Absolutely. At the end of the day my point is … yeah the girl’s got some issues but in the meantime … and after all, isn’t that the story of all great love affairs 
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As the old saying goes, don’t let perfect be the enemy of the good.
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I was thinking about that record just the other day, specifically how that break drifts out of time! Quite badly! I bought that tune 20 years ago, and I said to the record dealer in the shop how the loop drifts out of time, but I still wanted it.
Great example! Fussing over timings, fine, but it really really doesn’t matter sometimes.
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It’s amazing to me how much longevity the clock related topics in this thread seem to have when the sound related topics are basically like “yeah it totally sounds good” without much further to say.
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It sounds amazing.
I have shared clips with friends, played the machine directly to them and family. All they say is that it sounds absolutely amazing. That’s all they say.
It instantly made the rest of my studio feel obsolete, sound wise.
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I’m working away happily with my TR-1000 I have it running with 3 other synths no problems I can’t hear anything that would concern me or any potential listeners in a club environment. If it works for you then just make music. I’m sure if your using it as your only instrument then even better 
All I did with mine was set sync delay to +5 on the TR-1000 and I was good to go.
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tasty 
chord progression is beautiful
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Thank you. This is me on the TR and Martino on the Rhodes. He’s a beast it’s not even fair.
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Proof two things can be true - the TR-1000 sounds amazing and its current timing limitations don’t render it unusable in the slightest. That’s not the point in any of the back and forth, or even for users on here who do expect more from the machine. Any tightening up won’t make it sterile at all - just more focused. All that micro timing stuff inside - awesome to play with - and it’ll work and feel better the tighter the sequencer is. That’s any machine - not just the TR.
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Love that you said that…I’m usually reticent to put anything up ('cause I make a living doing this and labels wouldn’t take a track that’s been shared already) but I was like…well, the thing can make songs…I better put up something we’re working on just to prove it’s not a complete failure.
I can’t hear the timing problems but that’s because we’re doing deep house and broken beat and things like that. I guess “slop” is built in to our genres…been doing it for so many years my ears are tuned to the one thing: “but is it groovy”. Other cats in other genres need completely other things.
The workflow (OS + physical controls) of the TR makes us very creative. More so than other boxes. I don’t know if that’s a valuable statement or not.
If someone’s not sure, they should not be spending 3 grand. Rent it.
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Because sonic fidelity on its own doesn’t mean much if the sequencer timing that glues those beautiful sounds together doesn’t feel real good. So many videos comparing TR-1000 analogue 909 snare with an original 909 snare. Now THAT debate IMO is not worth internet bandwidth. I’ve owned five original 909s and the snares all sounded different. Look at the decades of love and the zillions of records made on drum machines like the MPC-60 and Linn LM-1. Many of Prince’s back catalogue hits were built around the LM-1. Low bit depth, low sample rate. And don’t forget Akai S950 samplers coupled with Atari 1040 or an Akai ASQ-10 for the external sequencing. Fidelity had zero to do with the inspiration, longevity or wide appeal of millions of records across all genres.
What’s common across those examples?
Not the sounds. Timing stability.
Same with real drums - Steve Gadd’s entire kit sounds great for sure, but that’s not what makes the track great. Steve could turn a collection of paint tins into a hit record. His feel is what he was paid for.
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I saw a bunch of new posts was on this topic, and was hoping there was firmware news, but this definitely caught my eye:
How is this achieved? I’d love to send the TR-1000 sample accurate midi notes, use it as a sound module and live with ±1.33ms timing errors. That’s much tighter than anything else I’ve tried.
But yes, can totally see how this can be problematic with simultaneous bass elements, or even transients that you want to have hitting together. But AFAIK, multiple midi notes firing simultaneously has never been possible.
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An analog drum machine… with latency?
The opportunity to criticise is a powerful drug. If anyone doesnt like it, sell it like every other thing they’ve bought previously and didn’t like. That’s really all there is to any product.
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Beautiful!
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thanks for making me listen to that track again after a while.
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would love to be able to think like this. for me its almost never so simple as like it or not
I know what you mean. But a couple of years ago I added up the value of all my gear and found the amount disconcerting. Now if I don’t think something is truly wonderful and useable on a daily basis I don’t keep it. Cut my investment by 75% and having a better time.
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Can someone post a real world example where these 0.67ms latency issues can be heard causing this “micro phase shifting” of the bass?
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