OWOW’s controllers make playing MIDI more fun than ever (Review)

These MIDI controllers will leave you saying ‘O WOW’ by re-inventing the way you play with digital music.

The awesome team over at OWOW, based in the Netherlands sent us a selection of the MIDI controllers to take for a test drive to see what our thoughts were.

As an avid Ableton Live user, I regularly use a variety of MIDI keyboards and drum pads to input MIDI data, so it was interesting to see OWOWs take on exploring the world of gestures and movement by implementing various sensors and turning these signals into a usable performance tool.

Wob – Wave Motion Midi Controller

The Wob has an infra-red distance tracking sensor that tracks your hands distance from the sensor and turns this gesture into MIDI data.

This ‘hands-free’ approach to inputting information into your DAW is fun to play around with as you can move your hand up and down above the sensor or remove your hand from above the sensor and replace it at a smaller or larger distance to obtain different results.

Wiggle – Three dimensional MIDI controller

The Wiggle is a handheld device operated by, twisting, tilting and turning it around its X, Y & Z axis and turns these gestures into MIDI data. These axis can be switched on and off using the devices axis on-off switches.

This device was interesting to experiment with as the 3 different axis will detect your movement and allows you to explore all ranges of physical motion.

Drum – Airdrum MIDI controller

The Drum is a handheld device that can trigger four different velocity-sensitive MIDI notes by flicking the instrument up, down, left and right. You can press the left or right button to select the next or previous note and turn the Z axis on or off at the touch of a button. It also has an extra mappable button that could be used for starting a recording or triggering a loop.

The Drum controllers were perfect for playing percussion and the velocity sensitivity is a great way of getting that ‘human’ feel into the percussion performance.

Scan – Sketch scanning MIDI controller

The Scan works by moving the device over visual information, such as images, lines and dots drawn on paper and turns this visual information into MIDI data. It also has up and down buttons to move between octaves or bend the pitch of your sound.

This seemed to be the most experimental of the devices and allows for a great amount of creativity to flourish as it allows you to draw series of patterns, sequences and shapes to get some really unexpected results.

These controllers are a fun and exciting way to make music without the need to play a traditional instrument. One of the things I really took away from experimenting with these devices is the ability to really get that ‘human element’ into an electronic music performance.

This can make music performance and production accessible to people of all ages and backgrounds, with no prior musical training.

They are relatively small form factor makes them great for portability and are comfortable in the hand. The software on macOS was simple and easy to use and the depth of customisation for each of the parameters allows for great personalisation of the performance experience and allows the performer to allocate the boundaries in which they’d like to work in. This makes these instruments extremely versatile with a large scope for experimentation.

In a world where we see laptop DJs, producers and performers turning knobs and hitting pads, it’s great to get other forms of movement into a performance. Not only is the process enjoyable for the person making the music, but it’s interesting to watch a performer exploring and incorporating these movements into their music production and performance.

Check out OWOW and see how to nab yourself some of these incredible little controllers yourself at: https://owow.io/

Written by Sam Wearne

Adam Black’s new 0-2TE electro-acoustic guitar (Review)

Adam Black have created an affordable electro-acoustic guitar that may be perfect if you’re starting out, on the road or small-time gigging.

When you first pull Adam Black’s new electro-acoustic guitar out of the happily included guitar case that comes with it, the fine grain wooden finish resembles a beautiful, rustic guitar that wouldn’t look out of place on the shoulders of a nomadic folk singer.

Upon whipping it out your audience might be in silent awe at the gorgeous sapele finish and mahogany neck and for the general ear, what you play may be enjoyable on the fitted steel D’addario strings that come with it.

The 3/4 size makes it easy to transport and its lightweight build makes pulling it out to play simple wherever you might be. The body lends itself to player of smaller build along with the very streamlined v-neck that is easy to hold first position chords particularly. The nut on this guitar is just a bit smaller than the Vintage V-300 of which we compared it to, this may be a hindrance for some more experienced players but for those with smaller hands i.e. children, it is a lot easier to make those beginner’s stretches – I am talking G major in first position, we have all been there!

