Built on the same hardware platform as the KO II, the EP-1320 shares a lot of DNA with its sibling. But don\u2019t make the mistake of thinking this is just a simple reskin. While they may look similar under the hood, this device is very much its own beast\u2014designed to be a complete standalone instrument with a distinct personality, sound palette, and performance style. If the KO II is the urban beatmaker, the EP-1320 is the court jester with a broadsword and a sequencer.<\/p>\n\n\n\n
Let\u2019s dive into everything this quirky piece of gear does\u2014and why it might just be your next favorite sampler, even if you\u2019ve never set foot in a Renaissance Faire. <\/p>\n\n\n
![\"Teenage](\"https:\/\/altwire.net\/wp-content\/uploads\/2025\/04\/Photoroom_20250420_153930-840x473.jpeg\")
<\/figure>\n<\/div>\n\nSo, What Exactly Est<\/em> the EP-1320 Medieval?<\/h4>\n\n\nAt a glance, the EP-1320 is a “medieval beat machine<\/strong>” with pressure-sensitive pads, real-time effects, multi-track sequencing, and a healthy dash of absurd medieval flair. It\u2019s battery-powered (4 AAA), has a built-in speaker and mic, and fits easily in a backpack or satchel.<\/p>\n\n\n\nThe moment you power it on, you\u2019re greeted not by a sterile boot logo but by pixelated minstrels, castles, and shields on its custom display. Button labels are written in Latin-inspired text\u2014with options like Sonus<\/em> for sound, Ignito<\/em> for power, and Claves<\/em> for keyboard mode. And the sample library simply drips of medieval goodness. <\/p>\n\n\n\nAnd that\u2019s just the surface.<\/p>\n\n\n
Sound Engine & Sample Library: Where Ye Olde Meets Ye Bold<\/h4>\n\n\n
This thing comes pre-loaded with 96 MB of medieval-themed samples<\/strong> in it’s ROM memory, covering over 150 sounds. We’re talking hurdy-gurdys, lutes, flutes, battle drums, choirs, horse hooves, clanging swords, tavern fights and more. Most aren\u2019t just one-shots either. The melodic instruments are multi-sampled and looped, meaning you can play realistic phrases without awkward sample cutoffs.<\/p>\n\n\n\nIt\u2019s a playable medieval soundtrack out of the box, ready for scoring fantasy RPGs, dungeon synth records, or the weirdest mixtape of your life.<\/p>\n\n\n\n
You also get 32 MB of space for your own samples<\/strong>, recorded through the line-in or built-in mic. This may seem minimal, but believe me when I say that it is more than enough for a project, even if you record many samples. Where I do feel this could have been mitigated is if there were an option for a micro SD card, to expand memory. However, this isn’t a deal breaker.<\/p>\n\n\n\nSampling wise, the editing process is smooth: trim, normalize, set loop points, assign to mute groups, and you\u2019re off. <\/p>\n\n\n\n
Finally, regarding the built in samples: while there were issues in the past with preset samples being deleted with a factory restore on the KO II, Teenage Engineering has since made it so that the factory samples on this (and the KO II) for that matter can be restored with a factory reset. <\/p>\n\n\n
Sequencing: Deep, Flexible, and Surprisingly Powerful<\/h4>\n\n\n
At the heart of the EP-1320 is a flexible, high resolution sequencer. Each of your 9 projects holds 4 groups, and each group can store up to 99 patterns. Patterns themselves can be up to 99 bars long, with 12 tracks per pattern\u2014plenty of space for layering drums, melodies, textures, and more.<\/p>\n\n\n\n
You can program in real time by tapping pads or enter notes step-by-step. There’s quantization, swing, pattern chaining, and even several full songs for you to jam to \u2014 labeled \u201cdemus mode.\u201d<\/em><\/p>\n\n\n\nAnd yes, there\u2019s polyphony<\/strong>. Up to 6 stereo voices (or 12 mono)<\/strong> can play simultaneously. This is plenty enough for most medieval jam sessions or live sets.<\/p>\n\n\nEffects & Pocus: Sound Shaping with Personality<\/h4>\n\n\n
Teenage Engineering renamed the effects section \u201cPocus\u201d<\/em>\u2014a cheeky nod to medieval hocus-pocus. But make no mistake: there’s no need to be a witch or a warlock. The effects are easy to activate, and they sound great.<\/p>\n\n\n\nYou get seven send effects (delay, reverb, chorus, etc.), all tailored to the theme\u2014\u201cDungeon Echo,\u201d \u201cTorture Chamber Reverb,\u201d \u201cBardic Ensemble,\u201d<\/em> as well as a brand new “Dimension” <\/em>effect which uses a delay to separate the incoming signal. But those weren’t my favorite of the effects. No, instead, I truly enjoyed the live punch-in effects: the tape stops, reverses, stutters, and glitchy chaos\u2014all perfectly programmed on the EP-1320. <\/p>\n\n\n\nBest of all? You can assign these effects to the pressure-sensitive pads and record automation in real time<\/strong>. Want to mangle a lute loop into a ghostly swirl and resample it with gritty reverb? Two button presses. Done.<\/p>\n\n\nFader and Knobs: Your Hands-On Arsenal<\/h4>\n\n\n
