NAMM 2017: Gemini's MAS-1 is an Ableton Live controller with a DJ-style workflow

The MAS-1 is also a 4-channel audio interface.
The MAS-1 is also a 4-channel audio interface.

NAMM 2017: DJ and pro audio brand Gemini has unveiled the MAS-1, which it says is the first controller it's made that's designed specifically to be used with clip-based performance software such as Ableton Live.

Rather than featuring a grid of buttons, the MAS-1 has been created for those who want to retain a more DJ-centric workflow. It has the feel of a 4-channel DJ mixer with added control elements for Live's devices and effects, while the BPM section promises to enable smoother mixing with external sources. The backlit buttons should come in handy in darker environments, and the MAS-1 can be angled on its built-in stand to create the desired viewing angle.

Clip and scene control is handled by small number of RGB buttons and knobs, though Gemini suggests that you could add an external controller to take care of this. As well as being a controller, the MAS-1 is also a 4-channel audio interface.

Find out more on the Gemini website. The MAS-1 will be available in the second quarter of 2017 priced at $299.

Gemini MAS-1 features

  • Unique performance stand angles the MAS-1 towards the user for better visibility
  • Built-in low latency high-performance 4 channel audio interface with balanced outputs
  • 4 channel mixer section, with full EQ and 100mm channel faders
  • 45mm crossfader for fast, DJ-style transitions
  • Full clip control, with scene and clip launching and RGB illumination
  • Colour-coded knobs for easy identification of each function
  • Adjustable device control section allows for control of individual components
  • BPM control through bend buttons, tap BPM, or direct input via knob.
  • Encoders with LED rings for adaptive software feedback
  • Full looping control including in, out, and active buttons and loop length knob
Ben Rogerson
Deputy Editor

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.