It’s been four decades since Roland dropped a drum machine with a true analog engine. Yet the TR-1000 Rhythm Creator offers even more than illustrious predecessors like the TR-808 and TR-909. By combining the organic qualities of analog with crisp digital exactness—and heaping helpings of sampling power, fresh parameters, and a wide dynamic range—the TR-1000 offers a blank slate for genre-pushing instrumentalists to explore their inner visions. Electro pioneer Egyptian Lover, composer-producer Kaitlyn Aurelia Smith, and Sapporo-based house legend Kuniyuki probed the outer limits of the TR-1000 at Electric Pony Studios in Los Angeles. After filming on a moody soundstage flanked by video screens, all three came back with sonic statements and insights about the instrument and their music-making processes.
Kaitlyn Aurelia Smith
Kaitlyn Aurelia Smith’s textured compositions evoke both the external natural world and the internal realm of the spirit. Based in Los Angeles, but originally from Orcas Island, WA, the artist uses modular synthesizers as sonic paintbrushes to conjure peaceful, spellbinding soundscapes. Her singular sound encompasses everything from ambient to indie folk.
On Rhythm Culture
“There are a lot of different interpretations of what makes someone move. Rhythm culture means you’re passionate about creating music that explores the many avenues, almost like poetry with rhythm. It’s also where dance intersects with music, and where people’s perspectives and how the language of music moves you.”
On Drum Machines
“I’ve always loved polyrhythms, so my first experience with drum machines was setting up multiple units and playing with different time signatures and tempos to find where they meet. Much of it was figuring out what rhythms speak to me instead of following conventions. Recently, my experience is with connecting rhythms I love with ones that are more accessible and finding that bridge.”
"My experience is with connecting rhythms I love with ones that are more accessible and finding that bridge."
"I have everything in one, and can sample my modular and vintage synths, then mix them with the TR-1000 rhythms."
On Musical Style
“My musical style is electronic, and I want to dance and encourage others to dance. I come from a classical background and am a sound engineer, so I blend my love of sound design and classical composition with production and vocal processing. I studied classical guitar and orchestration and wanted to be a conductor.
When I graduated from university, I started to bridge modular synthesis with orchestral instruments and rhythm. I cross a few different genres. Sometimes I go into the classical world, and sometimes I’m in the academic electronic world. Sometimes I am in the dance electronic world, and sometimes in the songwriting world.”
On the TR-1000
“The TR-1000 is different from other drum machines because it feels like an all-in-one unit where I can create the bass sounds, melodies, and harmonies. Plus, I can process my voice and not rely on a computer or effects. I have everything in one, and can sample my modular and vintage synths, then mix them with the TR-1000 rhythms.
When I first used the TR-1000, I was very excited about having everything in one unit and how freeing that would be. I immediately felt inspired. I can easily combine non-rhythmic layers and atmospheric backgrounds for an orchestral piece, or I can create something for me to sing over.
"When writing albums, I love to write for the live set first, so it's seamless to go right into that from the creative process."
I was immediately drawn to the sampling because I love making rhythms from instruments you don’t usually use. One thing that stood out right away was the potential for doing entire live sets with this one device. Plus, you can integrate spatial sound and responsiveness from lights and video with the individual external outs. There’s also potential to trigger modular gear and do interesting clocking stuff.
The TR-1000 is creating a new way of working. It’s like a canvas to workshop ideas and then integrate them into the live set. When writing albums, I love to write for the live set first, so it’s seamless to go right into that from the creative process.”
On Improvisation
“In performance, I like to practice a structure so that it’s in my muscle memory, then relax into improvising within that structure. That connects me to the audience because we’re both experiencing the present moment together.
The TR-1000 is truly versatile for creating a palette for extensive improvisation. You can make one sample go into many different sounds and worlds. I’ve had a lot of fun creating full pieces from a single sound.”
Kuniyuki
Kuniyuki Takahashi is a DJ, producer, and artist who emerged from Sapporo, Japan, in the mid-’90s. His expansive discography under aliases like Forth, Frr Hive, and Koss, in addition to his own first name, covers many styles, including downtempo, dub techno, and house. This freewheeling creative spirit extends to his relationship with gear. He offers some wide-ranging philosophies about music and the TR-1000.
