Spaker Speakers

Built in sequencer. 18 mappable channels. AIRA gear all connects via USB. ANY other audio gear can be an (global FX capable) input and sync'd by MX-1 with a MIDI cable or USB. Ties AIRA together into a true performance mixer. I already called my TR8 "revolutionary," but that's the only word for the MX1 that exists: REVOLUTIONARY.

For those of us not lucky enough to have ever owned an 808, a 909, a 707, or a 727... and who knows what other Gems Roland will unleash and let us fill our TR8's with, this is just ... IT! Sure, people complain and compare and complain and compare, but what's the point? We simply cannot all get original 808 and 909 machines. Cost and the sheer number of them surviving out there isn't enough to satisfy the need of the collective. This was an act of generosity from Roland. It's changed my music forever.

This is my main controller. The more I learn about programming within Ableton and Max for Live, the more powerful this controller becomes. I mainly use the 32 step sequencing abilities of the two bottom rows of 16 buttons, and use the 8 faders, topped with three knobs over each fader performing within Ableton's clip-launch mode. The center section I tend to use for clip launching loops over the sequencing, unless I am using it for a drum rack. The 16 push encoders located top-center are invaluable when utilizing effect chains, automation, VST and effect manipulation... and in truth, none of this should be taken as permanent. I constantly change the functions of a lot of the controller because it is so versatile. I haven't delved past the very beginnings of what the CNTRL:R can do WITHOUT a PC. I've used it with my Dave Smith Mopho Desktop and a keyboard controller via straight 5 pin MIDI and was blown away for the short time I was just exploring the additional capabilities. And not that I know HOW to do this, but I know it can be a powerful Traktor controller, and for someone who knew what they were doing, this thing can even control performance LIGHTING via MIDI. It will take me years to learn and be able to confidently use all of the CNTRL:R features. For now, I love it as my Ableton centerpiece. I have added a Livid module via the available ribbon cable expansion jack. There are several models but I chose the XPC 4K2JS (4 Knob, 2 Joystick) The XPS modules are in rugged aluminum boxes and all have specialized additional controls. The "Joysticks" are especially useful in navigating around in device chains in Ableton. I have also added the Livid "Master Fader," a crossfader plugged into the CNTRL:R via 1/4" cable - into one of the two 1/4" jacks on the CNTRL:R. The other jack can be used to run a pedal- very useful for looping within Ableton while using both hands manipulating devices, effects, or other external gear. The Livid Instruments CNTRL:R continues to be my ideal Abelton MIDI controlling tool. It is a shame they have stopped production of CNTRL:R.

Revolutionary. This tool does the job of three controllers. More to come with further use.

I have found many sequencers try too hard to be all things to all people. The Beatstep is a 16 step sequencer with all the basic necessary tools, no more and nothing missing either. It is well built- to last, has a great feel for manipulating the sequences while it is running: hitting the large rubber buttons feels like playing music. Beatstep takes about three minutes to learn, and is fun to use. It has MIDI, Gate and CV trigger 3.5mm jacks on the side (the MIDI 5 pin adapter comes with the Beatstep). It can store 16 patterns, run at 4 speeds (1/4, 1/8, 1/16 & 1/32) and has fine tuning to speed up or slow down with the big knob you see on the upper left of the unit. It has "Play" & "Stop" controls as well as a button for running sequences or in the stop mode, you can just trigger individual steps by hitting one of the corresponding 16 step buttons. The Beatstep can run sequence forward, backward, alternate forward to the last step and reverse back to the first and repeat, or can randomize playing steps. Beatstep can play in Chromatic, Major, Minor, Dorian, Mixolydian, Harm Minor, Blues or User defined modes. Each of the 16 small (8 over 8) knobs corresponds to each of the 16 (8 over 8) button steps below and can adjust tone for the corresponding step. Beatstep is really intuitive once you start messing around with it. Reading this review I'm typing now makes the Beatstep seem a lot more complicated than it is. You can pick it up, press play and understand that the moving lights across the buttons can be turned on or off to either make noise or not when the light reaches pad. I've used the Beatstep to sequence everything I can find with a Gate or CV trigger or MIDI input. Korg Volca units, Microbute, Moog Minitaur & Mother 32, Dave Smith Desktop Mopho, Rucci Handmade Instruments, Atari Punk Consoles and other 8 bit synths, Roland System-1m, Wave Signal Generators, MeeBlip, Arduino Synths, VST Synths... anything that makes a noise with MIDI, Gate or CV triggers. It's a perfect sequencer for anyone who wants "just a sequencer" and not a bunch of bells and whistles. And at $100- the price is low, if not perfect.

