Alesis SR16 vs Alesis SR-18
The Alesis SR-16 and SR-18 are both sample-based drum machines built for drummers, guitarists and songwriters rather than electronic producers. The SR-16 dates from around 1990 and is still sold; the SR-18 followed in 2008 with twice the polyphony, more than double the sounds, a bass layer, effects and battery power. Here is how they differ in practice.
At a glance
| Alesis SR16 | Alesis SR-18 | |
|---|---|---|
| Our score | 8.4/10 | 9.2/10 |
| Best for | Making beats and rhythm tracks hands-on, standalone, without a computer | Making beats and rhythm tracks hands-on, standalone, without a computer |
| Not ideal for | Anyone wanting a full DAW, or an electronic drum kit you play with sticks | Anyone wanting a full DAW, or an electronic drum kit you play with sticks |
| Brand | Alesis | Alesis |
Specifications compared
| Alesis SR16 | Alesis SR-18 | |
|---|---|---|
| Sound engine | Sample-based | Sample-based, 32 MB |
| Sounds | 233 drum and percussion sounds | 500 drum and percussion sounds plus about 50 bass sounds |
| Polyphony | 16 voices | 32 voices (per the manual) |
| Patterns | 50 preset + 50 user, each with A/B and fill | 100 preset + 100 user, A/B sections plus two fills |
| Songs | 100 | 100 |
| Effects | None | Reverb plus EQ/compression |
| Pads | 12 velocity-sensitive | 12 velocity-sensitive |
| Display | Not backlit | Backlit |
| Outputs | Main stereo pair + Aux stereo pair, headphones | Main L/R, one aux (TRS), headphones |
| Inputs | 2 footswitch inputs | 2 footswitch inputs, 1/4-inch instrument input |
| MIDI | In, Out/Thru, clock and song position | In, Out/Thru, clock and song position |
| Power | Mains adaptor only | Adaptor or 6 x AA batteries |
Sounds: 233 versus 500, and a bass player
The SR-16 has 233 sampled sounds arranged into 50 preset and 50 user kits. They are recognisably drum kit sounds with a strong early-1990s flavour, and owners find them perfectly usable for practice and backing, if dated, with some samples noticeably louder than others.
The SR-18 more than doubles that to 500 drum and percussion sounds in 32 MB of memory, and adds something the SR-16 does not have at all: about 50 bass sounds on a separate bass layer. Each pattern can carry drums, percussion and a bass line, each on its own MIDI channel with its own mute, so a guitarist or singer can rehearse with a rhythm section instead of just a click.
Be realistic about the bass. Sound On Sound found the bass multisamples fairly mediocre, with obvious looping. It is good for rehearsal and demos, not a replacement for a real bass part on a record.
Effects and editing
The SR-16 has no effects; its sounds come out dry, with per-sound pan, tuning and output assignment. The SR-18 adds a reverb section with around 20 presets and an EQ/compression section with 12 presets, plus per-layer low-pass filter, amp envelope, volume, pan and tuning. It also has Dynamic Articulation, which changes a sound's tone as well as its volume when you hit the pad harder.
In practice this means the SR-18 sounds more finished out of the box, which matters if you plug straight into a PA at a gig. With the SR-16, any reverb or compression has to come from the mixer.
Patterns, songs and playing live
Both machines use the same core layout: 12 velocity-sensitive pads, patterns with A and B sections and fills, and songs built from chained patterns, 100 songs on each.
The SR-18 doubles pattern storage to 100 preset and 100 user, gives each pattern two fills instead of one, and adds a Pattern Play mode that lets you trigger whole patterns from the pads, which is handy for switching sections on stage. It also adds tap tempo and a data wheel.
One thing does not improve: owners say the SR-18's pads feel no better than the SR-16's, and both sequencers are fiddly to program precisely, beat by beat. Neither machine is quick to program compared with modern grooveboxes. Most owners lean on the presets and edit from there.
Gigging: display, power and inputs
Three practical differences matter on stage.
- Display: the SR-16's screen is not backlit, and owners regularly mention struggling to read it on dark stages. The SR-18's backlit display fixes that.
- Power: the SR-16 is mains only. The SR-18 also runs on six AA batteries, so you can practise anywhere, though owners report batteries do not last long.
- Instrument input: the SR-18 has a 1/4-inch input for a guitar or bass, so you can practise along through headphones without a separate mixer (there is no gain control, so set your instrument's volume accordingly).
Both machines have two footswitch inputs (start/stop, and count/A/B/fill), so you can run either from the floor while playing.
Outputs and MIDI
The SR-16 actually has the more flexible outputs: two stereo pairs (Main and Aux), so you can split sounds to separate channels. The SR-18 has a main stereo pair plus a single TRS aux output.
MIDI is the same on both: In and Out/Thru on DIN, with MIDI clock and song position pointer, so either can follow a DAW or drive other gear. Neither has USB. Owners also use the SR-16 as a simple MIDI sound module behind an electronic kit or keyboard.
Alesis SR16: pros
- Step sequencer
- Standalone hands-on beat-making, no computer needed
Cons
- A learning curve to master the deeper features
- Takes up desk space in a setup
- It's a drum machine, not a full DAW or an acoustic-style drum kit
Alesis SR-18: pros
- Standalone hands-on beat-making, no computer needed
Cons
- A learning curve to master the deeper features
- Takes up desk space in a setup
- It's a drum machine, not a full DAW or an acoustic-style drum kit
Our verdict
Choose the SR-18 if you are a drummer, guitarist or songwriter who wants the best all-round practice and backing machine of the two: more and better sounds, effects, a bass line, a backlit screen for gigs, battery power and an instrument input.
Choose the SR-16 if you mainly want a simple, proven drum box for practice or to sit behind a band, you are happy with dry drum sounds, and you would rather keep the extra money. Its two stereo output pairs are also an advantage if you want to split the kit at the desk.
If you are an electronic producer, neither is really aimed at you. An analogue machine such as the Behringer RD-8 or RD-9 is a better fit.