Teenage Engineering’s new Field Desk costs just as much as you’d expect and then a little bit more
Go on, have a guess…
If you thought we’d already reached ‘peak Teenage Engineering’, then wait until you get a load of this. The company has just announced the Field Desk, a simple-looking piece of minimalist flatpack studio furniture that somehow manages to cost $1,599/£1,599.
For that kind of money, you might expect to get a synth or two to sit on the desk included in the price, but no.
Field desk is the first product of TE’s new open-ended field rail system, an ongoing project that’s based on interconnecting rails that can be used to build your own furniture and accessories. All rails and clamps are produced by Scandinavian manufacturer Hydro using their engineering-grade, 75% recycled aluminium.
The actual desktop, meanwhile, is made from double-sided formica birch plywood. The idea here is that, if the surface gets worn and you fancy freshening things up, you can just turn it over.
Unlike many cheaper desks, the Field Desk doesn’t come with any drawers, but fear not - you will soon be able to buy accessories such as a custom storage tray and tape holder, or you can add your own using m5 screws.
And, of course, it'd also be the perfect platform for your OP-1 Field ($1,999), TX-6 mini mixer ($1,199), Field Notebook ($12) and Field Bottle ($29).
Based on the photos, we struggle to understand how the Field Desk costs as much as it does, but maybe we’re missing something. We’d still be more inclined to head to another Swedish store for flatpacked studio furniture, though, not least because we’d also be able to have some meatballs while we’re there. You can also check out our guide to the best studio desks for some other options.
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Find out more about the Field Desk on the Teenage Engineering website.
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.