I always loved the story of the "three-sided" Monty Python record, where the B side had two parallel concentric grooves, causing different tracks to play depending on where the needle was dropped. I always wondered what kind of equipment went into producing it.
From what I know about record manufacturing, creating the lacquer master would involve adjusting the angle of the groove to allow for two concentric grooves to be laid, along with some care in creating that master. But once it’s done, the manufacturing process is handled through a stamping process (so a vinyl record isn’t cut, it’s pressed with a metal die that’s created from the lacquer master through electroplating).
Unrelated, but related - if you want to have 1 record made, reach out to https://recordcut.com/
Their hours are "2:30 PM to 12 Midnight", I sort of believe... 7 days a week?
Rich will actually answer the phone, and guide you. I've done it a few times (it's an incredibly cool gift). A single record is $12. Extremely worth experiencing it.
Not even a price listed. I don't understand the market for this - fancy musical instruments for creativity, sure, there's a market, but who wants to own cutting vinyl? How many records would you need to make for this to be more economical than paying a dedicated shop? How many would you need to do to "achieve higher quality"? How consistent are your results?
This isn't that but their "record factory" toy[0]... I'm like 90% sure is the same thing as something Gakken released in Japan for half the price as a little fun toy[1]
Even in the age of the internet there's a huge business in people basically taking a "normal" thing from another market and then rebadging it to release as an elevated thing.
Studio neat has a $231 tiny box cutter[2]. OLFA (A "professional" box cutter maker) sells a 2 pack of tiny box cutters that probably are 5x more ergonomic on account of being made to be used instead of to look nice on a website, for $10. [3]
The best version of a thing is likely whatever people who do it all day use. But you can totally make a market for consumers who want "fashionable" things but who don't really get the space.
Studio Neat is a big offender on this honestly... basically all of their stuff have "better" things at least at half the cost just available in random stationary stores. I'm all for wasting money on pens, but at least waste them on good pens!
The best box cutter is the Moby Safety Knife. I used it when I was working in a supermarket 20 years ago, and I haven't found anything even remotely comparable.
The short blade on top is perfect for breaking the tape to open the box without damaging the contents. Then the mouth can be used for quickly breaking down boxes or cutting shrink wrap. You are just cutting tape, so the blade never wears out.
I cringe every time I see someone using a Stanley knife in a supermarket.
That used to be $95 at launch, which still is very expensive of course, but slightly more palatable. I wonder if the current price is due to tariffs perhaps?
That fancy box cutter looks high utility; what don't you like about it besides the price? The retraction seems designed for frequently opening boxes, but not constantly. (I open few boxes and have a bog standard box cutter; I haven't used Studio Neat's or OLFA.)
If you are frequently opening boxes, that spring-loaded mechanism is going to cause repetitive stress injuries. No competent workplace health and safety employee would approve it.
Also, if you are using a utility knife frequently, you likely have a depth you want to keep it. Say I’m installing carpeting. I want to set the razor at a depth for the shag of carpet I’m working on today and have my blade at that depth until I’m done. With a spring load, the only depth that can easily be set is fully out where I’m pushing it all the way. Any intermediate depths will result in me shaking back and forth trying to hold a constant intermediate pressure.
This is a utility knife for someone rich who uses it for the day’s amazons packages because they think using the blade from their scissors is beneath them.
Maybe frequently was the wrong word; I would think spring-loaded would be designed for a lot of cycling between quick cuts and some other tasks, and you didn't want to leave the blade open.
Fixed blade would be best if you were constantly opening boxes and/or you could set your knife down open. And yes, for doing tasks where you are doing longer or more strenuous cutting (carpet is a great example.)
They money is fun to grouse about, but I thought the complaint about the low utility was the interesting bit.
The other nice feature is using standard utility blades.
I have several Stanley type box cutters and blade retraction is an infuriating experience on each one because it gets stuck, the lock button gets stuck, it doesn't slide properly, often doesn't click into place, etc. I can definitely see the appeal of an object that is actually designed to work properly.
For what it’s worth, a non-locking blade is a plus for some people. I wouldn’t really want to leave a locking box cutter around, I’m too forgetful, but one that stows itself away automatically I’d feel a bit safer about. Still a silly price, though.
There used to be places where you could make your own one-of-a-kind record: pretty much direct microphone to vinyl¹ which I’m guessing this essentially is. But that said, I kind of feel like most of Teenage Engineering is more stunt than practical.
