Drum machine

A drum machine is an electronic musical instrument that creates

percussion sounds, drum beats, and patterns. Drum machines may
imitate drum kits or other percussion instruments, or produce
unique sounds, such as synthesized electronic tones. A drum
machine often has pre-programmed beats and patterns for popular
genres and styles, such as pop music, rock music, and dance
music. Most modern drum machines made in the 2010s and 2020s
also allow users to program their own rhythms and beats. Drum
machines may create sounds using analog synthesis or play
prerecorded samples.

While a distinction is generally made between drum machines

(which can play back pre-programmed or user-programmed beats
or patterns) and electronic drums (which have pads that can be A BOSS DR-3 Dr. Rhythm drum
struck and played like an acoustic drum kit), there are some drum machine
machines that have buttons or pads that allow the performer to
play drum sounds "live", either on top of a programmed drum
beat or as a standalone performance. Drum machines have a range of capabilities, which go from playing a
short beat pattern in a loop, to being able to program or record complex song arrangements with changes of
meter and style.

Drum machines have had a lasting impact on popular music in the 20th century. The Roland TR-808,
introduced in 1980,[1] significantly influenced the development of dance music, especially electronic dance
music, and hip hop. Its successor, the TR-909, introduced in 1983, heavily influenced techno and house
music. The first drum machine to use samples of real drum kits, the Linn LM-1, was introduced in 1980 and
was adopted by rock and pop artists including Prince[2] and Michael Jackson.[3] In the late 1990s, software
emulations began to overtake the popularity of physical drum machines housed in a separate plastic or metal
chassis.

History

Rhythmicon (1930–1932)

In 1930–32, the innovative and hard-to-use Rhythmicon was developed by Léon Theremin at the request of
Henry Cowell, who wanted an instrument that could play compositions with multiple rhythmic patterns,
based on the overtone series, that were far too hard to perform on existing keyboard instruments. The
invention could produce sixteen different rhythms, each associated with a particular pitch, either
individually or in any combination, including en masse, if desired. Received with considerable interest
when it was publicly introduced in 1932, the Rhythmicon was soon set aside by Cowell.

Chamberlin Rhythmate (1957)

 In 1957, Harry Chamberlin, an engineer from Iowa, created the Chamberlin
Rhythmate, which allowed users to select between 14 tape loops of drum kits and
percussion instruments performing various beats. Like the Chamberlin keyboard,
the Rhythmate was intended for family singalongs. Around 100 units were sold.[4]

First commercial product – Wurlitzer Side Man (1959)

In 1959, Wurlitzer released the Side Man, which

Rhythmicon (1932)
and Joseph
Schillinger, a music
educator
Raymond Scott (1960–1963)
generates sounds mechanically by a rotating disc,
similar to a music box. A slider controls the tempo
(between 34 and 150 beats per minute). Sounds can
also be triggered individually through buttons on a
control panel. The Side Man was a success and
drew criticism from the American Federation of
Musicians, which ruled in 1961 that its local
jurisdictions could not prohibit Side Man use,
though it could not be used for dancing.[5] Wurlitzer
ceased production of the Sideman in 1969.[4]
Wurlitzer Sideman (1959,
inner view)

In 1960, Raymond Scott constructed the Rhythm Synthesizer and, in 1963, a drum machine called Bandito
the Bongo Artist. Scott's machines were used for recording his album Soothing Sounds for Baby series
(1964).

First fully transistorized drum machines – Seeburg/Gulbransen (1964)

During the 1960s, the implementation of rhythm machines were evolved

Seeburg/Gulbransen
Rhythm Prince using a
mechanical wheel, as seen on
bailed out left panel
Seeburg/Gulbransen
Select-A-Rhythm, an earliest
fully transistorized rhythm
machine
into fully solid-state (transistorized) from early electro-mechanical with
vacuum tubes, and also size was reduced to desktop size from earlier floor
type. In the early 1960s, a home organ manufacturer, Gulbransen (later
acquired by Fender) cooperated with an automatic musical equipment
manufacturer Seeburg Corporation, and released early compact rhythm
machines Rhythm Prince (PRP),[6] although, at that time, these sizes were
still as large as small guitar amp head, due to the use of bulky electro-
mechanical pattern generators. Then in 1964, Seeburg invented a compact
electronic rhythm pattern generator using "diode matrix" (U.S. patent
3,358,068 (https://patents.google.com/patent/US3358068) in 1967),[7] and
fully transistorized electronic rhythm machine with pre-programmed
patterns, Select-A-Rhythm (SAR1),[8][9] was released. As a result of its
robustness and enough compact size, these rhythm machines were gradually
installed on the electronic organ as an accompaniment of organists and
finally spread widely.
Keio-Giken (Korg), Nippon Columbia, and Ace Tone (1963–
1967)

