Making music using hardware is a uniquely rewarding experience. You will feel like an astronaut activating space-age interfaces. After understanding the basics of creating a pattern, the moment when you hear all your carefully-constructed layers come together will be deeply satisfying and exciting. With the current generation of music production hardware available, in addition to the vast library of free, in-depth tutorials available online, the boundaries to get started making music have never been lower. For people who have experience playing instruments, or desire a more tactile music-creation process, hardware could be the way for you to express your creativity.
This Buyer’s Guide to Getting Started in Music Production is geared towards beginners who would like to make music using hardware. If you are interested in getting started making music using software tools, please check out my Buyer’s Guide to Getting Started in Music Production – Software.
A word of warning: unless you can rent/borrow useful items, there is no getting around the fact that music-making equipment is specialized and rather expensive. The cheapest, smallest setup will still total up to a few hundred dollars. Digital music production is more cost-effective and will be less limited by your particular device’s features. For more discussion on this, search “DAWless music production” online.
Getting Started
To determine what sort of hardware you should start with, it is critical to identify a type of music you are most interested in making. Many pieces of music hardware lend themselves towards a particular style of music, and their limitations may entirely stop you from creating another kind. Think about the style and genre of your favorite songs. Perhaps even download a few or take notes on the elements in the songs that stand out to you the most. This will help lead you towards some of the different gear listed below.
Music hardware is very well suited for creating electronic music and hip-hop beats. Depending on the specific item, it can also be straightforward to plug your live instrument directly into your hardware to record your acoustic playing. When considering the following devices, consider what sort of music you enjoy and let that guide you towards the different categories of devices.
Beginner Tip: MIDI is a type of signal unique to music equipment. It allows Music equipment to send and/or receive information on tempo and what notes to play. Through an audio interface, one can send MIDI signals out from a computer to a device. Or, perhaps from a Groovebox out to a Synthesizer.
Buyer’s Guide:
A last note on this guide: before purchasing any of these products, you should watch a video guide on how to use the product. When it comes to music equipment, research is your best friend. If the product does not look fun or has an overwhelming workflow, do not purchase it.
- Groovebox: For a beginner, the most useful device for you is likely to be a Groovebox-style hardware device. A “Groovebox” seeks to be an all-in-one tool for song creation, often offering the ability to sequence multiple instruments across multiple patterns within a single device. Because of their all-in-one nature, a Groovebox is likely to be the best place to start. There are many Grooveboxes available at different price-points. For a complete product that will require minimal setup, a Groovebox is likely to be the best choice. For beginners, I recommend the following Grooveboxes:
- Circuit Tracks (link): This Groovebox allows one to play two synthesizers and sequence four tracks of samples. I have used this product for almost two years and find it to have useful features for creating both nice patterns and sequencing those patterns into songs. Selling for $300-400, this standalone device is powerful. Out of the box, you receive two synthesizer tracks and four drum tracks. These drum tracks can be configured to play any sample through the Track’s computer application. The Midi tracks allow for connectivity to other gear in a future setup, bringing the track count up to 8. I find the weak point of the product to be the preset sounds; however, they can be edited easily on the Track’s application.
- Sonicware Liven (link): This is the least expensive groovebox I am featuring at $239 MSRP. The Liven has a specific character to its sound, its internal sound engines specializing in creating retro/”Lo-Fi” sounds. With effect automation and using its six voices strategically, one will be able to compose full tracks with complexity. This is the only Groovebox I am featuring with no ability to play samples, meaning that all percussion sounds will also need to be generated with the sound engines. Due to its minimal screen and small controls, the Liven has a unique workflow that one will need to wrap their mind around to use it effectively.
- Roland MC-101 (link): At $500, most consumers agree that the MC-101 is a bit overpriced and its associated software tool is needlessly complicated; however, it does offer greater functionality than either the circuit tracks and comes with a database of popular, useful Roland sounds. If you could find one secondhand and get familiar with its workflow, the MC-101 does have more functionality than these other two products. The MC-101 features both synthesizer engines to generate melodic elements and the ability to play samples, giving greater flexibility for the elements in a track. A drawback to the device is the importance of navigating menus through its small screen, something one will need to use constantly while composing on the MC-101.