On Rhythm Culture
“The beat itself is something that comes out of human beings. It evolved in Africa and other cultures and countries. In that sense, the dance music beat is very important to us as human beings.”
On His Sound
“The bass is dance music, and what we got from 808 and 909 helped create house music. But I don’t stick to that sound only. I also experiment with jazz and ambient music, and during live sets, I try to mix all these things into the performance. I react to the audience.”
"The dance music beat is very important to us as human beings."
"The thick analog sound of the TR-1000 is excellent, but its maneuverability and intuitive operation are also impressive."
On the TR-1000
“I grew up with analog machines. Recently, with so much digital technology, I believe we appreciate analog technology even more. At first touch, the sound of the TR-1000 kick inspired me to create, so it’s perfect for studio use. The thick analog sound of the TR-1000 is excellent, but its maneuverability and intuitive operation are also impressive. These elements are important for performance. The TR-1000 inspired me to experiment, and I appreciate what it will bring to an audience vibe.”
On the Past and Future
“When I was 14 years old, in middle school, I started using a TR-606, so I’ve been doing this for almost forty years now. But I believe in myself and I’m going to continue. When you start doing music, you find yourself led by rhythm, time, or something else entirely.”
The Egyptian Lover
The Egyptian Lover is a towering presence, both physically and artistically. Born Gregory James Broussard in Los Angeles, he remains a primary source in West Coast hip-hop history. Resplendent onstage with his trademark gold TR-808, he elevated drum machine dexterity to virtuosic levels. First, as a member of Radio Crew and Uncle Jamm’s Army, and finally as a still-active solo artist, the Egyptian Lover has left a crater-sized imprint with his electro-funk onslaught.
On Rhythm Culture
“The rhythm is the basis of any beat, even back in the day, when I was beating on congas or tree limbs. Everybody who loves music, which is everybody in the world, loves the rhythm. When I’m DJing, playing a beat to make them freak, that’s rhythm culture to me.”
On Musical Style
“My musical style is Kraftwerk and Prince mixed together. When I heard rap chants Prince used to do, I was like, ‘Wow, that’s a nice form of rapping. If I can put that with Kraftwerk beat, I’ve got a whole new style.’ That’d be the Egyptian Lover style, and that’s what I did.”
"When I'm DJing, playing a beat to make them freak, that's rhythm culture to me."
"The TR-1000 is a beast. You can have that thing for a year and still discover things you didn't know."
On Drum Machines
“The drum machine influenced me to become me. Before drum machines, I was thinking about making a record with my friend playing drums. When I heard ‘Planet Rock,’ I was like, ‘What kind of drum set is that?’ A guy told me, ‘It’s a drum machine.’ Right then and there, I knew I needed one. That became the Egyptian Lover.”
On the TR-1000
“The TR-1000 is a beast. You can have that thing for a year and still discover things you didn’t know. The TR-1000 is like ten 808s. You can do sampling—it’s crazy. I only had it for two weeks, and my mind is blown. I took it to the studio, and it was just incredible. When you put your hands on this, you’ll know what it’s like to have an actual drum machine.”
On Analog Sounds
“When I played the TR—1000 for the first time, I was like, ‘OK, this is the one.’ The 808 sounds alone are dead on—the hi-hats, kick, snare, and clap. You can tune the cowbell to be in key. I added some different sounds and effects, and it’s incredible.”
"I can see a DJ bringing the TR-1000 to the club and have it rockin', like I do with my 808."
On Sampling and Sounds
“Being an 808 man since 1984, when I got the TR-1000, the main thing that excited me was the sampling part. I want to do some sampling, see what that sounds like, and have fun with it. It will take me at least five, even six years, to go through all the sounds, tweak them, and have fun with them.”
On Bringing It to the Club
“If you want to do a house beat, you’ve got the 909 in there. You want to do an old-school electric beat? You have the 808 in there. Together, you can create your sound. Whatever you can think of, you can do it with this TR-1000. And that’s the future of drum machines. I can see a DJ bringing the TR-1000 to the club and have it rockin’, like I do with my 808.”