MIDIFIGHTER got me into Ableton, Finger drumming, and helped shape my style. The inventors, DJTECHTOOLS, are a class act company. I wish they would invent more tools for me to covet and perfect my skills with, because- to date, everything they release has made me better at what I do.

Synthrotek's 555 Timer Kit has endless usage! Use it as an LFO to modify existing noise making machines or use it as a stand alone tone generator or a clock. Adding this PCB to our PT2399 delay on pin 6 has been super awesome. (A MUST FOR CIRCUIT BENDERS) Many other ideas... Kit includes everything you need to make a variable pulse generator. Comes with 9V battery clip; use it stand alone or wire it up to your existing circuit.

Say what you will about the brand. They never break. They are built like trucks and never fail. In conjunction with one or two of the other CMDs, using the plates to join the bottoms together and you have a piece of machinery that is built like a tank and performs like it was built for WAR.

Brain Jr. is a compact and affordable micro controller platform for connecting sensors, switches, LEDs, and more. A single USB connection powers Brain Jr. and provides MIDI communication to a PC / DAW. I have several of thee units, along with several "capes," that provide easy connection for knobs, buttons, encoders and faders to design and fabricate my own custom MIDI controllers, catered to my performance style. One of my creations is a simple box with six 1/4" input jacks- all for plugging in different pedals. Momentary pedals are used just like a momentary button. Expressive pedals are used just like a knob or fader. I have four momentary and two expression pedal jacks for use in live play. I can use them for loop control, Ableton device control or any function I may need to map a pedal for use when I need a "third hand!" Another Brain Jr. I used for control of a very specific device chain in Ableton. It has four endless encoders in a row. Under each encoder are two arcade style buttons: one-over-the-other. Two faders I set up horizontally and use as crossfaders within the device chain, and a set of six knobs and four shorter, 30mm faders are set up on the right side of the controller. A Third Brain Jr. controller I made uses touch fader strips I bought from an electronics online outlet. They work exactly like traditional faders except touching any point on the touch surface allows the parameter assigned to that touch strip to "jump" to the value closest to the point touched. In other words, a volume control could be at zero and if I touch the strip around the halfway point between the top and bottom of the strip, the volume level will "jump" to around 50% without visiting volumes 1-49% to arrive at the halfway point. Anything you can ting of involving faders, knobs, encoders, buttons, and even sensors can be wired to the Brain units to make your own MIDI controllers. Visit the website for a host more info than I could possibly provide with my limited scope of uses for my individual units.

The Brain V2 is a USB-powered class-compliant MIDI device that converts digital and analog signals into MIDI output. With user-programmable MIDI output, this board can control up to 64 analog inputs, 128 Buttons, and 192 LEDs. Components are easily connected with ribbons cables and we’ve created the Omni board to allow dozens of layouts with a single circuit board. It can also be operated without a USB host, using an optional 5V power supply. I have made several MIDI Controllers with the Brainv2, to include a 6 pedal (4 momentary, 2 expression) with crazy LED feedback, Arcade buttons, toggle switches, touch sensitive faders, traditional pots and faders.... you name it, the Brainv2 can hook in any type of input and with minimal programming- just GO. I use Ableton. Sometimes, I like to use a momentary pedal as my kick for a more organic sound... you know, like an actual human using a kick drum. The expression pedals are insane for FX wet/ dry or volume controls on specific clips & tracks. The limit to the Brainv2 is your wiring skills, a little programming and creativity with making your own hardware.

