Roland TR-8S Rhythm Performer
FM VERDICT
9.1
An excellent update that
builds on the success of
its predecessor in all the
right ways. The best Roland
release in some time
This can be fi lled from a list of 12
effect types, covering multiple types
of fi lter and EQ, a transient shaper,
compression, drive and bitcrushing.
Each effect has multiple parameters
to shape and tailor the sound, with
primary ‘performance’ parameters –
fi lter cutoff, drive level, etc – that can
be assigned to the front panel CTRL
knob, automated or modulated by the
track’s LFO.
In addition to these individual
track effects, the TR-8S also features
delay and reverb auxiliaries and one
master effect slot. Both the auxiliaries
feature multiple effect types, and the
master effect slot features 19 options,
again featuring a host of fi lter and EQ
types, multiple fl avours of distortion,
compression, two transient shapers,
as well as a phaser and fl anger.
On the whole the quality of these
is solid, if not always inspiring – the
EQs, fi lters and compression are great
shaping tools but don’t impart much
in the way of character, and the
distortion and drive lacks a little
warmth for my taste. I’m not one of
those who gets hung up on Roland’s
refusal to release an analogue X0X
reissue, but this is the one area I do
feel the TR-8S shows its digital roots
– the addition of a master analogue
distortion or drivable fi lter would
really set some of these sounds off.
Beyond the sounds, the sequencer
sees a number of improvements too.
The main is the addition of eight
variation modes for each pattern. The
original TR-8 had two chain-able
pattern variations, labelled A and B.
Here that’s bumped up to A to H,
which can be chained, or triggered in
any assortment of combinations to
mix up and rearrange longer patterns.
The other major sequencing
enhancement comes from the
addition of parameter automation.
This allows front panel parameter
changes to be saved as part of a
sequence. These can either be record
live or input on a step-by-step basis.
These features really enhance the
TR-8S’s potential as the hub of a live
setup; making it possible to program
and play back long beat tracks.
The new Fill functionality is great
too; this allows two of the A to H
variations to be assigned as Fills,
which can be punched in manually or
automatically to add breaks or
interest to your patterns. The TR-8S
also gains an Auto-Fill mode. This is
essentially an evolution of the
original’s Scatter effect, which can
insert automated randomisation. This
works fi ne, although personally I’d get
tired of the effect pretty quickly – it’s
no match for programming your own
fi lls and turnarounds.
Finally, it’s worth saying that the
TR-8S also addresses one of my other
(slightly fi ckle) bugbears about the
original TR-8: its garish green trim.
The new sleeker, matt black chassis
is much easier on the eye. The one
thing I’d say though, is that its new
fl at profi le – as opposed to the slightly
angled top panel of the original – is
less convenient when using the drum
machine at desk level in the studio.
On the whole though, the TR-8S
is excellent. It builds on the potential
of the original in all the right ways.
The added depth does lose a little of
the immediacy – I miss the front
panel controls for snare snap and kick
attack – but the trade off is balanced
well overall, creating a machine that’s
far more fl exible but still intuitive
and, most importantly, a lot of fun to
use. It’s nice to see Roland releasing
a ‘heritage’ product that’s also packed
with new ideas and doesn’t get
bogged down in revisiting the past.
types, multiple fl avours of distortion,
compression, two transient shapers,
as well as a phaser and fl anger.
On the whole the quality of these
is solid, if not always inspiring – the
EQs, fi lters and compression are great
shaping tools but don’t impart much
in the way of character, and the
distortion and drive lacks a little
warmth for my taste. I’m not one of
those who gets hung up on Roland’s
refusal to release an analogue X0X
reissue, but this is the one area I do
feel the TR-8S shows its digital roots
– the addition of a master analogue
distortion or drivable fi lter would
really set some of these sounds off.
Beyond the sounds, the sequencer
sees a number of improvements too.
The main is the addition of eight
variation modes for each pattern. The
original TR-8 had two chain-able
pattern variations, labelled A and B.
Here that’s bumped up to A to H,
which can be chained, or triggered in
any assortment of combinations to
mix up and rearrange longer patterns.
The other major sequencing
enhancement comes from the
addition of parameter automation.
SEQUENCER: The chunky light-up
step sequencer pads of the original
TR-8 still feel nice to bash and play!
VARIATIONS: The A to H variation
selections make it easy to create and
chain up to eight 16-step sequences
CTRL: The new assignable CTRL
rotary gives users confi gurable control
over one parameter per channel
SCREEN: The additional menu screen
is basic, but unlocks lots of depth in
terms of parameters
Roland TR-8S Rhythm Performer | Reviews
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FMU331.rev_roland.indd 81 18/04/2018 16:32