To sweeten the performance workflow, the EP-1320 includes four assignable knobs<\/strong> and a side-mounted multi-purpose fader<\/strong>. The knobs can control anything from sample tuning and filter cutoff to effect parameters and envelopes. With a quick modifier key (labeled Altero<\/em>), you can access secondary functions per knob.<\/p>\n\n\n\nThe fader, on the other hand, can serve as a crossfader, a tape scrubber, a filter sweep, or even a live mix control between different patterns or groups. It\u2019s deeply assignable and instantly expressive\u2014one of the EP-1320\u2019s best performance tools.<\/p>\n\n\n
The New Arpeggiator: A Hidden Gem<\/h4>\n\n\n
Here\u2019s one big bonus: unlike the KO II, the EP-1320 includes a dedicated arpeggiator<\/strong>. It\u2019s perfect for repeating melodies, layering rhythmic runs, or programming classic hi-hat rolls on drums. It adds a melodic edge to a device already dripping in texture.<\/p>\n\n\n\nBetween the ARP, pressure-sensitive input, and real-time effects, you\u2019re never short on ways to make a pattern evolve and breathe.<\/p>\n\n\n
\n![\"\"](\"https:\/\/altwire.net\/wp-content\/uploads\/2025\/04\/Photoroom_20250420_154253-840x840.jpeg\")
<\/figure>\n<\/div>\n\nDesign & Interface: A Love Letter to The Medieval Era<\/h4>\n\n\n
I’ve spent a lot of time praising it’s performance, but let\u2019s be honest\u2014design wise, this thing is ridiculous in the best way. Every screen is filled with custom icons. The font looks like it came from a scroll. The quirky sounds can sometimes elicit a chuckle, because it’s just so unexpected in a sampler. This is one of those things you’d never think of yourself, but you’ll be incredibly glad Teenage Engineering did. It’s what the bards and medieval minstrels would play if they had AAA batteries or USB power. <\/p>\n\n\n\n
That said, the interface isn\u2019t always the easiest to manage for a newcomer to Teenage Engineering. While it was done to go along with the medieval vibes, the latin themed text can make it harder to locate standard functions like tempo, volume, or parameter values at a glance. The included manual does a great job of explaining these, however you\u2019re used to straightforward UIs, it may take a little more time to get up to speed. But once you learn the lingo (Sonus, Claves, Codex<\/em>), it becomes second nature\u2014and pretty fun to boot. Don’t let it intimidate you, because it truly is a fantastic device.<\/p>\n\n\n\nNow, one nitpick and it’s a minor one. I was told the number keys were supposed to smell like cocoa. All I smelt was plastic. Teenage Engineering, where’s my chocolate pads?! <\/p>\n\n\n
Where It Shines<\/h4>\n\n\n\n- Instant inspiration<\/strong> from a truly unique sound set<\/li>\n\n\n\n
- Fully portable<\/strong> with speaker, mic, and battery power<\/li>\n\n\n\n
- Excellent sequencing tools<\/strong> with long patterns and deep automation<\/li>\n\n\n\n
- Live performance features<\/strong>: pressure pads, punch-in FX, fader, and arp<\/li>\n\n\n\n
- Themed effects and interface<\/strong> give it loads of personality<\/li>\n\n\n\n
- Works well with external gear<\/strong> via MIDI and sync<\/li>\n<\/ul>\n\n\n
Where It Stumbles<\/h4>\n\n\n\n- Limited user sample space<\/strong> (only 32 MB)<\/li>\n\n\n\n
- Themed UI sacrifices some readability<\/strong><\/li>\n\n\n\n
- No SD card or memory expansion<\/strong><\/li>\n<\/ul>\n\n\n
\u00c0 qui s'adresse-t-il ?<\/h4>\n\n\n
That depends on what you want out of a sampler.<\/p>\n\n\n\n
If you\u2019re looking for a self-contained, creatively inspiring groovebox with a completely off-the-wall sound set and bags of charm, the EP-1320 delivers in spades.<\/p>\n\n\n\n
And frankly, it\u2019s not juste<\/em> for novelty. The sounds are genuinely usable. The workflow is tight. The added arpeggiator and sample looping give it an edge over the KO II in some creative scenarios. The EP-1320 is weird, yes, but weird with a purpose<\/strong>.<\/p>\n\n\n\nIt\u2019s hard not to love a sampler that invites you to write tavern bangers, record with goblin choirs, or resample a lute solo into a trap beat. For producers, sound designers, RPG musicians, or just gearheads who want something different, this thing is a riot.<\/p>\n\n\n