The APC is the ultimate video game noise unit. Originally designed by DIY electronics guru Forrest Mims III as the "Stepped Tone Generator", the Atari Punk Console is one of the most famous and recognizable Lo-Fi synth circuits ever. Using a single 556 dual timer IC with minimal part count, the Atari Punk Console circuit is a solid, time-tested noise generator capable of outrageous square wave madness!

Features: - 4 Knobs and 2 Switches for ultimate control! The Chaos Nand has 3 square wave oscillators: 1 main oscillator (OSC 3) and 2 sub-oscillators that can be turned on/off via the switch next their respective knob. The power switched can be engaged for hands-on knob tweaking or can be turned off allowing you to input control voltage via the 1/4î CV input. - CV Input allows for you to power your circuit off an external voltage source for tons of tones you never thought possible! Feed it ~+4V and let it starve or crank up the voltage to 12V for some serious output power! Use a step sequencer to vary the insanity! - CV Switch lets you toggle between CV and Power Supply voltage. On/Off Switch kills the power to the circuit allows for a sick dive bomb / laser sound as the circuit discharges its stored voltage. - 1/4" Jacks - Requires a 2.1-2.5mm 9V center negative power supply of at least 50mA (not included). A Boss-style or one-spot adapter will work fine. Or use a 9V battery instead, just remove the back of the case and install like a standard guitar pedal.

Three Phono / Line Inputs, One dedicated Line Input. Throwback to late 90's permanent install club mixers. Comes in handy but rarely now-a-days.

Built in sequencer. 18 mappable channels. AIRA gear all connects via USB. ANY other audio gear can be an (global FX capable) input and sync'd by MX-1 with a MIDI cable or USB. Ties AIRA together into a true performance mixer. I already called my TR8 "revolutionary," but that's the only word for the MX1 that exists: REVOLUTIONARY.

For those of us not lucky enough to have ever owned an 808, a 909, a 707, or a 727... and who knows what other Gems Roland will unleash and let us fill our TR8's with, this is just ... IT! Sure, people complain and compare and complain and compare, but what's the point? We simply cannot all get original 808 and 909 machines. Cost and the sheer number of them surviving out there isn't enough to satisfy the need of the collective. This was an act of generosity from Roland. It's changed my music forever.

This is my main controller. The more I learn about programming within Ableton and Max for Live, the more powerful this controller becomes. I mainly use the 32 step sequencing abilities of the two bottom rows of 16 buttons, and use the 8 faders, topped with three knobs over each fader performing within Ableton's clip-launch mode. The center section I tend to use for clip launching loops over the sequencing, unless I am using it for a drum rack. The 16 push encoders located top-center are invaluable when utilizing effect chains, automation, VST and effect manipulation... and in truth, none of this should be taken as permanent. I constantly change the functions of a lot of the controller because it is so versatile. I haven't delved past the very beginnings of what the CNTRL:R can do WITHOUT a PC. I've used it with my Dave Smith Mopho Desktop and a keyboard controller via straight 5 pin MIDI and was blown away for the short time I was just exploring the additional capabilities. And not that I know HOW to do this, but I know it can be a powerful Traktor controller, and for someone who knew what they were doing, this thing can even control performance LIGHTING via MIDI. It will take me years to learn and be able to confidently use all of the CNTRL:R features. For now, I love it as my Ableton centerpiece. I have added a Livid module via the available ribbon cable expansion jack. There are several models but I chose the XPC 4K2JS (4 Knob, 2 Joystick) The XPS modules are in rugged aluminum boxes and all have specialized additional controls. The "Joysticks" are especially useful in navigating around in device chains in Ableton. I have also added the Livid "Master Fader," a crossfader plugged into the CNTRL:R via 1/4" cable - into one of the two 1/4" jacks on the CNTRL:R. The other jack can be used to run a pedal- very useful for looping within Ableton while using both hands manipulating devices, effects, or other external gear. The Livid Instruments CNTRL:R continues to be my ideal Abelton MIDI controlling tool. It is a shame they have stopped production of CNTRL:R.

