Roland’s TR-1000 might be the world’s greatest drum machine$2,700, roland.com
It was over 40 years ago that Roland released the timeless TR-808 and TR-909 analogue drum machines. We’ve since seen a host of analogue clones from competing brands, while Roland focused on digital reissues — some thought the day would never come, but the TR-1000 is no mirage; it’s really here.

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Roland’s brand-new analogue-digital drum machine is so feature-packed we wouldn’t be surprised if there was a kitchen sink tucked somewhere round the back. It comes with a hefty price tag to match, but for many, this is the drum machine that dreams are made of.

TR-1000 overview
The TR-1000 is stacked: 16 faithfully recreated analogue circuits alongside digital ACB (Analog Circuit Behaviour) drums, FM percussion, virtual-analogue waveforms, and PCM sounds. It also includes a stereo sampler with resampling, time-stretching and slice editing, plus 64GB of internal memory, an analogue drive, a multimode filter, and a wealth of digital effects and sound-shaping tools.
To top it off, there are extensive inputs/outputs, with outputs for each track, USB-C connectivity, a computer editor, an advanced sequencer, and tactile performance controls that even include a morphing crossfader. In a world of budget synths and design compromises, it’s refreshing to see Roland striving to make the most complete, professional instrument possible, even if that means attaching a less appealing, $2,700 price tag.
Image: Press
TR-1000’s circuits and sound sources
You get 10 analogue instruments from the TR-808 and six from the TR-909, with the remaining sounds covered by the PCM and sample sections. To bring the sound slightly more up to date, Roland has extended the dynamic range and added extra parameters on some instruments. Most notably, you can now tune both kicks and extend the tail on the 909 kick. This means you can finally create authentic, analogue-pitched 808 basslines, which previously required samples or plugins.
I compare the analogue circuits with the ACB versions and my go-to 808 and 909 samples. The differences aren’t dramatic, but they’re definitely noticeable. The analogue versions have an added sense of dynamic depth and subtle variation, and the weight and punch of the kick circuits is a joy. That’s not to say the ACB doesn’t have its place, though. The TR-1000 differentiates itself from the cheaper TR-8S by including new, ‘circuit-bent’ versions of the ACB models. You get new parameters to tweak, which helps set them apart from the analogue versions and broadens the sound palette.
You also get the sounds of the 707, 727, 606 and CR-78, plus seven FM percussion models that can be pushed into more extreme sonic territories.
Rounding out the synth section are six analogue waveforms (including noise and a supersaw). You’re not going to be crafting complex synth patches here, but they’re a nice addition for adding extra tonal interest to your beats.
Image: Press
PCM and sampling
The other side of the TR-1000 is its large collection of PCM sounds, alongside a hugely capable sampler. The included samples are excellent, covering both electronic and organic drums and percussion, plus SFX, found sounds, instrument stabs and loops.
You can resample internally, or from an external source such as the stereo input or USB, then edit the speed and direction, sync to BPM, and even time-stretch using three different algorithms. These processes are decent enough for smaller adjustments, but as expected, artefacts appear when pushed to the extreme—although this can, of course, become a creative effect. You also get coarse and fine tuning, but only up and down one octave, which feels limiting.
When working with loops, the Slicing option is especially useful, letting you divide samples into equal sections or chop by transient detection. The screen is particularly handy here ,displaying the waveform for precise editing. That said, the overall design and fidelity of the graphics are fairly underwhelming for a unit made in 2025. Perhaps we’ve been spoiled by flashy displays from companies like Teenage Engineering and Polyend. Ultimately, it’s functional and does the job, but it’s just not that exciting.
You can also connect via USB-C to Roland’s free companion app, which makes it easy to view multiple parameters at once, organise your library, and import samples.
With a machine this deep, it’s no surprise the learning curve is steep. The manual lacks detail in places, but Roland’s excellent 3.5-hour video overview fills in the gaps. I find that after a few sessions, navigating the front panel becomes far easier, and the app proves to be a great tool for setting up projects before unplugging and jamming.
TR-1000 with companion app. Image: Press
Sound design and effects
The sounds themselves are solid, but what really sets this drum machine apart is how much you can shape them.