Unfortunately the action on this guitar is a bit high and this may make it harder to fret bar chords for a beginner however if a beginner can get used to this strengthening exercise, they may take to a bigger guitar with heavier strings easier in the future.

Its power is certainly improved when plugged in but the quality of the guitar’s tone isn’t as bright as you might expect from the compact acoustic. The controls and Fishman pickup for the guitar are hidden just inside the sound hole so you can’t see any wiring when you look at it. In fact apart from the input and battery slot on the bottom, you wouldn’t be able to tell it’s not a native acoustic. To adjust it’s volume and tone you simply reach your finger in above the strings and roll the dials.

To someone more experienced with guitars and tone, I was a little disappointed in how Adam Black’s new electro-acoustic guitar sounds acoustically. It lacks sustain for an acoustic and the low end is not amplified as well as it could be – even for a guitar of this size. I think this guitar prefers a lighter gauge which again would suit the beginner players, it may be improved by experimenting with string gauges.

To conclude, this guitar lends itself to someone who is thinking of getting a first steel-string acoustic with simple plug & play-ability. I rather like the fact that there are no controls for the EQ of this guitar because it makes the player use their fingers as the primary source of tone control. In the same way that we learn on a 3/4 size nylon string classical guitar and crave an electric, until we are good enough to play the nylon and hone our skill to match, only then will that Squire Stratocaster be presented on the foot of our beds on the morning of our 13th birthday! The 0-2TE is for the more practised beginner who’ll be eventually suited to the more advanced acoustic guitars In the Adam Black range. For example, the O7-CE solid top electro-acoustic.

This guitar is good for the price, at a reasonable £179 with strings and gigbag included. However it may need a bit of setting up to reach its true potential. Lighter strings are advised. This guitar could make for a perfect beginners guitar as for the budding bedroom producer.

Over all, not bad Adam Black.

If you’re looking to get your hands on your own head here.

Eclipse by Rosetti guitar strings (Review)

We recently got our hands on some of Rosetti’s Eclipse strings to see how these slinky strings measure up. Spoiler alert: They’re pretty good.

The nice people at Rosetti were kind enough to send us a set of their Eclipse strings for electric and acoustic guitars. We tested them out to see how they feel and what they sound like.

I tried their 9-42 thickness, nickel roundwound electric guitar strings. The strings are incredibly slick to the touch with a slinkiness that makes playing on them feel incredibly smooth. They’re solid strings with a gorgeous tone that are flexible enough for serious bending. They are great for rhythm guitar with an even tone when playing chords whilst providing a formidable treble sound for playing lead parts.

I’ve found the Eclipse 9-42 strings perfect for playing funk stylings. If you’re looking for a chunkier tone for rock or metal the strings still perform but you’d want to look at some thicker strings – which I can’t speak of the quality of for Eclipse though I imagine they’re of the same good standard.

For acoustic guitars we played a set of the Eclipse 12-53 strings made up of 80/20 bronze. Thanks to their 80/20 bronze make up the strings ring out incredibly bright and sit at their best on a full-bodied, dreadnought guitar. They sound powerful with a good volume that doesn’t infringe on clarity at all.

They feel great whether you’re a 3 chord singer songwriter or you’re speedily playing up the neck. These are great for a full-bodied sound though lighter strings may suit you if you’re more into playing complex acoustic guitar parts.

Overall I was impressed by Rosetti’s Eclipse strings. They feel great, they sound great and they’re flexible enough to suit most guitar players. At £4.99 for the electric guitar strings and £5.49 for the acoustic strings they are incredibly reasonably priced for a really nice set of strings.

Check them out at: www.rosetti.co.uk

KMA ‘Tyler’ pedal – Finally, a frequency splitter made for musicians (Review)

KMA Machines offer a sexy solution to frequency splitting in their pedal – ‘Tyler’.  Lewis from the wonderful post-hardcore/math-rock band Hypophora gives the low-down after taking the pedal on the road for their latest tour.

