Music's many stylistic evolutions have always been underpinned by technological innovation. Think of how many genres and attitudes are formed around a specific set of instruments - or a prerequisite gear toolkit. Electronic music might have spawned countless sub-genres, but they all still orbit one firm foundational element - the drum machine.
But, as with our recent look at the first band to use a synth on-record (astoundingly, The Monkees!) the tech that would shape so much of the future can be, at first, seen as a colourful novelty to wackily incorporate into an existing production framework.
In terms of the drum machine, its origin in terms of popular music stemmed less from being perceived as a disposable new toy, and more out of the necessity for artists to work and write music quickly without the need to work with (or spend money on hiring) a real drummer.
Fascinatingly, machines designed to simulate rhythm date as far back as 1930 (and Leon Theremin’s ‘Rhythmicon’). These early contraptions later evolved into electric keyboard-accompanying rhythm boxes, such as Wurlitzer's Side Man. Though precursors to what we'd come to know as a drum machine, their controls were limited, and their sounds basic.
But, it wasn’t until the late 1960s that standalone electronic drum machines begun to be commercially available. Spearheaded by the Japanese companies Korg (then known as Keio-Giken) and Ace Tone - a company founded by future Roland founder Ikutaro Kakehashi.
Among the glut of early, basic releases came the Ace Tone FR-1 Rhythm Ace. Simple controls on the front of the sturdy, analog circuit-packed, box enabled users to switch between preset genre-aligned rhythms (rock, samba, waltz, swing), set the tempo and choose between different patterns within the currently selected rhythm. Pretty innovative for its time.