Livid Instruments CNTRL:R / OHM:RGB Add on Module for additional controls with your Livid Conroller. Useful for all sorts of Navigation / FX - XY variable controls, with 4 mappable o board knobs. Good addition to Livid Controllers for controlling specific FX / or to navigate and select in Ableton Clip Launch mode. XPC Expansion Controllers are a perfect addition to your CNTRL:R, Block, or OhmRGB. These hand-held controllers plug right into your expansion jack and extend your realm of control. The XPC controllers are plug and play and don't require any special setup. Housed in a sleek black aluminum case, these handy modules come in a variety of configurations that adds more continuous control to your rig. The XPC Controllers effortlessly connect to your CNTRL:R, Block, or OhmRGB through their 10 pin expansion ports with a single ribbon cable. The XPC series controllers allow you to add additional controls to your setup without having to add a bunch of extra gear and doesn’t take up additional USB ports. You can easily swap modules for different needs, too. Their compact size packs in a lot of control without taking up too much space in your studio or your bag. These controllers can also be used with our Builder series and can connect directly to the Brain.

I have found many sequencers try too hard to be all things to all people. The Beatstep is a 16 step sequencer with all the basic necessary tools, no more and nothing missing either. It is well built- to last, has a great feel for manipulating the sequences while it is running: hitting the large rubber buttons feels like playing music. Beatstep takes about three minutes to learn, and is fun to use. It has MIDI, Gate and CV trigger 3.5mm jacks on the side (the MIDI 5 pin adapter comes with the Beatstep). It can store 16 patterns, run at 4 speeds (1/4, 1/8, 1/16 & 1/32) and has fine tuning to speed up or slow down with the big knob you see on the upper left of the unit. It has "Play" & "Stop" controls as well as a button for running sequences or in the stop mode, you can just trigger individual steps by hitting one of the corresponding 16 step buttons. The Beatstep can run sequence forward, backward, alternate forward to the last step and reverse back to the first and repeat, or can randomize playing steps. Beatstep can play in Chromatic, Major, Minor, Dorian, Mixolydian, Harm Minor, Blues or User defined modes. Each of the 16 small (8 over 8) knobs corresponds to each of the 16 (8 over 8) button steps below and can adjust tone for the corresponding step. Beatstep is really intuitive once you start messing around with it. Reading this review I'm typing now makes the Beatstep seem a lot more complicated than it is. You can pick it up, press play and understand that the moving lights across the buttons can be turned on or off to either make noise or not when the light reaches pad. I've used the Beatstep to sequence everything I can find with a Gate or CV trigger or MIDI input. Korg Volca units, Microbute, Moog Minitaur & Mother 32, Dave Smith Desktop Mopho, Rucci Handmade Instruments, Atari Punk Consoles and other 8 bit synths, Roland System-1m, Wave Signal Generators, MeeBlip, Arduino Synths, VST Synths... anything that makes a noise with MIDI, Gate or CV triggers. It's a perfect sequencer for anyone who wants "just a sequencer" and not a bunch of bells and whistles. And at $100- the price is low, if not perfect.

