Suchergebnisse: Dance Music

Notes: The latest in 1010's innovative range of compact devices, the Bento is a fresh take on sampling and sequencing, offering an alternative to conventional options such as Akai's MPC series. Pure standalone creative flow.

Supplier's notes:
Sample Every Flavour

Bento is a portable, all-in-one sampling production lab that brings together flexible sequencing, expressive performance tools, and pro-level connectivity-perfect as the centrepiece of your desktop or mobile rig. Whether you're looping on the go, launching clips live, or sequencing your entire synth setup, Bento gives you the tools to shape your sound from idea to performance.

With pristine 24-bit sound quality, a bright 7" touchscreen, 16 responsive pads, and deep control over samples, MIDI, and effects, Bento offers a fast, fluid workflow in a compact and portable form. Sequence one-shots, build multi-sample instruments, and chop loops using Bento's flexible tracks, scene-based sequencing, and expansive modulation and FX engine.

Designed to replace laptops, simplify cabling, and integrate seamlessly with your gear, Bento features multiple stereo inputs and outputs, USB-C host and device ports, dual TRS MIDI I/O, and a built-in battery for up to 3 hours of mobile creativity.

Recording Capabilities

Capture loops quickly with the option to synchronize the start and stop times to the clock
Trigger recording via audio level threshold
Create perfectly sized loops by setting the recording length
Enable immediate playback after recording for live looping capabilities
Make recordings up to 4 hours in length
Resample the master output without patching
Store recorded samples as WAV files on the micro SD card

What's included

bento - sampling production lab
MicroSD card with over 160 patches and over 200 wav files
USB C power cord
USB C power and data splitter
Type B TRS MIDI To MIDI 5 Pin DIN adapter
QR Code with link to the Quick Start Guide

Technical Specs

8 tracks with multiple patch types-sample banks, multisamples, slicers, granular, loops, and external MIDI
16 pressure- and velocity-sensitive pads
7" diagonal touch screen
8 context-sensitive endless encoders
3 stereo inputs, 3 stereo outputs, 1 stereo headphone out
2 TRS MIDI inputs & 2 TRS MIDI outputs (Type A & B)
USB-C host and device ports
Internal battery with 3 hours in low power mode
Includes 155 Patches and over 5000 sample files
Expandable via microSD card
24-bit ADC/DAC
MIDI sequencing, modulation, and CC control support
Compatible with 100 x 100 VESA mounts
Product dimensions: 8" x 8.5" x 2", 2 lb (20.4 x 21.8 x 5.1 cm, 936 grams)
Package dimensions: 10.25" x 8.5" x 2.75", 2.7 lb. ( 26 x 21.6 x 7 cm, 1.2 kg)

Review: Texas-based Ben Hixon and Atlanta's Stefan Ringer collide on this new split EP for the increasingly vital Dolfin label. It is Ringer who starts with a tight, grinding groove on 'Moving Walkway' with spoken word snippets and kaleidoscopic synth sequences bringing a trippy and unusual energy to the menacing bass. His 'PLGLY' (SR Big Room mix) is then a heavy beatdown with synths that snap and crack while jazzy percussion and dark vocals bring extra character. Hixon's 'Feels Extremely Good' is a busy, off-balance mix of deep house drums and mind-melting synth refrains while 'My Family' offer a blissed-out and soul-drenched closer.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Disguised returns to TRSN with an exhilarating EP that includes standout remixes by MYLE (aka Julian Muller) and Levzon. The Berlin-based duo TRSN is admired for their dynamic and hypnotic soundscapes and continues to captivate and find new creative ground here following the success of their debut album and a remarkable first set on Boiler Room earlier this year. Across this 12" you will hear their signature blend of energy and depth, great use of vocal hooks and fine grass of how to get a 'floor in a frenzy.

Review: Throbbing Gristle co-founder and all round British experimental electronic institution, Cosey Fanni Tutti returns with 2t2, a new full-length set for release through her own Conspiracy International label. The new nine-tracker extends the tracked terrains of 2019's Tutti, blurring personal reflections on years of loss and upheaval into prosthetic electronic soundscapes. The record unfolds over two contrasting halves, one beat-driven, the other more introspective, yet it also keeps anchored to a certain ground point emphasising resilience and focus. Lead cut 'Stound' features overtone chanting, which Cosey describes as a way to channel inner strength: "allowing the sounds to permeate and soothe as well as create a sense of power."

Review: One of the most legendary female producers in history of electronic music brings out her sixth solo album - not to mention her numerous seminal recordings as part of Throbbing Gristle and Chis & Cosey - and the first in three years. 2t2 is an intimate yet electrifying statement, a dualistic journey through rhythmic propulsion and meditative introspection across nine tracks entirely composed, performed and produced solely by Cosey herself. With 2t2, she expolores personal loss and global upheavalm transforming them into a defiant sonic odyssey, weaving raw energy and introspective depth together. The beat-driven tracks pulse with kinetic urgency, echoing her industrial and electronic roots, while the ambient passages invite deep contemplation. Lead single 'Stound' exemplifies this balanceiCosey's overtone chanting evokes resilience and catharsis, grounding the record in both personal and universal strength. 'Threnody' pays tribute to Delia Derbyshire and Andy Christian, weaving echoes of past creative dialogues into Cosey's present explorations. Even in its darker moments, there's a lightness, a refusal to succumb to despair, in evidende and Cosey seemingly embraces sorrow as a path to joy, a reminder that resistance and resilience are acts of creation. With 2t2, Cosey Fanni Tutti once again defies convention, crafting an album that is personal and powerful.

