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Teenage Engineering made the 'Mother Of All Decks’ for Swedish House Mafia to use at Coachella and beyond

Teenage Engineering MOAD
(Image credit: Teenage Engineering)

Best known for creating small music-making devices, Teenage Engineering has now revealed something much grander in scale.

The MOAD (opens in new tab) - or Mother Of All Decks - is a new supersized live performance rig that was custom-made for Swedish House Mafia. It made its debut when the EDM-favouring collective used it to perform with The Weeknd at Coachella 2022, and will also be used on their US and EU tour.

This unique rig measures 5m x 1.2m and breaks down into nine parts for easy transportation. Assembly time is said to be just 30 minutes, which should please SHM’s roadies.

Inside you’ll find a computer (reportedly a Mac mini running NI's Traktor), multiple mixers, Pioneer DJ decks, a sequencer and samplers, effect processors, custom light effects and even mechanical tape reels. We think we can spot a Maschine in there as well.

Teenage Engineering’s relationship with Swedish House Mafia began in 2010, when the band used the then-new OP-1 in the video for their song One (opens in new tab), which featured Pharrell Williams. They’ve remained friends ever since, but MOAD is their first product collaboration.

Swedish House Mafia are also currently collaborating with Ikea, another Swedish icon of design, on a new range of music-related products for the home. This currently includes a desk, a turntable, an armchair and a range of “remixed” Frakta bags.

Just to complete the circle, Teenage Engineering has also collaborated with Ikea in the past, and is currently touting its new OP-1 field synth/sampler and the TX-6 mini mixer.

Which begs the question: if the TX-6 costs £1,200, how much would the MOAD sell for?

Teenage Engineering MOAD

(Image credit: Teenage Engineering)

I’m the Group Content Manager for MusicRadar, specialising in all things tech. 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, 20 of which I’ve also spent writing about music technology. 

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