Ahh okey, I see!
For analog, Elektron and others can do it, but it might be complex to solve as you say.
Yeah I also think that the digital side or certain instruments/engines of it would probably be enough for most. It’s just that the 8/6s never got chromatic playing so I’m not overly enthusiastic that they’ll ad it either.
If I could wish there would be separate values for note and pitch, as on the Elektrons
It kind of just depends on how the analog circuits were designed from the start. It’s entirely possible that Roland was able to change the way the analog circuits were built while maintaining the original tonal qualities. If they added voltage control at all internally to say, the 808 kick, then it would technically be possible to then add the exponential pitch control via software to control it that way. However, the original 808 kick, being that T filter type, didn’t have an easy way to add exponential voltage control for pitch. So if they used something close to the original, I would guess they wouldn’t do it. I would love to know what’s inside the TR-1000, and I’m sure someone will eventually tear one down. 
All of what I’m saying is with the understanding that I don’t know exactly what they used, and only know the circuits they based some of it on.
YES!!! 
I think I confused with my post. I am just asking to be able to take a one shot sample and play it in a multi-pitch mode, like you would do on an MPC or SP1200 or about any drum sampler out there.
I don’t expect the analog sounds to be able to do this.
In which case, I think it’s entirely possible provided they want to do it. They could do it on the ACB side too. My only question, was whether they had the analog circuitry in place to make that work on the analog side as well. It’s entirely possible they did build it that way, but if they were trying to preserve the original circuits as closely as possible, then that is where I start to doubt it’s possible on that side of things.
The analog “building blocks” would need quite a bit more components than the originals used to make it controllable in that way. Possible, but it would be quite a bit more complex.
In fact, I hope they DID do it that way, as that would be pretty amazing, but I still have my doubts. I guess I really just need to buy one and open it up.
Edit: I just found an example of a bridged T filter using a JFET to add voltage control. I’ve never seen it in any drum machine schematics I’ve looked at, but apparently it’s been done. This is not to say Roland did it, but I now have an idea of how it could be done. It does use nearly twice the component count, but there we are. 
Of course the Buchla 292 low pass gate is basically this too, but it uses two vactrols and a bunch of other components as well. (and responds slower) Not sure how controllable the JFET method is. It could probably be done using a VCA too, but again, more parts and straying further from the original operation/sound potentially.
Does the TR-1000 have analog filters and VCAs ‘per instrument’ like the Jomox Alpha Base and the Elektron Rytm? I’m trying to understand how the master VCF works per track. The manual does say that each instrument has it’s own filter, amp and effects ‘settings’. Though it doesn’t mention they’re analog. It seems the wording there indicates that each instrument does not have it’s own analog filter. And I don’t see any mention of an analog VCA. Seems like it’s a digital amp used for each instrument. Am I wrong on this?
Digital filters per track, the analog filters and drive are effectively send effects.
There must be VCAs on at least the individual outs (as well as the analog drive/filter stereo out) because they make a point of saying you can have an entirely analog signal path on the analog 808/909 sounds when routed that way should you wish. The main stereo out I’m not sure about.
I don’t think that’s a good way to characterize them. They’re routable effects, but you can’t choose the percentage of analog filters and drive like you would a send effect.
Yeah, fair point. Poor choice of words in the quest for brevity
Was hoping for the sake of my bank balance that the GAS would cool by now, but goddamnit if everything I’m hearing straight out of this box doesn’t just sound like a record.
(Possibly a slightly unfair side by side here for level matching etc., but still this holds across all the demos I’ve been listening to)
So this means that any of the instruments that are routed through the analog filter/drive will all have the same setting of analog filter/drive applied to them? ( Basically like the master distort/compress effects on the Tempest that affect all the tracks in the same way. )
I’m guessing this is where the TR-1000 digital filters help to make each instrument differently filtered than the next instrument.
I’m hoping each track at least has VCAs per track.
Yes, the analog filter and drive affect all tracks routed to them in the same manner.
You also have the choice to route any or all tracks to their individual outputs while keeping them in the final mix.
Analog tracks can be directly routed to the outputs, keeping them purely in the analog domain (avoiding any AD/DA conversion).
The master FX chain can be variably routed.
Basically, the TR-1000 has the most flexible routing options of any synth or drum machine I’ve ever owned.
You should check out the sound engine overview on p 31 of the TR-1000 reference manual if you want a detailed understanding of the signal flow (also watch the Deep Dive video). There’s a ton of amplifier symbols in that diagram, but specific details are not provided. I don’t know of anyone who has popped open their instrument to take a first hand look at circuits boards, etc.
The thing with the 6s that annoyed me is that they set it up to be able to do chromatic 808s, but didn’t offer semitone tuning for the other stuff.
That whole old school lo-fi Memphis rap genre was about chromatic cowbell. They should have at least had a chromatic mode for that. Hopefully this new flagship will add that.
Here’s some Memphis murderbell programming.
Thanks for uploading.
I’m struggling to follow the volume of posts on these TR1000 threads with no conclusive firmware update news re sync issues - but this video was great!
Had a chat with sales reps from both Roland Aus & Better Music over the weekend & the TR-1000 came up in the convo. The Better Music rep reckons he’s sold like 16 of them so far (10 delivered, 6 on the way, didn’t mention anything about wait times). None have come close to hitting the shop’s floor.
It’s nuts. The way the BM rep said that it sounded like he wasn’t even trying to close sales. The hype’s carrying it right now. The Roland guy just smiled in his promo TR-1000 hoodie.
According to an attendee at the Perfect Circuit event, Roland rep Dustin alluded to some kind of chromatic functionality coming in a future update.
Also the FM perc model allows you to input steps directly as notes. Still clunky, but it’s a pretty flexible FM implementation for short sounds.
One could replace all the gear used in this video with the 1000. Notice how he emphasizes unquantized pitches on the Buchla. Could use a va track with 5 steps for that. The Waldorf same. The octatrack can be emulated using layer tracks and the crossfader. Of course, not really replacing any of the character and idiosyncrasies of those synths or the unique character of summing all that gear together. Just pointing out the “whole is greater than the sum of its parts” aspects of the 1000.
Personally, I’m not about to replace a bunch of gear with stable midi sync for one unit that has issues.
I think it would be a mistake at this stage to sell off gear to fund a TR1000. Putting all eggs into one unstable basket would drive me nuts.
It looks like a ton of fun as a standalone unit.
Well, you’re not wrong per se. But my point is that you could somewhat do all that he is doing with an OT, Buchla, TR8s, Waldorf, and mixer within the 1000. So exactly as a standalone unit. Which was my point.
And from what I can see, the midi synch issue has been resolved for many if not most people. But that was not the point of my post.
Fair enough, I somewhat agree with you in the limited context of the sounds in the video.
Not convinced midi issues have been addressed though some partial work arounds found, with compromises?