Conclusions
> On some levels, it’s difficult to make direct comparisons between all the instruments on test here. The range on offer, in terms of both style, sound and price point mean that there are options likely to suit any electronic music maker.
If old-school authenticity is your aim, you can’t argue with Behringer’s RD-8, given its sub-£300 price point, although overall the DrumBrute Impact is probably a better, vintage-minded analogue drum machine.
Of the two instruments here that come in under £200, the Volca Drum is our pick. Its sound is decidedly digital and unique though, and it won’t suit everyone. The UNO Drum has more of a traditional remit, and a lot of versatility thanks to its changeable stock of samples. You could pick both up with change from £300, and they’d make a good pairing – combining solid stock drum sounds from the UNO with something more interesting and expressive from the Volca.
The DFAM and Pulsar-23 occupy a somewhat different space to the others. They wouldn’t cover a
multitude of styles like some here, but rather have their own distinctive workflows. They lack the versatility or convenience of something like the Analog Rytm or TR-8S, but offer a far more creative and often inspiring experience. There may be no other instrument on the market as outright fun and inspiring as the Pulsar-23.
Setting individual styles or vintage authenticity aside, which of these drum machines sounds best? To our ears, that would be the Analog Rytm. Its hybrid approach of combining analogue percussion synthesis and deep sampling tools means each track oozes warmth, power and character. The highquality effects add polish too, so probably more than any other instrument here, the sounds need little external processing.
All considered though, if we had to crown a ‘best’ drum machine from the lineup, Roland’s TR-8S would be it. While it’s not necessarily the deepest or most inspirational of the bunch, you can’t argue with the sheer power and versatility on offer for the price. Its ACB emulations can do convincing impressions of classic hardware – they’re not analogue, but can compete with the RD-8 – but its sample and FM engines can do modern or unusual sounds too, or even be used for chords or basslines. The build is solid, the workflow well thought-out, and it has the reliability and flexibility needed for live performance. It’s hard to imagine any electronic musician who wouldn’t be able to find a use for the TR-8S in their workflow.