street priceThe Alesis HR16 represented in 1987 a significant advancement in drum machine technology, delivering remarkably realistic drum sounds that closely emulate an actual close-miked drum kit rather than the typical compressed, artificial sounds found in many drum machines of its era. Its distinctive wedge-shaped design houses a comprehensive programming interface with a clear 32-character LCD display and logically grouped function buttons.
The HR16's defining characteristic is its exceptional 16-bit sampled drum voices, recorded at a 47kHz sample rate that provides a 20kHz bandwidth. This high sample rate preserves the clarity and sparkle of high-frequency sounds — particularly cymbals and percussion—that typically suffer quality loss in other drum machines. The samples capture authentic acoustic characteristics with remarkable fidelity: the double-headed kicks and toms reveal audible drum head resonance, while the overall sound palette maintains a "live" and "natural" quality that suggests real instruments in a studio environment rather than triggered samples in a compact unit.
The realism extends to capturing both the advantages and quirks of acoustic drums. Some acoustic bass drum samples authentically reproduce the boominess and slightly soft attack of real kick drums, which means they may require EQ adjustment for tight, punchy sounds — just as you would need to process a real drum kit. This level of authenticity provides flexibility across multiple genres, from rock and pop to hip hop and electro.
The 49 onboard voices include an extensive variety: 10 bass drums (including electronic variants), seven snares (with electronic options), five toms, multiple hi-hat articulations (two open, two closed, one half-closed designed to cut each other off for realism), three cymbals, timbale, high and low congas, two wood blocks, two maracas, two cow bells, claves, cabasa, shaker, agogo, triangle, tambourine, handclaps, finger snap, and drum sticks. The crash cymbal pad features two identical samples triggered alternately to prevent unnatural cutoff, enhancing realism during sustained cymbal work.
With few exceptions (notably the handclaps), every voice demonstrates excellent recording quality. However, some reviewers noted the absence of certain percussion instruments like talking drums, tablas, bass samples, muted congas, and additional timbale variations. The cymbal selection, while high quality, is limited to three types.
The HR16 offers extensive sound customization through its Kit building functions. Any of the 49 voices can be assigned to any of the 16 velocity-sensitive pads, with multiple voices assignable to single pads if desired. Each voice can be independently tuned across a range of ±16 semitones, allowing for melodic programming using percussion sounds to create effects like stereo bell trees, wind chimes, or castanets.
The Mix function provides individual volume control (0-99) for each voice, with assignment to either of two stereo output pairs. Seven pan positions are available (center, or three steps left/right), enabling spatial placement and the routing of up to four voices through separate outputs for individual processing with EQ and effects.
You can store a unique Kit configuration for each of the 100 patterns, and these can be recalled via MIDI program change messages, making the HR16 an excellent sound module for electronic drummers using trigger-to-MIDI converters. The machine plays and records eight internal dynamic levels but responds to 32 velocity levels when triggered via MIDI.
Pattern programming accommodates both real-time and step-time entry, with seamless switching between methods. Real-time recording initiates by pressing Play and Record simultaneously, while step-time requires holding the Pattern key first. Tempo ranges from 20 to 255 BPM, and pattern length can be set from 1 to 682 beats. The HR16 intelligently allows pattern length adjustment even after recording, adding silence to either end as needed.
Quantization offers exceptional flexibility with resolutions of 1/4, 1/6, 1/8, 1/12, 1/16, 1/24, 1/32, 1/48, 1/64, and Off (1/384, equivalent to MIDI clock rate). Quantization settings can be changed between overdubs, facilitating precise entry of straight kick patterns followed by triplet hi-hats, for example.
The dynamics system provides 11 settings: Loud, Medium, Soft, and Fixed 1-8. The first three represent different velocity response curves, while Fixed settings maintain consistent dynamics regardless of pad strike force. In step-time programming, the LCD displays the recorded dynamic level, which can be edited using number keys or by re-entering the pad strike.
The Offset function stands out as a professional feature typically found only in more expensive machines. It allows any voice to be advanced or retarded by up to 99 clock pulses (384th notes), enabling simulation of drummers playing "behind or in front of the beat." This subtle timing adjustment, used judiciously, significantly enhances groove and feel, making programmed patterns sound more human. The function also proves useful for tightening synchronization with bass guitar or synthesizer voices with slow attacks, and it's particularly necessary for the HR16's own slow-attack voices like cabasa and handclaps.
The Swing function injects flow into programs and proves essential for creating shuffle feels appropriate to jazz, blues, or reggae styles.
The Fill button provides convenient retriggering: holding Fill and pressing any voice button causes that voice to repeat at the current quantize rate and dynamic level. This streamlines creation of hi-hat patterns and snare rolls while also enabling creative effects like soft bass drum stabs or rapid percussion patterns.
Song mode accommodates 100 songs, each containing up to 255 steps (with each step being one of the 100 patterns). Tempo changes can be programmed between patterns but not during them. Editing functions include pattern insertion, deletion, and replacement. Entire songs can be looped, though partial looping within songs isn't supported. Memory status displays as a percentage when Record and Length buttons are pressed simultaneously.
The HR16 transmits and receives on any of the 16 MIDI channels or in Omni mode (transmitting on channel 1, receiving on all channels). MIDI notes are assigned to pads rather than voices, so incoming MIDI triggers whatever the current Kit assigns to that pad, with the display showing both MIDI note number and corresponding keyboard note.
The machine accepts and transmits MIDI clock and Auto Start messages, and can sync to tape via its own FSK code. Remote footswitch control is available via a rear-panel socket. MIDI program change numbers can access different patterns, though not while the machine is running—program changes aren't accepted during playback, limiting on-the-fly pattern switching from keyboards or sequencers.
Pattern and song data can be saved to tape or transmitted/loaded via MIDI System Exclusive.
The front panel layout is clear and logical with functionally grouped buttons and an informative LCD. A rear compartment beneath a lid provides storage space for the instruction manual and notes. However, the construction quality presents concerns: the rubber programming buttons occasionally stick, volume and data sliders feel flimsy, and the hard plastic voice buttons don't inspire confidence for prolonged use. The review unit's crash cymbal button was already damaged in production, requiring harder strikes to reach maximum dynamic level. The dynamics buttons, particularly on Medium and Soft settings, require substantial force to trigger the loudest levels.
All patterns and songs can be saved to tape via dedicated tape sync jacks. MIDI System Exclusive transmission enables data backup and loading through MIDI connections.
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| Rhytm/ Drum Machine | |
| Production start | 1987 |
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