Final Thoughts: Ye Olde Studio Companion<\/h4>\n\n\n
Teenage Engineering\u2019s EP-1320 Medieval is here to inspire you, to make you laugh, to get your fingers tapping out grooves at a forest clearing or backstage at a Renaissance Faire.<\/p>\n\n\n\n
Under the middle ages-themed paint job, it\u2019s a clever, capable sampler with just enough quirks to feel magical. And at just $299, it’s an affordable entry into the Teenage Engineering family, in the event you’re not able to afford some of their more advanced machines. If you can embrace the fun absurdity it might become your most creatively fulfilling purchase yet.<\/p>\n\n\n\n
Sometimes, a sampler doesn\u2019t need to be serious. Sometimes, it just needs to party like it’s 1499. <\/p>\n\n\n\n
Check out more hardware reviews\u00a0ici<\/a>!<\/strong>
<\/p>\n\n\n\n<\/p>","protected":false},"excerpt":{"rendered":"
The moment you power it on, you\u2019re greeted not by a sterile boot logo but by pixelated minstrels, castles, and shields on its custom display. Button labels are written in Latin-inspired text\u2014with options like Sonus<\/em> for sound, Ignito<\/em> for power, and Claves<\/em> for keyboard mode. And the sample library simply drips of medieval goodness. <\/p>\n\n\n\n And that\u2019s just the surface.<\/p>\n\n\n This thing comes pre-loaded with 96 MB of medieval-themed samples<\/strong> in it’s ROM memory, covering over 150 sounds. We’re talking hurdy-gurdys, lutes, flutes, battle drums, choirs, horse hooves, clanging swords, tavern fights and more. Most aren\u2019t just one-shots either. The melodic instruments are multi-sampled and looped, meaning you can play realistic phrases without awkward sample cutoffs.<\/p>\n\n\n\n It\u2019s a playable medieval soundtrack out of the box, ready for scoring fantasy RPGs, dungeon synth records, or the weirdest mixtape of your life.<\/p>\n\n\n\n You also get 32 MB of space for your own samples<\/strong>, recorded through the line-in or built-in mic. This may seem minimal, but believe me when I say that it is more than enough for a project, even if you record many samples. Where I do feel this could have been mitigated is if there were an option for a micro SD card, to expand memory. However, this isn’t a deal breaker.<\/p>\n\n\n\n Sampling wise, the editing process is smooth: trim, normalize, set loop points, assign to mute groups, and you\u2019re off. <\/p>\n\n\n\n Finally, regarding the built in samples: while there were issues in the past with preset samples being deleted with a factory restore on the KO II, Teenage Engineering has since made it so that the factory samples on this (and the KO II) for that matter can be restored with a factory reset. <\/p>\n\n\n At the heart of the EP-1320 is a flexible, high resolution sequencer. Each of your 9 projects holds 4 groups, and each group can store up to 99 patterns. Patterns themselves can be up to 99 bars long, with 12 tracks per pattern\u2014plenty of space for layering drums, melodies, textures, and more.<\/p>\n\n\n\n You can program in real time by tapping pads or enter notes step-by-step. There’s quantization, swing, pattern chaining, and even several full songs for you to jam to \u2014 labeled \u201cdemus mode.\u201d<\/em><\/p>\n\n\n\n And yes, there\u2019s polyphony<\/strong>. Up to 6 stereo voices (or 12 mono)<\/strong> can play simultaneously. This is plenty enough for most medieval jam sessions or live sets.<\/p>\n\n\n Teenage Engineering renamed the effects section \u201cPocus\u201d<\/em>\u2014a cheeky nod to medieval hocus-pocus. But make no mistake: there’s no need to be a witch or a warlock. The effects are easy to activate, and they sound great.<\/p>\n\n\n\n You get seven send effects (delay, reverb, chorus, etc.), all tailored to the theme\u2014\u201cDungeon Echo,\u201d \u201cTorture Chamber Reverb,\u201d \u201cBardic Ensemble,\u201d<\/em> as well as a brand new “Dimension” <\/em>effect which uses a delay to separate the incoming signal. But those weren’t my favorite of the effects. No, instead, I truly enjoyed the live punch-in effects: the tape stops, reverses, stutters, and glitchy chaos\u2014all perfectly programmed on the EP-1320. <\/p>\n\n\n\n Best of all? You can assign these effects to the pressure-sensitive pads and record automation in real time<\/strong>. Want to mangle a lute loop into a ghostly swirl and resample it with gritty reverb? Two button presses. Done.