Crossovers used to split the high and low frequencies of an audio signal have long been commonplace in the Hi-Fi, PA, and Pro Audio worlds and offer many advantages by allowing precise control of specific frequency bands, but unfortunately few crossover units have been designed with musicians in mind. The KMA Machines address this issue in the form of the ‘Tyler the Frequency Splitter’ crossover pedal.

The ‘Tyler’ is roughly about as wide as two standard boss-size pedals and is powered by a standard 9v adaptor. This relatively compact size and standard power requirements allow for easy integration into a pedalboard – a must for the gigging musician. It features two independent circuits that each have their own effect send and return loops – a ‘Wood’ side (handling the low frequencies) and the ‘Steel’ side (handling the high frequencies). The two sides are able to be independently turned on or off via their own dedicated footswitches (as well as a separate master footswitch for the unit).

The premise and operation of the pedal is simple: both the ‘Wood’ and ‘Steel’ sides contains separate filters sweepable from 3Khz down to 20hz (a low pass for wood and a high pass for steel) that allow you to designate the frequencies you want your independent loops to contain. These loops are then combined together and this is controlled by a ‘Mix’ knob which allows you to choose whether your signal contains more of the wood side (Mix knob fully left), steel side (Mix knob fully right) or a 50-50 blend of the two. Of important note is a ‘Phase’ switch which allows you to correctly set the phase for the blend of the two signals – incorrect phase can often lead to ‘thin’ sounds.

KMA Tyler pedal frequency splitter bass instrument guitar FQ

As a bass player that uses a moderate amount of pedal-based distortion, I found that by putting my distortion pedal in the ‘Steel’ loop, with the HPF set to around 800hz and a compressor set to a high ratio and compression amount in the ‘Wood’ loop with the LPF set to around 200hz, I was able to achieve a crisp, defined distortion with a clean, powerful low end – something that can easily be lost with most bass distortion pedals.

For my relatively simple, bass-distortion focused needs, the ‘Tyler’ allowed me to choose my distortion character via my pedal of choice and retain the thick, clean low-end I was looking for, which it did perfectly. My only real issue is I did find myself wishing for independent volume controls for each frequency band rather than a master mix knob, but this is picking at straws. For someone who is more creative and liberal with pedals, I believe many interesting combinations of split frequencies running through all sorts of effects could certainly lead to interesting and unique possibilities, and the compactness of the ‘Tyler’ allows players to do this with an ease and portability that hasn’t been available before.

This review was written by Lewis Pilcher. Check out his awesome band Hypophora below:



Find Hypophora’s debut album on all streaming services.

Blackstar HT Dual and HT Metal are 2 of the beefiest distortion pedals around

The Blackstar HT Dual and HT Metal blow us away with a big sound worthy of Rock n Roll Kings.

As a musician starting out in today’s musical climate, we see a lot of our idols and even peers using some of the most high-end gear imaginable. When starting out we know this will be a long journey before we ourselves can afford this. Therefore, for the purpose of this review, we decided to use a simple Marshall MG30 amplifier to really test the versatility of these pedals.

Blackstar dual pedal distortion gain heavy valve effects fxWhen looking at the HT Dual, it offers both a crunch and overdriven mode, ranging from crisp bite-y distortions typically associated with artists such as John Mayer and Stevie Ray Vaughan, ranging all the way to rich overdriven tones that you could find in any rock/metal sub-genre.

As a guitarist, a good overdriven tone seems relatively easy to come by. With a wide range of guitar companies offering solid-state amplifiers with everything to offer. When starting out we typically only consider what amps and guitars to get that would best suit our needs, ignoring the wide range of pedals we have at our disposal, but these two pedals are nothing to ignore.