Review: London dubstep producers Hijinx (Kyle Smith) and De-Tu (the trio of C-Side, Christopher Iona and Jevon Ives) team up in an enviably collaborative form, reserving five 12" grooves spread evenly and fairly over two originals each, not to mention these serving to top-cherry one more collaborative number, '3310', which leads the charge on this White Peach juicer. The mood on the record is dynamic and midrange scoopy as ever, with a no-more-no-less production approach squeezing just the right sense of scape from the mix, never saturating its sounds in wetness.

Review: Germany's funk collective expand their sound on this release, recorded live at the MPS studio in the Black Forest. The raw, break-heavy foundation remains, but the album ventures into jazz, soul, and psychedelia, capturing an organic energy that feels both spontaneous and precise. Tracks like 'Open The Gate' blend punchy brass with intricate rhythms, while 'Spinning' layers folk-psych guitar and cinematic horns, creating a fluid dialogue between the musicians. 'Back And Better' highlights Nichola Richards' soulful vocals, adding depth to the sparse beats. The album also explores playful experimentation, with 'Sparks of Joy' embracing a swampy groove, and 'Phantom Power' introducing an electric phin, nodding to world jazz influences. Carlton Jumel Smith's performance on 'Can't Stop This Fire' and the gospel-tinged 'Homebound' anchor the album, grounding its expansive journey. The result is a cohesive and evolving soundione that truly captures the clearly audible joy of collaboration.

Review: Raw but slinky Chi-style deep house from Boo Williams, a key fixture of the Illinois city's nightlife since 1981. Originally released on Relief in 94 'A New Beginning' and its sequelae 'The-B-W Groove' and 'Phasis' are surprising contrasts here, providing affective sonic snapshots of the city's many blocked, narrow streets. The former of these two tracks serves steam-trailed strings and gulping chords down below, whilst the later jacks up the high knob to enclose an FM-bobbing bounce, around which spitting 909s, tuned cowbells and overdriven kicks collect.

Review: Lord Byron's sixth album is a real standout in his discography and another trademark fusion of Southern rap's silky essence with the introspective depth of slowed-down, chopped-and-screwed beats. Produced by Ben Hixon of Dolfin Records (which is dropping a ton of great records right about now, by the way) A Portrait of Fyodor on Fire shows off Byron's versatile delivery as he seamlessly blends rapid-fire verses with the hypnotic rhythms of DJ Screw's influence. Collaborations with RPBGV further enrich the sound with new layers of complexity and innovation all white drawing inspiration from diverse sources for subtle inspiration that makes for a Texan-infused world of introspection and rhythm.

Review: British electro pioneer Bass Junkie reactivates his Cybernet Systems alias with a fearsome four-track return that celebrates and retools a thirty-year legacy. Originally dropped in 1995 via Panic Trax, 'We Are Borg' gets rebuilt from the raw data of the original SP1200 session, still driven by that signature low-end pressure and now even more punishing for modern systems. 'Bass Force' ups the intensity with widescreen synths and body-slamming subs, pushing electro bass into cinematic territory. On the flip, 'Electron Spin Resonance' delivers a DMX-fuelled onslaught of chopped edits, dense percussion and martial drive, while 'Proceed' nods back to the 80s machine funk of Pretty Tony and Egyptian Loverigleaming with nostalgia but never stuck in the past. It's a fierce reminder of Bass Junkie's place in the electro continuum, bridging Florida, Detroit and the UK with hardware grit and future shock precision.

Review: The latest deep dive into Galaxy Sound Co.'s Black Hole series is another carefully dug out delight featuring three essential jazz-funk-psych cuts. Joe Pass' 'A Time For Us' opens with beautiful cinematic strings, sparse drums and ghostly guitar that has been famously sampled by J Dilla and the Slum Village crew, and sounds powerful in situ here. Milt Jackson & Ray Brown's 'Enchanted Lady' follows with hypnotic modal swing, again famously flipped, this time by Pete Rock, De La Soul and Knxwledge. Closing out is Archie Whitewater's 'Cross Country', which is a funky, soulful groove with brass and keys that have been immortalised by Kanye and Common, but remains a burner here in its original form.

Review: Abba's self-titled third album marked a creative and commercial turning point for the group; released in 1975, it was their first full-length following the breakthrough historic romance hit 'Waterloo', and the moment they cemented a sound that would dominate pop for years. Packed with high-drama hooks and refulgent production, the album of course also includes 'Mamma Mia' and 'SOS', both early experiments in the theatrical, harmony-rich style that would define the long-form productions of Benny Anderson and Bjorn Ulvaeus. With newly remastered audio cut at half-speed by Miles Showell at Abbey Road, we've two new inclusions: kitsch singalong gem 'I Do, I Do, I Do, I Do, I Do' and glam-leaning opener 'So Long'.