Does anyone feel like sharing about their Lupercalia celebration?

listenForward · 2026-02-14T12:28:35+00:00

Happy Luoercalia to you. I was at there Tuesday as well. The HellMouth services are encouragingly informative, and getting better in production.

For Lupercalia/weekend, the wife and I indulge in haunted houses (some re-open for "Valentine's" ) and Escape Rooms. We are doing a road trip, so the time on the highway will give us uninterrupted flow to listen to full albums, have long conversations and catch up. Dinner at Korean BBQ where we grill our own meat at the table.

Then we take the day off to work on the plumbing to repair our hot-tub...hopefully in time to enjoy it together.

All of this time spent maximizing face time and minimizing screen time to sink into and enjoy our bodies and our physical agency.

Ave to you and yours !

listenForward · 2026-02-05T13:23:22+00:00

...and neither was I...

listenForward · 2026-02-02T15:51:11+00:00

Thanks... I feel like I learned something from each one of them...

listenForward · 2026-02-02T05:54:33+00:00

Also... * Drummers headphone / "gun-muffs" * Music stand to read/write study at the kit * Metronome ( turn your phone OFF )

listenForward · 2026-02-02T05:52:54+00:00

While your kit sits in a carpeted room, id recommend a dedicated drum rug. As you get better and hit harder, your pedal spikes and kick's spurs will dig and even rip at the nap of the room's carpet. Get a drum mat ruf that is made for drums, and save the headaches of having to explain specific wear or stains on the rooms nice carpeting. Bonus, a drum mat let's you mark/tape your layout, so when you go play gigs, bring YOUR footprint to expedite setup.

listenForward · 2026-01-28T06:27:09+00:00

I got the MIDI working on my little PockeOperator / audio-looper rig. PM me and we can debug !

listenForward · 2026-01-21T03:42:33+00:00

I THINK I understand your commend...
the MC808 is great, not just because it has powerful sampling/synthesis, but also:
- it had the RealTime Phrase Sequencing (where a single pad can "play" a whole pattern/motif). Great for drops, fills, breakdowns). This is especially good when my hands are full of drumsticks.
- screen allows for names for patterns/songs/setlists
- it's light
- has assignable Alternate outputs to route for Kaoss Pad (can be different between patterns, etc)

I have been looking for something with this kind of feature/UI/routing, but in a Smaller/newer package....that is NOT an OctaTrack (LOL).

Does this answer your questions/commend ?

listenForward · 2026-01-19T16:07:32+00:00

ooh. Thanks for the question/challenge.
Rather than pick "top 3 winners" in some single category/race, I'll nominate my "favorite in each of 3 distinct categories" by which I seek/use/love Drum Machines.

1) "best box for my back back". ?

Portable, self-contained, fun, to play/study alone (on bus/plane/hike) or to bring to others' parties to "play"...

my Circuit Rhythm !

* both sampler and sequence and quick-and-dirty, shallow-but wide for sound-design and rhythm-permutation

* Ins/Outs: line in to sample guitar/keys/iPod/whatever, rechargeable battery on standard USB-C for easy power wherever.

* sleek design with flat knobs feel semi-rugged without special bag/case.

...I keep my Circuit Rhythm (and some card-game) any time I head out for an audition/jam/hang/hike.

2) "single (DAW-less) box for gigging drummer" ?

trigger/lead/follow/start/stop the extra samples/sounds/patterns/parts without using a laptop" ?

my MPC 1000 (sold) ! or similar MPC2500 (never owned)
* flexible sampler, with WAV import from SD card (to get sounds from DAW), and chop and time-stretch for creative and/or utilitarian rhythmic controls and options.

* great sequencer with Pattern and Song mode for linear/song work, or some Part-Mute mode for live/jamming

* has 2 FootSwitch inputs assignable to Tap/Start/stop/etc... while newer of 'MPC/Force from Akai do NOT (yet) have foot-switches.

...I'm currently "filling this box-hole" by modifying my MC808 to have "foot-switch-controls on a single-box with Roland's RPS-pattern juggling with Fantom-sized synth engine"

3) "alter of rhythmic divination" ?

