Analogue Haven will have these in a few weeks.

A few weeks... might be worth checking out. It's basically standard 808 though I think, which isn't a bad thing. I just tend to look for more modern innovations with more sound possiblities like the Jomox. I understand the interface is definitely important if your going to use it live, so the Miami will probably win there. That's cool, I'll look forward to seeing this at a real store here in the states.

Anyone purchase this unit yet ? Response ?

Don't know about you guys but a real TR-808 can be had for well less than 2000$ if you look around. The more the merrier I guess. I would definitely surmise that the prices for 808s would rise.

Thank god they did not stupidly try to "modernise" it by adding effects or the like. The beauty of of the 808 is the simplicity and sound - that's it.

At least its case looks great which is not something that I can say about the x0x.

Matrixsynth posted today that Analoguehaven gets their first shipment in next week. 800 eur +ship on the acidlab.de website.

So a good friend of mine ordered one of these and it showed up on monday, so I spent some facetime with it. Here's my first impressions:

1. The thing is small. It's about 19 inches wide by 7 inches deep by 2 inches high. It's also surprisingly light (more on this later).

2. If you've ever used a TR- series machine, you'll take to it like a pig to filth. The only thing that was obtuse is that it shipped in "expander module" mode (or MIDI module mode) and had to be power cycled while holding a button down to get it to behave as a drum machine. Took some head scratching to figure that out. The clue was that all four scale LEDs were lit.

3. It needs to be power cycled to switch from MIDI mode to Drum Machine mode. This sucks, because it means that you can't have a pattern running and simultaneously feed a string of MIDI notes to it to create variations and fills.

4. While it has a generous complement of both MIDI and DIN sync capabilities, it has MIDI in only. While you can use it as a master clock for DINsync boxes, you will have to use it as a slave if you are running any other MIDI sequencers alongside it.

5. The sequencer itself is like the 606, meaning you can flip back and forth between pattern play and write with wild, unfettered abandon. Awesome. It also ships with the memory completely empty, so you don't have to worry about taking the time to clear out cheese-tastic preset beats.

6. The swing function is great, and is based on the percentages found in the CR-8000 and the 909 and you can use both at the same time for a really interesting feel. In all fairness, I don't know how useful this would be, but it is interesting nonetheless. Also, I found that the there was more in common with the 707 instead of the 909, for instance, 5 values as opposed to 7. Regardless, the swing rocks.

7. The build quality. While the parameter potentiometers feel good and the nice chunky knobs are lightyears ahead of those on the original 808, the rotary switches didn't inspire a lot of confidence for me. Same goes for the buttons, though they felt a *little* more durable than the horrible rotary switches. The slider switches are functional, no more, no less. They definitely don't *snick* into place nicely like the 808's do. The bottom of the machine is a slab of 6mm plastic, which probably has a lot to do with how light this thing is. Truth be told, it felt a little DIY to me, especially for a $1400+ CAD machine. In contrast, FutureRetro machines like my 777 are really solid, as are the Elektron boxes that I'm familiar with. Let's just say that I wouldn't feel confident gigging the Miami without some serious battlecase hardware protecting it on stage.

8. The sound. Yep. There it is, albeit with a more modern "forward" quality to it and a subtle tight focus that I haven't heard from an 808 before. I guess a "new analogue" sound as opposed to "30 year old analogue circuitry caked in resin" sound.

And there you have it. A non-empirical, opinion-based, first-person report of the Miami the wild. Take it as you will.

Sounds like a winner if you want a new analog drum machine that isn't a Jomox.

I think I'm gonna get one, after I got all the necessities for my new studio. Sounds really interesting and the price isn't so bad, a Machinedrum UW is double the price here in Europe, a second hand 808 is way over a 1000 euros also, and that's a 25 year old electronic device. A new, 808-ish (I don't mind the modern twist, that actually sounds kinda good) drum machine with midi sounds awesome. Judging from clips, it sounds great also.

Seems like the only bad thing is the lack of midi out. The sound is most important so it's good to hear it's up to par. Build quality is in the aesthetics of the beholder, so it might be nice for some but not others (the touring abusing type).

Is anyone using this to make records? Was it worth it, or was it over-priced?

Not overpriced, compared to the real thing.

My studio partners used it for this and others in their discography:

Beatport

For them, it's worth it, although lately they've been getting their grubby paws all over my 909.

filthy little monkeys.

Friend visited me last Sunday and brought his MIAMI with him.
I loved it.
Put it on my shopping list, ranking very high :D

Found this video :

would have to disagree on this point.

i was looking at them at the start of the year and decided for the price i'd rather stump up the extra couple of hundred and get the real deal.
you can still get 808's for a good price if you keep away from Ebay and stay patient

Depends on if you live in Europe or not I guess. In Europe, the Miami is 880€, a 808 is double that, if not more. In the US the Miami is more expensive, or so I've heard, and the 808's are cheaper.

£1500+ for an 808 is Ebay prices and nothing short of silly imo.

I grabbed mine for £1050 locally at the start of this year.
As i said, if you keep away from Ebay and stay patient you'll get one at a good price tho it did take me six months to find mine.

Again, depends on where you live. I haven't seen an 808 for sale here in Finland in years, there just aren't many around and those who have them don't sell them. The last 909 I saw went for 1500€...

I guess we're fortunate here in the UK then.

I've managed to grab both an 808 + 909 for £2k this year from the UK classifieds and have seen a fair few others both before and after my buys.
Some guy was selling a mint 909 for £1100 on gumtree which did'nt sell for months as people must have thought it was a scam. he eventually sold it just before i got in touch with him for £950.
At the same time i was seeing people paying £1500 for units in a lesser condition on Ebay, crazy!

i presumed most european countries would be the same

I don't get it; the real 808 is worth every penny. Those that own one know this.

What end result (discernable on a mastered track) do you get from a TR-808 which you cannot get on a MD-UW or Miami or MPC? I'm asking because you might give me a reason to hunt out a 30 year old drum machine. I will be happy to do it if there are good reasons.

B

I probably wouldn't buy a TR-808 today. Prices are too high IMO. It has become a collector piece. I'd probably get a Miami if I didn't already have an 808. Actually, I bought a Novation Drumstation before I got a 909 and 808. Drumstation does 808 very well. 909 sound on it is good, but lacks the rawness of the real thing. Drumstation doesn't have the sequencer however.

Trainspotter cachet

So all those live acts today have an 808/909 on the table just running in sync and there's a new SP-404 under the table doing the drums?

lolwut?

Don't feed the trolls people

That is true to those that see it this way, granted.
The MIAMI is worth every penny as well, I believe.

I particularly want a MIAMI, while I have very little interest in owning an 808.

Not trolling like the other guy, but do you feel the Miami compares unfavorably to a real 808?

I'm trolling but somehow this discussion is OK?

https://www.gearslutz.com/board/8186208-post31.html

Its exactly the kind of talk I'm interested in and NOBODY here is trolling...

I mean, comparing the Miami to an 808 is very reasonable. Comparing an 808 to an MPC or Machinedrum is not.

I am really wondering though, with the Miami out there, why is it worth paying considerably more for a real 808?

That's why I'm discussing it, because I believe the results from an MPC or MachineDrum are quite close to the real thing. They are different for sure but close enough that someone could have a real 808 but prefer to use one of these.

I also want to hear more from those who have used both. I think there 2 elements to it, the sound and the inspiration from the interface. The other "Roland TR 808 price" thread is getting good posts.

Cheers,
B