NAMM 2016 VIDEO: Teenage Engineering goes retro with new Pocket Operator synths

NAMM 2016: Teenage Engineering has produced another three portable synths from its pocket, and we're definitely pleased to see them. The PO-20 arcade, PO-24 office and PO-28 robot all have a retro vibe, and bring the number of instruments in TE's Pocket Operator range to six.

Design-wise, the new models look pretty similar to the original Pocket Operators (they all come with their own sequencers), but each of the new models offers its own sonic character and features. The PO-20 arcade has a chiptune vibe, the PO-24 office is a noise percussion drum machine, and the PO-28 robot features 8-bit synth engines.

Specs are below, and you can order all the new Pocket Operators now from the Teenage Engineering website. They cost €69 each.

New Teenage Engineering Pocket Operator features

PO-20 arcade

  • Arcade synthesizer and sequencer, with parameter locks, chord control and punch-in effects.
  • Rapid beat making and chiptune improvisation
  • Synthesized arcade sounds
  • 128 chord chaining
  • 128 pattern chaining
  • 16 sounds
  • 16 punch-in effects
  • Step multiplier

PO-24 office

  • Noise percussion drum machine and sequencer, with parameter locks, solo functionality and punch-in effects.
  • Sampled vintage hardware and real synthesizer engines
  • Solo control
  • 128 pattern chaining
  • 16 sounds
  • 16 punch-in effects
  • Step multiplier

PO-28 robot

  • Live synthesizer and sequencer, with parameter locks, glide control and punch-in effects.
  • Real 8-bit synthesizer engines for making live and sequenced melodies and leads
  • 15 sounds + micro drum
  • Live play + sequencer combo
  • 128 pattern chaining
  • Step multiplier
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Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.