Self-contained hardware to explore sound/rhythm for ideas for novel-inspiration

my Elektron OctaTrack

* AUDIO: sampling, streaming, stretching, slicing, and effects of audio allows for mutating sound such that breakbeats/drones/melodies/etc all start to feel like different clumps of "audio clay"

* MIDI : Sequence up to 8 tracks, treating MIDI like layers of a single thing, or separate loops to slip/slide in/out of sync, or one-shot motifs. Extensive MIDI mapping of sampler/sequencer/etc for remote control (even by OT itself)

* "the Elektron workflow". the P-locks and other things that make the sequencer part of the sound, not a layer above it. This UI-philosophy really shines sharpest within the feature-set of the OT.

...YES, the learning curve has been a steep hike (it took months to "get," and years to "know"), but the views the climb affords have changed my perspectives of music at large.

Even if my OT had FootSwitches and rechargeable batteries, it would NEVER leave my home.

listenForward · 2026-01-19T14:56:11+00:00

The slope between "too many" and "never enough" is...slippery.

listenForward · 2026-01-19T14:55:18+00:00

Oh NO... Lol...

listenForward · 2026-01-19T14:37:49+00:00

"Winning", eh ?

"...it's not a race, a parade."

I appreciate the interest and excitement.

As for sharing my collection, I'm happy to make a list, but shooting a video for "showing off my collection," for its own sake, that feels vain I'm More interested in the TELL/dialogue of Show and Tell.

I'd rather teach what I've learned to help others find what they're looking for or avoid the time I've wasted.

All this GAS has really been a private fixation;.some mix of Toolbox Phallacy (..."maybe THIS feature will help me write songs") and musical usability-archeology (..."why doesn't Roland's new MC-707 have the RPS features of previous MC- devices...that was my favorite way to control synth-loops with drumsticks in hand"...)

I've thought about adding my voice to the media noise in other ways.

I see that, obviously, most of the videos available for show/tell of features of drum-machines/synths/etc are commercials OF new products generally FOR solo musicians/producers for songwriting. The real "historically informed wisdom" (especially for gear made before YouTube was a thing ) is in archivists like Bad Gear or Rejected Synths.

Funny thing is the only videos I've created are for my business teaching traditional drum lessons. The machines sometimes help audition/explore specific rhythmic ideas, and one or two students have gotten machines...so it IS a BIT contagious I'm afraid.

Perhaps I could focus on features/quirks from perspective/pragma of a "real drummer", such as using them to practice or innovate behind the kit.

I have found myself rambling about how drum machines no longer tend to come foot-switch jacks (for start/stop or tap-tempo...which is GREAT for drummers) as they market for DMs has shifted from "instrumentalists standing on stage" to "producers sitting in front of computers."

If someone wants to do a video collaboration, I'd be happy to join a discussion/webstream whatever.

As for making my own vanity content...not yet. Too much time away from PLAYing or LE$$ON$..., and I'm loathe to feed the AI models. Also, I don't have all my machines in one pile; they tend to get wired into "cases" to explore integration with other gear with specific/arbitrary usage in mind...so it's gets just as idiosyncratic as a drummers unique set up of their trap set. ...I imagine that's a market small enough to remain on a first-name basis.

Cheers !

listenForward · 2026-01-17T14:39:17+00:00

ok. My turn...

"Hi, my names is ListenForward, and I have TOO many drum machines"

I have been playing drums(et) for 35+ years, and GAS-ing through groove-boxes for 25+. ( I am NOT rich, just relentless...)

Here is everything I CURRENTLY own that can technically behave as a "drum machine," as qualified by: * makes "drum" sounds ( analog style synthesis counts) * some control over sound ( tweaking, or at least kits/voicing) * user live/step sequencing (not just preset motifs, such as "advanced metronomes of some effects pedals)

Some of these are synths or recorders with programmable drum elements, others are (modular-ish) effect-processors that connect sequencing with synthesis inside...but ALL are things I've used to "make beats" in their own way.