Each track has its own filter or EQ, compressor, amplitude envelope, LFO (with three destinations), and insert effect. The effects include distortion and saturation, plus more creative options like ring mod, frequency shift and pitch delay. A second LFO per track would’ve been nice, but even with one, there’s plenty of scope for movement and interest.
Four of the ten available tracks are dual-layered, opening the door to creative layering. You can, for instance, use an analogue 808 kick for low-end weight while layering a 909 kick for punch, then EQ and compress each separately and nudge the phase for a perfect fit. This is a great way to break out of the 808/909 clichés, combining analogue warmth with a sampled transient for character. As a nice touch, any one of the channels can also trigger sidechain to any track or to the stereo input — easy for some kick drum pumping over your track.
Additional depth comes from the classy-sounding reverb and delay sends, offering six reverb algorithms and four types of delay. The Master Effects section adds further distortion and modulation effects, two compressor models, and fun chop and glitch tools such as Scatter and DJFX Looper.
Finally, a delicious analogue multimode filter and drive circuit can really beef up the output.
Overall, this is a powerful, flexible effects section that instantly delivers production-ready sounds.
Image: Press
Sequencing and performing with the TR-1000
For programming, you can use the classic TR step sequencer or record live, but even this has seen major upgrades. Holding a Trig brings up options for velocity, probability, timing offsets, and step cycle position. Motion Recording captures knob movements for any of the main parameters, with the ability to apply them per step. The only caveats are that you need to assign the knobs in advance, and you’re limited to the parameters chosen. Four tracks have up to six dials, and six tracks only have three, but each dial can control up to four destinations. It’s more limited than the edit-anything trig conditions of Elektron’s sequencers, but still offers plenty of creative control and is a big step up from Roland’s previous offerings.
A Snapshot system lets you store dial states per track on one of the 16 sequence buttons. One negative is the lack of a quick way to play sounds chromatically, though snapshots can be used as a workaround by tuning semitones across keys. It’s a shame there’s no snapshot option to change all tracks at once. Thankfully, though, there’s the incredibly fun Morph slider. It can adjust all the dials on all tracks, including the sends and master effects, and morph from one state to another, enabling fluid transitions and live edits with a single gesture.
Image: Press
Drawbacks
There are just too many features on the TR-1000 to cover absolutely everything in this review. There’s a lot to love, but there are also a few negatives. Some users have reported sync problems when connecting to DAWs or external clocks, and we notice similar results. Latency is quite high (more so in Logic Pro than Live), and there are reports of mild timing jitter. This can make syncing beats tricky and may require some manual editing to align recordings perfectly. The internal clock is pretty tight, though, and I have no problems when syncing with other hardware.
There’s also a small audio dropout when switching patterns that load different kits. Roland has reduced this via an update, but it’s still noticeable. It’s unlikely to be a problem in the studio, or if you’re performing live with the TR-1000 as part of a larger setup, but if you’re a stickler for silky smooth transitions, then it might be something to consider. Roland says it’s planning updates accordingly to address the above issues, so I’m hoping they will be resolved soon.
Image: Press
Roland TR-1000: The verdict
My initial excitement at getting my hands on a dream Roland drum machine gradually gave way to doubts about a few perceived limitations, but each time I thought it couldn’t do something, I discovered it actually could. Roland really has thought of almost everything here. And it’s possible that features could be added or refined in the future via firmware updates.
So, who is it for? Anyone who has been wanting a legit analogue 808 or 909 will instantly love this machine. It takes the spirit of the originals and places them in a far more flexible and modern package. If you’re content with samples and ACB modelling, the cheaper TR-8S is probably a better option.
At 5.5 kg, it’s not especially portable, but its excellent performance controls make it an ideal centrepiece for studio and stage. You could assemble a similar rig using Behringer clones and an Elektron Digitakt MkII, but there’s something appealing about having everything in one well-built box.
I’m a big fan of (and own) the Elektron RYTM, which is perhaps the closest contender to the TR-1000. Both have their strengths, but the TR-1000’s per-track processing and stereo samples give it the edge in inherent sound quality, not to mention the 64GB hard drive versus the RYTM’s 1GB.
When you consider the range of sound sources, processors and performance tools it offers, the TR-1000 is arguably not as expensive as it first seems. For many, this will be the ultimate drum machine.