The HT-Dual transforms our simple practice amps into something much more monumental. With BlackStar’s signature ISF (Infinite Shape Feature) included, it separates BlackStar’s distortion from many other distortion companies giving consumers the chance to either model American amplifiers turned to 0 or model British amplifiers, when the dial is turned all the way to 10. This feature is also included in the HT-Metal.

Blackstar Metal pedal distortion gain heavy valve effects fxThe HT-Metal does what it says on the tin and ultimately provides one of the widest range of metal distortions imaginable. With the HT-METAL there are two channels available, Channel One offers a Clean/OD switch that enables you to use the pedal as a boost in Clean mode and add more gain as you turn the dial clockwise. Offering a more gritty and harsh clean/crunch tone.

There is an interesting notable difference between the HT-Metal’s distortion tone to the Dual in the way it responds to the style of playing. The Metal’s Bass response is very tight and sounds almost compressed in a good way. This allows for that big ‘woof’ in the low end that you would normally only achieve with a 4×12 cab but you can get the same effect with a smaller 1×12! The Bass response for the Dual is still very tight but with the added control of the ISF dial, you can really hone it in to get more of a Marshall tone on the right and American Hi-Gain on the left.

I compared the distortion tone to an orange rockerverb which is not so much a metal amp but it is full valve pre-amp and power. I only had the gain of the heavy distortion channel at about 3 o’clock to get as much gain as the rockerverb could produce but you could get a similar kind of gain with this pedal as well as pushing it right up to a MESA Boogie Rectifier kind of scooped tone.

Blackstar Metal pedal distortion gain heavy valve effects fx dual

Another attribute to note with this comparison is the way the Mid is controlled for the HT-Metal. It is a nice mid frequency that lends its self to the style much more than the Dual but what is good about both these pedals is the control over the amount you can boost and scoop the mids for the desired tone. The earlier LT-Metal, which is not valve driven does not have this kind of control over the mids but you can still get that kind of scoop with the HT-Metal pedal.

The beautiful thing about both of these pedals is if your guitar amplifier has an FX-return channel at the back, you can plug the Dual or the Metal straight into this and effectively use both channels as the new voicing for your amp. Two well constructed valve pre-amps for your desired metal or rock tone!

The emulated out on both pedals is great for bedroom recording and allows you to use the pedal in a more limited situation for space and volume. These pedals are both extremely versatile – I personally find that the HT-Dual offers a much wider range of crunch/overdriven tones and is a more usable pedal for the every day guitarist whereas the HT-Metal would be more suited to a smaller group of guitarist’s.

Blackstar Metal Dual pedals distortion gain crunch guitar bass instrument fx effects

The price could be considered quite high for both these pedals with the HT-Metal at around £180 and the HT-Dual coming in at around £150 but for the quality of these pedals, that’s a very reasonable price to pay.

In summary, I would very much suggest both these pedals to anyone looking to try out valve distortion and highly recommend them to any rock or metal guitarist.

Mooer’s amazing Black Truck offers quality multi-fx in a size you can handle

Mooer Black Truck Multi-FX pedal gives you a huge range of effects in a rather neat little console. I recently got the chance to test out this amazing multi effects pedal and it just blew me away with its capabilities – it has everything you need right there in front of you.

The Mooer Black truck holds a wide range of effects that come under 6 distinct foot switches. All effects can be used separately to each other or together to create whatever sound you feel best at the time.

The first feature I used was the ‘Space’ foot switch which has a range of effects including Reverb, Delay and a dual Reverb/Delay feature. I really loved the reverb capabilities on this pedal, the ability to change the amount of reverb in the mix and the decay is a lovely addition to the pedal.

The delay also comes with the ability to change the level, feedback and time which was really cool. I managed to get some lovely acoustic tones using both of them together creating a sound I loved.

The second switch I looked at was the Mod switch which has three great controls – Phaser, Tremolo and Flanger. I found if you combined the reverb with the very warm tremolo you can create a really earthy acoustic sound. The phaser and flanger were better suited to my electric guitar, creating sounds you might associate with an old rock band. This is something I really enjoyed playing with and changing around.