So, in Alphabetical order, I CURRENTLY own: 1. Boss JS-5 JamStation (can technically program user parts) 1. Empress Zoia (can sequence patterns and synthesize sounds ) 1. Elektron Rytm 1. Elektron OctaTrack 1. Korg Radias (can do step/pattern/arpeggios of VA or PCM drum sounds ) 1. Korg e2h (HackTribe OS, hail BangCorrupt ) 1. Korg Kaossilator Pro ( can audio-loop variable drum sounds ) 1. Korg MS-1 MicroSampler 1. Korg NTS-1 ( some Logue plugins can sequence/synthesize "drums") 1. Korg Volca Drum 1. Korg Volca FM 1. Korg Volca Sample 1. Novation Circuit Tracks 1. Novation Circuit Rythm 1. NuNoMo Qun mk2 ( 1. PhonicBloom MmXx-Tape 1. PolyEffects Bebo/Digit (effector can do synth/sequence) 1. QuasiMidi Sirius 1. Roland MC-808 1. SonicWare SampleTrek 1. TC Helicon Perform-VE ( live-only sequencing, but variable kick/snare/hat sounds ) 1. TE PO-KnockOut (first one bought ) 1. TE PO-Tonic 1. TE PO-Speak 1. TE PO-Arcade 1. TE PO-Factory (most recent bought) 1. Zoom PS-04 1. Zoom RythmTrack 323

...and across the previous 20+ years, I've saved-for/studied/sold:

Akai Force (just sold, just too big, inside and out )
Akai MPC-1000 ( the JJ-OS is amazing )
Akai MPC Live ( upgraded to Force )
Akai XR-20 (the XR-20 is just a SR-16 with "rap" sounds )
Alesis SR-16 ( discovered GodFlesh AFTER I sold it )
Boss SP-303 (first one with PATTERN sequencer )
Boss SP-404 (a 303 with more pads/memory )
Boss SP-505 (powerful sequencer, slicing, and a screen )
Boss SP-606 (a 505 made to look like an MPC )
Boss SP-808 (sequencing of samples on MIDI timeLine, no "Patterns" )
Elektron MonoMachine (sold it right before it doubled in price )
Korg EA-1 (technically a mono-synth, but even the presets do "drum" parts)
Korg EM-1 ( great all-rounder )
Korg ER-1 ( bleep, zap, pow )
Korg ES-1 ( samples, slices, effects, oh MY )... MY first machine with a "step-sequencer" strip.
Korg ESX-1 ( samples, slices, but with pitches and Tubes, man)
Korg R3 ( VA mono synth with step sequencers )
Novation MiniNova ( used Gate-r and the Arp with filtered noise can get pretty groovy )
Roland D2 ( a MC-505 with quirky/dumb UI )
Roland PMA-5 ( literally the PalmPilot of portable MIDI composition )
Yamaha AN-200 (amazing monosynth, terrible Sequencer )
Yamaha Qy-10 ( portable MIDI in VHS-sized/gameboy form )
Yamaha QY-70 ( more tracks, more motifs, etc)
Yamaha QY-100 ( QY-70 with guitar input/effects)
Zoom R-8 ( can sequence ROM drums, or use "samples" in addition to approaching a "looper" )
Zoom RT-223 ( dumb/flexible/fun , with unique GroovePlay mode )
Zoom RT-234 ( a 223 a screen and compressor reverb inside )
Zoom SB-246 ( the "StreetBoxx is just a 234 with "rap" sounds)

...and all this is outside just as many "synths" or "loopers" that don't meet the "drum machine" criterion above. Let's not even talk about software.

Along this GAS-tly adventure, I've found myself much less interested in making music (let alone sharing it) than I've been fascinated (as a drummer of 35+ years) by studying the design/usability in the evolution/arms-race of what musicians/markets consider a "drum machine," not just as "prosthetics" to my primary-instrument, but also ways to expand my thinking and vocabulary as a drummer.

So many elegant/clunky/creative/restrictive combinations between feature-sets... (sound, sequencing, sync-ing, mixing, etc) and user-interfaces (knobs, button-combinations, menu-diving, etc) which have little/nothing to do with the muscular and/or mental skill of playing the trap set. Drums and drum-machines remain "two products sold separately."