⸻
1. A booth for making records like this plays a role in the plot of Graham Greene’s Brighton Rock. Elvis Presley’s very first recordings were a similar thing, the two sides recorded in a booth to make a singular record to give his mother as a present in 1953.
Teenage Engineering seems to run partly on hype and halo effect. It makes cool things you can’t afford, and you buy something cheaper. Selling a vinyl cutting machine keeps them in the news, which keeps them in your mind, and then you think about how you always wanted an OP-1 but oh maybe you could buy the EP-133 instead.
I’m sure there’s a price at which the vinyl cutter is profitable.
It's also possible that TE are full of people who are passionate about design and sound and want to work on and release interesting products in that space. Not everything is a psyop
That took my comment to a much darker place than I anticipated—I think basic marketing is ok, and even if you’re passionate about design, you still should be thinking about the business’s bottom line.
There is one company that sells similar lathe cutters in Europe. To aquire it you need to go on a multi day training in a remote Swiss forest. Then it’s around 10.000 EUR in equipment, granted you supply your own record player (sl1200 ~700EUR). But yeah cutting high quality stereo records is an art. No matter the money you throw at it, it will involve a lot of maintenance, skill, experience, spare parts, mastering skills, consumables, and time (these cut in real time). Indeed, who wants to do that? I welcome any effort in this niche though!
Consistency is super hard to achieve if you are not cutting daily in a (climate) controlled environment, even then, you will burn out the cutting head transducers, your cutting heads will dull (super fast). Operational costs are pretty high. Wonder how much they will charge for this lathe. I guess 40-80k USD?
I have a real “I was born yesterday” feeling having realized that “Teenage Engineering” has nothing to do with making audio tech accessible to young newcomers.
There’s certainly novelty to this, I’d love one if the price were reasonable. Direct capture, almost like a polaroid for vinyl records, no need to “develop” it.
I imagine artists could sell a super-limited (i.e. 1 copy) live recording of a show the second it ends for a premium, especially if they kept the machine on stage and personally packaged and signed it.
Might I introduce you to the concept of dub plates? I absolutely love playing vinyl as a dj, and being able to cut my own would be worth it to me. Some people are just silly about their hobbies even without going into lalaland like an audiophile. Growing up, my dad had an 8-track recorder and a box of blank cassettes. I would record my music to them as the car I drove still had an 8-track player. It's goofy. It's fun. It's not logical per se, but it's also not hurting you. So leave me to my idiosyncrasies and go back to your Spotify feed and obey and consume as you do
Market: music industry veterans that won the race and have boutique record labels for small runs of obscure or promotional or small bands. Have five records printed for the merch table and the next show. Once you have the machine hopefully the marginal cost of a record would make sense for extremely small runs.
Where a band with no money might struggle to afford a $1000 minimum run somewhere else, they might be able to make beer money at a show with records made on one of these. Probably not "economical" in the machine may never pay for itself, but somebody rich buying one as a mechanism to promote musicians on a small scale probably makes sense to them.
Back when I DJ'd techno in the 90s I would have killed for this for what it could bring creatively to a set. Just the ability to cut my own tracks onto white labels and put custom loops etc on vinyl would have really changed things entirely without having to front a whole bunch of cash (which I def did not have) to get a batch of records pressed which probably nobody else would order or play.
But now mixing is done digitally and playing with vinyl is a mostly lost art and it's trivial to put your own material together into audio files and mix it.
I've heard tales of Ritchie Hawtin playing multiple turntables (6-8 depending on who's telling) where he'd have tracks separated as stems into dub plates and do live remixes by swapping out the plates. The things people did before Ableton!
I saw him do 3... maybe 4? tables? But mostly 2 or 3 decks plus a 909.
Around here in Toronto area we had a local (Jeff Milligan / "Algorithm") who was famous for absolutely precise beatmatching, and often 4 deck mixing. Very minimal wonky/bleepy techno.
I think it's cool that they make stuff like this. It's refreshing to see something engineered for the sake of being beautiful and cool, instead of worrying about BOM cost and margin.
The Gakken toy record cutter was only 8000 yen when it was released[0].
My spouse bought one on a whim. The quality is ... quite bad. It's a tool for learning about how this works though! So it was a fun little activity. But it really is "just" what it is.
Maybe Teenage Engineering's toy that looks like is exactly the same tech is better. I have my doubts.
In a world of digital rationality, I’m glad teenage engineering are here to design the absurd and analog. It doesn’t make rational sense - and I think that’s the point
It appears they’ll just rebrand a few record cutters and call it a product. TE always comes off as really low quality for the types of prices they charge.
