The first drum machine made with vacuum tubes since the Wurlitzer Sideman of 1959. 
Unlike the Sideman, it's a "modern" primitive device--with plenty of inputs, outputs, and flexibility.

Even though it has only four drum sounds -- two tunable drums, a tunable "snare" drum (harder sounding than the others), and a cymbal -- control voltage inputs give great flexibility. 

Each of the tunable drums is made from a vacuum tube ringing bandpass filter, and can be tuned to sound from below 20 Hz to over 2 kHz. They are also tunable with external control voltages, allowing complex patterns to be built up with external CV or pulse sources. Resonance of each filter circuit is set by internal trimpots. The cymbal sound is an extremely primitive circuit, with white noise gated by a pentode tube. The cymbal's attack is knob-variable and CV variable. The four outputs mix to a single tube preamp that allows for overdriving via the mix-level controls.

In keeping with the primitive nature of the soundmaking section, the pattern sequencer is extremely simple. Unlike early drumboxes, we won't subject you to preset nonsense like "waltz", "foxtrot", "swing" or the like. Instead, there is a single 8-pulse sequence with separate enable switches for each drum sound--set a toggle switch up to get the sound at that point, down for silence. Great for house, hardcore or other simple 4/4 patterns. The internal clock is settable from 60 BPM to over 1000 BPM. There is also a "roll" clock signal built-in, to generate a faster drumroll on any drum sound by pressing a button (speed is preset with an internal trimpot). If you don't like the internal sequencer, there are separate trigger inputs for each of the four sounds (the trigger pulse must be 0 to +5v, and less than 40 mS long). These trigger inputs operate in parallel with the built-in sequencer, so the D-1000's sounds may be triggered by its internal sequence and external pulses at the same time. As a bonus, the three tunable drums can also be used as tunable bandpass filters, by feeding a line audio signal to each trigger input.

Ample inputs and outputs: mix output (with overdriveable tube preamp), separate outputs for each drum sound, external trigger inputs for each drum sound, and a main clock input/output (0-5v) for slaving external generators to the internal clock. Setting of RUN switch determines if the D-1000 uses an external clock or the internal clock generator.

No, it does not sound like a TR-606. It's a beast you have never seen or heard before. 

Specifications: Inputs and outputs 1/8" jacks, except main mix output on 1/4" jack. Enclosed in rugged, moisture-resistant ABS utility box with hinged lid, carrying handle and latch. Size with lid closed 12.25"x7.4"x6.5" (314mmx186mmx168mm), weight (minus AC adapter) approx 3 lbs (2.1 kg). Power: 12-16 volts AC, 50/60 Hz, 1.5 amps. Uses Jameco 167151 AC adapter for power in 120v countries. Power inlet: 2.1mm coaxial jack.


Audio demos below provided by The Wretch 

D1000 Demo 1 - This is three individual tracks of D1000, sequenced by a Machinedrum (4 impulse outs into the individual trigger in's on the D1000) then straight to the audio interface. Also in here is a bass track and a lead track, which is the Eurorack modular R modules being fed pitch via the Eowave Persephone.

D1000 Demo 2 - same machinedrum setup, only additional things were a schechter hellcat bass VI through an electric mistress and TM5, and a complete shitload of Furman Spring Reverb via the RV-1

D1000 Demo 3 -  and a little breaky number with just a fun sequence via machinedrum and D1000, but using a bunch of patches from the Totalmusik Polyphonic Wretch Machine library:

 Audio Demos below Provided courtesy of Zerosum Inertia

The preamp overdrives nicely after about 75%, patch the the individual outputs into the individual CV inputs on various voices and things get crazy. 
Overdrive the preamp!(4:00) 
Thump thump..Bump bump..(13:28) 
Rubber n Wood(1:54) 
Short thumpy(:56) 
Roll switch is fun(:34) 

Things get fun when you start modulating the tuning CV. In this case I used a Blacet Binary Zone slaved to the D-1000 clock, 
with one out of the BZ feeding a d-1000 voice CV, and the Inv out feeding another d-1000 voice CV: 
modulate voices(:30) 
That's okay by itself, but a lot cooler with delay: 
Modulated voices with delay(:30) 
ADD dElay.....((6:10)) 
ADD dElay 2.....(2:57) 
Delay settings for digirack mod delay II can be downloaded here

Sound design/weird/effects/sequences,etc: 
Using the individual outs doesn't cut them from the master output, so the master output can feed the board/recording interface while the individual voice outs can feed into each other through the individual voice gate inputs which will pass audio to the bandpass filters. 
Run 3 bandpass filters in series for formant effects. 
Slow long dark sequence/drone(17:00) 
Wretch Machine through D-1000 drone(7:56) 
Sounds like things freezing to death, cold icy wind....Wretch Machine and D-1000 wind drone(8:25) 

Fun with fast external clock, Blacet Window Comparator triggering 2 voices, Blacet Binary Zone triggering one voice. CGS/metalbox Psycho LFO feeding ramp CV. 
Melting, burning, dripping(5:33) 
Bouncy balls and marbles hit the floor(1:50) 
Aliens dancing, puddles, rain, dripping(3:41) 
Modulating the voices for more wet drippy sounds(6:13) 
3 big voices(4:51) 

Audio Demos by Johnny Woods: