Well, it’s context dependent right? Lots of people have it slaved in the layered gens mode with ~8ms of latency. Many people offset using a clocking tool.
As I wrote elsewhere, if you want sub ~8ms then it’s not for you. But many people have it slaving fine. It did take updating the firmware and some configuration. And it’s not as tight as other drum machines.
Anyway, to the previous point - yes exactly. In the context of that video. Whether that’s a value to someone is up to them. I thought it was worth sharing.
I’ve not seen anything on these lengthy threads that’s given me sufficient comfort re external clock issues etc. and rest assured I’m hoping to read about it so I can embrace the machine.
I’m not a typical drum machine user, but I was always eying a Pulsar 23 because it seems like a great lucky accident machine for rhythmic stuff. A question to those of you who own a TR-1000 and a Pulsar 23 now: Do you think the Pulsar is still relevant? It’s obvious that the TR-1000 is way more flexble, but will you still keep your Pulsar 23 – and if so, why?
If the “lucky accident” aspect is important for you than the TR-1000 is unlikely to satisfy.
I’m totally enjoying my TR-1000 but it embodies a much more conventional and intentional approach than the Pulsar 23 where you’re able to create crazy cross modulations as you please. That sort of wild cross modulation and feedback just isn’t possible given the TR-1000s architecture.
If i would replace my P23 with the TR my music would be totally different. And I am not even sure if i want to add it soundwise to my P23, although it sounds great.
That would be a really nice pairing. You could sample the pulsar in perfect loops or just run it through the input. They are complimentary not really a replacement either way.
An ex-girlfriend of mine used to do film and book reviews for a big women’s magazine in the 90s (like Vogue, but it wasn’t that one, similar). I remember asking her, “How do you find the time to read so many books and watch so many films?!” She looked at me like I was an idiot and replied, “What are you on about? We don’t read or watch any of them. We just regurgitate the press release.”
I think the same is true for music tech. Or at least some ‘reviewers’.
ok, but if you review a new Roland 808/909 which you maybe do once in your lifetime and then neglect any forum noise about bugs and stuff, do not care about basic functions, make totally shxtty audio examples and on top write more about feelings and stuff than providing a review that shows the least respect to w h a t you are reviewing (all that in the amazona review from today for example) then i don’t know if i’m more mad because of those “reviews” or mad at ourselves for letting them get away with all this crap. Users “celebrate” 808 and 909 day (which is weird to me) but don’t care about the quality of music journalism reviewing such gear. I don’t get such things.
Again: in n o official review those bugs have been adressed.
I don’t have the TR and i did not complain about it. I spoke about the quality of reviews.
Besides that, 2 posts, one of them very short, are not “repeating it endlessly” and the only things annoying are such reviews showing no respect for gear and users who want to tell other users what is allowed to say or do and what not.
I get what you are saying, but it’s very hard to speak to timing issues because everyone has a different timing use case and many are not impacted by it at all. So it would not make sense to mention it in a review without context, and to have context you would have to cite all sorts of different ways it works or doesn’t work. It would be very convoluted, especially when it is quite easy to fire up the machine on its own and the timing is rock solid.
This is something where a more niche reviewer could dive into it deeper. It’s where a guy who focused on that stuff like Ricky Tinez did, is missed.
No, it doesn’t do traditional stuff like other traditional things but man - if I just want to jam out, push everything to the max, and just flow - this box has that on lock down. Love it.
This is just a one bar loop. I wanted to explore the crossfader and see how far I could push the distortion and individual levels. The A/B Mix tracks are a great idea btw
For real. I know why the creators said that it would take 2 years to master this thing, because for me, I learn one little thing on it, and then end up jamming away for hours at a time. At this rate it’ll take me 10 years to master this thing!
