The Machine and Its Controls
The CR-78 used analog drum voices, which sounded very little like real percussion instruments, but they instead had their own distinctive sounds. The unit also incorporated an early Intel microprocessor to provide digital control of its functions.
Previous Roland drum machines had offered only a selection of preset rhythms. The CR-78's key new feature was that in addition to offering 34 preset rhythms, it provided four programmable memory locations for storing patterns created by the user. These could be created by using step programming with the WS-1 box, which was available as an optional extra. The four user patterns were stored in RAM memory; when the CR78 was switched off, the contents of the RAM was maintained by a NiCd rechargeable battery.
The CR-78's front panel allowed the user to customize the preset rhythms by altering the volume balance between bass and treble sounds, canceling some sounds altogether, and adding ring modulation ("metal beat") to the cymbal sounds. Many of the preset rhythms have a memorable character, and the ability to manipulate them further made the CR-78 a versatile instrument.
No digital control of tempo was provided on the front panel, with only an analog knob for the function. However, the CR-78 would also accept an external V-trig clock, allowing a control voltage to be fed in from another device such as a music sequencer.
A selection of preset fills and rhythm variations were also available, either to trigger manually, or automatically every 2, 4, 8 or 16 bars. Some of these fills were used in synth-pop songs such as "Enola Gay" by Orchestral Manoeuvres in the Dark, "Underpass" by John Foxx.
Roland also produced a simpler drum machine, the CompuRhythm CR-68. This was essentially the same as the CR-78, but without programmable patterns or the ability to fade drum sounds in and out. At the same time Roland also sold the TR-66, a smaller unit which offered fewer preset rhythms and no programmability.
Read more about this topic: Roland CR-78
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