The next thing I looked into was the EQ switch effects. Something I really enjoyed about this was the option of changing the EQ pre or post effects. This can really change up the sound you get from the dynamic EQ settings. This then works really well with the gain and overdrive switches. being able to apply a nice EQ before or after distortion and gain is a really great feature. The gain switch applied with the overdrive creates a bite-y distortion that any rock guitarist would be proud of and I think its an incredible addition to the pedal.

The range of effects available in a multi-fx pedal the size of Mooer’s Black Truck is just incredible. This pedal also suits every guitar and guitarist from electric rock guitarists to the singer /songwriter. Whilst versatile the black truck is best suited for an electric rock guitarist with stunning gain and overdrive features.

The compact build of this pedal makes it perfect for any guitarist to easily carry around to live performances and supply a good amount of effects to there sound. I think what separates it from other multi-fx pedals is the size but also the control with each effect. You can very easily change the tone and features of each effect to absolutely perfect the sound you want.

A difficulty I did have with this pedal was differentiating between the switches in a hurry, when trying to quickly trying to switch on/off an effect, because of the compact size its easy to also switch on/off another of the effects either side. This is only in issue when trying to change effects in a hurry if having to concentrate on other things also but in a live gig scenario I could see this being a problem.


– Versatility allows you to fine tune the sound you want

– A compact build makes it very portable

– Size doesn’t impinge on it’s quality

– Great for electric or acoustic guitars


– The size does mean the foot-switches are close together which could cause difficulty in a live setting

Mooer’s compact Baby Bomb will blow your mind

This tiny Mooer baby bomb amp proves that size isnt everything with the smallest amp we’ve ever seen.

When you are thinking about how much gear you have to carry around as a guitarist or singer/songwriter, its an incredibly heavy amount. For the standard guitarist, carrying around a big cab and amp is an every day occurrence but this little treat might just save your arms and a load of time. The baby bomb is a neat little power amp and a pocket size wonder, it has everything you need to create a simply big sound in a pedal size unit.

The baby bomb has two very simple controls – Master Volume and a Warm/Bright Control. When turning up the volume, the baby bomb also starts to unleash some gritty post stage overdrive with the volume increase which is an amazing feature as it means you get the additional choice of a clean and distorted sound within the amp.

Adjusting the Warm/Bright control will completely change the presence and tone of your cabinet with a very distinct two tone feature.

With a true 30 watts of power, this unit packs a punch and can be connected to any cabinet with an impedance of 80-160 Ohms. This amp doesnt hold back on power or volume as you may expect it to, we all stood back in wonder as it created a sound worthy of a professional rock set up.

Alongside this little amp, we were lucky enough to test out the Mooer GC112 Speaker Cab. This reasonable size cabinet comes with a powerful and dynamic celestion vintage 30 speaker which adds rich tones and diverse sounds to any pedal and amp set up.

Producing 60 watts of output I would say this speaker cab was ideal for anyone playing in any setting but definitely well suited for any solo guitarist/solo performer as it creates enough sound to fill a good variety of venues. The cab really does let you cut through with precision high notes at the same time as creating warm lows and an earthy middle tone.

These units work so well together creating a simple, easy, rich sound and beautiful textures to any guitar. Having tested both units out with a variety of electric and acoustic guitars, I would fully recommend this excellent duo to any guitarists looking for a simple set up to use at live gigs or at home. With the amp being so small and the speaker being light and easily manoeuvrable, this pair just goes so well together in so many settings.


Red Panda Raster Delay Pedal (Review)

This stunning delay pedal from Red Panda combines delay and pitch shift in one incredible unit.

Delay is a big market in the pedal world at the moment with many artists seeking to find a delay pedal that suits their sound. This excellent compact Raster delay pedal from Red Panda has all you need in one pedal. I personally love this pedal and find that it has such a rich tone compared to many other delay pedals on the market.

What is it?

