In late 2024, a new Japan-based company called Light Reft caught our attention with their boutique MONOLIT device, a “cutting-edge, multifunctional MIDI-computer” that “offers seamless integration with all DAWs and hardware devices, customizable presets, and an intuitive interface for effortless control and creativity”.
Being far from a simple MIDI controller, the MONOLIT can “record MIDI automation, set delay times for slider movements, send notes and LFOs, and adjust various parameters directly within the device” and can be used to control anything from synths and samplers to effect units and even Max/MSP patches. You can find an extensive introductory tutorial video here.
While there are obviously many different options in the MIDI space, we think that the MONOLIT is definitely worth taking a look at for heavy MIDI users that care about aesthetics, flexibility and playability.
Intrigued by the device, we got in touch with Sasha DZA from Light Reft with a few questions.
Image Credit: Kub Sergey
Where do you live and what is your background?
My name is Sasha and I live in Japan. Talking about myself isn’t easy — sometimes it feels like I’m 100 years old, though it’s actually slightly less!
I got into this industry thanks to Roman Filippov from Black Corporation. You could say that he is my mentor and teacher in many ways, as well as a long-time friend. Working with him and his team [as a creative director at Black Corporation] gave me the opportunity to fulfill a long-standing dream: creating new technical inventions at the intersection of creativity and industrial design.
Before that, I was already involved in music and design for over 20 years. I’ve worked with sound, performed and composed music, worked on major projects, and launched the HOW2MAKE label. At the same time, I was also engaged with graphic and industrial design, which eventually led me to create the MONOLIT.
Right now, Light Reft is just two people: Aleks and me. We handle everything from start to finish and we sell the MONOLIT in small batches exclusively through our website, taking pre-orders while producing the next batch. The usual wait time is no more than a month. In the future, we plan to scale up production and work with distributors.
Where did the idea for the MONOLIT come from?
At first, we had more ambitious ideas, but we realized we couldn’t bring them to life quickly. So, we decided to create something that is simple, yet fully tailored to my needs in music production. The idea was to build a device that could be continuously improved and expanded upon with new features, and the MONOLIT is our first experiment in this direction. In short, it is a MIDI controller that works with hardware instruments and does not require a computer.
The aesthetic of the MONOLIT has some similarity to Monome objects like Norns and Arc — was that intentional?
I’m truly inspired by Monome’s aesthetic, and I have great respect for Brian and Kelli’s work. They are absolute pioneers in this field. I’ve been a Grid user since 2012. Back then, my Max/MSP skills were non-existent, but I was eager to work with Monome. That’s why we implemented Grid compatibility in MONOLIT as well.
So of course, the MONOLIT shares some aesthetic similarities with Monome — though it wasn’t necessarily intentional. I used the same screen as Norns simply because that’s what I had at the time of development, and I didn’t bother looking for another one.
Do you plan on adding templates for certain synths? And do you think adding SySex functionality for older synths would be possible?
We already have updates planned that will last at least a couple of years, and SySex is one of the features we aim to implement. In the near future, we’ll release a web interface and enable preset sharing. We plan to publish templates for different devices on our website and we’re also working on adding various sequencers and generative tools.
Do you have plans for adding MIDI input processing (like delays) and scale support (Scala) for non-standard tunings?
We have big plans for adding new features to the MONOLIT. Initially, it was envisioned as a highly complex device, but during development, we realized the importance of finding the right balance — releasing it at a stage where it is already a standalone, competitive product. That’s why some features were set aside for future updates, and we will continue to expand its functionality. We also constantly receive feedback from users and strive to meet their needs. If a particular request appears frequently, we prioritize it.
How long did it take you to develop the MONOLIT, from the initial idea to actually shipping the first devices?
Development took about a year. During this time, I had to learn CAD 3D modeling and figure out how to work with the factories that produce all the components. Each device is then assembled by hand [by us in Japan], so you could say that every MONOLIT is truly a hand-made product.
What does the future of the MONOLIT look like?
The MONOLIT has already established itself as a universal bridge between various devices, controllers, and even gamepads. We’re exploring the idea of developing hardware add-ons for the MONOLIT, including new control elements and sound engines. While these are just concepts, we’re excited to explore this direction further.
At the same time, we don’t position ourselves purely as a company that makes musical instruments. Our focus is broader, including industrial design, art, fashion, and technology. We’re open to custom projects and collaborations with different artists and brands.
Personally, I’m particularly interested in creating products that help develop creative abilities in children. We hope the MONOLIT will be the first step toward creating even more diverse and inspiring projects.
Do you already have ideas for further devices?
Oh yes, I have so many ideas — far too many! But for now, we’re focusing on the simplest and most achievable ones. One of my dreams is to create a highly intuitive and high-quality hi-fi device for live sets. I understand that laptops and [Elektron] Octatracks aren’t going anywhere, but my goal is to make the process more fun and engaging.
What is your personal approach to music making?
I use a wide range of DAWs and hardware instruments, I don’t limit myself to any specific tools or workflows. Sometimes, I achieve the desired result just by tweaking things in Ableton Live, while other times, I record intricate soundscapes using high-end gear — tape, microphones, and acoustic instruments, depending on the project. Each approach has its place, but my personal favorites are definitely sampling and granular synthesis. I love Akai samplers and enjoy working with genres like ambient, glitch, and hip-hop.
To you, what is the best thing about living in Japan — and is there anything you miss sometimes?
I really enjoy living in Japan. I’ve found more like-minded people here than anywhere else. Even though I’m not fluent in Japanese, I still feel comfortable in this environment. What I miss the most is time — there’s so much I want to do, but there are only 24 hours in a day. I love traveling around Japan, I enjoy the food, and here is where I first started cycling, which has become a kind of meditation for me — many ideas come to me while riding through the city or along the Edogawa River.
Strangely enough, I don’t feel the urge to travel to other countries, even though I’ve been to many. There are only a few places left on my list that I’d like to visit in my lifetime, but overall, I feel completely at home in Japan.
Will you be at the SuperBooth this year?
I don’t have any concrete plans to attend exhibitions at the moment, but I’d love to visit — and not just music-related events, but also design-focused ones. Nothing is planned yet, but it would be great to connect with colleagues from different countries. I’m still new to this scene, so it would be an interesting experience. I’ve already attended Modular Tokyo as a visitor and met some incredible people there — encounters like these are always inspiring.
What are three old things and three new things that you currently like?
Haha, this is a great question! I can’t name anything specific, but old things are always right, and new things always argue with them — I enjoy watching that dialogue.
You can find out more about the MONOLIT (as well as order) over at the Light Reft website.