Key features

16 analogue 808 and 909 circuits
21 new ‘circuit bent’ 808/909 ACB models
Additional sounds from the 707, 727, 606 & CR78
FM percussion models and VA waveforms
340 PCM tones and 2,121 samples
4 layer tracks / 6 single tracks
Sequencer with probability, parameter motion recording and Song mode
Morph macro slider and per-track snapshot feature
Stereo sampler with slice, stretch & resample
14 master effects plus analogue filter and drive
USB-C for audio, MIDI, backup, file transfer and companion app
Mix Out, Analog FX Out, Individual Out, External In, Trigger/CV, Pedal Control, MIDI in/out/sync

The post Roland’s TR-1000 might be the world’s greatest drum machine appeared first on MusicTech.

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Hacking Buttons Back Into the Car StereoTo our younger readers, a car without an all-touchscreen “infotainment” system may look clunky and dated, but really, you kids don’t know what they’re missing. Buttons, knobs, and switches all offer a level of satisfying tactility and feedback that touchscreens totally lack. [Garage Builds] on YouTube agrees; he also doesn’t like the way his aftermarket Kenwood head unit looks in his 2004-vintage Nissan. That’s why he decided to take matters into his own hands, and hack the buttons back on.
Rather than source a vintage stereo head unit, or try and DIY one from scratch, [Garage Builds] has actually hidden the modern touchscreen unit behind a button panel. That button panel is actually salvaged from the stock stereo, so the looks fit the car. The stereo’s LCD gets replaced with a modern color unit, but otherwise it looks pretty stock at the end.
Adding buttons to the Kenwood is all possible thanks to steering-wheel controls. In order to make use of those, the touchscreen head unit came with a little black box that translated the button press into some kind of one-wire protocol that turned out to be an inverted and carrier-less version of the NEC protocol used in IR TV remotes. (That bit of detective work comes from [michaelb], who figured all this out for his Ford years ago, but [Garage Builds] is also sharing his code on GitHub.)
Having the protocol, it simply becomes a matter of grabbing a microcontroller to scan the stock buttons and output the necessary codes to the Kenwood head unit. Of course now he has extra buttons, since the digital head unit has no tape or CD changer to control, nor AM/FM radio to tune. Those get repurposed for the interior and exterior RGB lighting [Garage Builds] has ̶i̶n̶f̶l̶i̶c̶t̶e̶d̶  mounted on this ̶p̶o̶o̶r̶ lovely car. (There’s no accounting for taste. Some of us love the look and some hate it, but he’s certainly captured an aesthetic, and now has easy control of it to boot.) [Garage Builds] has got custom digital gauges to put into the dash of his Nissan, and some of the extra buttons have been adapted to control those, too.
The whole car is actually a rolling hack as you can see from the back catalog of the [Garage Builds] YouTube channel, which might be worth a look if you’re in the intersection of the “electronics enthusiast” and “gearhead” Venn Diagram.
There’s no accounting for taste, but we absolutely agree with him that making everything black rectangles is the death of industrial design.
This isn’t the first time we’ve seen retro radios hacked together with micro-controllers; take a look at this one from a 1970s Toyota. Now that’s vintage!

