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Description
Source Audio SA164 Neuro Hub V1 Midi InterfaceThe Neuro Hub v1 from Source Audio is designed to help you integrate all of your Soundblox 1, Soundblox 2, Soundblox Pro, and One Series pedals into a single system. In conjunction with One Series and Soundblox 2 stompboxes, you can even store the settings of every pedal into a scene and recall it later at will, though you will need a separate device to select among scenes once youve made your presets. If you wish to stay within the Source Audio
The Neuro Hub v1 from Source Audio is designed to help you integrate all of your Soundblox 1, Soundblox 2, Soundblox Pro, and One Series pedals into a single system. In conjunction with One Series and Soundblox 2 stompboxes, you can even store the settings of every pedal into a scene and recall it later at will, though you will need a separate device to select among scenes once you’ve made your presets. If you wish to stay within the Source Audio ecosystem, the Soleman is good choice for this application.
Connections include MIDI In and Out/Thru via standard 5-pin DIN jacks, as well as conventional expression control through a passive 1/4" TRS input. Five 3.5mm Multi-function outputs facilitate both analog and digital communications among compatible Source Audio pedals, while the Sensor input connects to Hot Hand enabled technologies. The Hub also sports a mini-USB port for interfacing with your computer—indeed, used in this manner, the Hub appears as a MIDI interface.
Hub Manager software, compatible with Windows and Mac computers, is included with the unit, and allows you to create, edit, name, import, or export scenes. You can even share your pedalboard presets with other users of the Hub, if you so desire, or keep them to yourself, so your secrets remain under wraps. This decision cannot be made for you. The important thing is that with this device and its corresponding software, you can assign external control to any compatible Source Audio pedal in the chain, and also, save presets for recall at a later date.
Features
- Standard 5-pin MIDI In and Out/Thru.
- Passive Expression Pedal input, and Hot Hand Sensor input.
- Connect up to five One Series and Soundbox 2 pedals via the multi-function ports.
- Save and Recall up to 128 multi-pedal “Scenes” via MIDI program changes.
- Access, Edit, and Save pedal presets and scenes via USB port to Mac or Windows.
- Compatible (but with no Scene Saving) with Soundblox 1 and Soundblox Pro pedals.
Controls
- Scan Devices: Press this button to make sure the Hub is properly connected to all routed pedals. Pressing and holding this button for two seconds will save a scene into one of the 128 available slots, effectively taking a snapshot your entire pedalboard and enabling instantaneous switching of multiple effects boxes at once. The Hub v1 uses MIDI PC messages for saving and recalling scenes, so you’ll need an external MIDI device or a computer to set the location of memory locations.
- Recall Last: This button will recall the scene corresponding to the last MIDI Program Change number received. In conjunction with the software, pressing and holding this button for two seconds puts the Hub into Copy mode, wherein the device will ignore any incoming MIDI Program Change messages and allow you to cycle through PC numbers until you get to the desired slot.
Connections
- Sensor Input: Connect a wireless Hot Hand receiver or wired Hot Hand device in this port. The connected Hot Hand unit will be powered directly from the hub, and Hot Hand signals will rout in digital or analog mode to any connected device.
- MIDI In and Out: These 5-pin DIN MIDI jacks are here to connect a MIDI controller, or provide MIDI Out/Thru (configurable through the Hub Manager application).
- Expression Input: Connect a passive expression pedal here with a stereo 1/4" cable. If you’re using a third-party pedal, the connection must be “tip hot” and the value of the internal pot on the pedal should be in the 10- to 50-kOhm range to achieve optimal results.
- Multi-Function Outputs: Connect the Multi-Function input of any Soundblox 2 pedal to these inputs via the included—or separately purchased—daisy-chain/sensor cables. You can also connect these outputs to the Sensor inputs of a Soundblox Pro or Soundblox 1 Pedal. Soundblox 2 pedals will recognize this connection, change to digital-communication mode, and send information back and forth across the pedals. The other series of pedals—Soundblox 1 and Soundbox Pro—can only use these ports in analog mode.
- USB: Use this port to connect to your computer with the included mini-USB cable. The Hub will communicate automatically with the computer, and can be used with the Hub Manager application. The Hub will also appear as a MIDI device for outputting MIDI directly to your Soundblox 2 pedals from a computer without requiring an additional MIDI interface.