The MPC Sample is 400$ and looks well built, the KO2 is 300$ and has faders falling off.
Roland has a few samplers in the same price range as well.
Most 3D prints are vinyls already! the surface encodes some patterns of the motor movements and medium curing process. Shame it wouldn’t sound very good and there’s no machine to play them.
I looked and went, "WTF is that? Looks like a record cutting machine"
Scrolled down
WTAF
I'm a total TE fanboi, I have the OP1F and OP-XY, they're everything I ever wanted and my MPC and Digitakt haven't be touched in months. And the Digitone Keys is unplugged propped against the bookshelf. It's extraordinary how addictive these two little synths are for making things happen.
The APC-2, however, is a fascinating outcome of what happens when you have a bunch of creative people who like - and can - do things that are new to them and make them new to others. It's no wonder they keep getting asked to do cool stuff like Panic's Playdate, Baidu's Raven, Nothing Smartphones and Headphones.
TE have retained this incredible playful vibe that has long drained from Sony and Apple.
I've heard every lazy comment about hipsters and rich kids who are supposedly their target audience, and the cost of the products, as if the visible ingredients are all that accounting measure. Swiss watches cost orders of magnitude more than TE's amazing inventions, and their only purpose seems to be to remind the wearer how amazing they are when they look at it.
"God, I'm good," thought the Rolex wearer as he glanced at his wrist.
Hipsters will buy anything that looks cool. But that doesn’t mean anything that looks cool was made for them.
> I've heard every lazy comment about hipsters and rich kids who are supposedly their target audience, and the cost of the products, as if the visible ingredients are all that accounting measure. Swiss watches cost orders of magnitude more than TE's amazing inventions, and their only purpose seems to be to remind the wearer how amazing they are when they look at it.
Nobody pretends that high-end watches are anything besides objets d'art and even then not every watch is a Rolex synonymous with conspicuous consumption. TE, on the other hand, has legions of fans that buy this stuff without knowing the first thing about music production just because they think it's cool and want to try it out. Nobody who buys a $700 Tissot thinks it tells better time than a $17 Casio.
I have no problem with any of this. The world needs more aspiring creatives. The fact that you find it appropriate to unilaterally shit on people who have nice watches while being in possession of a $2000 groovebox is, however, as the kids say, "a choice."
This is probably one of the wildest audio products I've seen this year. Turning vinyl cutting into a modern, network-connected workflow is such a Teenage Engineering move. Love the blend of craftsmanship and innovation. Congrats on the launch
I always loved the story of the "three-sided" Monty Python record, where the B side had two parallel concentric grooves, causing different tracks to play depending on where the needle was dropped. I always wondered what kind of equipment went into producing it.
From what I know about record manufacturing, creating the lacquer master would involve adjusting the angle of the groove to allow for two concentric grooves to be laid, along with some care in creating that master. But once it’s done, the manufacturing process is handled through a stamping process (so a vinyl record isn’t cut, it’s pressed with a metal die that’s created from the lacquer master through electroplating).
Unrelated, but related - if you want to have 1 record made, reach out to https://recordcut.com/
Their hours are "2:30 PM to 12 Midnight", I sort of believe... 7 days a week?
Rich will actually answer the phone, and guide you. I've done it a few times (it's an incredibly cool gift). A single record is $12. Extremely worth experiencing it.
Not even a price listed. I don't understand the market for this - fancy musical instruments for creativity, sure, there's a market, but who wants to own cutting vinyl? How many records would you need to make for this to be more economical than paying a dedicated shop? How many would you need to do to "achieve higher quality"? How consistent are your results?
This isn't that but their "record factory" toy[0]... I'm like 90% sure is the same thing as something Gakken released in Japan for half the price as a little fun toy[1]
Even in the age of the internet there's a huge business in people basically taking a "normal" thing from another market and then rebadging it to release as an elevated thing.
Studio neat has a $231 tiny box cutter[2]. OLFA (A "professional" box cutter maker) sells a 2 pack of tiny box cutters that probably are 5x more ergonomic on account of being made to be used instead of to look nice on a website, for $10. [3]
The best version of a thing is likely whatever people who do it all day use. But you can totally make a market for consumers who want "fashionable" things but who don't really get the space.
Studio Neat is a big offender on this honestly... basically all of their stuff have "better" things at least at half the cost just available in random stationary stores. I'm all for wasting money on pens, but at least waste them on good pens!
