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Drum Machine

  • Rhythm Creator
  • 16 analogue instruments with the authentic sound of the TR-808 and TR-909, plus expanded capabilities
  • 10 analogue TR-808 instruments: Bass Drum, Snare Drum, Low Tom, High Tom, Rim Shot, Hand Clap, Open Hi-Hat, Closed Hi-Hat, Cymbal & Cow Bell
  • 6 analogue TR-909 instruments: Bass Drum, Snare Drum, Low Tom, High Tom, Rim Shot, Hand Clap
  • 50 different ACB (Analog Circuit Behavior) sound engines with a wide range of parameters
  • FM sound generation for digital percussion sounds
  • Virtual analogue synthesizer and more than 2,500 PCM samples for bass and synthesizer sounds, effects and more
  • Stereo sampling and re-sampling with time stretching and beat slicing
  • 46 GB storage space for users' own samples (16-bit / 48 kHz)
  • Per instrument: Compressor, filter (multimode filter or 4-band EQ), amplifier with envelope
  • 4 instruments with layer function (2 sound engines), sidechaining and modulation LFO
  • Step sequencer with 10 tracks and up to 128 steps per track
  • TR recording, real-time recording, motion recording for parameter automation
  • Memory space for 16 projects, 2048 patterns and 2048 drum kits
  • Master effects section with analogue filter and drive, digital insert effects, compressor, reverb and delay
  • Morph fader for blending parameter settings
  • 42 controls and 10 faders for editing instruments
  • OLED display and 6 encoders
  • Mix out (2x 6.3mm jack)
  • Analogue FX out (2x 6.3 mm jack)
  • 10 individual outputs (6.3 mm jack)
  • Stereo headphone out with volume control: 6.3 mm jack
  • External in: 2x 6.3 mm jack
  • Trigger and CV inputs: 2x 3.5 mm jack
  • Trigger and clock outputs: 2x 3.5 mm jack
  • Pedal input: 6.3 mm jack
  • MIDI In, Out 1, Out 2 / Thru (5-pin DIN)
  • USB-A port for external devices and storage media
  • USB-C port for USB audio and MIDI
  • Solid metal housing
  • Dimensions (W x D x H): 486 x 311 x 125 mm
  • Weight: 5.5 kg
  • Includes power supply cable, user manual and USB-C cable
  • Available since October 2025
  • Item number 623272
  • Sales Unit 1 piece(s)
  • Sound Synthesis Analog, Samplebased, Synthese
  • Pads 16
  • Effects Yes
  • Bass Yes
  • Display Yes
  • MIDI interface In, Out, Thru
  • Number of analog outputs 14
  • Headphone Connector Yes
  • Mains Operation Yes
  • Battery Operation No
  • Fader(s) 10
  • Sampling Function Yes
  • Storage Medium Internal
  • Footswitch connection 1
  • USB Yes
  • Headphone Output Yes
  • Extras Hybrid Sound Engine
  • Shape Desktop
2.744 €
All prices incl. VAT
Available in several months
1

The TR enters a new era

The TR-1000 is the first Roland drum machine to combine newly engineered analogue TR circuits with modern digital engines, and the first Roland to use new analogue circuitry in 40 years – all in a single flagship instrument. Roland has recreated sixteen iconic 808 and 909 circuits, complemented by digital synthesis engines (ACB, VA, FM, and PCM) and a fully-featured sampling section. These elements can be stacked into multi‑layered kits, with extended controls – such as the 808 kick's Tune and infinite decay – allowing deeper control over classic TR sounds. A flexible performance sequencer, featuring unquantised and motion recording, probability, and fills, is paired with an expressive morph fader, while dedicated sidechain and effects sections complete the design. With its rugged metal chassis, 46GB of user sample memory, and comprehensive connectivity, the Roland TR‑1000 is built to perform both in the studio and on stage.

Roland TR-1000, analogue drum machine

Sequence, layer, sample

At its core, the Roland TR‑1000 is a multitrack powerhouse. Each track is built around a selectable sound engine, with filtering, compression, and effects – ideal for both quick tweaks and more involved editing. Its four dual-layer tracks allow two instruments to be stacked (e.g., an 808 kick and sub-bass), while the remaining six tracks handle the drums and percussion, in typical Roland fashion. Patterns can be programmed via the classic TR-REC grid, or recorded live, then chained into full song structures (with eight variations and fills) that can be recalled in Song mode. A high‑resolution display with six encoders supports real-time editing, and the sampling engine – complete with transient detection – captures, time-stretches, slices, and resamples loops or one-shots on the fly, assigning them directly to the step keys for instant playback.