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"VENICE PEACH" BY JESSAMYN VIOLET

Movie Club drummer and super-talented writer Violet has a gift for seeing the magic in her home haunt of Venice, CA and realizing it through fantastical tales. “When I first stepped foot in Venice Beach, I felt the greatest gravitational pull to a place that I had ever felt in my life,” Violet says, and that comes through in her work. Venice Peach is her sophomore novel, and it’s a wild journey into a world of robot presidents, where “art meets lust.” Just read it. 

"DECADE OF DISSENT: HOW 1960S BOB DYLAN CHANGED THE WORLD" BY SEAN EGAN

One might think that, at this point, there’s really nothing new to write about the living legend that is Bob Dylan. There are countless books about the man, and every word that Dylan has written and/or uttered has been analyzed to death. That said, noted journalist Egan has found a credible angle. He’s not treading completely new ground, but still, his approach to Dylan’s identity-shifting '60s period is fascinating. “Dylan now occupies an unparalleled role as venerated elder statesman of music,” reads the blurb. “But during his insurrectionary first decade he was the most important artist in popular music—and, by extension, one of the most crucial figures in Western society.”

"GLIDERS OVER HOLLYWOOD: AIRSHIPS, AIRPLAY AND THE ART OF ROCK PROMOTION" BY PAUL RAPPAPORT

During his 33-year career at Columbia Records, Paul Rappaport played an instrumental role in developing the careers of Bob Dylan, Bruce Springsteen, Pink Floyd, The Rolling Stones, Elvis Costello, Billy Joel, Judas Priest, Alice in Chains, and many more. Gliders Over Hollywood, a book that Rappaport described to MC as “for passionate music lovers,” gives us an up-close look at his many successes, allowing the reader to feel like we were right there with him. If you’re looking for industry tips, you’ll get those. If you’re after rock ‘n’ roll shenanigans, you’ll be satisfied in that regard too. Dig in!

"501 ESSENTIAL ALBUMS OF THE 1980S" EDITED BY GARY GRAFF

MC contributor Graff has played an absolute blinder here, working with a long list of esteemed scribes (Cary Baker, Rob St. Mary, many more) to compile the 501 essential albums of the '80s. Naturally, with any sort of book like this, everyone will point to albums that should be in there but aren’t. That said, this is damned extensive. All the appropriate new wave, new romantic, pop, and hair metal albums from that decade are present and correct. But Graff makes sure that gospel, country, jazz, punk, hip-hop, soul, and just about everything else gets a fair shake too. Essential reading for anyone with even a passing interest in that decade.

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The post Ten Great Books Released in 2025 first appeared on Music Connection Magazine.

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Cubase 15 just dropped out of nowhere: Here’s everything you need to knowSteinberg has surprise-launched the latest version of its flagship DAW, Cubase 15, with a slew of new sound shaping features, as well as workflow and UI improvements.
Like previous versions of Cubase, there are three tiers available – Elements, Artist and Pro – allowing producers to select a package with a feature set that matches their needs.

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Described as a “new reference standard for music production”, Steinberg says Cubase 15 “truly elevates the music production experience”.
And as Senior Marketing Manager Matthias Quellman notes, many of the updates in Cubase 15 come off the back of customer feedback. “We worked closely with our community to refine what matters most, turning valuable feedback into meaningful improvements that make everyday workflows smoother and more intuitive,” he says. 
“This release builds naturally on the foundation of the previous version – it feels like the perfect evolution, marking a major leap forward for Cubase.”
We’re sure you’re just itching to get into some of the features in detail, so here we go…
New features for “enhanced creativity”

Aiming to make the articulation of VST instruments “more straightforward”, Cubase 15 features a redesigned Expression Maps system, with deep integration with the software’s Key Editor and Score Editor delivering “greater performance realism.
There’s also a new pattern sequencer housed within Cubase’s Pattern Editor, which allows for the creation of melodic patterns in both monophonic and polyphonic modes. This includes step input, custom scales, shape generators and a deep randomiser feature. There’s also a selection of new pattern bank presets, including bass lines, leads, chords and arpeggios.
Modulators – which arrived with Cubase 14 – have been expanded with six new modulators. There’s also 30 brand-new Chord Pad presets, “ready-to-play voicings” for a range of genres for spurring on the creative process.
Enhanced selection of VST instruments and plugins

