TR-909 tech specs
It retained much of the TR-808's subtle timbre tweakability, along with its individual outputs, making it ideal in the studio. In addition to having more weighty sounds, the TR-909 also added separate accents for each sound, flams, and shuffle/swing.
Best of all, it used MIDI. For people who wanted to program their drums via a controller keyboard and a home computer based sequencer, this rendered the onboard sequencer's improvements a moot issue — they would use it only for its sounds, which were sensitive to the full MIDI range of velocities and timing, making it as versatile as whichever MIDI sequencer was controlling it.
When it was released, people were disappointed that it didn't exclusively use digital samples, which would have sounded more realistic. It was later venerated as a stylised classic, along with the TR-808. It's been extensively sampled and cloned, and even if you haven't heard of it, its sounds will very likely already be familiar to you.
Actually [our whole album] was sequenced on a Roland 909 drum machine. Not many people know, but it's got a rather nifty little onboard sequencer. It's accurate to sixteenth notes only, which is weird 'cos you can't really get a human feel. We just used one of those and an Akai S900. It was the most simple sampling and sequencing system in the world, but it proved really effective.
— DJ Jemski, Three Wize Men
Derrick sold Chicago DJ Frankie Knuckles a TR-909 drum machine. This was back when the Power Plant was open in Chicago, but before any of the Chicago DJs were making records... One thing just led to another, and Chip E used the 909 to make his own record, and from then on all these DJs in Chicago borrowed that 909 to come out with their own records.
Everybody was using Kevin's 909, and you can imagine how that was. It was just never available. When you did get a chance to use it, the next day somebody was calling up for it. Derrick just recently lucked up on one, and I hope to find one for myself when I get back to Detroit.
— Juan Atkins, 1988
When Roland discontinued the 808 and 909 to come out with the 707 and 505, they tried to come out with a more true drum sound, but the whole beauty of Roland was that they had drum sounds which were different from everybody else's.
— Juan Atkins, 1988
The basis of a lot of my music is my Roland TR-909 drum machine. I've told myself time and time again that I'd get rid of it, but I can't because it's so brilliant.
— Simon Harris, 1989
Anybody can get TR-909 samples now, but the feel of the 909, the groove that's on it, you can only get that by programming the actual drum machine. The same with the 808: it's got an atmosphere and a groove all its own. I'd say it's worth spending the money to get the original machines.
— Gordon Matthewman, Blow, 1992
Once you sample the sounds, it's not the same as the real thing. The 909's got such warmth when you're playing the sounds. One of my friends, Mark, has a 909 with a blown resistor, and all the hi-hats and snares have a new sound to them. It sounds quite good, there's some totally original sounds there. I talked him out of fixing it.
— Shades of Rhythm, 1994
We have three 909s, and one of them has quite a special bass drum sound. The 909 sound is at the root of many of our rhythms, although we only use the sounds, not the sequencer. The MPC2000 triggers it.
The 909 would be my master control. It has 16 patterns and some banks, but what I would end up doing is having a bank of 16 one-bar loops that would contain drum information and timing information for all the other instruments, one trigger point or a couple more on the 808 for basslines. And then usually I would actually take a MIDI cable out of that going into an old Akai S950 sampler, which would also allow me to use a drum like a tom as a MIDI trigger for a sample like a voice or something else. So what also came out of that is those tracks have a very nice feeling on a timing level, which I think comes from the timing of the 909 drum machine. I'd be sitting at the 909, triggering sequencers, adding melodic triggers then adding hi-hats, maybe from some other drum machines.
- 808 State
- Atari Teenage Riot
- Bizarre Inc
- Daft Punk
- Richie Hawtin (modded)
- Derrick May
- The Future Sound of London
- Man Machine
- The Prodigy
- Kevin Saunderson
- Speedy J
- Underworld (×3)
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- "Underworld Interview" Roland
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- "Roland catalogue volume 7" Roland, 1984
- "TR-909 manual" Roland
- "TR-909 service notes" Roland, Jun 1984
- TR-909 samples Rob Roy Recordings, 1995