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nicolulu
Published on 01/21/08 at 06:09
This drum machine has a separate output for each group of instruments and a stereo master output, while the Jack 6. A stereo input, footswitch input, and an I / O Midi.
It has 12 factory pre-recorded sounds (PCM samples), and can record up to four relatively short samples:
3 toms
1 kick
A snare
A rim
An open / closed HH
1 ride
1 crash
A cowbell
1 clap.
No effects, against an editable quantize, accents, etc..
The sound quality sounds very lo-fi, but that's exactly what I wanted.
For a box of this age (1986), suggest features (admittedly simple, and 20kHz) of sampling is quite impressive.
UTILIZATION
The first use of the machine is in a relatively intuitive, simply choose your pattern and press play.
As against no change in pattern on the fly! (Or not find, I have not read the manual
Record mode, the sequencing is done simply by pressing the button corresponding to the instrument at the desired time (and according to quantize settings of course). No way as in the TR BAR Roland, it works more like a Drumtracks a little annoying to promptly correct an error in live, but we made do. The volume faders for each instrument, like the TR707, hyper practices.
All settings are easily accessible (one button per function) either in play or record mode.
Regarding the manual, I admit that I have not yet plunged nose in it ... it should certainly be very handy.
SOUNDS
Sounds totally agree with what I do, not an ounce of realism!
I confess I'm looking for the BAR since I heard the legendary Steve Poindexter - Work That Mutha Fucker ( https://www.discogs.com/release/2031 ) 89, with the sound of that huge cymbal me completely overturned.
It has also been heard in a lot of electro productions start / mid 90 (Dave Clarke, Christian Vogel, prods some of Daft Punk / Wrap it seems to me etc..), The famous cymbal clap open and were pretty hyper sec sought.
No effects, but can treat each instrument thanks to the separate outputs.
With age, the plastic pads tend to be less reactive, such as I had mine completely apart (it's a little gas plant in there) to clean the dust that s' was infiltrated between the contacts and the rubber pads + faders. No velocity or aftertouch on the pads, it sounds simply.
OVERALL OPINION
I use the RZ-1 for over a month or so.
I knew his tone, but not its operation, which seemed secondary.
And actually use it is a little hassle, it's not as simple as a Roland TR. The sounds seem to First Prev first rather bland, fairly cheap, not very basseux.
But with a good EQ and a small compression behind, we discover a real monster! Precision, ultra sounds dry, almost chopped rather aggressive that pierce the ears! Coupled with a 808 or 909, it may return a dancefloor!
Its value for money is now far more than interesting! The BAR unknown deserves more consideration, in the middle notament electro / minimal techno.
A BAR whose sounds have nothing to envy to its competitors, and that works ideally as a couple like the TR707 (It is my opinion).
It has 12 factory pre-recorded sounds (PCM samples), and can record up to four relatively short samples:
3 toms
1 kick
A snare
A rim
An open / closed HH
1 ride
1 crash
A cowbell
1 clap.
No effects, against an editable quantize, accents, etc..
The sound quality sounds very lo-fi, but that's exactly what I wanted.
For a box of this age (1986), suggest features (admittedly simple, and 20kHz) of sampling is quite impressive.
UTILIZATION
The first use of the machine is in a relatively intuitive, simply choose your pattern and press play.
As against no change in pattern on the fly! (Or not find, I have not read the manual
Record mode, the sequencing is done simply by pressing the button corresponding to the instrument at the desired time (and according to quantize settings of course). No way as in the TR BAR Roland, it works more like a Drumtracks a little annoying to promptly correct an error in live, but we made do. The volume faders for each instrument, like the TR707, hyper practices.
All settings are easily accessible (one button per function) either in play or record mode.
Regarding the manual, I admit that I have not yet plunged nose in it ... it should certainly be very handy.
SOUNDS
Sounds totally agree with what I do, not an ounce of realism!
I confess I'm looking for the BAR since I heard the legendary Steve Poindexter - Work That Mutha Fucker ( https://www.discogs.com/release/2031 ) 89, with the sound of that huge cymbal me completely overturned.
It has also been heard in a lot of electro productions start / mid 90 (Dave Clarke, Christian Vogel, prods some of Daft Punk / Wrap it seems to me etc..), The famous cymbal clap open and were pretty hyper sec sought.
No effects, but can treat each instrument thanks to the separate outputs.
With age, the plastic pads tend to be less reactive, such as I had mine completely apart (it's a little gas plant in there) to clean the dust that s' was infiltrated between the contacts and the rubber pads + faders. No velocity or aftertouch on the pads, it sounds simply.
OVERALL OPINION
I use the RZ-1 for over a month or so.
I knew his tone, but not its operation, which seemed secondary.
And actually use it is a little hassle, it's not as simple as a Roland TR. The sounds seem to First Prev first rather bland, fairly cheap, not very basseux.
But with a good EQ and a small compression behind, we discover a real monster! Precision, ultra sounds dry, almost chopped rather aggressive that pierce the ears! Coupled with a 808 or 909, it may return a dancefloor!
Its value for money is now far more than interesting! The BAR unknown deserves more consideration, in the middle notament electro / minimal techno.
A BAR whose sounds have nothing to envy to its competitors, and that works ideally as a couple like the TR707 (It is my opinion
).