Livid Instruments is one of those companies everyone wishes they could work for. They area small operation in a hip town, are on the edge of the entertainment business- yet make quality products on the cutting edge of technology making MIDI controllers in a way that caters directly to their customers as much as possible. Sometimes, to a fault. Take the Livid Elements MIDI controller. Made with the same idea as Eurorack Modular Synths, in which users begin with an empty rack and fill it with universally fitting modules to suit their every musical whim in synthesis. Livid tried to recreate this idea with the modern MID controller, selling one or two tiered "blank" racks and a host of modules that would fit in, connect to power and a data line that fed MIDI and USB out of the case to act as one unified MIDI controller for programs like Ableton or Traktor. The modules had mixtures of different size faders, joysticks, many types and sizes of buttons, rotary and push encoders, external jacks for pedal input, LED feedback on most controls- and most modules were available with any combination of the options within a single section. A single tier case allowed for four different modules, while a dual tier case could have up to eight. The results were whatever the end user wished to have in a controller- and often the finished, custom "Elements" rack MIDI controllers looked chaotic at best, and messy at worst. Livid probably realized that even if a user wanted four huge arcade buttons, eight tiny faders and sixteen knobs- he didn't account for workflow use and mundane functions in every MIDI controller, like navigation and repetitive, boring tasks. The units were also sold, like Euroracks, a-la-carte, and were very expensive in the end, compared to the MIDI controller counterparts with similar function. Like all Livid products, the controllers were made by hand, in Texas, and extremely durable. Livid has a reputation of catering to each customer personally, and this time "Elements" went to far. The customer may think he knows what is best - but not everyone can design MIDI gear that looks good, makes sense and has intuitive play. The project flopped, and morphed into Livid selling the microcontroller that made all of the individual parts work together and export MIDI via USB- the "Brain" of Livid Elements, if you will. They names it "Brain" and continue to sell it as of Summer 2016. You can now buy "Brain" and make your own MIDI controller, but it is up to the user to supply (fabricate himself) the enclosure and all of the inputs like the faders, knobs, lights and buttons. There are still a lot of Elements units floating around that were designed and played by people and pros who really knew what they wanted out of a MIDI controller and designed themselves a useful auxiliary, if not primary controller. Personally, I use mine in conjunction with another Livid Controller designed by Richie Hawtin, the CNTRLR. My own Elements by livid offers me a dozen extra faders, six knobs, six push encoders, several large arcade buttons I use to control Ableton Looper (in the dark) and a 4x4 bank of LED back-lit rubber type buttons to manipulate Ableton drum racks within a Max for Live sequencer, in conjunction with my CNTRLR. My Livid Elements is an extremely useful auxiliary tool, as are all of my Livid products.

I don't even have a toe in the Eurorack Ocean, and I figured this System-1m and the Moog Mother 32 I got would give me a nice baptism. I know that I still need major help with it, but I've seen System-1m operated by a real pro and had to reattach my jaw from falling on the floor.

It's not a toy... but it' not studio gear either. It is a lot of fun though. My son loves it and I love making sounds with him using the kit. And how else wold a six year old know what an Oscillator does, or a sequencer, a filter or envelope controls?

Perfect for the unique additions in my Ableton compositions in the studio. Playing Live, I never know what I am going to break out. The Rucci gear always has the ability to run through another piece of gear as a pseudo FX module, or to add another layer of mysterious noise in a complex tapestry of Electronic music. Hat's off to Michael! If there were only more like him.... or maybe not! If only Michael made ten new units a month, perhaps!

For those of us not lucky enough to have ever owned an 808, a 909, a 707, or a 727... and who knows what other Gems Roland will unleash and let us fill our TR8's with, this is just ... IT! Sure, people complain and compare and complain and compare, but what's the point? We simply cannot all get original 808 and 909 machines. Cost and the sheer number of them surviving out there isn't enough to satisfy the need of the collective. This was an act of generosity from Roland. It's changed my music forever.

Just like I could never have obtained an 808 or 909, I highly doubt I would have gotten a Roland 303 or ceven a clone- ever. But this thing... this was MADE for me. It's almost too easy to program 16/32 steps of pure 303 bliss. And there are still hundreds of sounds left in memory to freak on.

I could still say I know nothing about Keys- compared to most. However, now- the MICROBRUTE is an integral part of my music, performances, recordings and LIFE.

Korg circuitry VCF, LFO, and VCO. Totally portable with internal speaker and battery power. It even has an input in case you'd like to apply another audio signal to those Korg circuitry Oscillators and Filter. Ribbon keyboard makes for cool sounding "slide while knob twisting" noises. I gave one of these to a young cousin who saw me playing with one. That was three years ago, before he had ever heard of a synth of any kind. He just filled his second modular rack last month and is trying to decide on either a third or one large rack to incorporate his dozens of synth modules. Everyone starts someplace.

