Roland TR-1000

disposant de TR909 TR808 TR606 ET TR707, j'ai de quoi comparer. deja elle est très bien fabriquée. respire la solidité, fait pro et ne tombe pas dans la caricature avec des leds de toutes les couleurs ou vertes des anciennes roland.

Ensuite, et ca mérite d'être noté, c'est simple. pour ceux qui connaissent Roland, ils n'ont jamais été les meilleurs en terme d'interface, mais la... c'est tout le contraire. c'est bien fait. on peut rapidement aboutir à qqchose

coté son, les parties analogiques sont amplement suffisantes et sont les plus réussies en terme de reproduction avec tout ce qui a existé jusqu'a maintenant.

surtout, on a le contrôle sur des parametres qui devaient etre moddés et ca c'est extrêmement cool. j'en ai toujours rêvé.

les quelques petits bémols mais qui n' en sont pas. l'utilisation des entrées analogiques sont parfaites pour sampler mais pour intégrer par exemple une TB303, c'est pas simple. on est a deux doigts d'avoir une SP1200 mais on ne peut pas attribuer autre chose comme contrôle que le volume pour les faders.

c'est cher, mais comme c'est parfait et orienté pro. je met largement 5etoiles. surtout pour l'effort de roland qui en cette période se permet de ne pas ressortir un énième reproduction d'une série connue mais inscrit cet Bar dans une nouvelle generation a part entière

I have been using the Roland TR-8S almost since the day it was released, so I was immediately excited when I first heard about the TR-1000. After watching the initial reviews, I could clearly see that it was a close relative of the TR-8S, and I started waiting for the first opportunity to finally buy this long-awaited instrument. However, Roland took quite a long time to make it available.

Eventually, I received my TR-1000, and I would now like to share a detailed comparison for anyone who is still considering it or having doubts.

Sound
1. The sound has genuinely improved compared with the TR-8S. Thank you, Roland.
2. The analog filter and distortion sound great.
3. The reverb and delay are essentially the same as before. They still have no additional or hidden parameters to adjust.

Hardware
1. Roland removed the dedicated Shuffle/Swing knob. You now have to dive into the menus just to change this parameter.
2. There are many assignable knobs, which sounds useful in theory. In practice, however, some of them remain completely unused in many kits and instruments because there are either too few assignable parameters or none at all.
3. A dedicated Stop button that can be disabled is definitely a win.
4. The additional analog clock connections are also a welcome addition.
5. The Fill In Trig button is located in a very inconvenient position.

UX
1. The Cue mode is inconvenient to use. There is also no way to send the Ext In signal to Cue.
2. The instrument settings are mostly the same as on the TR-8S, although they are now organized a little more logically and are not scattered across the menus quite as badly.
3. There are also some minor interface issues. For example, when trying to select a higher Auto Off value, it sometimes simply does not work.
4. It is not entirely clear why there is a dedicated Vari Chain button when variations can still be selected by holding down their corresponding buttons, just as they could on the TR-8S. What exactly does this button improve or change in the workflow?

Morph
Morph is a great idea that does not work particularly well in practice.
In reality, it is not really morphing. It is simply several parameters assigned to a single fader. As I mentioned earlier, many instruments have a very limited number of assignable parameters. As a result, the function often fails to reach its full potential.

Scatter
On the original TR-8S, Scatter was my favorite and most frequently used effect. I always had it assigned to Fill In Trig.
By using it together with Ext In, I could create drum fills and transitions without really having to think about them, relying entirely on my sense of rhythm. It was especially useful because Fill In Trig could operate in Momentary mode.
On the TR-1000, Scatter has been moved into the MFX section, but Roland did not add a Momentary mode. It is now limited to Latch operation. As a result, turning drum fills on and off has become an extremely inconvenient process.

Overall Impression
At the moment, I feel that I will probably use the TR-1000 for one or two live performances, then put it on a shelf as part of my collection and continue using the TR-8S.

The TR-8S is simply more convenient for live performance.

I hope that someone at Roland reads this review and improves the instrument, because in its current state, the TR-1000 sometimes feels more like the SH-4d in terms of usability.

I use the TR-1000 as the rhythmic core of a hardware-first techno setup, and as an instrument it delivers. The analog and digital hybrid engine covers everything from deep sub kicks to sharp industrial percussion, and the depth of per-step editing, motion recording and variations makes it a proper performance and sound-design tool, not just a drum machine. The sound quality is excellent and it sits comfortably alongside serious gear.
The one real issue: after about eight months, the coating on the PTN SELECT button started peeling. This is a known production-run defect, not something caused by use. What matters is how it was resolved. Thomann's export service handled it properly, arranged a prepaid warranty return, confirmed with Roland that all buttons would be replaced with a revised type that will not peel again, and supplied the customs documentation for the return. Communication was clear and patient throughout. The unit is still in for repair as I write this, so I cannot yet confirm the fix long-term, but the support experience has been exactly what you would want when a flagship product has a defect.
If the button issue is behind it, this is a near-faultless machine for dark, industrial, analog techno. Recommended, with the note that Thomann stood behind it.