In the early 1960s, a nightclub owner in Tokyo, Tsutomu Katoh was consulted by a notable accordion
player, Tadashi Osanai, about the rhythm machine he used for accompaniment in the club, a Wurlitzer Side
Man. Osanai, a graduate of the Department of Mechanical Engineering at the University of Tokyo,
convinced Katoh to finance his efforts to build a better one.[10] In 1963, their new company Keio-Giken
(later Korg) released their first rhythm machine, the Donca-Matic DA-20,
using vacuum tube circuits for sounds and a mechanical wheel for rhythm
patterns. It was a floor-type machine with a built-in speaker, and featured a
keyboard for manual play, in addition to the multiple automatic rhythm
patterns. Its price was comparable with the average annual income of
Japanese at that time.[11]

Next, their effort was focused on the improvement of reliability and

performance, along with size and cost reductions. Unstable vacuum tube
circuits were replaced with reliable transistor circuits on the Donca-Matic
DC-11 in the mid-1960s. In 1966, the bulky mechanical wheel was also
replaced with a compact transistor circuit on the Donca-Matic DE-20 and
DE-11. In 1967, the Mini Pops MP-2 was developed as an option for the
Yamaha Electone (electric organ), and Mini Pops was established as a series
of compact desktop rhythm machines. In the United States, Mini Pops MP- Korg Donca-Matic DA-20
3, MP-7, etc. were sold under the Univox brand by the distributor at that (1963)
time, Unicord Corporation.[11]

In 1965, Nippon Columbia filed a patent for an automatic rhythm instrument. It described it as an
"automatic rhythm player which is simple but capable of electronically producing various rhythms in the
characteristic tones of a drum, a piccolo and so on." It has some similarities to Seeburg's slightly earlier
1964 patent.[12]

In 1967, Ace Tone founder Ikutaro Kakehashi (later founder of Roland

Corporation) developed the preset rhythm-pattern generator using diode
matrix circuit, which has some similarities to the earlier Seeburg and
Nippon Columbia patents. Kakehashi's patent describes his device as a
"plurality of inverting circuits and/or clipper circuits" which "are connected
to a counting circuit to synthesize the output signal of the counting circuit"
where the "synthesized output signal becomes a desired rhythm."[13]

Ace Tone commercialized its preset rhythm machine, called the FR-1
Rhythm Ace, in 1967. It offered 16 preset patterns, and four buttons to
manually play each instrument sound (cymbal, claves, cowbell and bass Ace-Tone Rhythm Ace FR-3
drum). The rhythm patterns could also be cascaded together by pushing
multiple rhythm buttons simultaneously, and the possible combination of
rhythm patterns were more than a hundred (on the later models of Rhythm Ace, the individual volumes of
each instrument could be adjusted with the small knobs or faders). The FR-1 was adopted by the Hammond
Organ Company for incorporation within their latest organ models. In the US, the units were also marketed
under the Multivox brand by Peter Sorkin Music Company, and in the UK, marketed under the Bentley
Rhythm Ace brand.[14]

Early preset drum machine users

A number of other preset drum machines were released in the 1970s, but early examples of the use can be
found on The United States of America's eponymous album from 1967–8. The first major pop song to use a
drum machine was "Saved by the Bell" by Robin Gibb, which reached #2 in Britain in 1969. Drum
machine tracks were also heavily used on the Sly & the Family Stone album There's a Riot Goin' On,
released in 1971. Sly & the Family Stone was the first group to have a number #1 pop single that used a
drum machine: that single was "Family Affair".[15]
The German krautrock band Can also used a drum machine on their songs "Peking O" and "Spoon". The
1972 Timmy Thomas single "Why Can't We Live Together"/"Funky Me" featured a distinctive use of a
drum machine and keyboard arrangement on both tracks. Another early example of electronic drums used
by a rock band is Obscured by Clouds by Pink Floyd in 1972. The first album on which a drum machine
produced all the percussion was Kingdom Come's Journey, recorded in November 1972 using a Bentley
Rhythm Ace. French singer-songwriter Léo Ferré mixed a drum machine with a symphonic orchestra in the
song "Je t'aimais bien, tu sais..." in his album L'Espoir, released in 1974. Miles Davis' live band began to
use a drum machine in 1974 (played by percussionist James Mtume), which can be heard on Dark Magus
(1977). Osamu Kitajima's progressive psychedelic rock album Benzaiten (1974) also used drum machines.

