EP-133 K.O. II: tools, mods & resources

Pick one master clock and split your gear into two sync worlds. The OP-1 field and the K.O. IIs speak MIDI clock, so run MIDI/USB from your master (the TX-6 works well as the hub) to those devices and set them to follow external clock. Pocket Operators don't do MIDI — they sync to an audio click on the left channel, so feed them a sync signal from a PO set to send sync, a dedicated sync box, or a MIDI-to-audio-sync converter, and chain the POs from there. Decide up front whether your MIDI master or your PO chain is the timing reference and derive the other from it, so everything starts from one tempo.

There are two versions: the original with 64MB of sample memory and a newer one with 128MB. They run the same firmware and behave identically — the only difference is how much sampling time you get, so the 128MB holds roughly twice as much material before you have to manage space. For learning the device the 64MB is plenty; the 128MB is worth the extra outlay if you sample a lot or want to future-proof. If you buy used, check the fader feel — some early units had a slightly finicky fader.

The EP-133 updates through the browser using WebUSB, which only works in a Chromium browser (Chrome or Edge) on a desktop — Firefox, Safari, and iOS/iPadOS don't support WebUSB, so the updater simply won't see the device there. Make sure you're on Chrome/Edge, use a USB-C cable that carries data (not a charge-only one), close any other app or browser tab that's connected to the unit, and try a different port. If it still doesn't connect, swap the cable before assuming the device is at fault — bad cables are the most common culprit.

Some early EP-133 units had reports of a finicky or unreliable fader, which the community nicknamed "fadergate." Later production runs and the 128MB units are generally reported as fine, but because it comes down to per-unit hardware tolerance rather than a single revision, the safe move is to test the fader's full travel on any unit you're buying — new or used — and use the warranty if it feels notchy, jumpy, or dead anywhere along its range.

Yes, it's a strong fit. Chopping breaks is exactly what it's good at: sample an Amen or any break, auto-chop it across the pads, and re-sequence it into new patterns, then record the result into your DAW for finishing. You don't need much memory for a handful of breaks, and it sits comfortably under $500. The main limits to plan around are finite polyphony and that mutes/solos are by group, so arrange your chops with performance in mind.

Yes — plenty of techno gets made on it. It's strong at exactly the things techno leans on: chopping and looping samples, building tight drum and bass patterns, arranging scenes into a track, and using the punch-in effects for filter sweeps and builds. The things to be aware of are finite polyphony and memory, and that mutes/solos work by group rather than per pad, so plan your kit with performance in mind. As a first sampler for that style it punches well above its size.