Cubase 14 came bundled with an impressive selection of virtual instruments and plugins, and this is expanded upon in the latest version.
The Cubase Drum Machine now features 40 fresh drum kits spanning hip-hop- trap, electronic and more, as well as a redesigned Groove Agent SE 6, which now features a scalable UI, new mixer and upgraded effects.
Cubase’s Writing Room Synths collection offers “production-ready” vintage synth recreations – with “rich leads, warm basses and dreamy pads” – while Songstarter Packs features a range of loops for kickstarting creativity.
There’s also the beta Omnivocal vocal synthesis engine powered by Yamaha’s “cutting-edge” vocal synthesis, and a range of new effects including UltraShaper – a transient shaper, clip limited and EQ housed in one – and a new PitchShifter. All Cubase stock effects are scalable for an optimised visual experience.
Workflow improvements

Of course, a big part of what makes our DAW of choice is its workflow and ease of use; at the end of the day, the DAW is a tool to facilitate the creative process.
So with Cubase 15, there’s a number of improvements to workflow and UI design, “ensuring the software never gets in the way of creative inspiration”.
There’s a redesigned Hub for smoother project startup, while collaboration is made easier with the DAWproject format now able to share sessions across all previous versions of Cubase, as well as other supported DAWs.
There’s also new AI-powered stem separation tools, automation shortcuts and new quick export options so audio is “rendered faster than ever”.
Pricing and availability
Cubase Pro, Artist and Elements are available now, priced at £481, £273 and £83, respectively. A range of upgrades, crossgrades and education versions are also available via the Steinberg Online Shop.
In addition, those who have purchased any version of Cubase 14 since 8 October, 2025 are eligible for a free upgrade to their corresponding version of Cubase 15.
Learn more at Steinberg.
The post Cubase 15 just dropped out of nowhere: Here’s everything you need to know appeared first on MusicTech.

Cubase 15 just dropped out of nowhere: Here’s everything you need to knowSteinberg has surprise-launched the latest version of its flagship DAW, Cubase 15, with a slew of new sound shaping features, as well as workflow and UI improvements.
Like previous versions of Cubase, there are three tiers available – Elements, Artist and Pro – allowing producers to select a package with a feature set that matches their needs.

READ MORE: Universal Audio’s LUNA 2.0 DAW has arrived: Here’s everything you need to know

Described as a “new reference standard for music production”, Steinberg says Cubase 15 “truly elevates the music production experience”.
And as Senior Marketing Manager Matthias Quellman notes, many of the updates in Cubase 15 come off the back of customer feedback. “We worked closely with our community to refine what matters most, turning valuable feedback into meaningful improvements that make everyday workflows smoother and more intuitive,” he says. 
“This release builds naturally on the foundation of the previous version – it feels like the perfect evolution, marking a major leap forward for Cubase.”
We’re sure you’re just itching to get into some of the features in detail, so here we go…
New features for “enhanced creativity”

Aiming to make the articulation of VST instruments “more straightforward”, Cubase 15 features a redesigned Expression Maps system, with deep integration with the software’s Key Editor and Score Editor delivering “greater performance realism.
There’s also a new pattern sequencer housed within Cubase’s Pattern Editor, which allows for the creation of melodic patterns in both monophonic and polyphonic modes. This includes step input, custom scales, shape generators and a deep randomiser feature. There’s also a selection of new pattern bank presets, including bass lines, leads, chords and arpeggios.
Modulators – which arrived with Cubase 14 – have been expanded with six new modulators. There’s also 30 brand-new Chord Pad presets, “ready-to-play voicings” for a range of genres for spurring on the creative process.
Enhanced selection of VST instruments and plugins