Specifications
| Controls | RECALL LAST button SCAN DEVICES button |
| I/O | 1 x 1/4" Expression input 1 x 5-pin DIN MIDI input 1 x 5-pin DIN MIDI output 1 x 3.5 mm Sensor input 1 x mini-USB port 5 x 3.5 mm Multi-Function outputs |
| Power Requirements | 9 VDC at 40 mA, up to 80 mA with Hot Hand accessories |
| Dimensions | 3.8 x 2.1 x 1.4" / 9.7 x 5.3 x 3.6 cm |
| Weight | 6.0 oz / 170.1 g |
Packaging Info
| Package Weight | 0.885 lb |
| Box Dimensions (LxWxH) | 6.5 x 4.3 x 2.6" |
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4.5 ★★★★★
Based on 6 reviews
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Product Reviews
★★★★★ 5
One Of My Top Ten Movies
It's a Terry Gilliam masterpiece that blends a touch of Monty Python, Twilight Zone, and Broadway! Worth the watch!
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Reviewed in the United States on May 3, 2026
★★★★★ 5
Visually Brilliant, Darkly Funny, and Still Uncomfortably Relevant
I rented Brazil through Amazon primarily because I’d heard it described as a dystopian sci-fi classic, but I wasn’t fully prepared for just how strange, creative, and visually dense this movie actually is. It feels like George Orwell had a stress dream after getting trapped inside a malfunctioning government office building designed by someone obsessed with ducts and paperwork.
The film does an incredible job blending dark comedy, bureaucracy, paranoia, retro-futurism, and outright absurdity into something that somehow still feels coherent. The world-building is fantastic in a very grimy, claustrophobic way where technology exists everywhere but almost none of it works properly. Everything feels intentionally inefficient and overcomplicated, which makes the setting weirdly believable.
Jonathan Pryce does a great job playing a character slowly unraveling under the weight of an increasingly surreal system, and Robert De Niro’s appearance is memorable despite limited screen time. The production design is honestly one of the standout elements of the entire film. Nearly every scene has some strange visual detail happening in the background that adds to the oppressive but oddly humorous atmosphere.
This definitely is not a fast-paced mainstream sci-fi movie, though. The pacing can feel slow at times, and the tone swings between satire, anxiety, fantasy, and bleakness in ways that probably won’t work for everyone. It’s the kind of movie where you occasionally stop and think, “What exactly am I watching?” while still wanting to keep watching.
The Amazon streaming quality itself was good with no playback issues during my rental, and the film benefits from a decent screen because there’s so much visual detail packed into the sets and cinematography.
Overall, Brazil is one of those movies that feels increasingly relevant the older it gets. Strange, unsettling, funny, visually inventive, and much more layered than I expected.
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Reviewed in the United States on May 23, 2026
★★★★★ 4
Beautiful, glorious, and depressing but not without levity
Probably Gilliams most serious film, a story of a dreamer in a dystopian bureaucratic future, plagued by monotony and endless paperwork, our protagonist (played by Jonathan Pryce) isn't sure what he wants in his life, but he knows he wants something different. When the Department of Information Retrieval disappears the wrong person (played by Robert De Niro), our hero goes to reimburse the widow and discovers a woman living in the same building who looks like the woman out of his dreams (played by Kim Greist).
Really stellar performances by Pryce, and a gaggle of supporting actors such as Ian Holm, Michael Palin, Kathrine Helmond, and Bob Hoskins. Greists performance is probably the weakest, but she does enough for the role that the critique of it amounts to a nit pick really.
While this film is considered a cult classic, I would qualify it even less and say its just a classic, full of symbolism with a increasingly repressive tone throughout balanced by Gilliams puncturing, dark humor.
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Reviewed in the United States on September 29, 2024
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
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Reviewed in the United States on April 27, 2026
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
]
On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters.
(Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.)
All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut.
Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985.
I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail:
*In the 132-minute version you cut from Sam in bed with Jill, police sack goes
over head, then CUT TO Pull off police sack to reveal Sam in Torture
Chamber/Interrogation chair. This one cut is simply brilliant and very powerful.
In the Criterion Version you have the added scene of Mr. Helpman as Father
Christmas (completely out of charcater from the rest of the film) and the whole
interrogation scene of Sam hanging from the rack inside the police/mail pouch
which becomes narratively redundant and dilutes the impact of the final scene.
*To end it with cooling tower/interrogation room fade to clouds was a great Gilliam
wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to
the European cut of just credits over cooling tower/interrogation room.
*The Samurai Scene is divided into 3 separate scenes in the 132-minute version
versus 1 LONG scene in the European cut. And you know what? Like most things,
it works better in 3's.
*The 132-minute version cuts straight to the Dinner Scene with Ida (his mother)
ordering numero deux, trois, etc. while the European version has the entrance to
the restaurant of going through the metal detector which really doesn't add
anything and is again a bit redundant when the bomb does eventually go off in
the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert.
*And finally I just love that the 132-minute version opens on those clouds (outtakes
from The Never-Ending Story) then goes to the Central Services advert about
Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version
also has the clouds opening (The Original European Cut didn't) but it's funny
because the Studio asked Gilliam to start off with the clouds for the US Cut and he
actually prefers it as quoted in his Director's commentary. Hilarious.
Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011