Roland TR-1000, analogue drum machine

Analogue hybrid

The Roland TR-1000 is a hybrid setup specialist, serving as the centrepiece of a live rig, a studio beat-crafting tool, or the rhythmic backbone of a band. Its blend of analogue circuits, digital engines, and sampling section adapts effortlessly to spontaneous jams or polished productions. Per-track controls, the morph fader, and snapshots (storing up to 16 recallable track states) keep real-time adjustments – variations, fills, and breaks – at the user's fingertips, even in dense patterns. Unquantised recording and micro-timing humanises grooves, while Step Loop and queued pattern chaining cater to improvisers and composers alike, ensuring full creative control over complex arrangements. Live electronic musicians, studio producers, and hybrid bands will find it a reliable and flexible centrepiece for their rhythmic workflows.

Roland TR-1000, analogue drum machine

About Roland

Roland was founded in 1972 in Osaka, Japan, and has been designing and building electronic musical instruments ever since. During its successful history, Roland has launched many ground-breaking instruments, from legendary drum machines such as the TR-808 and the TR-909 to synthesizer classics like Jupiter-8, SH-101 and the iconic TB-303. Besides synthesizers, Roland's workstations and electric pianos are also very popular. Equally well-known is Roland’s subsidiary Boss, under whose brand name it designs and sells principally guitar pedals and effects units. Under the Roland Professional A/V label, the company additionally develops and distributes professional equipment for virtually every branch of audio and video production – from home studios through to commercial applications.

Comprehensive connectivity, complete control

With its comprehensive collection of inputs and outputs, the Roland TR-1000 fits easily into almost any setup. Stereo main outputs, a dedicated pair of FX outputs, and ten 1/4" jack outputs – configurable as individual outputs or trigger outputs – feed desks, interfaces, or outboard gear, while external inputs route synths, grooveboxes, or even vocals into the TR-1000's internal effects and sidechain. MIDI I/O, DIN sync, and USB audio/MIDI integrate smoothly with DAWs, DJ mixers, or controllers, while the dedicated desktop app supports sample editing, kit management, and multi-channel routing. Additional 1/8” trigger, clock, and filter CV connections further extend compatibility with modular systems or vintage drum machines.

In the spotlight

15 Customer ratings

4.7 / 5

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12 Reviews

JM
Interesting instrument, but...
John Monolith 11.07.2026
I have been using the Roland TR-8S almost since the day it was released, so I was immediately excited when I first heard about the TR-1000. After watching the initial reviews, I could clearly see that it was a close relative of the TR-8S, and I started waiting for the first opportunity to finally buy this long-awaited instrument. However, Roland took quite a long time to make it available.

Eventually, I received my TR-1000, and I would now like to share a detailed comparison for anyone who is still considering it or having doubts.

Sound
1. The sound has genuinely improved compared with the TR-8S. Thank you, Roland.
2. The analog filter and distortion sound great.
3. The reverb and delay are essentially the same as before. They still have no additional or hidden parameters to adjust.

Hardware
1. Roland removed the dedicated Shuffle/Swing knob. You now have to dive into the menus just to change this parameter.
2. There are many assignable knobs, which sounds useful in theory. In practice, however, some of them remain completely unused in many kits and instruments because there are either too few assignable parameters or none at all.
3. A dedicated Stop button that can be disabled is definitely a win.
4. The additional analog clock connections are also a welcome addition.
5. The Fill In Trig button is located in a very inconvenient position.

UX
1. The Cue mode is inconvenient to use. There is also no way to send the Ext In signal to Cue.
2. The instrument settings are mostly the same as on the TR-8S, although they are now organized a little more logically and are not scattered across the menus quite as badly.
3. There are also some minor interface issues. For example, when trying to select a higher Auto Off value, it sometimes simply does not work.
4. It is not entirely clear why there is a dedicated Vari Chain button when variations can still be selected by holding down their corresponding buttons, just as they could on the TR-8S. What exactly does this button improve or change in the workflow?

Morph
Morph is a great idea that does not work particularly well in practice.
In reality, it is not really morphing. It is simply several parameters assigned to a single fader. As I mentioned earlier, many instruments have a very limited number of assignable parameters. As a result, the function often fails to reach its full potential.

Scatter
On the original TR-8S, Scatter was my favorite and most frequently used effect. I always had it assigned to Fill In Trig.
By using it together with Ext In, I could create drum fills and transitions without really having to think about them, relying entirely on my sense of rhythm. It was especially useful because Fill In Trig could operate in Momentary mode.
On the TR-1000, Scatter has been moved into the MFX section, but Roland did not add a Momentary mode. It is now limited to Latch operation. As a result, turning drum fills on and off has become an extremely inconvenient process.

