Superbooth 2022: Teenage Engineering announces new OP-1 field - “louder, thinner and 100 times better”

SUPERBOOTH 22: It’s one of the most iconic music technology products of the past decade, and now Teenage Engineering’s OP-1 - a portable synth, sampler and controller - finally has a successor: OP-1 field

With demand high and product scarce, the original OP-1 has been able to command a high price on the second-hand market, but TE says that this new version is “louder, thinner and 100 times better.” As such, we suspect that this thing is going to fly off the shelves.

OP-1 field is said to be a natural evolution of its predecessor that’s full of refinements and improvements. It comes in an anodised aluminium case and has a new low-profile frame with floating keyboard and a new ‘field’ colour palette.

Teenage Engineering OP-1 field

(Image credit: Teenage Engineering)

Other enhancements include a high-resolution screen with flush glass cover, stereo throughout the whole signal chain, 32-bit audio, Bluetooth MIDI, 24-hr battery life, multiple tapes, styles and recording formats, a new reverb and the 'dimension' synth engine.

There’s also a new speaker system with a passive driver - expect “detailed, fat and loud sound” - while the new FM antenna can both receive and transmit. All graphics have been reworked, too.

On the connectivity front, you now get a USB-C port, and the 4-pole audio jack (for headset mic support) and line in and out sockets are more durable.

The new OP-1 is the second in Teenage Engineering's new complementary 'field' range of products, following the recent launch of the TX-6 mini mixer. 

In total, OP-1 field boasts more than 100 new features - hence the “100 times better” claim - which you’ll find listed on the Teenage Engineering website. It’s available now priced at £1,999.

Ben Rogerson

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. 

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