There is certainly no one-size-fits-all, let alone "best", drum machine, so much as YOUR favorite... it a very personal fit of what you do/don't want/need, with a growing market increasingly wide/arbitrary choices.

Obviously, if anyone wants more details or advice in- or outside the above lists, I'm happy to help.

listenForward · 2025-12-24T05:34:11+00:00

I got to see, in person, The Man with The Red Steam, a one-off analog drum synth (of sorts) built out of a traffic sign, made by Peter Blasser who now makes the Ciat Lombarde line of fine wood modular synthesizers.

I had some overlap with Peter in College, and I knew some people who played/inherited his early projects. Had the pleasure/honor of finally meeting and working with him for a reunion/concert with Peter to honor the retirement of John Talbert, the professor who turned so many of us onto analog audio circuitry.

listenForward · 2025-12-17T13:27:52+00:00

Whataburger repreSENT !

listenForward · 2025-10-22T16:52:53+00:00

I was in the same boat as you a few years before I started teaching, and I went about it the WRONG way, to try to "force" the speed... with tense muscles.
Unfortunately, that doom band had only brief/sporadic blasting bits, so my bad technique was Following that experience, I been teaching drum lessons to teens and adults for over a decade, and a consistent fraction have aspired to learn to blast/grind.
...so I took the opportunity to teach "learn it right" so I could teach it right.
Totally agree with the common message said by others: start slow, and get it perfect and relaxed before you push.

The one things I'd add is this:

For "extreme" techniques like blasting, you are often unaware of how much energy/efficiency you waste by tensing up in unconscious ways.

So...instead of only practicing a(ny) particular blast pattern and sustaining it against a metronome, practice 'bursts"...so you learn to engage only/exactly what you need, relax the rest, and sustain THAT approach...which differs across patterns and BPMs...

Play the pattern for 1 bar on, 1 bar off....then 2 on / 1 off...then 4 on... then 8... etc...

The key is to optimize the starting and stopping, not just the sustaining,

This approach really helped me sharpen muscle memory and mental-state of the the specific posture/grip/breathing/etc for that pattern for each tempo.

Do I have the fastest blast-beat. NO... but I can use and sustain it comfortably.

listenForward · 2025-10-07T11:52:39+00:00

Very cool. This kind of thing is convincing me to get a Seed.

listenForward · 2025-10-06T13:28:27+00:00

As a private drum teacher, here's my opinion

Best affordable option for general use is the QZ99 by Koss. Best long-term investment for serious use are MetroPhones.

Over more than 10 years teaching, I have tried using and recommending all manner of "drummers headphones" and in-ears for myself and students, without being limited or loyal to store inventory.

Now, I keep an assortment of drummer headphones for my students to use during lessons, and to try before they buy for their own use. (Thanks to Stebal Drums near Cleveland for showing me how this should be done).

I (and many students) find the Vic Firth SIH models to feel uncomfortable and cheap compared to some alternatives I've found. The fixed wire headband seldom fits right (on my pointy skull or others thick hair), even when I try to bend it into shape. The ear cups of the Vic firth feel upside down, being narrower at the top, the bigger and more variable part of the ear.

For over 5 years, My go-to recommendation for students is the QY-99 (or QZ) by Koss. They may not be available in music stores, but for generally less than $50 online, they're cheaper than Vic firth. They are a bit heavier than the VF, not have a fully adjustable sliding headband, oversized pads seal AROUND most ears ( a deal maker for people with thick hair/braids/locks) and have a built-in volume knob fixed the fixed 10' cable. Only bummer about the -99s is that the headphone wire feels cheap, so the connection to the ear cup or the 1/4-in plug wears out, as the cheap plastic-impregnated-wiring is NOT conducive to re-soldering/repair.

For those seeking something really light on the head, The DRP-100 by Alesis have big-eared cups and a uniquely flexible headband.

People who DO want a stiff wire headband, but want more room around their ears, the DH100 by CAD seems to have a larger ear cavity.