- Akai MPC One (link) Selling for an MSRP of $700, Akai’s MPC One is the most expensive product I am including on this list. Featuring both a large touchscreen as well as community favorite MPC pads to play your software instruments or trigger samples on, the MPC One is close to a fully-featured DAW program. While the MPC One has sampling capability, I have placed it into the Groovebox part of the list due to its extensive all-in-one feature set. There are complaints about the most recent software updates released by Akai, and even at a price point of $700 they still have some capabilities locked behind paywalls, particularly additional software instruments.
- Samplers: If you are interested in making rap beats or other sample based music, then you will want to purchase a sampler. Samplers are a unique instrument in that they do not create sound on their own, but rather manipulate and sequence sounds that have been loaded or recorded into them. There are thousands of free sample libraries available for download that you will be able to load into your sampler. With their ability to load in any sound, samplers punch about their weight in constructing full tracks and can compete with many grooveboxes in this aspect. I recommend these samplers for beginners:
- Teenage Engineering’s Pocket Operator K.O.33 (link): The Pocket operator is a series of hyper-minimal music production gear. The K.O. 33 Sampler is widely recognized as the most useful of this product line. While it does have serious limits in memory, the K.O. 33 strengths lie in its interesting audio effects and two sample processing modes, excellent for making hip-hop beats. For $100, one can get a lot of value from this product, and about the same size as an adult’s palm it is by far the most portable product on this list. Given that the K.O.33 has limited connectivity options,
- Korg Volca Sample (link): At $149, the Volca Sample is the second-cheapest sampler I am featuring on this list. The Korg Volca series is known for cost-effective, beginner-friendly music hardware, and their sampler is no exception. Recent versions of the device feature a song mode more to more easily turn your patterns into full-length tracks, a big plus if one plans on using the Volca Sample as a standalone device. If one plans on scaling up to a larger setup, the Volca Sample also features a MIDI port so it can be controlled by external gear. For $50 more, the Volca Sample offers extensive functionality beyond the K.O.33.
- The NEW Roland P-6 Sampler (link): Which has just been released as of September 2024. In the same form factor as the Roland Aira series (small), the P-6 offers sampling and sequencing in an extremely portable sized product. At $220 it offers sampling at a middle ground between the Korg Volca Sample and the more premium $500~ products. There are few hardware samplers in the $200-400 price range, and the P-6 offers the most advantages and features in this range.
- Roland SP404MkII (link): Priced at $500, the Roland SP404MkII sampler is the most recent in the iconic SP line of samplers by Roland. This version of the device features a far more accessible workflow than the previous iterations of the device. With great sample chopping, robust audio effects, and new sequencing features, the SP404MkII is a powerful tool for creating tracks. Through resampling effects a user can perform serious mangling on samples to reach almost any texture desired. The biggest downside of the SP404 is its unique workflow, which requires a lot of use and learning to perform operations on the device quickly.
- Synthesizers: Synthesizers are deep, fun instruments that play like a keyboard but offer far more variety in texture and tone. Out of these listed products, I would be the most wary of starting with a standalone synthesizer. This is because a standalone synthesizer will face challenges in creating both the beat/pulse of a song and a melody at the same time. While many synthesizers can produce a large variety of tones including percussion, most entry-level synthesizers do not offer multiple tracks.That being said, I tentatively recommend these synthesizers for beginners, especially if you are planning to pair the synthesizer with another piece of hardware:
- Korg Volca Keys (link): This synthesizer is priced in line with its Volca siblings, and is known for having a robust (but small) feature set and good sound for this limited price. The three-voice oscillator (circuit that emits sound) has modes to assist with playing chords, melodies, or creating other textures. At approximately $200, the Volca Keys is the best standalone synthesizer priced for entry into the hardware space.
- Roland Aira J-6 (link): The Aira J-6 was a surprise hit when it dropped several years ago. Part of a generally-derided series of gear by Roland, the J-6’s purpose is to generate chord sequences. The J-6 sounds great, its voice modeled off the iconic Juno synthesizer series. Because it focuses on playing chords, the other functionality of the Aira J-6 is extremely limited. If you have a larger setup with some other instruments connected, the J-6 can be a powerful roleplayer.
