The Midlife Synthesist Puts 1010music Bento Through Its Paces: First Impressions from the Sonic Trenches

The 1010music Bento isn’t just another groovebox in a sea of plastic wannabes. The Midlife Synthesist wastes no time pointing out that this thing is a strange hybrid—equal parts sound design powerhouse and looping playground. It’s got enough tools to keep both live performers and studio tinkerers busy, with looping features that beg for hands-on chaos and sound engines that go well beyond the basics.

What stands out is how the Bento manages to feel both experimental and practical. You get granular and wavetable engines lifted from 1010’s own synths, plus a multi-sampler and looping tracks that let you twist, resample, and mangle to your heart’s content. It’s not just about stacking samples—it’s about building evolving soundscapes and launching loops on the fly. If you’re after a box that rewards curiosity and live risk-taking, Bento’s got the goods. But don’t expect a smooth ride: the firmware’s still finding its feet, and some of the quirks are best experienced in the video’s hands-on jams.

Let’s talk hardware. The Bento sports a crisp, full-colour touchscreen that’s actually readable (take note, budget boxes), and the pads are surprisingly sensitive—finger drummers, rejoice. The Midlife Synthesist gives props for the rotary knobs and the sheer amount of connectivity: dual MIDI ins and outs, three audio ins and outs, USB-C, and a micro SD slot. It’s a connectivity buffet for anyone building a portable rig.

But it’s not all rave lights and roses. The touchscreen, while flashy, isn’t fully committed—some actions require a knob twist when you’d expect a tap, and the UI occasionally feels like it’s been designed by committee. Still, the hardware’s vibe is strong, and if you’re willing to put up with a few interface oddities, there’s a lot to love. The Midlife Synthesist’s hands-on style makes it clear: this box wants to be played, not just programmed.

Bento’s granular and wavetable engines are the real headline act here, lifted straight from 1010music’s Fireball and Lemon Drop. You get deep modulation, dual waveforms, and enough filter and envelope action to keep any sound mangler grinning. The granular engine especially is a monster—just don’t expect to run more than one per project. There’s a trade-off between power and CPU, and Bento’s not shy about showing its limits.

Sequencing, though, is where the cracks start to show. While you can record live or use the touchscreen piano roll, there’s no step sequencing, no parameter locks, and none of the clever tricks you’d find on Elektron or OP-1 boxes. Looping is fun and flexible, but you can’t automate launching multiple loops in a scene—they have to be triggered manually. For some, that’s a creative playground; for others, it’s a workflow headache. The Midlife Synthesist doesn’t sugar-coat it: the fun is real, but so are the limitations.

No groovebox review is complete without a bit of kit combat. The Midlife Synthesist pits Bento against the Akai MPC and even ropes in the OXI MK2 for sequencing duties. The verdict? Bento’s sequencing is capable but basic, especially compared to the MPC’s optimised workflow and the OXI’s live performance chops. There are also some classic early-firmware bugs—like MIDI weirdness that sends reverb into the stratosphere for no good reason.

CPU usage is another sore spot. Load up a few heavy engines and big sample sets, and you’ll see the CPU meter sweating harder than a DJ in a boiler room. The comparison to Maschine+ is spot on: both boxes can be pushed to their limits without much effort. If you’re planning to go wild with multi-samples and granular textures, be prepared for some digital smoke. The Midlife Synthesist’s honest, slightly exasperated tone is a reminder: this box is powerful, but it’s not invincible.