland unless it is a deliberate design choice
Elektron is still the king when using the machines live