Programmable drum machines

In 1972, Eko released the

ComputeRhythm, which was
one of the first programmable
drum machines.[16] It had a 6-
row push-button matrix that
allowed the user to enter a
pattern manually. The user
could also push punch cards
Eko ComputeRhythm (1972), one PAiA Programmable Drum Set (1975),
with pre-programmed rhythms
of the first programmable drum one of the earliest electronically
through a reader slot on the
machines. programmable drum machines.
unit.[17]

Another stand-alone drum

machine released in 1975, the PAiA Programmable Drum Set was also one of the first programmable drum
machines,[18] and was sold as a kit with parts and instructions which the buyer would use to build the
machine.

In 1975, Ace Tone released the Rhythm Producer FR-15 that enables the modification of the pre-
programmed rhythm patterns.[19] In 1978, Roland released the Roland CR-78, the first microprocessor-
based programmable rhythm machine,[14] with four memory storage for user patterns. In 1979, a simpler
version with four sounds, Boss DR-55, was released.

Drum sound synthesis

A key difference between such early machines and more modern equipment is that they use sound synthesis
rather than digital sampling in order to generate their sounds. For example, a snare drum or maraca sound
would typically be created using a burst of white noise whereas a bass drum sound would be made using
sine waves or other basic waveforms. This meant that while the resulting sound was not very close to that
of the real instrument, each model tended to have a unique character. For this reason, many of these early
machines have achieved a certain "cult status" and are now sought after by producers for use in production
of modern electronic music, most notably the Roland TR-808.[20]

Digital sampling

The Linn LM-1 Drum Computer, released in 1980 at $4,995 (equivalent to $17,700 in 2022), was the first
drum machine to use digital samples. It also featured revolutionary rhythmic concepts such as swing factors,
shuffle, accent, and real-time programming, all of which have since rooted themselves in beat box
 technology.[21] Only about 500 were ever made, but its effect on
the music industry was extensive. Its distinctive sound almost
defines 1980s pop, and it can be heard on hundreds of hit records
from the era, including The Human League's Dare, Gary Numan's
Dance, Devo's New Traditionalists, and Ric Ocasek's Beatitude.
Prince bought one of the first LM-1s and used it on nearly all of his
most popular albums, including 1999 and Purple Rain.
Linn LM-1 (1980)
Many of the drum sounds on the LM-1 were composed of two
chips that were triggered at the same time, and each voice was
individually tunable with individual outputs. Due to memory limitations, a crash cymbal sound was not
available except as an expensive third-party modification. A cheaper version of the LM-1 was released in
1982 called the LinnDrum. Priced at $2,995 (equivalent to $9,100 in 2022), not all of its voices were
tunable, but crash cymbal was included as a standard sound. Like its predecessor the LM-1, it featured
swappable sound chips. The LinnDrum can be heard on records such as The Cars' Heartbeat City and
Giorgio Moroder's soundtrack for the film Scarface.

It was feared the LM-1 would put every session drummer in Los Angeles out of work and it caused many
of L.A.'s top session drummers (Jeff Porcaro is one example) to purchase their own drum machines and
learn to program them themselves in order to stay employed. Linn even marketed the LinnDrum specifically
to drummers.[22]

Following the success of the

LM-1, Oberheim introduced
the DMX, which also featured
digitally sampled sounds and a
"swing" feature similar to the
one found on the Linn
machines. It became very
popular in its own right,
becoming a staple of the Oberheim DMX (1981) SCI Drumtraks (1984)
nascent hip-hop scene.

Other manufacturers soon began to produce machines, e.g. the Sequential Circuits Drum-Traks and Tom,
the E-mu Drumulator and the Yamaha RX11.

In 1986, the SpecDrum by Cheetah Marketing, an inexpensive 8-bit sampling drum external module for the
ZX Spectrum,[23] was introduced, with a price less than £30, when similar models cost around £250.[24]

Roland TR-808 and TR-909

In 1980, the Roland Corporation launched the TR-808 Rhythm

Composer. It was one of the earliest programmable drum machines,
with which users could create their own rhythms rather than having
to use preset patterns. Unlike the more expensive LM-1, the 808 is
completely analog, meaning its sounds are generated non-digitally
via hardware rather than samples (prerecorded sounds).[25]
Launched when electronic music had yet to become mainstream,
the 808 received mixed reviews for its unrealistic drum sounds and Roland TR-808 Rhythm Composer
(1980)
was a commercial failure.[26][27] Having built approximately 12,000 units, Roland discontinued the 808
after its semiconductors became impossible to restock.[28]

