Oxi One: is there anything that this flexible MIDI sequencer and controller can’t do?

There’s a lot going on with Oxi One, a new MIDI sequencer and controller that’s just landed on Indiegogo. In fact, it looks like it has enough features for it to become the central hub of your studio or live setup, should you want it to be.

Oxi One actually contains four configurable sequencers, each offering up to 128 steps, which can operate in one of four modes.

Multi gives you access to eight tracks, each with its own independent parameters (meaning that you can run up to 32 tracks at a time); Chord endows you with chord generation features, so that you can create progressions; Mono gives you control of a monophonic track; and Poly offers up to seven voices, with 4 CCs and multiple parameters per step.

This is just the start, too, with more modes set to be added in future firmware updates. You can use up to 128 steps per sequencer.

On top of this, the Oxi One can operate as a keyboard, with four different piano layouts. There’s an eight-octave range, and you can control pitchbend, pressure, modulation and velocity using dedicated knobs. You can choose to play in specific scales and get the ‘right’ chords for that scale, with plenty of different voicings and variations.

Other features include four arpeggiators with multiple modes, a song/arranger mode, four LFOs - routable to internal parameters, MIDI and voltage control - and four loopers. Connectivity includes eight CVs, eight gates and 1 CV input, so you’re all set for controlling modular gear, too.

The Oxi One can be battery-powered and is compatible with Bluetooth MIDI, meaning that it can operate completely wirelessly.

So, yes, there’s a lot going on here - you can find out more on the Oxi One Indiegogo page. The funding target has already been met, but if you’re quick you can still grab a unit for €530 (the regular price will be €699).

Delivery is estimated to be in November 2021.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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