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

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