According to the manual, it’s for the selected instrument.
Did I understand the manual correctly, that we can select which tracks go through the drive fx slot? For example I could run all drums through the filter if I wanted to or all except BD?
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I kind of feel sorry for people who bought the RD-6, actually no not really 
@cuckoomusic did a nice little showcase of the tweakiness of the fx 
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Yes! The overdrive slot (Sat, Bitcrush, Distort, Filter) is an on/off , but still per instrument:
The delay slot (digital delay, pan delay, tape echo, reverb, flanger, side band filter) is a send amount per instrument
I will most likely use the accent and individual gain settings per instrument to get my crunch, since I don’t need much and have other tools to achieve it.
Will use the filter in the overdrive slot, as a performance tool.
And will use the reverb (sending in different amounts from all things not kick) in the delay slot.
Lots to glean in the manual.
Another thing I like is how quickly you can change the instrument sound variation types (clap, rim, etc.) for the instruments that have variation capabilities.
There are two ways to do it, but you can basically just hold the MENU button and tweak the delay DEPTH knob live to switch it up. So a fun performance trick to be utilized there:
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I’m finding it kinda weird how they’re launching The TR-06 and the TR-6S at the same price, with nearly the same name, at the same time. Clearly the 6S has a LOT more to offer, and it’s a very different platform. But what the Boutique has is a more carefree minimalistic approach perhaps. You bring it out and it’s a nice little drum machine, that sounds great. Nothing more.
I’m surprised at how much I liked it actually. Wasn’t prepared for that. But I really did. I was planning on making a song with multiple takes and layers, but since it was so fun to perform on I made it into a one-take thing.
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Yes, I think you summed it up pretty well though, 06 for basic simple jamming, 6S for more features and sound design at the slight expense of carefree hands on sweetspot vibes 
I definitely value both approaches too.
All those last post makes me fill like TR06 is juste straight out of TR8S in a specific 606 robe. Accent, fx, triggers, maybe sound.
If it’s the case, what a fine new Roland classic’s economic paradigm. That makes me love more my tr8s (7 triggers for boutiques !) and deturn my eyes from TR6. So I will buy another boutique to pair with TR8s.
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You get, what you paid for…
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Yea i don’t think any of the Roland boutique drum machines have much to offer for TR-8S owners.
That is clearly their flagship for folks who want it all in a single, live friendly box with loads of depth.
TR-6S existence shows us, perhaps, just how successful the 8S has been.
Like Cuckoo said, it is a bit odd that that one dropped at the same time as the TR-06, but Roland rarely drops one thing at a time. Ironically, I’d be more keen for the TR-6S if it had the mix input that adorns the boutique line.
SH-01A, or JU-06A are probably much better partners for your TR-8S.
But there’s a lot to choose from in the $300-$400 desktop synth/sequencer market beyond boutiques, as well.
Great time to be a synth nerd.
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Bigtime.
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Damnit!! They got me. I hope this isn’t limited edition? Love the Sh-01a demo! 
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Another little gem I gleaned from the manual:
The implementation of Velocity per instrument and per step is ultra simple:
Hold step, turn accent knob.
It’s got so many things I like about the other clones. Per instrument accent like the TT-606, but with finer control.
And bonus sounds of the Acidlab Drumatix (808 kick and 808 snare, rs, clap). Now of course they aren’t additional voices, but I rarely used them at the same time anyway.
With some fun Elektron-ish stuff mixed in to boot (probability, per instrument drive/gain).
So much flexibility under the hood that individual outputs aren’t to be missed.
Also good to see a mix in level control/gain for the external input. Not sure any other Boutiques have this yet. I only know that the TR-08 does not.
Roland really hit it out of the park here.
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They don’t. Really hope they bring some of those new features to the old ones.
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Yes, it does the closed+open hihat sound, I did this short demo for @AdamJay a while back:
The little loop has some internal fx on, can’t remember exactly what now, but the hats at the start are just CH / CH+OH / OH with and without accent.
IIRC recorded dry via the USB audio.
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Forgot all about that. Thanks for the reminder.
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The TR-8S does this and it’s great.
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Yes, it does look like that a little more than the TR-08 and 09 were. I’m interested to see how the sound compares though, as in other threads people have been adamant that the TR-09 is different / better than the 909 kit in the TR-8S.
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Its definitely different. Better is subjective. Me personally, I like the TR09 sound more. But, the 909 kits in the TR8-S are still grand.
I bought the TR09 before i got the 8S. I dont think I would have bought the 09 if I had got the 8S first.
Does any of this mean anything? 
Probably not.
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They all sound really great at the end of the day 
But so do great samples of those machines in an OT/DT etc
I have the 8s and while it certainly sounds superb, I didn‘t have a aha moment that analog/va synthesized drums are that superior to samples…
different topic I guess.
A big part of it is how parameters interact and how immediate the access to them is.
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I had a TR-8 (really liked it), upgraded to a TR-8S (also really like it) and then bit the bullet on a Rytm mk2. So I’m selling the TR-8S as my “powerhouse” drum machine (this was the deal I made with myself when getting the AR, and the AR has replaced it as my main drum machine) but I’m picking up the TR-06 to keep some of the TR flavour and simple xox workflow fun.
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This is true, I think that the use of samples and original or modelled versions of these sound all have their uses. Sometimes I want every hihat or snare to sound identical in a pattern, sometimes I want the subtleties of a real or modelled version where each sound is slightly different and their specific behaviours like hihat interactions or the way that long decay kicks in succession sound.