If I personally worked that way, any discussions of latency and sequencer wobble wouldn’t be required. It’s workflow.
I personally didn’t buy a flagship drum sequencer in 2026 to static capture a bar of music in isolation and then have to fix up any timing slop post record and then copy and paste the loop edits to construct an arrangement.
Am I missing something?
Maybe that’s what’s going on in this thread - different ways of working / workflow.
1: Live / DAWless - mostly plug and play (pray) - connect up and jam. If a few things in the whole rig move around, it’s not so easy to hear / feel.
2: Working in isolation - jamming on the TR-1000 (no sync) and coming up with some patterns - record into the DAW at roughly the right tempo, then fix to grid post record and copy / paste clips to form the arrangement.
3: Studio - DAW integration - everything synchronised correctly - offsets corrected - low jitter across the system - jam / compose, and when it’s time to record - arm - record the entire performance in a take - keep the lot / minimal post editing.
All valid - they just ask very different things of the gear.
The complaining about the timing is a psychological tactic to convince people it’s a bigger problem than it is so more people sell their units, Roland sells less units, and the price comes down because really… those pealing button labels are what I would expect on a $200 drum machine. Pretty sure Rhythm Wolf button labels are still going strong a decade later. I wonder how the timing compares?
A lot of the timing discussion seems related to using the tr1000 as a master clock? I use a Drop as master clock, and run the tr1000 in layered gens…no issues at all. Maybe I just can’t perceive it? I did try 16ths on the DN2 and 16ths on the tr1000 the other day after a user posted hearing issues with that…but they were in sync as far as I could tell
I haven’t experimented with all tracks mode on 1.5. I started using layered gens because I could tell things were not in sync with my setup when using all tracks mode on 1.2. Switched to layered gens rather than try to figure out what was going on, and have kept it that way. I haven’t been using samples / slices on the tr1000 at all.
I run tr1000 audio into Bitwig over usb. Drop is the master for Bitwig, DN2 (via Bitwig), a Droid, and Metropolix Solo. I set latency adjustments for the tr1000 and Metropolix Solo inside Drop and a latency adjustment for DN2 inside Bitwig.
I don’t record clips (except when I was setting the latency adjustments) its all just live noodling, nothing fancy…but the tr1000 sequencer, DN2 sequencer and the Metropolix Solo all run together in sync.
Did you adjust things? The setup looks more symmetrical
Also, I should add that I DO want the TR1000 to be a stable jitter free master clock. And I really like the discussion around it. But every once in a while its probably good to interject some positive usage scenarios and stories
Just moved the JoMox 999 from under the Virus and put the Drop on there. Yeah it’s very cosy and all synths in arms reach. I’m just chilling mapping some controls to the Drop tonight.
Have fun, my friend! I’ve got a good loop running that I could record as a jam, but I’m just too tired from work. I’m zzZZZzz… Maybe I’ll get a jam recorded on the weekend, as long as the zombies don’t eat me!
No. Recording the audio in and leaving it. No quantize. For me, it’s very tight sounding and I’m not caring about the slight jitter etc. for context I am a producer and am not making electronic music.
I record straight to a master recorder live and direct, warts and all, in 192kHz, which I can then record to 1/4" inch tape later (if the take is worthy). No DAWs of any kind, just like when I started back in the day.
I use DAWs for other things, mostly for my day job. When I clock out, I dont want to see the damn thing. I am of the mind that DAWs are a bad fot for many musicans, they lose touch with that visceralicity that makes a compelling recording into a sea of unlimited possibilities, and unlimited revisions. They spend two hours EQing a kick drum… dry as making spreadsheets…
It’s one of the reasons good / tight / reliable tempo sync is so important for multitrack studio recording (as opposed to live) IMO. If you do want to get that tape workflow feeling but in the DAW (the tape machine of the times, unfortunately), then solid tempo-sync is critical - so you can arm, hit record and keep the whole take of any drum machine or hardware sequence driven performance, warts and all, with no fixing after, and go back and drop stuff in without endless editing post record.
Less screen, less editing - the better.
Same reason I won’t update my MPC-3000 with any 3rd party firmware that adds waveform editing on screen. It’s a cool idea for sure, but sample editing then becomes a visual process rather than an ears / feel process. That’s a backward update IMO.
