Feeding this desire to stray from the grid, II made use of a variety of sample and filter sources to achieve a sound that’s “sh*tty in a good way,” according to Ring. The eclectic list includes Roland Space Echo, Korg Stage Echo, Roland MC-202 MicroComposer, TR-77, and TR-808, Vermona DRM-1, Yamaha PSS-570 and VSS-30, CasioTone MT-70, Electro-Harmonix Big Muff pedal, various Boss pitch-shift pedals, Electro- Harmonix Memoryman, Simmons SDS 8 drum synthesizer, Sakae snare drum, Korg Monotribe, Roland Juno-60, Crumar Multiman-S, Waldorf Rocket, Korg MS-10 and Korg MS-50.more
"On this record, we play every instrument we ever used in our career, and new ones too,” adds Dunckel. "Vibraphone, for example, or Mellotron, heavily filtered most of the time. We had bought some new instruments that we had never used in our records until then: a Moog Source, a PPG Wave 2.2, a Prophet 5, a Vermona DRM1, an Elektron Monomachine SFX60. We even bought a Vox guitar amplifier, for its warm sound and its tremolo, and a vintage Neumann microphone too, to record our voices.more
This one's not for the faint of heart. You can't save settings. There is no recall. Neither is there USB connectivity. It's all analog baby.
I pair it with an Octatrack to sample parts when magic moments unfold.
About getting creative when using the DRM as a standalone: You can use the Master out on the back, or plug in TRS cables for each output on the front to separate tracks. When using a Y-style stereo plug you can route the L channel into a send effect and use the R signal, from that effect, back into the DRM. The machine will feed the processed signal back into the Master mix. This basically means you can have 8 effect pedals next to the DRM, one for each track and go nuts.
For me this is an ideal instrument. It's build like a solid piece of metal ( or tank if you prefer ). The knobs feel great. The sound quality is up to par.
I love to get lost when jamming on the DRM. Realising that I will never return to this exact spot in time and space.