The Teenage Engineering OP-1 Field finally gets undo.
Without undo, recordings made in Tape Mode can’t be undone without scrubbing the whole thing.
The lack of undo wasn’t an accidental oversight on Teenage Engineering’s part, but an intentional design choice made to mirror the experience of recording at home with a four-track tape machine.
This week, Teenage Engineering hit an undo button of their own by undoing their decision not to add undo to the OP-1 Field. The instrument’s 1.7.0 firmware update finally brings the feature to OP-1 Field’s Tape Mode, giving users the ability to make (almost) as many mistakes as they please with seven stages of undo, and even throwing in redo for good measure. (To access undo and redo once you’ve updated, just hold the Tape button and hit the left and right arrows.)
“15 years ago, we didn’t add undo to the OP–1 tape. we wanted to stay true to the feeling of recording at home with your 4-track,” Teenage Engineering says on its website. “But to be honest, sometimes it’s nice to get a do-over. that’s why we are undoing what we did, we’re adding undo.”
The firmware 1.7.0 update also brings a number of additional features to the OP-1 Field, including expanded MIDI control, improved external sync, and a MIDI monitor that helpfully displays incoming MIDI and sync in real time.
The OP-1 Field owners will be rejoicing at their newfound ability to make mistakes.
Auxy unveils Svensson, a minimalist keyboard built for instant music-making.
Today, Auxy has announced the release of the Svensson 49. It’s a 49-key home digital keyboard designed with a focus on accessibility, simplicity and ease-of-use, equipped with a built-in speaker and a semi-weighted, velocity-sensitive Fatar TP/9S keybed.
Auxy partnered with Cuckoo on the development of Svensson, a well-known YouTuber in the world of music technology. Cuckoo was the lead sound designer responsible for creating Svensson’s bank of around 100 presets, which are divided into four categories: Drums, Bass, Bread and Butter.
The first two are self-explanatory, and the other two cover everything else that falls outside of those categories: keys, leads, pads, plucks, organs and more, spanning both acoustic and electronic sources. Svensson’s sounds have a distinctly organic and expressive quality, with a touch more personality and character than the presets you’ll find in the average home keyboard; it’s clear that a lot of love went into designing these.
Developed in-house by Auxy, Svensson’s polyphonic sound engine uses a combination of samples and wavetables. Each sound has three macro controls – Tone, Mood and Shape – and each macro has been customized to offer a tailored variation on each sound, dialling in effects on an independent per-preset effects chain covering reverb, delay, chorus, phaser, compression, EQ, and various styles of distortion and saturation.
Svensson is equipped with a multi-track MIDI looper that can play four different sounds at the same time, and each of those sounds can be looped in multiple layers, with no limit on length. There’s a metronome onboard, a tempo control, and the looper has smart quantization that can be turned off.
Loops can be stored on Svensson to revisit later, and you can trigger loops from its memory via the keyboard.
Cuckoo Demonstrates Svenson 49 Walkthrough Video Below:
Svensson’s looper is triggered when you start playing, and can be used to go back and retrieve ideas you just played without hitting record.
On the hardware side, Svensson 49 is a sturdy instrument, with a metal chassis and solid oak sides, and the interface is clean, stylish and uncluttered, in keeping with the theme of accessibility. Auxy says that particular attention was paid to the design of the speaker, crafted by Swedish speaker guru Ingvar Öhman, which is “surprisingly loud” and benefits from a bass port on the instrument’s rear.
Connectivity includes two ¼” line outputs, a 3.5mm headphone output, and a sustain pedal jack, along with USB-A and USB-C for power.
Svensson is currently in pre-production, and preorders for a first limited batch will start soon, with shipping set for early fall 2026. While a final price hasn’t yet been determined, it’s expected to be around €899/$999.
“We struggled to find products that combine ease of use, inspiring features, and a quality build,” said Auxy’s Henrik Lenberg. “There are some great digital pianos out there, but we wanted something with more playful features, a broader range of sounds, a smaller form factor, and a design that feels at home in your living room.
“We wanted to make a great instrument for playing at home. Something that invites you to play and create in the moment. No need to read the manual or connect other gear. No menus to dive through. No modes to get stuck in. Just play, loop, and explore your musical ideas.
“A lot of music technology has been shaped around the idea that everyone can be a producer and make tracks for an audience. That’s great, but I think we’re moving in a direction where more people want to take part in music again, not only as listeners. People want to play to have fun, to be present, to learn, or to connect with others. Svensson was made for that.”
Ahead of Superbooth 2026, Expressive E today introduces the Osmose CE, a MIDI controllers based on the same expressive, MPE-enabled keybed as the French manufacturer’s Osmose synth. Available in 49- and 61-key versions, Osmose CE is priced at $999 and $1,199 respectively.
Released in 2023, the original Osmose put MPE-level expression into a traditional piano-style form factor, its full-size black and white keys offering three-dimensional control over its internal EaganMatrix synth engine, with per-note pitch bend, polyphonic aftertouch and specialized keybed gestures opening up new performative possibilities.
Osmose CE is based on exactly the same expressive keybed as Osmose, but ditches its EaganMatrix synth engine. In its place, Expressive E has developed Ctrl-e, a free companion plugin that gives users access to a library of expressive sounds that have been mapped and optimized specifically for the Osmose keybed.
This circumvents the issues with MPE configuration and routing that many users faced when using the original Osmose as a MIDI controller, providing players with a collection of more than 900 presets designed to respond intuitively to Osmose’s MPE control straight out of the box, with no setup headaches involved.
Custom-built to respond to Osmose CE’s seven expressive gestures (Tap, Press, Pitch Bend, Vibrato, Shake, Strum, and Note-Off), Ctrl-e’s presets can be browsed directly from the hardware when used with supported DAWs, and eight pre-mapped macros are available per preset. The sounds also take advantage of Osmose’s performance tools, like the MPE Arpeggiator and Press Glide, which allows for a dynamic portamento that reacts to the pressure placed on two notes on the keyboard.
As well as drawing on Expressive E’s own software instruments, Ctrl-e integrates multiple sound engines from a number of third-party developers, including Synapse Audio, AAS, Kilohearts, GForce, Dawesome and Vital. Collectively, these cover a variety of synthesis types, including wavetable, physical modelling and analogue modelling.
Outside of Ctrl-e, Osmose CE can function as a traditional MIDI controller, a fully-fledged MPE controller, or anything in between, and it’s equipped with dedicated DAW controls for transport, track and device navigation, and mixer control, which are currently compatible with Ableton Live, Cubase, Bitwig and Logic Pro.
On the hardware front, Osmose CE is decked out in a slick white aluminum, and weighs a tad more than the synth version at 10kg. You get 5-pin DIN MIDI In, Out and Thru, along with a USB-C port and two assignable pedal inputs.
Features:
Keybed – 49- or 61-key expressive keybed with per-note control