<\/p>\n\n\n To sweeten the performance workflow, the EP-1320 includes four assignable knobs<\/strong> and a side-mounted multi-purpose fader<\/strong>. The knobs can control anything from sample tuning and filter cutoff to effect parameters and envelopes. With a quick modifier key (labeled Altero<\/em>), you can access secondary functions per knob.<\/p>\n\n\n\n The fader, on the other hand, can serve as a crossfader, a tape scrubber, a filter sweep, or even a live mix control between different patterns or groups. It\u2019s deeply assignable and instantly expressive\u2014one of the EP-1320\u2019s best performance tools.<\/p>\n\n\n Here\u2019s one big bonus: unlike the KO II, the EP-1320 includes a dedicated arpeggiator<\/strong>. It\u2019s perfect for repeating melodies, layering rhythmic runs, or programming classic hi-hat rolls on drums. It adds a melodic edge to a device already dripping in texture.<\/p>\n\n\n\n Between the ARP, pressure-sensitive input, and real-time effects, you\u2019re never short on ways to make a pattern evolve and breathe.<\/p>\n\n\n I’ve spent a lot of time praising it’s performance, but let\u2019s be honest\u2014design wise, this thing is ridiculous in the best way. Every screen is filled with custom icons. The font looks like it came from a scroll. The quirky sounds can sometimes elicit a chuckle, because it’s just so unexpected in a sampler. This is one of those things you’d never think of yourself, but you’ll be incredibly glad Teenage Engineering did. It’s what the bards and medieval minstrels would play if they had AAA batteries or USB power. <\/p>\n\n\n\n That said, the interface isn\u2019t always the easiest to manage for a newcomer to Teenage Engineering. While it was done to go along with the medieval vibes, the latin themed text can make it harder to locate standard functions like tempo, volume, or parameter values at a glance. The included manual does a great job of explaining these, however you\u2019re used to straightforward UIs, it may take a little more time to get up to speed. But once you learn the lingo (Sonus, Claves, Codex<\/em>), it becomes second nature\u2014and pretty fun to boot. Don’t let it intimidate you, because it truly is a fantastic device.<\/p>\n\n\n\n Now, one nitpick and it’s a minor one. I was told the number keys were supposed to smell like cocoa. All I smelt was plastic. Teenage Engineering, where’s my chocolate pads?! <\/p>\n\n\n That depends on what you want out of a sampler.<\/p>\n\n\n\n If you\u2019re looking for a self-contained, creatively inspiring groovebox with a completely off-the-wall sound set and bags of charm, the EP-1320 delivers in spades.<\/p>\n\n\n\n And frankly, it\u2019s not juste<\/em> for novelty. The sounds are genuinely usable. The workflow is tight. The added arpeggiator and sample looping give it an edge over the KO II in some creative scenarios. The EP-1320 is weird, yes, but weird with a purpose<\/strong>.<\/p>\n\n\n\n It\u2019s hard not to love a sampler that invites you to write tavern bangers, record with goblin choirs, or resample a lute solo into a trap beat. For producers, sound designers, RPG musicians, or just gearheads who want something different, this thing is a riot.<\/p>\n\n\n Teenage Engineering\u2019s EP-1320 Medieval is here to inspire you, to make you laugh, to get your fingers tapping out grooves at a forest clearing or backstage at a Renaissance Faire.<\/p>\n\n\n\n Under the middle ages-themed paint job, it\u2019s a clever, capable sampler with just enough quirks to feel magical. And at just $299, it’s an affordable entry into the Teenage Engineering family, in the event you’re not able to afford some of their more advanced machines. If you can embrace the fun absurdity it might become your most creatively fulfilling purchase yet.<\/p>\n\n\n\n Sometimes, a sampler doesn\u2019t need to be serious. Sometimes, it just needs to party like it’s 1499. <\/p>\n\n\n\n Check out more hardware reviews\u00a0ici<\/a>!<\/strong> <\/p>","protected":false},"excerpt":{"rendered":"Sound Engine & Sample Library: Where Ye Olde Meets Ye Bold<\/h4>\n\n\n
Sequencing: Deep, Flexible, and Surprisingly Powerful<\/h4>\n\n\n
Effects & Pocus: Sound Shaping with Personality<\/h4>\n\n\n
Fader and Knobs: Your Hands-On Arsenal<\/h4>\n\n\n
The New Arpeggiator: A Hidden Gem<\/h4>\n\n\n
<\/figure>\n<\/div>\n\nDesign & Interface: A Love Letter to The Medieval Era<\/h4>\n\n\n
Where It Shines<\/h4>\n\n\n
\n
Where It Stumbles<\/h4>\n\n\n
\n
\u00c0 qui s'adresse-t-il ?<\/h4>\n\n\n
Final Thoughts: Ye Olde Studio Companion<\/h4>\n\n\n
<\/p>\n\n\n\n