Loopy Pro: Create music, your way.
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Behringer RD-9
**Key Features **
- Design and sound inspired by the legendary TR-909 drum machine.
- 64-step sequencer - store 16 songs and up to 64 unique patterns.
- Hands-on workflow (58 buttons, 33 knobs).
- Choose from Authentic mode (tones mirroring the original) and Enhanced mode (introducing 3 new controls that were not on the original).
- Variable swing - create beats with a more human touch.
- Easily record and craft song structures in pattern launch mode, then swap to manual mode with just one button press.
- Effortlessly cue up your next track - all without interrupting playback.
- Live step-overdubbing, real-time triggering, note repeat and step repeat.
- 10 drum voices - each with dedicated level, tuning, decay and attack controls.
- Drum voices include bass drum, snare drum, low tom, mid tom, hi tom, rimshot, clap, hi-hat, and crash/ride cymbals.
- Autofill feature ensures more varied and realistic drum patterns.
- Built-in wave designer (with sustain and attack controls) adds even more dynamism to your beats.
- Dual-mode filter button - switch between high pass and low pass filters, and experiment with resonance and cutoff frequency controls.
- Tweak sweeps and more via the step editor.
- Separate chain preferences per parameter - selecting whether they turn on when the pattern/song changes, or operate globally. Each parameter can be altered mid-use.
- Parameters range from flam, swing, tempo and probability, to FX bus assignments, sweeps, filter modes and dedicated track solos/mutes.
- Versatile output/input connections (mono audio, phones, MIDI in/out/thru via USB, 5-pin MIDI ports, 11 analog outputs - used for capturing multitrack audio and external processing).
- Take control over external hardware and synths using the 3 trigger outs.
- Receive and send clock information to effortlessly sync the RD-9 with other gear.
- USB connectivity for MIDI/sync triggering; you can even control the RD-9 using your DAW!
- Sequence;
** Tweak; Perform **
A 64-step sequencer forms the backbone of the RD-9. It's capable of storing up to 16 songs and 64 patterns, providing plenty of scope for your percussion productions. Within each sequencer mode, you'll then have access to note repeat, step repeat, live step-overdubbing and real-time triggering, which are all incredibly useful during live scenarios.
Every one of the 10 unique drum sounds - encompassing a snare, kick, cymbals and more - includes a set of dedicated level, tuning, decay, and attack controls. Use these to alter the nuances of every sound to suit your personal preferences. These can all be tweaked mid-song too, resulting in constantly evolving patterns.
Craft More Interesting Sounds
The workflow and approach of the RD-9 allows for even more developed and dynamic beats. A built-in wave designer (boasting sustain and attack controls) can be added to separate drum parts, while the dual-mode filter button quickly switches between high and low pass filters. This encourages experimentation with both resonance and cutoff frequency.
Further variation can be applied by outlining individual chain preferences for every single parameter (which can operate either when the pattern changes, or function globally). And that's not to mention the variable swing and autofill feature - leading to drums with a far more natural, varied feel.
**Flexible Connectivity **
Make the RD-9 the beating heart of your setup thanks to its range of versatile output and input connections. Utilise USB connectivity for MIDI and sync triggering, or use it to take full control of your RD-9 via your DAW!
That's not all though; use the 3 trigger outs and harness the power of your external hardware and synths - crafting entire songs and sets as part of an exciting DAW-less setup. This is ideal if you prefer a more tangible, hands-on approach to making music live and in the studio.
I realise that some people feel very strongly that Behringer is overstepping some kind of mark when they reimagine these classics. I hope that fans of Behringer can also discuss this piece of kit without having to justify their purchase choices to others.
I'll be buying one . They are are £250 - £270, depending on exchange rates and will be available from the end of July but that's only for people who got their orders in early. The rest of us can get on the next batch at the end of Sept, apparently. But don't quote me on that. There may be millions of units costing £230.
Comments
LINNDRUM
I think you mean the Lmdrum!?
When that LM was announced the other week I legitimately thought about you lol
Looking forward to that one the most for its 8/12 bit sampling.
https://www.behringer.com/behringer/product?modelCode=P0DG6
I'm not one of the people who feels that Behringer has a case to answer, for their crimes against music technology but I would feel well annoyed with the announcement of the RD-8 Mk2! "This times it's more authentic!" HOW? It's not like we've just discovered electronic drum machines and unearthed these features in the last 6 months! That is a dodgy practice in my book. Too far, Mr Behringer, too far.
My understanding is that there was some phase reversal going on at the output stage somewhere, as well as the rim shot being too hot because of an incorrect component value. They also reverse engineered the ba662 vca chip which was used in the 808 among other synths such as the Jup 8 and 4. Guessing that development of the Jupiter 8 led to cloning of the chip, which they then decided to use to upgrade prior clones with. There's talk that a new 'modded out' TD-3 will be released, probably also containing the new ba662. I suppose authenticity is just sales speak about the new OTA chip (which was previously discreet in rev 1)
Kinda sucks for current owners of the RD-8, but I'm happy that they're willing to do revisions to improve on valid criticisms that people had about the product. If the RD-8 is sold for 10 more years, its better that standing issues are fixed as early as possible.
