Now available in white, the Torso T-1 is a uniquely creative hardware sequencer which plays nicely with MIDI, Eurorack and DAWs. Greg Scarth finds out more.
In recent years, there’s been a quiet rebirth of the old-school sequencer. Tying in with trends for modular gear, DAW-less setups and hardware live rigs, various brands have reimagined sequencing in new creative ways. The Torso Electronics T-1 is a case in point: a true hardware sequencer, not a groovebox (i.e. it doesn’t make any sound, just controls other instruments), the T-1 follows an algorithmic approach designed to make it easy to generate ideas, then play with them in real time to twist them into new forms. The release of a new white edition gives us the perfect opportunity to take a close look at this unique sequencer and find out if it still lives up to the hype.
The T-1 is a no-nonsense bit of kit, housed in a tough metal enclosure. There’s no screen and no menu system to deal with, just a strip of 18 rotary/press knobs and two separate banks of pads: on the left, 16 ‘value buttons’ used primarily for editing sequences and on the right, seven ‘general buttons’ used for things like start/stop, selecting patterns and activating track mutes. There is a CTRL button which accesses secondary functions, but the push functions of the rotary knobs are also used to control secondary functions in a clever, intuitive way. Round the back, you’ll find an extensive array of 3.5mm connections for MIDI in, out and thru, CV and gate out, CV in and analogue clock in/out. One 3.5 mm to 5-pin DIN adapter is included in the box. Power is provided via USB-C connection (adapter not included).
The T-1 probably isn’t the most immediate plug-and-play sequencer on the market for two reasons. The first is that its algorithmic, Euclidian approach to sequencing is quite different to conventional step sequencers. The second is that it’s got so much depth there are dozens of features and functions to learn if you want to get the most out of it. The hierarchy of the terminology is probably the first thing to understand: the T-1 contains 16 ‘banks’, which are essentially like folders, containing up to 16 patterns each. Each pattern can host up to 16 tracks, which can be notes, MIDI controller change data, or FX tracks. Each track hosts 16 ‘cycles’, which are grouped combinations of parameter settings applies on each loop of the track sequence. The cycle length is determined by the number of steps in the sequence, anywhere up to 64.
The next aspect of the T-1 which is essential to understand is how patterns are programmed and manipulated. Rather than a linear, ‘program and play’ approach to pattern generation, the T-1 follows an algorithmic approach which Torso describe as “organic flow and continuous evolution”. The T-1 manual walks you clearly through the process of creating a simple drum pattern across four tracks, each assigned to its own MIDI channel, then adding plucks, piano and chord stabs on top. To put into context why is might feel like we’re glossing over the exact mechanics of how this is done with the T-1, that process is covered across 12 pages of the manual, which runs to an incredible 230 pages in total. It’s certainly not to say that the T-1 is overly complex or difficult to understand, but the care and detail which has been put into the manual reflects the thought which has gone into designing the T-1 as a sequencer. In fact, the word sequencer doesn’t quite do it justice; despite not making any sound internally, the T-1 really does feel more like an instrument than a simple sequencer.
The greatest strength of the T-1 lies in its ability to take a given pattern and turn it into new, related ideas. It’s fair to say that the idea of ‘algorithmic’ or ‘Euclidean’ sequencing might be an immediate turn-off to some musicians, given that it hints at quite opaque maths and geometric concepts. The T-1, however, is well worth giving the benefit of the doubt even if you’re put off by those words; the way they’re implemented here is truly about as user-friendly as it can get, and you don’t really need to know the theory in order to get great results. Patterns can be manipulated using three main groups of controls: Shape, Groove and Tonal. The eight knobs in the Shape section are used to “build and layer rhythmic patterns, create movement and adjust voicing” – it’s here where you can adjust parameters like note repeats, voicing/pitch order and rotating the notes around the pattern. In the Groove section you adjust timing and rhythmic feel, including note probability, accent/groove and swing. The Tonal section allows you to quantise notes to a scale or transpose notes within a pattern. Put together, it’s a setup which encourages experimentation in a deeply organic way, allowing you to move quickly from one simple idea to infinite new places.
The T-1 has been adopted by artists including Richie Hawtin, Nosaj Thing and Mount Kimbie’s Kai Campos, which gives some hints as to the versatility of the unit. Loopy techno and evolving ambient patterns are achieved with ease, but in practice the T-1 is suitable for just about any genre. That’s also backed up in terms of its compatibility with other gear and the countless ways you could integrate it as part of a studio setup or live rig. With a range of analogue and MIDI connections, the T-1 obviously appeals as the centrepiece of a DAWless setup, but it’s also designed to integrate neatly with DAWs and other devices either using MIDI over USB or the built-in WiFi and Ableton Link functionality.
At £499.99, the T-1 is towards the more expensive end of things as far as sequencers go, but it justified the price tag with its immense creative potential. Cheaper options like the Arturia BeatStep Pro might do some of the things the T-1 can, but to get closer to the versatility and power you’d really need to step up to something more expensive like the £650 OXI One. Ultimately, the T-1 stands alone as a quite unique device, hugely inspiring to play with and fully justifying the hype.
Greg Scarth
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