Cubase 14 came bundled with an impressive selection of virtual instruments and plugins, and this is expanded upon in the latest version.
The Cubase Drum Machine now features 40 fresh drum kits spanning hip-hop- trap, electronic and more, as well as a redesigned Groove Agent SE 6, which now features a scalable UI, new mixer and upgraded effects.
Cubase’s Writing Room Synths collection offers “production-ready” vintage synth recreations – with “rich leads, warm basses and dreamy pads” – while Songstarter Packs features a range of loops for kickstarting creativity.
There’s also the beta Omnivocal vocal synthesis engine powered by Yamaha’s “cutting-edge” vocal synthesis, and a range of new effects including UltraShaper – a transient shaper, clip limited and EQ housed in one – and a new PitchShifter. All Cubase stock effects are scalable for an optimised visual experience.
Workflow improvements

Of course, a big part of what makes our DAW of choice is its workflow and ease of use; at the end of the day, the DAW is a tool to facilitate the creative process.
So with Cubase 15, there’s a number of improvements to workflow and UI design, “ensuring the software never gets in the way of creative inspiration”.
There’s a redesigned Hub for smoother project startup, while collaboration is made easier with the DAWproject format now able to share sessions across all previous versions of Cubase, as well as other supported DAWs.
There’s also new AI-powered stem separation tools, automation shortcuts and new quick export options so audio is “rendered faster than ever”.
Pricing and availability
Cubase Pro, Artist and Elements are available now, priced at £481, £273 and £83, respectively. A range of upgrades, crossgrades and education versions are also available via the Steinberg Online Shop.
In addition, those who have purchased any version of Cubase 14 since 8 October, 2025 are eligible for a free upgrade to their corresponding version of Cubase 15.
Learn more at Steinberg.
The post Cubase 15 just dropped out of nowhere: Here’s everything you need to know appeared first on MusicTech.

Reimagine your voice using AutoTune’s new “ethically trained” AI transformation plugin, MetamorphAutoTune maker Antares Audio Technologies has released Metamorph, a new AI-powered vocal transformation plugin that lets you reshape your voice using “ethically-trained” AI.
While many AI voice transformation tools rely on cloud servers, Metamorph runs entirely offline inside your DAW. It comes with 12 “ethically trained” voice models – plus six more voices developed in partnership with Voice-Swap, another AI vocal transformation platform which emphasises ethical AI and fair compensation for the performers whose voices it is trained on.
With Metamorph, Antares says producers can reimagine lead vocals, layer harmonies or craft completely new vocal textures – all without leaving their session or worrying about usage rights.

READ MORE: Slower Fragment: e-instruments’ new plugin brings half-speed tape magic – for free

“Metamorph isn’t about replacing the human voice – it’s about expanding what’s possible when human creativity meets responsible AI,” says AutoTune CEO Jeff Wright. “We’ve built this technology with artists at the centre, ensuring every voice model is ethically sourced and every transformation preserves the soul that only human creators can bring to music.”

A supporter of The Principles for Music Creation with AI, Antares has long championed ethical AI – the practice of ensuring the rights of original performers and artists are protected.
Metamorph uses only licensed data from compensated artists, and that transparency, Antares says, is key to keeping human creativity at the heart of music production.
For subscribers of AutoTune Unlimited, Metamorph is available now at no extra cost. It’s also being offered as a standalone perpetual license for $100 (a 50% discount from its $200 regular price) as part of Antares’ Early Bird Black Friday sale, which runs from today.
The sale also includes major discounts across the brand’s vocal production tools like the AutoTune Pro 11, AutoTune 2026, and Vocal Chain suite.
Learn more at Antares Tech.
The post Reimagine your voice using AutoTune’s new “ethically trained” AI transformation plugin, Metamorph appeared first on MusicTech.