They did a similar thing with the Behringer 2600. After the orange+black one, they improved it with different/better capacitors and changed the digital reverb to a spring tank (too small though) which emerged as the grey and the blue 2600s at a higher cost.
I’m honored!
Oh! I did not know that. This is the kind of information I probably needed before making that post. Thank you, @aleyas
Do you think it was worth the effort? I haven't heard either, to be able to make a comparison. Sounds like you have?
I’ve seen videos comparing, and some discussion on Mod Wiggler.
The caps seem to make a + difference, but I’d be happy with the orange+black personally, maybe altering it after warranty. I personally don’t think that kind of detailed discrimination is what music making is all about, but you get that phenomena in all technical areas, photography for example is full of people who take pictures of their brick walls to discern things like distortion etc and frankly who cares – well, they do.
The spring tank, on the other hand is an issue I’d concern myself with. I’m lucky in that my actual Arp 2600P (1972/73-ish) has the longer reverb tank, then by the time Arp were making their orange+black models (the 2601) the reverb tank was a shorter design. With the Behringer having a very compact reverb tank, you’re not going to get what was possible on the early or even late real 2600.
Personally I don’t see the fascination with reverb produced from a spring tank, I think that digital reverb beats it in every way except authentic technical limitation artefacts, and being able to bang the synth. However, people want the authentique. I’d suggest to those people to buy the orange+black Beh 2600 and simply never use the inbuilt digital reverb, but sort out their own outboard reverb of their own choosing. The internal one is easy to bypass, simply never turn it up (it’s paralleled to the output rather than inline).
The digital reverb is a common chip that Behringer use in many of their footpedal effects too (CoolAudio V1000) , and is easy to hack to produce one of the many other effect types the chip is capable of, such as delay, bitcrush etc. ( https://maffez.com/?page_id=1473 - scroll down to Digital FX )
Starsky Carr did a pretty thorough comparison of the black vs the new blue marvin one. The real spring in the BM is distinctly different - sounds much better to me, and would make me confident and happy enough to use as an outboard effect on other instruments. You can also smack the side of the BM for that spring twang
The oscillators and filters had some minor differences, but would probably be hard to notice without side by side comparison. Oh yeah, the Blue and Gray versions also only have 1 color of LED, opposed to the Christmas lighting on the black one.
I plan on getting the gray when it becomes more widely available. Worth it for the color and real spring to me. For people who don't care much, they can save a good $100 with the black one though!
https://www.lensrentals.com/blog/2012/03/hammerforum-com/
Hah! excellent in-joke reference to ‘Ken Rockbuster’
👍
Talking of which, coming from being an ex-professional photog in the 70s/80s, using large&medium format film, 80s/90s using a Nikon F4 and studio lighting system, going through all the digital evolution we all did, then a few years ago I sold it all and kept just one digital camera – a first generation Sony RX10. I don’t miss all the other gear.
(Okay, I also have a Sony a5100 with E~Nikon adaptor and my old 55mm Micro-Nikkor nobody wanted to buy because it had fungus I couldn’t detect, which is useful for shooting watercolour paintings, but I don’t count that, I maintain my one single camera is the RX10).
Oh, and to piss off the fanboys, I not only set the old bashed-about RX10 to jpg only, but normal jpg not fine, oh, and it’s set to the lowest resolution - small (4.2M, out of the other possibilities M: 7.5M or L: 17M – I don’t want my storage space filling up any quicker than nece thanks). I’m happy.
If it makes you happy and it takes nice pictures, that's fantastic. Fewer, better things makes a whole lot of sense.
The right stuff.
(I've got Bryan Ferry in my head now.)
I'm not much of a 909 fan personally, but I imagine they'll sell a lot of them.
Supposedly, they're making a CR-78 too, and I've always wanted one of those, but I doubt we'll get clacky bakelite buttons and a wooden box.
I would be in like a shot if Behringer would make a cheap basic DR55 clone (with usb midi, natch)
(Pic from https://www.polynominal.com/site/studio/gear/drum/boss-dr55/boss-dr-55.html - good site, good page, fond memories of this drum machine)
Got an RD-9 on order. Kept selling out at Sweetwater, so I'm trying Anderton's for the first time.
I've never had a hands-on drum machine like this.
After I get some muscle memory, I'll see if it makes sense to use with to sequence other gear.
P.S. I will also try using the Akai MP-218 into the RD-09 to see if can bang out 909 with MPC pads.
OK, I got it.
FIrst, I'll learn to use the basics of it. There are Doctor Mix videos on the 909 and Starsky Carr videos on the RD9 I'll follow along. And Captain Pliant teaches how to do the Jeff Mills exhibition thing.
Then I'll explore playing the RD9 along with iPad stuff and probably the MicroFreak.
Any suggestions on what to explore here would be appreciated!
Bump.
So far so good.
The best way to have it play along with my other gear has been to use AUM tempo with MIDI clock send to OP-1, then use AUM to send MIDI from OP-1 to the RD-9, and other stuff like the MicroFreak.
Definitely some learning curve. Get the full manual and watch Captain Pliant.