Frequently asked questions

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.

The stock samples are thin on their own, so fullness comes from layering and processing rather than one magic preset. Stack the same note across pads slightly detuned, double a part an octave apart, and play chords instead of single notes. Lean on the onboard effects — a touch of reverb, chorus, or compression thickens things fast — and tweak the envelope so notes sustain. Most of all, bring in better source material: sample a real synth or pad, or import richer multisamples (tools like EP-PatchStudio in this list make multisampling easy).

The K.O. II solos and mutes by group rather than by individual pad, so the trick is to arrange your kit with performance in mind: put the parts you'll want to drop in and out into their own groups, so a group solo/mute becomes an effective per-part mute. For finer control during a take, build pattern variations that include or omit specific pads and switch between them, or sequence the mutes into the song. It's a workaround rather than a true per-pad mute button, but grouping thoughtfully gets you most of the way there.

Each sound has a play mode that decides whether a pad gates (plays only while you hold it) or fires as a one-shot (plays the whole sample from a single tap). It lives in the sound's edit settings, not a global menu — select the pad/sound and change its play/trigger mode to one-shot. Set it per sound, so you can have, say, one-shot hits on your drum pads and gated playback on a sustained pad in the same kit.

A factory reset restores the built-in sound library, so start there. If a reset doesn't bring everything back (for example after you've overwritten sample slots), download the factory sample pack from Teenage Engineering's EP-133 K.O. II page and copy it back onto the device over USB. To audition a sound on a pad, press the Sound key, then a numbered pad, then use + / − to step through the library.

There isn't a single "un-chop" toggle — chopping reassigns that group's pads to the individual slices, so to go back you re-assign the pad. Hold the relevant pad and pick the original sample again (Sound, then the pad, then select the sample), which restores normal per-pad playback. To keep both versions, copy the original sample to a fresh, empty group before you chop, so the chopped layout lives in one group and the whole sample in another.

The K.O. II is a standalone sampler and sequencer: you sample anything (your voice, records, a synth, the radio), chop and tune it across pads, sequence it into patterns and songs, and add effects — all without a computer. Its appeal isn't that it does something a DAW can't, but that it pulls you off the screen and into a fast, hands-on, happy-accident workflow that's great for sketching beats and ideas. It's a groovebox, not a deep synth, so think of it as a sampling sketchpad alongside your DAW rather than a replacement for it.

The Sidekick is an add-on that gives the EP line a proper audio interface, extra inputs/outputs, and mixer-style routing plus effects, so it shines if you want to record stems into a DAW, bring in external instruments, or perform with more I/O. If you've only just got a K.O. II and are still learning the basics, it isn't essential and you may not use its strengths yet. It's relatively inexpensive and widely stocked (and returnable), so a common approach is to grow into the K.O. II first and add the Sidekick once you hit its limits.

The EP samplers can drive outboard gear: they send MIDI out (over the sync jack and over USB), so you can use the pattern sequencer to play external synths and drum machines, not just internal samples. It's a capable but fairly basic MIDI sequencer — great for laying down parts for a synth from the same workflow you already know, but it isn't as deep as a dedicated MIDI sequencer for things like lots of CC automation or many independent MIDI channels. For a simple, fast "sample box that also clocks and sequences my synth" it works well.

Not really — the official EP Sample Tool (and the community desktop tools) run on a computer, not on iPadOS, so there's no full backup/restore path from an iPad alone. If you're travelling light, the practical advice is to bring a laptop when you'll need backups, and otherwise avoid factory resets on the road, since a reset without a backup wipes your projects and any custom sounds. Plan your trip around having a backup made before you leave.

Don't drag files in one at a time — use a tool that does the batch import for you. Teenage Engineering's official field/EP sample tool lets you load a whole folder of samples and write them to the device in one pass, and if the pack ships as a full backup you can restore it as a project/backup instead. Community tools like EP-PatchStudio and the EP toolkit (both in this list) also handle bulk import and device management. Whichever you use, back up your current content first, since restoring a backup can overwrite what's already on the unit.

Yes. The EP samplers share the same sample format, so the factory packs from the EP-133 K.O. II and EP-1320 Medieval can be imported onto the EP-40 Riddim (and the other way around) using the EP sample tool or a community tool like EP-PatchStudio. The catch is memory: the EP-40 has limited storage, so you may not fit every pack at once — load the sounds you actually want rather than all of them. Back up the device first, since restoring a full backup can overwrite what's there.

