* It's got red buttons and white buttons, it's got knobs, it looks like a computer.
* The reviewer said the maraca sound in particular sound like a hoard of marching ants.
* But the fact that it didn't sound like real drums would end up being the 808's attraction. It sounded like otherwordly futuristic. The low sonic boom of the kick, the tinny snare, cowbell, and odd sounding handclap. These elements all combind to make it complete unique.
* What made the 808 a better tool was that I was able to tweak and tune the toms, and even adding the extra snap on the snare, as well as widening the decay on the kick drum made a difference and the 808 boom was a big thing.
* They really rocked the percussion and the hi-hats, so now you found another element of the 808 that was really interesting, it wasn't all about just the kick and the snare no more, now you had the do do do. And you had all that type of stuff making you dance. That's one thing about the sound of the 808 it had the ultimate dance feel to it.
得益于808内秉的未来感和韵律感，DJ和制作人们将节奏型音乐带向了全新的高度和广度，从electro funk到acid house，音乐的革新随即启发了舞蹈本身的革新（比如poppin，比如house）。
* People could tune their kick drums, so the kick drum could play the bass at the same time. There was drums and there was bass, but now the two were sort of fused, so the feel was not just complex and rhythmical but it was also tonal.
* It just filled a massive void in the sound spectrum that wasn't there.
3. 关于Afrika Bambaataa的Planet Rock:
* 808 was definitely a serious sound that gave that extra funk and grunt to the record. Because if you heard Kraftwerk they was funky, but they didn't have that soulful bass bottom that was needed.（Planet Rock的主题旋律采样的是Kraftwerk的Tour de France）
* When we heard 'Planet Rock' it was like a great twist on 'Trans-Europe Express' because I loved the theme out of it. It was just like a fantastic new look at it, you know. It was like Kraftwerk go tribal. You would never imagine Kraftwerk doing that, which was the brilliant thing about it. You heard keyboards, you heard bass lines, but what's this drum sound. It's like Krafwerk, but it's urban, it's funky, it's cool. It was new territory because no one had really used an 808 on a record.
* It was like futuristic, but making me dance. It was something that was very techie, when we didn't know that techie was. We just knew it was electrifying.
* Planet Rock was definitely one of those like eureka moments for me.
我个人对Kraftwerk原曲和Planet Rock的听感，是这样的：Kraftwerk的原作Tour de France用来跳Poppin的话劲儿很不够，但Planet Rock用来跳poppin，就相当得劲儿了。
4. 关于Marvin Gaye的Sexual Healing：
It is quite a cold way of working, working with electronic instruments. And then every happened when he put the vocal down and it warmed the whole track up and it all made sense. You have these sexual lyrics and this electronic groove and it kind of went, yeah, it works.
It's kind of weird that, one of the biggest hits of his career, the only song that got him(指Marvin Gaye) a Grammy was probably one of the most coldest, frozen, instrumental songs of that period.
这里要强调weird，是因为Marvin Gaye的前东家是Motown，Motown的音乐以生机勃勃的R&B和soul著称（参见Jackson 5和Diana Ross）。
5. Beastie Boys的倒带采样妙招：
Yauch was like, 'Oh, we shoud record it backwards. Because Jimmy Hendrix, I'd heard or read somewhere that he used to do a lot of stuff backwards.'
He'd turn the tape over, record the guitar solo, and then turn it back over and the shit would be backwards. So he programmed just like the simplest 808 pattern, but recorded it on a tape. Then flipped the tape over so it was recording it backwards then played it back so it would.
Now we're hearing the 808 beat backwards and it went zzum zzum zzzum zzzum .
"zzum zzum"就是倒放音轨时会出现的声音，他们在单曲《Paul Revere》里倒放了808鼓机的采样，目的是获取这种声音。
* The joke is you can't pour beer over a drum machine because it will stop working but you can pour beer over a drummer.
* It's like semtex man, it's like, "Carefully put it in the arrangement pattern, and walk away."
If it weren't for those records, I don't think the 808 would carry on because of what a great sound it is. In some ways the idea that "it was obsolete eighteen months after" was true, it really was. But because it was used on these great records, and has such a signature sound, it lives on forever.
* Every musical movement actually comes from technology. 'Cause there's only so many chord progressions, there's only so many notes. What makes the difference is when there's a new instrument that is created.
* The interesting for me would be to be able to see what Roland thinks of what they've created or if they even understand the culture that they created. They created a whole underlying musical movement, you know.
The first target was the area of Conga, the area of Toms, the area of Bass, but these are not so easy to simulate. I could only catch the character of a sound, never reach the real drum sound. It that time memory was very expensive，so buying memory was not so easy, so we had to use another generator, a very special generator, a combination produced the generator, then I created a new sound.
Any electronic circuit just before the critical point, then you give it an electronic shock then electronically it starts a vibration. I ued a defective transistor，this defective transistor made noises, it was rejected, I bought these defective transistors, this was the source of the sizzling sound.
Roland sold 12,000 TR-808s during a limited three year production period. But with Roland no longer able to source the noisy transistor that was key to its sound its life was cut short. Ironically one of the sounds that made it so distinctive led to it being discountinued. Those machines that were built went on to creat musical history, and the 808's heart continues to beat today.