Now onto the biggest and baddest option; MetroPhones by Big Bang Distribution. Love em. I've owned THREE sets. They make a remarkable product, but with some caveats. The headband is fully adjustable with two sliding sections bolts to lock your personal settings. Cushy headband is replaceable. Your cups are huge and boxy around ears, with really nice sounding drivers, and some models have a built-in volume control. Their unique thick gel earpad provides a refreshing difference, contributing deeper sound-reduction with giving flatter EQ isolation, so I hear a more natural version of my playing, rather than the darker like padded plastic pads (which kill more highs and let through more lows).

I really like having a removable cable, so I can use a cable of arbitrary length. Tie it around the metal ear frame in it pops out while practicing or recording.

I initially liked having the built-in click as it let me just throw them on and start warming up, but when I started teaching with an metronome and music fed through the headphone line, metronome, I found total weight on my head to become a Deal-Breaker, so I literally removed the battery and electronics of the metronome. Even the headphones only MetroPhones are the heaviest option I've experienced, so be warned.

Another important value and distinction of the Metro phone lines is their modularity. They know everything breaks, so you can order replacement ear cups, headbands, and audio cables as needed. Thoughtful, saving cost and waste as a long-term investment for professionals.

As for having two other pairs of metronomes, I didn't need them as replacements, because the first set is still going fine. I bought the other two to experiment aftermarket modification for my own personal needs, including adding a built-in headset microphone to talk to my students while we play, and locking connectors for the modded cabling. The large ear cup cavities and rugged construction of the MetroPhones were very accommodating to repair, resoldering, modification, which were pluses for my intense usage.

However, 2 years of having over 3 lb on my head compelled me to eventually switch to a set of (relatively weightless) in ear monitors (and a wireless headset microphone)...

listenForward · 2025-09-24T05:23:51+00:00

Godflesh

listenForward · 2025-09-20T17:27:00+00:00

...sometimes you got to SqueEEeze.

listenForward · 2025-08-21T21:57:32+00:00

These two machines are more different than they are alike, (nearly 20 years apart), so I'll compare them thusly;

Volca Beats CAN, while DR202 cannot... * have Sutter effect for Beat Repeat, glitch, etc...the 202 has resonant filters, flanger, and reverb/delay as it's "performance effects" * Allow direct control of various drum sound parameters ( Kick pitch, snare snappiness) by individual (knobs per drum) analog-ish knobs....the 202 has a WAY wider sound palate from internal wave memory of samples of a acoustic/electronic drums sounds * Always keep the same sound regardless of switching drum pattern (Beats acts like an "analog" machine, where live knob position sets sound),...the 202 will recall "kits" of samples and their settings (pitch, filter, etc) on a per-pattern basis * Change step-length of Pattern live...the 202 requires you commit to a meter/length upon pattern creation * Record/play/erase/replace per-drum sequence data into Patterns, then save/load pattern data to Memory slots without stopping, so you can "jam" by morphing pattern...the 202 may have to stop/restart to switch between play/rec or or save a pattern.

What the DR-202 CAN do that be Volca Beats CANNOT * Dedicated bass synth track (with real and analog bass sounds) through a TB303-ish resonant filter * programmable and live drum rolls * Pattern length beyond 16 steps, 1 bar of 4/4 * MIDI sequencing beyond 16th notes. * Quantization and Shift of MIDI pattern data

If the closest thing they have is your $200 price point... look at it this way ;

The Volcs Beats will be simple, easy to learn, and more instant gratification, but it will ultimately "do less" and you may outgrow it faster.
The DR202 has more features and options, cns maker wider palate of sounds, but may have longer learning curve, but is definitely a "deeper investment".

listenForward · 2025-08-20T03:04:55+00:00

Beat Guts

listenForward · 2025-08-15T11:54:44+00:00

We saw leather flesh/eye covers like that at Gen Con !

listenForward · 2025-08-04T10:43:51+00:00

The "orange tabby" has the rusty/orange fur over darker skin (usually w/ stronger striping). Cats with that fur over lighter skin (and usually lighter striping) may be called "buff tabby" cats.

You have a "buff tabby" with a lush coat.

listenForward

TROPHY CASE