Don't rename it to .zip — a .pak is the EP's backup/restore format, not a plain zip archive, so unzipping it by changing the extension generally fails. Instead, load it with the EP sample tool's "restore" function, which writes the contents back onto the device. If your goal is just to move a sample pack between EP units, it's easier to import the individual samples (or the source pack) with the sample tool — or a community tool like EP-PatchStudio — rather than wrestling with the .pak directly. Back up the target device first, since a restore can overwrite it.

They share the same core sampler engine but lean different ways. The EP-133 K.O. II is the do-everything one: sample anything, chop, sequence, and arrange full songs. The EP-40 Riddim is built around loop triggering and live, hands-on performance — its demo content is reggae-flavoured, but you can wipe that and use it for any genre, and a lot of people prefer it specifically as a live sample/loop launcher. The EP-1320 Medieval is the same idea with a medieval-themed sound set. Pick the K.O. II for general production and song-building, or the Riddim if live looping and quick triggering is your main thing.

Owners reach for a few options. Purpose-built cases cut to the device exist (see TEcases in this list); a popular off-the-shelf pick is the CTRL / Magma case, which is well padded and has room for cables; and any small hard case or camera-style bag that fits the unit works for backpack duty. Teenage Engineering's own folio offers light, slim protection but less impact resistance. Whatever you pick, make sure the fader and knobs aren't pressed on in transit.

Yes. The EP-40 Riddim, EP-133 K.O. II, and EP-1320 Medieval all share the same chassis and footprint, so a splash/silicone cover made for one fits the others. It gives the same light protection against dust and spills. (For carrying and impact protection rather than a surface cover, see the case options in this list.)

It comes down to samplers vs a synth. The EP-133 K.O. II and EP-40 Riddim are samplers — fantastic, affordable, and flexible, but they make synth sounds by you sampling or importing them rather than synthesising in the box. The OP-1 field has real synth engines built in, so if rich, tweakable synth tones are central to your sound it gets you there directly (at a much higher price). A common path is to start on a K.O. II to learn sampling and sequencing cheaply, then add an OP-1 field later if you find you want hands-on synthesis.

Definitely. The K.O. samplers are designed to be immediate: you sample a sound, tap pads to play it, and you're making a beat within minutes, which makes them great for a curious beginner or a rhythm-minded kid. The EP-133 K.O. II is the full-size one with the deepest features; if budget or ruggedness matters, the pocket-sized PO-33 K.O. is much cheaper and just as playful. Either is forgiving to noodle on, and the manuals are short — the main thing is the willingness to experiment.

The K.O. II's backup is a device backup meant for restoring to the unit, not a tidy folder of WAVs you can browse and edit on a computer. So you generally can't "open" a backup to pull out individual sounds. If you need the samples on your computer, keep your source files there in the first place, or resample/record the sounds out of the device. Use the backup for safekeeping and restore, not as an editable project export.

There's real overlap — the K.O. II can do most of what a Pocket Operator does and more — so a PO isn't essential. Where they earn their place is portability and immediacy: a PO lives in a pocket, so it's the thing you grab to capture a bassline or beat idea the moment it hits, then bring back to the K.O. II to flesh out. Specific models also have their own character (the PO-33 K.O. sampler, the PO-32 Tonic drums, the Sub bass). Treat it as a fun, cheap idea-scratchpad rather than an upgrade.

Plug into the EP's input and sample it like any other source — but mind the level. A guitar's pickups put out a weak, instrument-level signal, so going straight in tends to be quiet and thin. Put something in front to bring it up to line level and shape the tone: a DI box, a preamp/pedal, or an amp-and-cab simulator all work well, and an overdrive or amp sim also gives you a usable guitar sound rather than a clean DI. Once it's recorded you can chop and sequence it like any other sample.

You can order directly from Teenage Engineering's own store, which ships free in many regions — the trade-off is that shipping and support can be slow at busy times. For faster or more local options, buy from an authorized retailer such as Thomann, Perfect Circuit, Sweetwater, or Bax Music, which also gives you their returns and warranty handling. There's an active used market too, but check the fader and overall condition before buying second-hand.