[0]: https://teenage.engineering/products/po-80
[1]: https://hon.gakken.jp/book/1575072200
[2]: https://www.studioneat.com/products/keen
[3]: https://www.amazon.co.jp/-/en/OLFA-Compact-Knife-Pieces-95B2...
The best box cutter is the Moby Safety Knife. I used it when I was working in a supermarket 20 years ago, and I haven't found anything even remotely comparable.
The short blade on top is perfect for breaking the tape to open the box without damaging the contents. Then the mouth can be used for quickly breaking down boxes or cutting shrink wrap. You are just cutting tape, so the blade never wears out.
I cringe every time I see someone using a Stanley knife in a supermarket.
https://www.safeknife.com/
I remember someone talking about their $100 box cutter and thinking, huh? I just use my keys.
That used to be $95 at launch, which still is very expensive of course, but slightly more palatable. I wonder if the current price is due to tariffs perhaps?
That fancy box cutter looks high utility; what don't you like about it besides the price? The retraction seems designed for frequently opening boxes, but not constantly. (I open few boxes and have a bog standard box cutter; I haven't used Studio Neat's or OLFA.)
> frequently opening boxes, but not constantly.
If you are frequently opening boxes, that spring-loaded mechanism is going to cause repetitive stress injuries. No competent workplace health and safety employee would approve it.
Also, if you are using a utility knife frequently, you likely have a depth you want to keep it. Say I’m installing carpeting. I want to set the razor at a depth for the shag of carpet I’m working on today and have my blade at that depth until I’m done. With a spring load, the only depth that can easily be set is fully out where I’m pushing it all the way. Any intermediate depths will result in me shaking back and forth trying to hold a constant intermediate pressure.
This is a utility knife for someone rich who uses it for the day’s amazons packages because they think using the blade from their scissors is beneath them.
Maybe frequently was the wrong word; I would think spring-loaded would be designed for a lot of cycling between quick cuts and some other tasks, and you didn't want to leave the blade open.
Fixed blade would be best if you were constantly opening boxes and/or you could set your knife down open. And yes, for doing tasks where you are doing longer or more strenuous cutting (carpet is a great example.)
They money is fun to grouse about, but I thought the complaint about the low utility was the interesting bit.
The other nice feature is using standard utility blades.
I have several Stanley type box cutters and blade retraction is an infuriating experience on each one because it gets stuck, the lock button gets stuck, it doesn't slide properly, often doesn't click into place, etc. I can definitely see the appeal of an object that is actually designed to work properly.
Looks good for light-duty uses. Scared for my fingers for anything heavy.
It’s not made to fit in the hand. There’s no way to lock the blade forward. It’s one of the stupidest designs you could have for a box cutter.
For what it’s worth, a non-locking blade is a plus for some people. I wouldn’t really want to leave a locking box cutter around, I’m too forgetful, but one that stows itself away automatically I’d feel a bit safer about. Still a silly price, though.
There used to be places where you could make your own one-of-a-kind record: pretty much direct microphone to vinyl¹ which I’m guessing this essentially is. But that said, I kind of feel like most of Teenage Engineering is more stunt than practical.
⸻
1. A booth for making records like this plays a role in the plot of Graham Greene’s Brighton Rock. Elvis Presley’s very first recordings were a similar thing, the two sides recorded in a booth to make a singular record to give his mother as a present in 1953.
Teenage Engineering seems to run partly on hype and halo effect. It makes cool things you can’t afford, and you buy something cheaper. Selling a vinyl cutting machine keeps them in the news, which keeps them in your mind, and then you think about how you always wanted an OP-1 but oh maybe you could buy the EP-133 instead.
I’m sure there’s a price at which the vinyl cutter is profitable.
It's also possible that TE are full of people who are passionate about design and sound and want to work on and release interesting products in that space. Not everything is a psyop
That took my comment to a much darker place than I anticipated—I think basic marketing is ok, and even if you’re passionate about design, you still should be thinking about the business’s bottom line.
But, like, https://teenage.engineering/store/field-desk
Or maybe the TP-7 is a better example.
They are obviously following the playbook from brands like Supreme. At least in part.
There is one company that sells similar lathe cutters in Europe. To aquire it you need to go on a multi day training in a remote Swiss forest. Then it’s around 10.000 EUR in equipment, granted you supply your own record player (sl1200 ~700EUR). But yeah cutting high quality stereo records is an art. No matter the money you throw at it, it will involve a lot of maintenance, skill, experience, spare parts, mastering skills, consumables, and time (these cut in real time). Indeed, who wants to do that? I welcome any effort in this niche though!
