That wasn’t the only challenge Roland faced, though. As a result, the 808 was initially unsuccessful and fewer than 12,000 units were sold worldwide. In reality, the machine was unable to truly replicate the life-like drum sounds that its customers desired, many of whom looked to the pricier Linn LM-1 and its recorded drum samples instead. With 16 voices spread across 11 channels (five channels with switchable voices), up to 32 programmable patterns, accent steps and DIN Sync, on paper the 808 was a groundbreaking piece of equipment. Just two years after the launch of the CR-78, Roland released the TR-808. Instead, the Japanese brand opted to use analog synthesis to emulate a number of traditional drum sounds as authentically as possible. While these early rhythm composers were aimed at home musicians who had no access to acoustic drum kits (or a drummer for that matter), it wasn’t long before professional musicians caught wind of the musical possibilities offered by programmed drums.Īlthough Roland’s aim was to develop accessible machines that replicated the sound of real drums, technological limitations meant that storing and playing back recordings of acoustic kits would have been too costly. The 808 was the successor to the Roland CompuRhythm CR-78, a machine designed to provide home musicians with an easy way to incorporate rhythm into their piano or guitar practice. The Roland TR-808 Rhythm Composer, or 808 for short, is an electronic drum synthesizer and sequencer, so called due to its year of release (1980) with the TR standing for “Transistor Rhythm”.

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