Overall Impression
At the moment, I feel that I will probably use the TR-1000 for one or two live performances, then put it on a shelf as part of my collection and continue using the TR-8S.

The TR-8S is simply more convenient for live performance.

I hope that someone at Roland reads this review and improves the instrument, because in its current state, the TR-1000 sometimes feels more like the SH-4d in terms of usability.
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i
Superb dark techno machine, with one flaw Thomann handled well
invstgtr 14.07.2026
I use the TR-1000 as the rhythmic core of a hardware-first techno setup, and as an instrument it delivers. The analog and digital hybrid engine covers everything from deep sub kicks to sharp industrial percussion, and the depth of per-step editing, motion recording and variations makes it a proper performance and sound-design tool, not just a drum machine. The sound quality is excellent and it sits comfortably alongside serious gear.
The one real issue: after about eight months, the coating on the PTN SELECT button started peeling. This is a known production-run defect, not something caused by use. What matters is how it was resolved. Thomann's export service handled it properly, arranged a prepaid warranty return, confirmed with Roland that all buttons would be replaced with a revised type that will not peel again, and supplied the customs documentation for the return. Communication was clear and patient throughout. The unit is still in for repair as I write this, so I cannot yet confirm the fix long-term, but the support experience has been exactly what you would want when a flagship product has a defect.
If the button issue is behind it, this is a near-faultless machine for dark, industrial, analog techno. Recommended, with the note that Thomann stood behind it.
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M
Incredible
Muzman 17.12.2025
I had to wait some time to receive it, but it was love at first play. The construction is well built, premium materials. The knobs are not flimsy, but rubber and robust.
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B
Überragend! Zu potent?
Butziolm 29.11.2025
Die TR-1000 ist hervorragend verarbeitet (Ausnahme die nicht verschraubten Einzelausgänge), klingt tief und mächtig und ist eigentlich fast die eierlegende Wollmilchsau: wenn sie noch eine vernünftige CV-Anbindung hätte (nicht nur Clock) und man per Midi andere Geräte steuern könnte (vgl. Digitakt), dann wäre sie wohl perfekt.
Bleibt die Frage, wer braucht ein solch überwältigendes Gerät? Vermutlich tun es Maschinen, die nur ein Viertel kosten, am Ende genauso. Ich frage mich derzeit, ob meine Musik mit der TR -1000 wirklich 2700€ besser wird. Die Feature-Liste ist schier unendlich, es gibt eigentlich nichts, was nicht geht. Bei alldem ist man in der Bedienung natürlich oft auf den sehr kleinen Bildschirm fokussiert, der leider auch nicht zentral, sondern in der Peripherie des Gerätes angeordnet ist. Wenn man also wirklich Sounds tweakt, ist man vorwiegend auf etwa 1/15 der Oberfläche des Geräts beschäftigt.
Schärfster Konkurrent derzeit ist sicherlich die Heckdrums von Erica Synth: ebenfalls analog, wahrscheinlich ziemlich tiefgehender und wuchtiger Sound (ich habe selbst noch keine gespielt), keinen Preset-Speicher, One- Note-Per-Function-Konzept. Und vor allem: kostet fast genau die Hälfte.
Mich persönlich erschlägt die TR -1000 einfach. Mal sehen, ob sie bleibt… Auf jeden Fall ein Gerät, nur für Profis, die nebenher auch nicht mehr sehr viel brauchen.

Update 30. Dezember 2025: Sie bleibt! Die Hexdrums sind klanglich viel zu eingeschränkt und vor allem nicht speicherbar. 2700€, klar, das ist viel, sind aber auch 14 analoge Stimmen. Da zahlt man bei Oberheim und co für 8 Stimmen beileibe nicht weniger.
Update 17. März 2026
Sie musste doch gehen, vor allem war das Multitrack-Recordning in Ableton und Logic faktisch unbrauchbar, da mit erheblichen Artefakten versehen, ferner ließ sich das Gerät kaum zur Midiclock synchronisieren, da gab es, trotz vieler Versuche, Timingprobleme von fast einer Sechzehntelnote (bei 133bpm, aktuelles update war natürlich aufgespielt). All das geht für ein 2700€-Gerät leider überhaupt nicht. Im übrigen: wer hört wirklich den Unterschied zwischen analog und acb_Emulation? Ich konnte sie im direkten Vergleich nicht wahrnehmen.
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