The Raster is a Delay/Pitch Shift Pedal which can be used in a number of different ways. Red Panda have built in the ability to use either feature individually with 2 foot switches, one for delay, one for shift. The pedal has main controls:

Shift – Changing the level of pitch shift, clockwise from central shifting higher than the note an anti clockwise shifting the note lower.

Feedback – The feedback possibility’s are amazing on the Raster with what feels like endless feedback you can keep the delay going for any amount of time you want.

Delay – This controls the frequency of the delay, turning clockwise for a longer delay.

Blend – This control is for blending the delay in with the original signal. This can be used to control the level of delay noticeable, turning clockwise for a bigger echoey sound.

This pedal also comes with three delay modes and three shift modes enabling up to 750ms of clean delay time available.

You can also use this pedal with an expression pedal for varying levels of delay.

Our Thoughts

I’ve been testing this pedal for a few weeks now and I just cant stop using it. The endless capability’s of this delay pedal are second to none. I will definitely be grabbing one of these for my pedal board. This delay pedal tops any other delay pedal I have used and I would strongly recommend it to anyone looking for that Ben Howard like feel to there sound.


  • Full Sounding Tone
  • Easy to Use and fits well into any pedal set up.
  • Delay and Shift features together create amazing echoey sound


  • Reasonably pricey amongst other delay pedals costing around £230
  • Not as many delay controls as other pedals around the same price

TC Helicon Voicelive 3 (Review)

The Voicelive 3 will change your live performances forever with brand new vocal harmony modes and rockin’ guitar effects.

What is it?

This amazing pedal is the latest in the leading series of products from TC Helicon and has so much to offer from state of the art vocal effects to brand new guitar sounds and an easy to use looper setting. The Voicelive has always been the pinnacle of vocal effects but in the latest model they have really worked all you need into one unit.

It contains over 200 Vocal FX with hundred’s more available to download, these include such a wide range of features from harmony modes to octave shifts to hair raising reverb’s.

The guitar effects that this pedal comes with are also definitely something to rave about with over 180 different styles available, you can transport your sound to any era. The pedal has built in reverb and delay controls separate to any preset function meaning you can switch on and off reverb and delay at the press of a button. You can also change the quality of the given effect to your personalised needs within the console.


Whats New?

As I mentioned earlier, a very exciting new development with the Voicelive 3 is the added looper setting. This is a single button looper switch meaning you can easily and quickly add loops to your live performance, you can do this by simply tapping the ‘looper’ foot switch once to record and tapping again to playback.

Another new feature is three new harmony modes:

Pedal : Sings the root note of any given chord you are playing at any time.

Fixed : Allows you to set a fixed note that it will keep to throughout.

Mixed: The capability to mix between Pedal, Scale, Fixed and combine them all creating endless possibility’s.

Other new features include a brand new Vocoder with voice controlled synth and robot modes, choice of amp emulations and new bass and wah effects. Find the full list of new features on the TC Helicon website here – Voicelive 3 Features

Our Thoughts

Testing this out for me was a great deal of fun, I added the Voicelive 3 into my live set-up and tested it out both in the privacy of our studio and at a live gig setting. I would suggest this pedal for any singer/songwriter looking to create a bigger sound with minimal equipment. Due to its compact size, its the perfect pedal to take to a gig and be able to use on its own without bringing a whole pedal board.


  • Every effect you want in one box which saves carrying around lots of gear
  • Ultimate flexibility on sounds and features
  • Huge banks of preset effects


  • Can be complicated to the average user
  • Real-time editing and changing between sounds will need some practice
  • The price is quite high coming in at around £450

Arturia MiniLab MKII – A quality MIDI controller at an affordable price (Review)

Whether you’re new to the MIDI controller world or a veteran, the MiniLab MK 2 by Arturia could certainly be a great asset to your set-up.

Firstly, I need to mention how aesthetically pleasing this MIDI controller is. As soon as you get this bit of gear out of the box it feels approachable and makes you sweat with creative juices as you reveal it from hibernation. The actual build of the MiniLab MK 2 is nice and solid; it feels almost unbreakable, which is ideal if you’re producing in various locations.

