Experimental synth specialist Soma Laboratory has announced WARP, a new desktop multi-effect unit designed for both studio and stage use.
Soma is describing Warp as an ‘all-in-one creative companion’ that can be used with synths, guitars, vocals or any other acoustic or electronic sound source.
WARP features 15 digital effect types that take in reverbs, granular effects, filters, micro-loopers, modulation effects and more. In typical Soma fashion, many of these effects are capable of doing unusual and creative things that push them beyond typical applications. The spatial effects, for example, are said to have extremely long decay times with feedback that can be pushed into self-oscillation.
Those spatial effects are also capable of creating pitch-shifted, reversed and lo-fi reverbs. According to its creator, these algorithms are capable of “creating endless, rich, lively soundscapes out of almost any sound.”
To help keep control of these extreme sounds, Warp’s generative effects include dedicated modules to control the feedback and sound level, which Soma says maintains “reasonable headroom and tonal aesthetic”.
Similarly, the company boasts of Warp’s ‘top class’ audio chains, 32-bit digital processing and 24-bit/48KHz AD/DA converters, which, according to Soma, “prevents sound deterioration – even while processing a complete mix”.
Further creative tools include a flanger, bit/sample-rate reduction and vintage tape simulation. Every effect type, according to Soma, includes unusual functions giving each a unique flavour.
Although overtly creative effects appear to be Warp’s speciality, Soma states that it is equally capable of more conventional bus and master channel mixing applications, making use of its filters, compressors and distortion functions.
Four knobs on the unit’s interface provide control over the selected effect type, each of which can also be controlled via CV, allowing for Warp to be integrated into a Eurorack or analogue hardware setup.
The unit itself is fully stereo with stereo inputs and outputs, compatible with both balanced and non-balanced connections. There are gain controls for both the inputs and outputs, as well as a mix control for the dry/wet balance.
WARP will be shipping early next year priced at €560. Find out more at the SOMA Laboratory website.
After several weeks of speculation, Swedish instrument manufacturer Teenage Engineering has officially unveiled two new products – the EP-40 Riddim sampler and EP-2350 Ting, a handheld lo-fi microphone with built-in effects designed to be paired with Riddim – deeply inspired by reggae, dancehall and sound system culture.
EP–40 riddim is a powerful sampler, sequencer and composer built for expressive live performance.
The EP-40 Riddim is a variation of the EP-133 K.O. II sampler, released in 2023, based on the same hardware but with updated software, sounds and aesthetics. (This isn’t the first themed take on the EP-133 – in 2024, the company released a medieval-themed version.)
Described as a “complete rhythm and bass system”, EP-40 is equipped with an extensive library of over 400 artist-designed instruments, one-shots and loops. The company has enlisted the talents of some genuinely legendary figures in developing the EP-40’s sounds, working with both King Jammy and Mad Professor – two renowned reggae producers – and a long list of reggae and dancehall artists from across the globe.
EP-40’s sounds are divided into four instrument-themed banks spanning Drums, Bass, Keys and FX, and these are joined by chord stabs, vocals and multisampled instruments like guitar and melodica. A key difference between EP-40 Riddim and EP-1320 Medieval is that you are now able to delete the factory sounds to take advantage of its 128MB memory, which gives you twice as much storage as the original EP-133.
Both the EP-133 and EP-1320 were entirely sample-based, but EP-40 introduces a synth engine to the range for the first time. Equipped with nine presets, Supertone is a basic subtractive synth that Teenage Engineering says is capable of producing “classic bass and lead tones” and reggae-inspired dub sirens.
In addition to the new synth and sound library, EP-40 introduces new functionality to the sampler. Samples can now be looped thanks to a new Loop mode that joins One Shot, Keyboard and Legato in the sampler’s selection of Sound Modes, which adjust the way a given sample is played. Select Loop Mode and a sample will continuously loop in the background once you hit play, muting and unmuting when you tap the relevant pad.
EP-40 also brings two new features designed specifically for playing live. Live-State is a new mode that enables you to disable buttons and even entire features on the device that you don’t want to use while performing, temporarily simplifying the EP-40’s workflow to make it a more streamlined tool for live performance. Live-State also introduces pitch-shifting when you change the project tempo, imitating the effect of slowing down a vinyl record.