These are my main studio reference monitors. I built them myself from a design by a master audiophile speaker designer. He designed these specifically to be used as reference studio monitors. Two way passive, ported cabinets using Dayton DA175 Woofers and Vifa BC25TG15 Tweeters. I power mine with a Samson Servo 200 Reference Amplifier. They are incredible and kick the crap out of anything that could be bought in a store. I will let the designer explain the technical details, direct from his website, complete with cabinet blueprints, and crossover schematics. You can make your own pair for under $300 in materials - https://sites.google.com/site/undefinition/hitmakers : Cabinet Design This is a simple 2-way bookshelf speaker, with an internal volume of approximately .5 cu ft. The vent is mounted on the back panel. It is 2" diameter by 6" long (the kit version uses this port, but ordinary PVC would work just as well). This tunes the box to 48 Hz, and gives an F3 around 42 Hz, with a bit of bass boost near 75 Hz. The interior of the cabinet is lined with convoluted (eggcrate) foam. I used ordinary mattress topper, cut it into pieces with scissors, and hot glued it in place on the sides, top, and back of the enclosure. Don't worry about lining the back of the baffle; and don't bother lining the bottom of the cabinet, since that's where the crossover will most likely sit. And if you can't get a hold of foam, you can get approximately the same effect with a light fill of polyfil. To clarify: the only purpose of the lining/stuffing in this vented speaker is to absorb any high-frequency stuff bouncing around inside the cabinet; it's not going to have any effect on the bass (unless you overdo it, in which case, the bass will start sounding choked or thin). Crossover Design Since these are relatively simple drivers to work with, I tried to keep the crossover as simple and straightforward as possible. The woofer is 2nd order electrical with capacitor C2 acting as a notch filter to remove the breakup from the aluminum cone of the woofer. The tweeter filter is a simple 2nd order electrical filter with an L-Pad. The crossover point occurs around 2000 Hz. The impedance load of this speaker would probably be labeled "8 Ohms nominal" if it were a commercial speaker. Any pro audio amp would have no problem driving these things all day. Listening Impressions These drivers are performing way out of their price class. When handled gracefully in a crossover, they provide a full, balanced, effortless sound. The Hitmakers have just enough detail without becoming fatiguing. Imaging is precise for such a speaker and the soundstage allows for natural placement of sounds. The bass is deeper than what you get from most nearfield studio monitors, which might come in handy for some musicians and producers. (Although if you need true "sub-bass"--that is, the 30 Hz and below stuff--you'll need an active subwoofer. This should come as no surprise.) Let me close by saying this: I'm really glad to bring this project to the world, and for me it sort of brings things full-circle. See, in my pre-DIY days, I would use some really hacked-up speaker setups work work on and mix with. Seriously, it was shameful, and no one should ever know. So when I finally saved up and bought a good pair of nearfield studio monitors, it was a real turning point for me. I could finally hear the actual tonal balance of what I was trying to do and mix it accordingly. But I spent big bucks on those [brand name omitted]! And if there had only been a DIY option, I would have gladly jumped at it--and not just for the sake of cost savings. It was the principle of the thing. As with most home studio recorders, my whole "studio" consisted of cobbled-together gear of various quality and origin. But at the end of the day, it wasn't about the gear--it was about what it would let me do... which was to create a professional-sounding recording without having access to multi-million dollar studios. It was the ability to hear something done by a professional and be able to go home and make something that sounded just as good, then play it back, listen, and think to myself, "I did that." This project is free to the public and you can make these yourself. If you aren't handy with woodworking, there are kits available online if you search around a bit. I coated mine with Duratex Speaker Coating, which is basically bulletproof and also available online.

A proven classic used in studios worldwide as proven reference monitors. Powered 2-1ay , ported monitors with 8" kevlar reinforced woven woofers and fabric dome 1" tweeters. There is a reason these have sold millions of units and appear in studios the world over. They are near perfect reference representation of recorded sound.

Built my own Near field Studio Monitors around the specs for this amp. Works like no other studio monitor setup I've ever heard. If you build your own Audiophile quality near fields and know what you're doing, you'll need one of these.