Consistency is super hard to achieve if you are not cutting daily in a (climate) controlled environment, even then, you will burn out the cutting head transducers, your cutting heads will dull (super fast). Operational costs are pretty high. Wonder how much they will charge for this lathe. I guess 40-80k USD?
I have a real “I was born yesterday” feeling having realized that “Teenage Engineering” has nothing to do with making audio tech accessible to young newcomers.
rich young newcomers are totally welcome!
There’s certainly novelty to this, I’d love one if the price were reasonable. Direct capture, almost like a polaroid for vinyl records, no need to “develop” it.
I imagine artists could sell a super-limited (i.e. 1 copy) live recording of a show the second it ends for a premium, especially if they kept the machine on stage and personally packaged and signed it.
>> "who wants to own cutting vinyl?"
Well, Sega gamers for one: https://www.youtube.com/watch?v=c744iD0_fWU
they list them too https://teenage.engineering/retailers
These are Designed. The target audience has tremendous disposable income, and Taste (subjectively, of course.)
No one is buying this for economy’s sake.
Are there bootlegs on vinyl? Maybe now there can be.
Isn't a vinyl cutter the first step when pressing records?
You might need different machines to cut wax/vinyl directly vs cutting lacquer to make a stamper.
Might I introduce you to the concept of dub plates? I absolutely love playing vinyl as a dj, and being able to cut my own would be worth it to me. Some people are just silly about their hobbies even without going into lalaland like an audiophile. Growing up, my dad had an 8-track recorder and a box of blank cassettes. I would record my music to them as the car I drove still had an 8-track player. It's goofy. It's fun. It's not logical per se, but it's also not hurting you. So leave me to my idiosyncrasies and go back to your Spotify feed and obey and consume as you do
Market: music industry veterans that won the race and have boutique record labels for small runs of obscure or promotional or small bands. Have five records printed for the merch table and the next show. Once you have the machine hopefully the marginal cost of a record would make sense for extremely small runs.
Where a band with no money might struggle to afford a $1000 minimum run somewhere else, they might be able to make beer money at a show with records made on one of these. Probably not "economical" in the machine may never pay for itself, but somebody rich buying one as a mechanism to promote musicians on a small scale probably makes sense to them.
Back when I DJ'd techno in the 90s I would have killed for this for what it could bring creatively to a set. Just the ability to cut my own tracks onto white labels and put custom loops etc on vinyl would have really changed things entirely without having to front a whole bunch of cash (which I def did not have) to get a batch of records pressed which probably nobody else would order or play.
But now mixing is done digitally and playing with vinyl is a mostly lost art and it's trivial to put your own material together into audio files and mix it.
I've heard tales of Ritchie Hawtin playing multiple turntables (6-8 depending on who's telling) where he'd have tracks separated as stems into dub plates and do live remixes by swapping out the plates. The things people did before Ableton!
I saw him do 3... maybe 4? tables? But mostly 2 or 3 decks plus a 909.
Around here in Toronto area we had a local (Jeff Milligan / "Algorithm") who was famous for absolutely precise beatmatching, and often 4 deck mixing. Very minimal wonky/bleepy techno.
https://www.facebook.com/watch/?v=2083209238436343
https://www.youtube.com/watch?v=xAthnDk7ZcA
https://www.youtube.com/watch?v=b6EJOzGj4xM
Playing that minimal techno, I'd need at least that many tables just to keep from being bored.
Maybe a party novelty for hipsters.
This stuff is like expensive watches. If there was no one to show it off to there would be no one who would buy it.
Nor any clue on what blanks cost. But I could see the thrill of this if money was no object.
I would buy a machine that makes new floppy disk media if it existed, and not because of any economical argument.
I would buy a machine that makes new laserdiscs if it existed, and not because of any economical argument.
... aluminized paper for electric arc printers
... wax film thermal print head ribbon
... a re-inker for cloth typewriter ribbon (at least this one is straightforward to design and build myself some day)
... extra wide cloth matrix printer ribbon with 4 colors
... 1.9mm magnetic tape for exatron wafers
A record cutter has way more potential audience than any of those. They will sell every one they can even manage to make.
Sir, I commend you for your lack of taste for aesthetics, "coolness", and for maintaining the cynical, pessimistic Hackernews status quo.
I've been worried this place has gotten eternal september'd full of redditors, AI bots, and low-IQ emotional mainstream political rants.
But then you swoop in here and remind me that it's still 2007 in Hackernews land: https://news.ycombinator.com/item?id=9224
Never change.