Speaking of live performance, Teenage Engineering has also released a battery and USB-powered microphone designed to be paired with EP-40 for live vocals: EP-2350 Ting. The mic has a gritty, lo-fi tone by design and features four built-in vocal effects (a dub-style echo and spring reverb, along with two pitch-shifted effects) and four “party samples” that can be triggered via the mic itself. Ting connects to Riddim (or any other device) via the attached 3.5mm cable.
EP-40 is the same instrument as the EP-133 K.O. II. That means it’s equipped with a 46kHz/16-bit sampling engine with 12 stereo/16 mono voices, velocity- and pressure-sensitive pads, a built-in mic and speaker and can be powered by 4x AAA batteries or USB-C. Effects are the same, aside from a new vintage-style phaser, and a few of the punch-in FX have been tweaked to play nicely with the new Loop mode. I/O covers stereo audio in/out, MIDI in/out and sync in/out over 3.5mm TRS.
EP–40 riddim features:
12 stereo / 16 mono poly voices
128MB system memory
subtractive synth engine
grid-synced loops
9 user editable projects
7 main fx and 12 punch-in™ fx
pressure sensitive keys and multifunctional fader
sampling frequency: 46 kHz / 16-bit
stereo in/out, sync in/out, midi in/out and usb-c
dimensions: 240 x 176 x 16 mm | 9.5 x 7 x 0.7 in
EP–2350 ting features:
4 live voice effects: echo, echo+spring, pixie, robot
4 replaceable samples to trigger straight from the mic
live adjustable effects parameters
line out on 3.5 mm curly cable
lo-fi by design
More than a few eyebrows were raised in our office when the EP-40 was leaked in September – it’s fair to say that a reggae-themed sampler wasn’t the next release that any of us expected from the Swedish manufacturer. Channelling a different culture for inspiration can be a dicey task, and it’s one that should be undertaken with respect and sensitivity – especially considering the recent devastation caused in Jamaica by Hurricane Melissa.
Fortunately, it seems that’s exactly what Teenage Engineering has done. The EP-40 Riddim looks like much more than just a reskinned EP-133 with a few reggae sound effects tossed in. It’s a project that’s been shaped by field research, studio sessions and community workshops, guided by the influence of established artists embedded in the scene and inspired by a reverence for reggae, dancehall and sound system culture. What’s more, Teenage Engineering is donating a portion of the profits from the EP-40 to Red Cross to support their recovery efforts in Jamaica.
Teenage Engineering EP-40 riddim is priced at $329. For a limited time, the EP-40 will ship with the EP–2350 ting microphone included at no extra cost. The EP-2350 will be available to purchase separately at a later date.
Launched in 2016, Arturia’s KeyStep MIDI controller was a slim and minimalistic 32-note keyboard that squeezed an impressive level of functionality into a portable, reasonably-priced package.
Today, Arturia has launched KeyStep mk2, a major upgrade that brings an OLED display, USB-C connectivity, new generative tools and a redesigned sequencer and arpeggiator to this popular controller.
Arturia is pitching KeyStep mk2 as “the ultimate compact controller and sequencer” for both DAWless workflows and computer-based set-ups, maintaining the “core essence” of the range while introducing a raft of significant improvements.
KeyStep mk2 features the same 32-key slim keybed with velocity and aftertouch as its predecessor, but this has been complemented by an OLED screen and clickable encoder, meaning all editing is now directly accessible from the hardware, a task that previously entailed the use of Arturia’s Control Center software.
On the hardware front, Arturia has added a power switch, swapped the USB Micro-B connection from KeyStep mk1 for a USB-C port and added an extra CV output. In total, KeyStep mk2 offers four 3.5mm CV outputs, MIDI In/Out over 5-pin DIN, analogue sync in/out and a 1/4″ sustain pedal jack – a healthy amount of connectivity for such an affordable controller.
KeyStep mk2 introduces a number of new tools for idea generation and manipulation, including a new Mutate function, which allows for one-touch transformation of patterns and sequences, accessible via the dedicated Mutate button.
The sequencer has been upgraded with support for unquantized recording and pattern chaining, and the arpeggiator has been bolstered with eight new modes. Scale and Chord Modes have been brought over from the KeyLab Mk3, while the new Spice and Dice functions (first seen on the MicroFreak) allow you to create randomized variations on sequencer and arp patterns in real-time.
Here’s KeyStep mk2 Overview:
Arturia KeyStep mk2 is priced at $169. Find out more on Arturia website.