Over the course of the 1980s, the 808 attracted a cult following among underground musicians for its
affordability on the used market,[27] ease of use,[26] and idiosyncratic sounds, particularly its deep,
"booming" bass drum.[28] It became a cornerstone of the emerging electronic, dance, and hip hop genres,
popularized by early hits such as Marvin Gaye's "Sexual Healing"[28] and Afrika Bambaataa and the
Soulsonic Force's "Planet Rock".[29] The 808 was eventually used on more hit records than any other drum
machine;[30] its popularity with hip hop in particular has made it one of the most influential inventions in
popular music, comparable to the Fender Stratocaster's influence on rock.[31][32] Its sounds continue to be
used as samples included with music software and modern drum machines.[33]

The 808 was followed in 1983 by the TR-909, the first Roland drum machine to use MIDI,[34] which
synchronizes devices built by different manufacturers.[35] It was also the first Roland drum machine to use
samples for some sounds.[35] Like the 808, the 909 was a commercial failure, but had a lasting influence on
popular music after cheap units circulated on the used market; alongside the Roland TB-303 bass
synthesizer, it influenced the development of electronic genres such as techno, house and acid.[36][37]

Later machines

By 2000, standalone drum

machines had become less
common, partly supplanted
by general-purpose
hardware samplers
controlled by sequencers
(built-in or external),
software-based sequencing
and sampling and the use of
Alesis SR-16 (1991)
E-mu SP-1200 (1987) loops, and music
workstations with integrated
sequencing and drum sounds. TR-808 and other digitized drum
machine sounds can be found in archives on the Internet. However, traditional drum machines are still being
made by companies such as Roland Corporation (under the name Boss), Zoom, Korg and Alesis, whose
SR-16 drum machine has remained popular since it was introduced in 1991.

There are percussion-specific sound modules that can be triggered by pickups, trigger pads, or through
MIDI. These are called drum modules; the Alesis D4 and Roland TD-8 are popular examples. Unless such
a sound module also features a sequencer, it is, strictly speaking, not a drum machine.

In the 2010s a revival of interest in analogue synthesis resulted in a new wave of analogue drum machines,
ranging from the budget-priced Korg Volca Beats and Akai Rhythm Wolf[38] to the mid-priced Arturia
DrumBrute,[39] and the high-end MFB Tanzbär and Dave Smith Instruments Tempest. Roland's TR-08 and
TR-09 Rhythm Composers were digital recreations of the original TR-808 and 909, while Behringer
released an analogue clone of the 808 as the Behringer RD-8 Rhythm Designer.[40] Korg released an
analog drum machine, the Volca Beats, in 2013.[41]

Programming
Programming of drum machines varies from product to product. On
most products, it can be done in real time: the user creates drum
patterns by pressing the trigger pads as though a drum kit were
being played; or using step-sequencing: the pattern is built up over
time by adding individual sounds at certain points by placing them,
as with the TR-808 and TR-909, along a 16-step bar. For example,
a generic 4-on-the-floor dance pattern could be made by placing a
closed high hat on the 3rd, 7th, 11th, and 15th steps, then a kick
drum on the 1st, 5th, 9th, and 13th steps, and a clap or snare on the
5th and 13th. This pattern could be varied in a multitude of ways to
obtain fills, break-downs and other elements that the programmer Korg Volca Beats (2013)
sees fit, which in turn could be sequenced with song-sequence —
essentially the drum machine plays back the programmed patterns
from memory in an order the programmer has chosen. The machine
will quantize entries that are slightly off-beat in order to make them
exactly in time.

If the drum machine has MIDI connectivity, then one could

program the drum machine with a computer or another MIDI
device. 4-on-the-floor on Roland TR-707

Comparison with live drumming

While drum machines have been used much in popular music since the 1980s, "...scientific studies show
there are certain aspects of human-created rhythm that machines cannot replicate, or can only replicate
poorly" such as the "feel" of human drumming and the ability of a human drummer to respond to changes
in a song as it is being played live onstage.[42] Human drummers also have the ability to make slight
variations in their playing, such as playing "ahead of the beat" or "behind the beat" for sections of a song, in
contrast to a drum machine that plays a pre-programmed rhythm. As well, human drummers play a
"tremendously wide variety of rhythmic variations" that drum machines cannot reproduce.[42]

Labor costs

Drum machines developed out of a need to create drum beats when a drum kit was not available.
Increasingly, drum machines and drum programming are used by major record labels to undercut the costly
expense of studio drummers.[43]

See also
Electronic drum
Groovebox (generic groove machines)
Music sequencer

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External links
http://drum-machines-history.blogspot.co.uk

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