- Elektron Model: Cycles (link): Advertised as a Groovebox, it is possible to create full tracks purely within the Model: Cycles. The different synthesizer and drum instruments are excellent for creating metallic-textured sounds. If you are only planning on making one purchase, the Model: Cycles possesses the best feature-set to compose full songs. It features six independent tracks to hold different sounds
- Audio Interface: an audio interface is a tool for linking physical instruments to your computer. Most simply, it is a way to convert the standard 3.5mm guitar cord, the cord most instruments output, to a computer for recording. Some standalone pieces of gear will also function as an audio interface, potentially even allowing you to send your signal over USB; however, this feature is more common on middle and higher-tier music gear. Some audio interfaces will offer additional features and can act like a volume mixer for your devices. If you already have instruments like an electric guitar, then all you will need to record that into your computer is an audio interface. For beginners, I recommend the following Audio Interfaces:
- Behringer UMC204HD (link): The UMC204 is straightforwardly the best bang for your buck when it comes to entry-level audio interfaces. You can find them available online for $80, and it matches functionality with many interfaces that cost twice as much.
- M-Audio 192|6 (link): This Audio Interface has two channels, each equipped with a 3.5mm guitar jack for instruments and a XLR port for a microphone. The 192|6 also has full size MIDI ports to receive or send control signals.
- AUD Volt 2 (link): This slightly pricier Interface features more ports and a premium software associated with it for more advanced setups.
- Behringer U-Phoria (link): This is the least expensive interface I am featuring, targeted towards instrument players who want to record into their computer. Having just one point could be a limiting factor.
A Note on Drum Machines: Drum machines is a class of music hardware that focuses on, well, making drum sounds. I do not recommend that any beginner to music production purchase a drum machine. In my experience, drum machines are by far the most limited music hardware. They often contain a small amount of sounds, oftentimes leading to extremely mismatched drum sounds for the track you are creating. Drum machines benefit a lot from external processing, gear a beginner will not have yet added to their setup. Simply put, do not start with a drum machine. If you do want one, consider how a sampler tool could fit into your workflow instead as it will offer greater flexibility.
Gear Acquisition Syndrome (GAS):
In comparison to producing music digitally through a Digital Audio Workstation (DAW), hardware music production is far more limiting, will require a more specific workflow, and is more time-intensive. These limiting factors; however, especially in a creative endeavor like music production, can be excellent in stimulating your creativity.
While working with your equipment, hitting against these limits, and watching videos tutorials on how to use your and other devices, you will begin to notice how often tutorials are effectively advertisements for a new piece of music hardware. These new releases with advanced, useful features will constantly give one the impression of missing out. A hardware musician must understand that a new piece of gear will not make your music better. Every time a new piece of gear is added the musician must re-evaluate their workflow, causing a slow-down period as one figures out how to adapt and use this new piece of equipment with their setup. I cannot emphasize enough how important it is to fully master each piece of your gear before buying something new. This will stop you from accidentally doubling up on features, spending more money than you should, and overcomplicating your setup. Making music with hardware can be a slippery slope to becoming a collector of music equipment rather than a music producer. It is critical not to start chain-purchasing pieces of gear. First, work with what you have for as long as you can and learn as much about it as you can. This will keep you focused on the act of making. As you squeeze every aspect you can from your gear, over time you will truly learn what sort of gear you want to supplement your setup with.
Conclusion:
Starting with an interesting sound, crafting a pattern, and bringing multiple layers together into a composed song is an enriching process. When one can perform all of these actions using physical buttons, sliders, and knobs, the user quickly begins to feel like a mad scientist. When one becomes familiar with a piece of music hardware and can quickly navigate between its operations, creativity can flow without obstructions. Perhaps the biggest positive, composing music using hands-on technology is deeply fun.
On the negative side, music hardware can require frustrating troubleshooting. Even creating basic song patterns typically requires far more effort and time than using software. As mentioned above, it is expensive, and these are the entry-level products. Building a setup using the Circuit Tracks Groovebox, Volca Keys Synthesizer, and Behringer UMC Interface already totals $680, and that does not include any of the audio or MIDI cables required to link these devices together. You could purchase a copy of Ableton Live and the powerful software synthesizer Serum for that same price, which would provide far more functionality.
In closing, composing using music hardware is a unique experience matched by little else. You get to build a setup that suits your creative desires and enjoy intermittently fitting in new pieces. Being hands-on with the music creation process is like playing a piano, guitar, and drums all at the same time, by yourself. With some practice, it is easy to get lost in a flow and spend hours composing music. If you are interested in getting started in hardware music production, I would recommend doing research on YouTube to get a feel for the process and some ideas: AudioPilz, Jorbs, Red Means Recording, Jon Makes Beats, and Ricky Tinez are all excellent video creators that feature music hardware prominently in their videos.