EP-40

Teenage Engineering's approach to gear design has always been about radical focus—strip away everything except what matters—and the EP-40 Riddim takes that philosophy and points it directly at Jamaican sound system culture, the birthplace of dub and reggae production. Released in late 2025, this isn't a generic sampler dressed up in reggae aesthetics; it's built from the ground up with input from legendary producers like King Jammy and Mafia & Fluxy, making it feel less like a themed product and more like a tool that actually understands the music it's meant to make.

The hardware itself is refreshingly compact at 240 x 176 x 16mm—thin enough to slip into a bag, sturdy enough to handle real use. You get 128MB of system memory with 32MB reserved for your own samples, a 46kHz/16-bit sampling engine, and the ability to record directly through the built-in microphone or a 3.5mm input jack. The synth engine, called Supertone, handles subtractive synthesis for bass and lead design, giving you real sound-shaping power beyond just triggering the 300-plus handcrafted instruments in the library. Polyphony maxes out at 12 stereo voices or 16 mono voices depending on your needs. The control layout includes pressure-sensitive pads, a dedicated dub siren, and punch-in effects that let you shape sounds in real time. Connectivity covers the essentials: stereo I/O, MIDI in/out, sync in/out, and USB-C for power and data. Four AAA batteries keep it portable, or plug in USB-C when you're tethered to a power source.

The launch bundle pairs the EP-40 with the EP-2350 Ting, a lo-fi handheld performance microphone that's genuinely useful rather than a gimmick. The Ting has four voice effects (echo, spring reverb, pixie, robot), four sample trigger buttons, a modulation lever for real-time parameter tweaking, and its own battery or USB power. It connects directly to the EP-40 or any sound system, turning the whole setup into a genuinely portable performance rig. The community response has been strong—people appreciate that Teenage Engineering didn't just slap reggae samples onto an existing platform but actually engineered the workflow and sound design around how dub and dancehall producers actually work.