Iāve had one for over six months now - and have been using it in almost everything Iāve done in that time.
For me, it has been like finding that orchestral instrument that feels totally comfortable: This is not just a keeper, itās clearly going to be a primary instrument for a long time.
Some things to consider:
Sure, you can externally sequence it, but to me it shines ā screams ā as something you perform on. From the touch-pad loopers, to the very carefully scaled control knobs, to the very visceral patching (even with just touching postsā¦) it is meant to be played. For me, this has meant lots of time spent in daily practice with it⦠but I think it has begun to pay off handsomely.
Many aspects of it have a wider range than you might think after your first 40 hours with it⦠There are strange corners you can maneuver the voices into which are really unique and lovely⦠Other aspects are what they are: the BD voice, in particular, does have a certain style of kick/bass drum feel to it that will be a characteristic marker of the device. But hey - a cello is really really versatile, but itās still a cello! And the 808 is iconic in its limited range.
If you approach it as a modular, or as an āindustrial techno drum machineā⦠youāll probably feel like it is a lot of money for such⦠The patching and modulation is very unlike other systems - and takes time to develop a relationship with. And as a drum machine, the LR isnāt a traditional drum machine sequencer, and using an external sequencer isnāt going to give you that XoX or Elektron like experience. (Exception: I do use an external sequencer to drive the Bass Synth voice when Iām running it as a bass line or as a monophonic line - in this role it works great.)
As a deep instrument to learn, to struggle with at first, and then become old friends with, and to perform on - I think it is well worth the price.