The MiniLab MK 2 comes with a few bits of Arturia minilab midi controller keyboard music production creation reviewsoftware to get you started, namely Analog Lab Lite, Ableton Live Lite and a Steinway concert grand piano provided by the UVI engine.  Once you’ve installed all the necessary drivers and software, it’s time to plug in your MiniLab Mk 2. You’ll notice that the back of the device is incredibly simple, there is a footswitch Jack for sustain, a USB Type B jack and Kensington security slot. That’s it! 

The USB Type B jack also powers this device, so there’s no need to lug around a power cable if you are making music in your portable studio.

Here are a few other technical specs:

  • 25 note velocity-sensitive slim keyboard
  • 2 banks of 8 velocity & pressure sensitive pads with RGB backlighting
  • 16 rotary encoders (2 of them are clickable)
  • Touch sensitive pitch bend
  • Touch sensitive modulation wheel
  • Octave up and octave down buttons

Arturia minilab midi controller keyboard music production creation reviewI found this tool easy to get along with for the most part. When you open up Ableton Lite Live the MIDI is automatically assigned to the keys and editable parameters and you have a lot of wiggle room through the MIDI map within Ableton. I must say I’ve had hours of fun using this as a creative tool.

The 25 note velocity-sensitive slim keyboard is nicely crafted with a well-built key bed. The keys are solid at the front of the key, a step up from the first Mini Lab by Arturia. The keys feel really sturdy and have a good velocity range. I usually don’t like slim keys but these are easy to move around, possibly because they are slightly wider than most other small controllers. There are some MIDI controllers that you wouldn’t even dream about using in a live scenario due to the lack of velocity, but with the MiniLab MK 2 you have that capability. This might be down to how the keys feel and the resistance. You have the ability to make some filthy, jarring synth noises and there is also nothing stopping you from playing some Debussy-esque romantic piano with the sustain pedal becoming a welcome addition.

Personally, I’m not overly happy with the velocity pads, they’re relatively stiff to touch and there isn’t much of a variant in sensitivity like you will find with an Akai MPC for example, however the pads themselves are an endearing feature for the price.

All pots are assignable to any editable parameter, they also have continuous rotation and pot 1 and 9 are clickable. The rotary pots are a really great tool to perfect the sound you are looking for or playing with sounds in a live scenario. I was easily able to assign the pots to various macros using Ableton which felt like a natural way of developing sounds as it gives you the freedom of using your ears and not relying on your eyes to click and drag different parameters. You can also use them as a handy navigation tool in your DAW.

Arturia minilab midi controller keyboard music production creation review

I’m on the fence as to how I feel about the touch sensitive pitch bend. On one hand I like the fact that there aren’t any clunky wheels and it makes it easier to just chuck this in your bag with a laptop and set up anywhere, but I do find that using the pitch bend can be a little difficult to refine and can easily slip out of the exact pitch you want if you’re not careful. Perhaps a wheel would be better here. However I’ve found a love for the modulation strip. I’m not one for flaring my hands around like some kind of untouchable disc jockey, but that action came naturally the more I got into a composition.

The MiniLab MK 2 is impressively integrable with Ableton. I had a little bit of difficulty setting up the velocity pads with a drum rack, however after a bit of fiddling with the MIDI control centre, I was able to use the velocity pads as a drum pad in Ableton as well as a sample trigger, arming and recording tracks, they are pretty versatile.

If you’re planning on buying a MIDI controller that doesn’t break the budget, has great functionality and is easily portable you can’t go wrong with this little bit of kit for €99 ($105 / £85)

To find out more about this fantastic MIDI controller and nab one for yourself you can head to: www.arturia.com/minilab-mkii/overview
Whilst you’re at it why not check out our review of Arturia’s wicked step sequencer / controller the Beatstep Pro: routenote.com/blog/arturia-beatstep-pro-review