3 ms·

You're missing a couple of points, the first one being interface. What the machine makes you do to get a rhythm out of it is directly related to the result, jus

You're missing a couple of points, the first one being interface. What the machine makes you do to get a rhythm out of it is directly related to the result, just like any other physical instrument. The second, price, is only important because software, especially free, was not a choice. Adjusted for inflation, $250 in 1980 was probably $600-$700, if not more. There are plenty of drum machines you can get for under $300 nowadays.

csmuk 13y ago
Drum pads. MIDI in. Interface sorted. We're not in the 80's now and even in the late 80's a workstation was practical (think Korg M1). I mean Oldfield did pretty well with them and an ST.
- wrongc0ntinent 13y ago
  Well aware of midi gear. My point was that implicitly comparing those or drum machines to a "real kit" is apples and oranges, because of the interface.
  - csmuk 13y ago
    I'm comparing the value derived over the interface.
    - timc3 13y ago
      Half of the value is in the interface, with dedicated knobs, the multiple outputs, the way the sequence is not totally perfect, and the workflow that brings about.
      - csmuk 13y ago
        I get where you're coming from but I get that with my workstation. Triton has assignable knobs and pages and pages of virtual knobs which are trivial to change. If you really want you can stick a MIDI knob box in the back of it and associate those to a virtual control including parameters equivalent to the 808's. Triton has multiple outs and multiple internal busses. Think of it as a 120 note polyphonic synth with 16 part timbrality, built in rack of effects, built in sequencer, built in sampler and a full size studio mixer and half a hard disk recorder (TBH I use an external DAT because they're bomb proof). Plus it burns and rips CDs and loads Akai samples off floppies and CDs. It's a whole pile of awesome which fits in a flight case. My rhythm is naff enough that the Triton's sequencer has the resolution to pick it up. If I really want to, which as per you I don't, I can quantize on the device and get it perfect. Then I can assign patterns to keys and play them with my left hand while I hammer out a lead with the right hand.

csmuk 13y ago

Drum pads. MIDI in. Interface sorted. We're not in the 80's now and even in the late 80's a workstation was practical (think Korg M1). I mean Oldfield did pretty well with them and an ST.

wrongc0ntinent 13y ago
Well aware of midi gear. My point was that implicitly comparing those or drum machines to a "real kit" is apples and oranges, because of the interface.
- csmuk 13y ago
  I'm comparing the value derived over the interface.
  - timc3 13y ago
    Half of the value is in the interface, with dedicated knobs, the multiple outputs, the way the sequence is not totally perfect, and the workflow that brings about.
    - csmuk 13y ago
      I get where you're coming from but I get that with my workstation. Triton has assignable knobs and pages and pages of virtual knobs which are trivial to change. If you really want you can stick a MIDI knob box in the back of it and associate those to a virtual control including parameters equivalent to the 808's. Triton has multiple outs and multiple internal busses. Think of it as a 120 note polyphonic synth with 16 part timbrality, built in rack of effects, built in sequencer, built in sampler and a full size studio mixer and half a hard disk recorder (TBH I use an external DAT because they're bomb proof). Plus it burns and rips CDs and loads Akai samples off floppies and CDs. It's a whole pile of awesome which fits in a flight case. My rhythm is naff enough that the Triton's sequencer has the resolution to pick it up. If I really want to, which as per you I don't, I can quantize on the device and get it perfect. Then I can assign patterns to keys and play them with my left hand while I hammer out a lead with the right hand.