11 amp sounds 11 cab models Variety of effects 11 preset programs 2 programmable presets Knob-based interface Tap delay Headphone jack Selectable outputs Footswitch for bypass For masterful recordings and spot-on stage covers, this little unit can't be beat. At this price it's a steal. Order today. SPECIFICATIONS Ampworks Guitar Modeling Signal Processor Amplifier types: BTQ CLN/BLK212/TWD410/AC15/AC30TB/BLUES/UK '70/UK '80/UK MDN/RECTO/FUZZ Cabinet types: 1X8TWD/112TWD/112BLK/112VOX/212BLK/212VOX/212DC/410TWD/412CLS/412VIN/412MDN Effect types: COMP/WAH/CHORUS/FLANGE/PHASER/TREM/ROTARY/DELAY/REVERB/CHO+DL/CHO+RV/NR Programs: 2 user, 1 manual, 11 preset Controls: Gain, Treble, Middle, Bass, Volume, Effect depth/Noise reduction, Tap switch Input: Guitar input (mono 1/4" jack) Output: Line/headphone dual-purpose output (stereo 1/4" jack) Power Supply: 2 AA alkaline batteries (allows approximately 10 hours of continuous use) or separately sold AC adapter (KA 191) Dimensions: 5.67"W x 1.89"H x 3.07"D

The Korg kaossilator 2S synthesizer offers you a simple way to create cool and original electronic music in the palm of your hand. Loaded with 150 excellent synth and instrument sounds, plus powerful looping and arpeggiation options, the kaossilator 2S covers a broad range of musical styles. It's configurable X-Y pad lets you quickly tap out melodies, and thanks to sound-on-sound recording, you can build up complete songs wherever you go. Sweetwater electronic music artists are even more stoked about the kaossilator S2's export options, which let you save each recorded layer as a separate layer as its own WAV file or as a complete Ableton Live set.

The Brain V2 is a USB-powered class-compliant MIDI device that converts digital and analog signals into MIDI output. With user-programmable MIDI output, this board can control up to 64 analog inputs, 128 Buttons, and 192 LEDs. Components are easily connected with ribbons cables and we’ve created the Omni board to allow dozens of layouts with a single circuit board. It can also be operated without a USB host, using an optional 5V power supply. I have made several MIDI Controllers with the Brainv2, to include a 6 pedal (4 momentary, 2 expression) with crazy LED feedback, Arcade buttons, toggle switches, touch sensitive faders, traditional pots and faders.... you name it, the Brainv2 can hook in any type of input and with minimal programming- just GO. I use Ableton. Sometimes, I like to use a momentary pedal as my kick for a more organic sound... you know, like an actual human using a kick drum. The expression pedals are insane for FX wet/ dry or volume controls on specific clips & tracks. The limit to the Brainv2 is your wiring skills, a little programming and creativity with making your own hardware.

Brain Jr. is a compact and affordable micro controller platform for connecting sensors, switches, LEDs, and more. A single USB connection powers Brain Jr. and provides MIDI communication to a PC / DAW. I have several of thee units, along with several "capes," that provide easy connection for knobs, buttons, encoders and faders to design and fabricate my own custom MIDI controllers, catered to my performance style. One of my creations is a simple box with six 1/4" input jacks- all for plugging in different pedals. Momentary pedals are used just like a momentary button. Expressive pedals are used just like a knob or fader. I have four momentary and two expression pedal jacks for use in live play. I can use them for loop control, Ableton device control or any function I may need to map a pedal for use when I need a "third hand!" Another Brain Jr. I used for control of a very specific device chain in Ableton. It has four endless encoders in a row. Under each encoder are two arcade style buttons: one-over-the-other. Two faders I set up horizontally and use as crossfaders within the device chain, and a set of six knobs and four shorter, 30mm faders are set up on the right side of the controller. A Third Brain Jr. controller I made uses touch fader strips I bought from an electronics online outlet. They work exactly like traditional faders except touching any point on the touch surface allows the parameter assigned to that touch strip to "jump" to the value closest to the point touched. In other words, a volume control could be at zero and if I touch the strip around the halfway point between the top and bottom of the strip, the volume level will "jump" to around 50% without visiting volumes 1-49% to arrive at the halfway point. Anything you can ting of involving faders, knobs, encoders, buttons, and even sensors can be wired to the Brain units to make your own MIDI controllers. Visit the website for a host more info than I could possibly provide with my limited scope of uses for my individual units.