No Gear Is Safe: Music Production Hardware I Sold

September 22, 2025

One of the most fun—and dangerous—parts of being an electronic music producer is collecting awesome gear. If you’ve been following my YouTube channel for a while, you’ve probably seen my “Gear I’ll Never Sell” videos. Those videos sparked a lot of discussion about workflow, creativity, and music composition.

But here’s this uncomfortable truth: time passes, new machines come out, and your workflow changes. A lot of times, that piece of gear you swore you’d keep forever eventually collects dust, and the best thing you can do is let it go to someone who’ll actually use it.

So I’ve come to a new conclusion: no gear is truly safe.

This isn’t about trashing these machines—far from it. Every single unit I’m about to mention is excellent. But for me, something newer, simpler, or just better suited to my workflow came along and replaced it. Take this as context or inspiration if you’re deciding which gear to buy, keep, or sell in your own studio.

If you'd like to watch the video version of this Blog, here it is:

PlayDifferently Model 1.4

This one stings a little, because the Model 1.4 is the best analog DJ performance mixer I’ve ever owned. Designed by Richie Hawtin and Andy Rigby-Jones, it feels like a Formula 1 car of mixers - specifically for hybrid / hardware / live users:

- Two FX sends per track

- High- and low-pass filters per channel

- A unique sculpting filter for shaping sound

- Fully analog signal path

- Analog drive per channel which sounds out of this world

So why sell it ? One word: workflow

If you’re running audio digitally (say, from Ableton or another DAW), you need an audio interface. I was pairing the Model 1.4 with my Apogee Ensemble, which is a rack mount audio interface from the 2010's. The Ensemble offers DSUB out, which made audio routing to the Model 1.4 very convenient- but it still meant lugging around an extra unit around just to make this set up work. It got heavy.

Yes, I could’ve used a smaller interface, but most don’t have D-Sub outs. Which means lots of individual cables, extra setup, and a rat’s nest of wiring. Not exactly fun when you just want to create or play live.

Enter the SSL Big Six

The Model 1.4 eventually lost its place to the SSL Big Six. And while it’s not a DJ mixer, it solved all the workflow problems in one go:

- Mixer and audio interface in a single box

- Four mono super analog + eight stereo analog channels

- Seamless DAW integration (perfect for hybrid sets + recording samples)

I do miss having a per-channel filtering, but the convenience of the Big Six wins out every time. It’s the heart of my current studio.

Another big shift: my live sets have leaned heavily into Ableton lately. Paired with controllers like the Faderfox MX-12 and PC-12. In this case, Ableton essentially becomes my performance mixer on its own. I can assign high-pass/low-pass filters to each track inside Ableton and replicate a lot of what the Model 1.4 offers—without the bulk.

So as amazing as the 1.4 is, it just wasn’t being used. And unused gear must go.

A lot of the sounds in Techno Starters Vol. 1 were run through the SSL Big Six — adding that polished, high-end punch you’d expect from a world-class console. If you’re after high-quality techno samples, the Techno Starter series will be right up your alley👇🏼

Teenage Engineering OP-1 Field

Here’s another one I swore I’d never sell. The OP-1 Field is the definition of a creative sketchpad: compact, portable, and endlessly fun.

- Multiple quirky synth engines

- Intuitive effects

- Built-in sequencers

- A unique, playful workflow

It was one of the first synths I ever really clicked with, and it has a special place in my heart. But… over time, my preferences shifted.

The Sequencer Problem

As I got deeper into hardware production, I became more of a “sequencer person.” And the OP-1’s sequencers, while charming, just didn’t keep up with my needs - compared to Elektron’s sequencers—or even Ableton—they felt limited.

Then came the Teenage Engineering OP-XY. It’s basically the same instrument in terms of design and feel, but with improved sounds and a far stronger sequencer. For me, it was an obvious step forward.

If you want the Teenage Engineering powerful sequencer vibe but cheaper, the OP-Z is still a solid option. But TE seems to have shifted their focus fully to the OP-XY, which borrows much of the OP-Z’s sequencer DNA anyway.

So as much as I loved the OP-1 Field, it no longer fit my process.

Elektron Octatrack

Now this one will probably ruffle some feathers.

The Octatrack is legendary—arguably the most powerful performance sampler ever made. It can resample, time-stretch, mangle, and transform audio in ways few other boxes can. Not to mention how powerful it is as an FX mixer / sequencer as well.

So why did I sell mine?

The Workflow Wall

Here’s the irony: I love Elektron gear. My Digitakt, Analog Four, and Analog Rytm are staples. I’ve even spent time with the Syntakt and Digitone II—both fantastic.

But the Octatrack always felt… off. The workflow is a bit older, a bit clunkier. Button combos are just different enough from other Elektron boxes to trip me up. Every time I picked it up, I’d forget something and lose 30 minutes to the manual or YouTube tutorials.

Sometimes that’s just the way it goes: if the workflow doesn’t click, no amount of features will fix it.

Hologram Electronics Microcosm

When the Microcosm launched, the hype was insane. Everyone was using it, and with good reason—it’s a gorgeous, unique granular FX pedal.

I loved it on pads, melodic plucks, even drums. The glitchy, organic textures it created were unlike anything else.

But here’s the catch: the sound is very recognizable. After a while, I found myself relying on the same one or two presets. And it became a little obvious when a track “had the Microcosm on it.”

My Replacement: The Chroma Console

Instead, I started using the Hologram Electronics Chroma Console. It has some Microcosm-like DNA, but leans more into lo-fi degradation, warmth, and subtle texture. It fits my style better, personally.

So while I still think the Microcosm is brilliant, the Chroma Console just feels more musical in my current workflow.

Arturia MicroFreak

Finally, let’s talk about the MicroFreak.

This is, in my opinion, the best bang-for-buck synth out there. Arturia crushed it with the pricing, making it accessible to beginners while still being powerful enough for pros. David Guetta even uses one in his DJ rig.

So why sell it? Because I upgraded to the MiniFreak.

Why the MiniFreak Wins

The MiniFreak is essentially the MicroFreak’s big brother, and it adds:

- A full-sized, more playable keyboard

- Dual sound engines, each with analog filters

- Built-in effects for richer sound design

It just feels more complete. And because the MicroFreak is so popular, it’s easy (and cheap) to pick one up secondhand if I ever miss it.

Final Thoughts

If there’s one thing I’ve learned over the years, it’s this: no gear is safe.

Workflows change. Technology improves. And clinging to gear that no longer serves you only slows you down.

So don’t feel guilty about moving on. That dusty synth in your closet could be another producer’s dream machine—and selling it might fund the piece of gear that takes your music to the next level.

As long as you're having fun creating, you’re on the right path !

AFFILIATE LINKS

If you're interested in any of the gear mentioned in this blog, consider using the affiliate links below - it would be a great support to this platform.

USA:

►Model 1.4: https://bit.ly/3PMhwpZ

►SSL Big Six: https://guitarcentercreator.pxf.io/EEADQ2

►OP-1 Field: https://guitarcentercreator.pxf.io/6yzZ2q

►OP-XY: https://guitarcentercreator.pxf.io/RGEVJN

►Octatrack: https://bit.ly/3go6iuh

►MicroFreak: https://guitarcentercreator.pxf.io/MAEeaq

►MiniFreak: https://guitarcentercreator.pxf.io/qzodrY

EUROPE:

►Model 1.4: https://bit.ly/47BfQH1

►SSL Big Six: https://bit.ly/4gExSO0

►OP-1 Field: https://bit.ly/3U0IkXO