To me, "cool" is a slightly derogatory term when applied to design. It usually means that smoke and mirrors play a significant role.
I think it's cool that they make stuff like this. It's refreshing to see something engineered for the sake of being beautiful and cool, instead of worrying about BOM cost and margin.
our shared vision is to enable access to anyone who wants their music or sound on a physical record.
FWIW, You can get 100 records + jackets printed professionally for ~$10 a pop.
Gakken toy record cutter is low quality, but costs $160.
I wonder what this would cost. Surely it's impractical for personal use, as marketed.
The Gakken toy record cutter was only 8000 yen when it was released[0].
My spouse bought one on a whim. The quality is ... quite bad. It's a tool for learning about how this works though! So it was a fun little activity. But it really is "just" what it is.
Maybe Teenage Engineering's toy that looks like is exactly the same tech is better. I have my doubts.
[0]: https://hon.gakken.jp/book/1575072200
Shipping is making things prohibitively expensive in many parts of the world
Don't think of Teenage Engineering as a device product company. Think of them as a device art company. Suddenly it makes sense.
So, Apple until the M chips?
In a world of digital rationality, I’m glad teenage engineering are here to design the absurd and analog. It doesn’t make rational sense - and I think that’s the point
Very strange.
It appears they’ll just rebrand a few record cutters and call it a product. TE always comes off as really low quality for the types of prices they charge.
The MPC Sample is 400$ and looks well built, the KO2 is 300$ and has faders falling off.
Roland has a few samplers in the same price range as well.
Every Teenage Engineering Product:
Damn I would buy this for 50 bucks.
I actually have a project that requires a bunch of custom vinyl, but I am guessing this is not economical.
Cool, but can it make parallel grooves like HENGE’s Journey to Voltus B?
https://www.outofrage.net/post/review-henge-journey-to-voltu...
Very cool.
I love this company and wish there was more like them.
Has anyone tried to 3d print vinyl?
Most 3D prints are vinyls already! the surface encodes some patterns of the motor movements and medium curing process. Shame it wouldn’t sound very good and there’s no machine to play them.
Price? If you have to ask, you can't afford it.
Why wouldn't you use an ADC and store music digitally?
I looked and went, "WTF is that? Looks like a record cutting machine"
Scrolled down
WTAF
I'm a total TE fanboi, I have the OP1F and OP-XY, they're everything I ever wanted and my MPC and Digitakt haven't be touched in months. And the Digitone Keys is unplugged propped against the bookshelf. It's extraordinary how addictive these two little synths are for making things happen.
The APC-2, however, is a fascinating outcome of what happens when you have a bunch of creative people who like - and can - do things that are new to them and make them new to others. It's no wonder they keep getting asked to do cool stuff like Panic's Playdate, Baidu's Raven, Nothing Smartphones and Headphones.
TE have retained this incredible playful vibe that has long drained from Sony and Apple.
I've heard every lazy comment about hipsters and rich kids who are supposedly their target audience, and the cost of the products, as if the visible ingredients are all that accounting measure. Swiss watches cost orders of magnitude more than TE's amazing inventions, and their only purpose seems to be to remind the wearer how amazing they are when they look at it.
"God, I'm good," thought the Rolex wearer as he glanced at his wrist.
Hipsters will buy anything that looks cool. But that doesn’t mean anything that looks cool was made for them.
> I've heard every lazy comment about hipsters and rich kids who are supposedly their target audience, and the cost of the products, as if the visible ingredients are all that accounting measure. Swiss watches cost orders of magnitude more than TE's amazing inventions, and their only purpose seems to be to remind the wearer how amazing they are when they look at it.
Nobody pretends that high-end watches are anything besides objets d'art and even then not every watch is a Rolex synonymous with conspicuous consumption. TE, on the other hand, has legions of fans that buy this stuff without knowing the first thing about music production just because they think it's cool and want to try it out. Nobody who buys a $700 Tissot thinks it tells better time than a $17 Casio.
I have no problem with any of this. The world needs more aspiring creatives. The fact that you find it appropriate to unilaterally shit on people who have nice watches while being in possession of a $2000 groovebox is, however, as the kids say, "a choice."
Inb4 all the commenters going “umm, why would I want this? I could simply burn a CD or make a Spotify playlist if I wanted to share music”
This is probably one of the wildest audio products I've seen this year. Turning vinyl cutting into a modern, network-connected workflow is such a Teenage Engineering move. Love the blend of craftsmanship and innovation. Congrats on the launch