Medieval
Teenage Engineering’s new EP-1320 “Medieval” sampler-groovebox – a re-skinned, slightly upgraded EP-133 packed with medieval and dungeon-synth style sounds – is drawing equal parts admiration for its playful, art-forward design and skepticism about practicality and price. Commenters debate TE’s broader ethos: are these well-crafted instruments that inspire creativity, or expensive, fragile toys aimed at design-conscious collectors and hobbyists prone to gear acquisition syndrome? The launch also revives criticism of TE’s role in the Rabbit R1 fiasco and raises questions about form vs. function, longevity, and whether such niche hardware adds real musical value beyond what software and cheaper gear can provide.
Product & concept
- EP-1320 “Medieval” is seen as a themed variant of the EP-133 K.O. II: a medieval‑instrument sampler/groovebox aimed at bardcore/dungeon synth rather than historically accurate medieval music.
- Many find the idea joyfully absurd and unnecessary yet delightful; others view it as pure gimmickry and unnecessary consumerism.
Hardware / firmware vs EP-133
- Reported differences: 128 MB memory (96 MB factory medieval samples + 32 MB user space) vs 64 MB/999 samples on EP‑133.
- New firmware: arpeggiator, new punch‑in and send effects; otherwise largely the same engine.
- Some ask whether there’s any reason to prefer the original purely on capability; answer in thread leans “no,” aside from personal taste and sample set.
Design, website, and manual
- Strong praise for industrial design, medievalized 10‑segment display, and overall art direction; some call the display “attention to detail” and likely expensive.
- Website and SVG manual are admired but criticized for zoom limitations and all‑caps body text.
Usability, UX, and reliability
- Mixed experiences: some find the KO/EP series fun and inspiring; others describe the KO II as frustrating, with limited time signatures, single FX at a time, no real project save, unpredictable pad velocities.
- Prior EP‑133 hardware issues (“slidergate”) are said to be fixed, but a few report dead keys, non‑booting units, or unresolved knob problems and weak support.
- Several characterize TE interfaces as whimsical and obfuscating compared to more “instrument‑first” brands.
Target market, pricing, and consumerism
- Common view: TE sells high‑margin, design‑forward “toys” or interactive sculptures to well‑heeled enthusiasts and collectors, not primarily working musicians.
- Others counter that many real musicians do use TE gear, and that “fun,” inspiration, and hobbyist enjoyment are valid ends in themselves.
- Gear Acquisition Syndrome (GAS) and parallels to audiophiles, Eurorack, and luxury cars/watches are extensively discussed.
Teenage Engineering ethos & Rabbit R1
- Some distrust TE after the Rabbit R1 episode and see deep ties beyond a simple design contract.
- Critics argue TE prioritizes aesthetics over user feedback and basic functionality; defenders say their products are still capable instruments, just highly styled.
Musical context & tuning
- Thread links bardcore, dungeon synth, and neo‑medieval trends; several resources shared.
- Discussion notes Medieval supports modal scales in 12‑tone equal temperament but not historically medieval temperaments (meantone, Pythagorean), seen as a missed opportunity for authenticity.
Marketing video, LEDs, and DIY
- Promo video draws comparisons to surreal/arthouse cinema; some briefly wonder if it’s AI‑generated but others confirm it’s real footage and on‑brand for TE.
- Technical curiosity around the curved “7‑segment” numerals leads to speculation about custom 10‑segment LED modules plus masks/light‑pipes and DIY techniques to mimic them.