Teenage Po 32
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Teenage Po 32
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The PO-32 is a fun and inspiring noise-maker and the added MicroTonic compatibility broadens its sonic scope considerably.
Comes stocked with quality, characterful drum synth sounds.
Performance effects are great - instant ’90s IDM!
Workflow is a little fiddly and unclear.
The PO-32 Tonic is the seventh addition to Teenage Engineering’s range of compact, battery-powered Pocket Operator grooveboxes.
As with previous iterations, this PO packs 16 sounds, 16 performance effects and a 16-step sequencer into an exposed-looking hardware unit slightly larger than a credit card. However, where previous POs have been limited to a pre-defined range of sounds, this one is capable of a broader sound palette via some clever cross-platform compatibility.
This flexibility is thanks to the fact that the PO-32 has been created in collaboration with Swedish developer Sonic Charge. The PO-32 takes both the ‘Tonic’ part of its name and the basis for its sound engine from Sonic Charge’s MicroTonic - a software drum synthesizer first released over a decade ago. The primary upshot of this is that, as well as coming stocked with an array of sounds created using MicroTonic, the PO-32 can be loaded with fresh sounds and patterns created using the plug-in, allowing users to completely alter and overwrite its sonic palette.
This loading of sounds is made possible by the addition of a small microphone to the PO hardware itself. Information is transferred from plug-in to hardware as sound - using the harsh, tinny audio-data signals synonymous with old dial-up internet connections. To make a transfer, put the PO-32 into receive mode, hold its mic close to a studio monitor or computer speaker and let the retro protocol do its stuff.
As the PO features a built-in speaker, it’s also possible to use the same method to transfer data from one unit to another, allowing users to clone a set of sounds or send creations to friends. It’s possible to make transfers via a wired connection too, by connecting a computer or PO output to the PO’s input jack - which is fortunate, as a few transfers will inevitably be enough to remind most users that the sound of dial-up internet was actually fairly irritating.
Even ignoring the transfer capabilities, the PO-32 has a lot going for it. MicroTonic remains a quality drum synth (see MicroTonic), and its capabilities have been put to good use in stocking the PO-32 with factory sounds. The 16 sounds span bass-heavy kicks, fizzy white-noise hats, crunch snares and plenty of more esoteric, synthesized percussive sounds.
Despite being fairly old in plug-in terms - the current iteration, version 3, arrived in 2011 - MicroTonic remains a powerful and well-designed drum synth. It features eight drum channels (compared to the PO’s 16 sound slots), each of which offers noise and oscillator sections for building sounds, along with various mixer, distortion and EQing tools. A morphing function allows users to set and transition between two different iterations of each sound, a feature which is carried across to the PO-32. There’s a sequencer too, which can send patterns to its hardware counterpart.
As with the previous POs, each sound can be manipulated by a pair of parameter knobs. Here, these control the sound’s pitch and MicroTonic’s morphing capabilities. The latter of these allows each sound to smoothly transition between two pre-defined parameter set-ups, effectively meaning that each sound slot can contain two different drum sounds and a whole range of variations between the two. The PO’s Parameter Lock capability allows the movement of these two knobs to be automated on a per-step basis too.
As is true of all the POs, the performance effects are the real star of the show here. The effects themselves cover rhythmic filtering, delayed fade outs, lo-fi and distortion effects, beat repeats and more. They’re a lot of fun to play around with and are capable of quickly conjuring up glitchy, stuttering sounds akin to classic ’90s IDM.
MicroTonic compatibility aside, the workflow of the PO-32 is much the same as the other POs. As with those, there’s a lot of Shift presses involved to accommodate so much functionality into a fairly limited range of controls. A small screen offers some visual feedback - numerical bpm and shuffle settings, position of the two parameter knobs and a digital alarm clock - but screen real estate is mostly dedicated to a cartoonish animation, and on the whole it serves more of an aesthetic than a functional purpose. Labelling of the controls isn’t too clear either, meaning that you’ll want to memorise the manual to get the most out of the PO-32.
The PO-32 is a fun and inspiring noise-maker and the added MicroTonic compatibility broadens its sonic scope considerably.
This is all forgivable though, given the PO-32’s portability and price. As before, the PO-32 features a few tricks that allow it to integrate into a larger studio set-up. It can send and receive a pulse clock signal, allowing it to act as a master or slave when hooked up to other pulse compatible gear, such as other POs, Korg’s Volca range, Arturia’s analogue hardware or a simple pulse signal sent from an audio interface.
It’s still a long way from being a properly integrated studio instrument, but the PO-32 is more capable than its disposable appearance might suggest. The MicroTonic compatibility adds to its creative scope considerably too. It’s a slight shame transfers aren’t bi-directional; the ability to send sounds and patterns back into the plug-in for deeper editing and DAW processing would really enhance its potential. Hopefully this might be something it’s possible to implement in a future update though.
Detractors will still write this latest PO off as a ‘toy’ no doubt, but the PO-32 sounds great and, even if just as an inspirational source to sample, loop and churn out toplines, at £85 it’s worth the price of admission.
I'm Editor-in-Chief of Music Technology, working with Future Music, Computer Music, Electronic Musician and MusicRadar. I've been messing around with music tech in various forms for over two decades. I've also spent the last 10 years forgetting how to play guitar. Find me in the chillout room at raves complaining that it's past my bedtime.
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(opens in new tab)
(opens in new tab)
(opens in new tab)
(opens in new tab)
(opens in new tab)
Magazines
Computer Music
Electronic Musician
Future Music
Keyboard Magazine
Guitarist (opens in new tab)
Guitar Techniques (opens in new tab)
Total Guitar (opens in new tab)
Bass Player (opens in new tab)
The best of MusicRadar in your inbox
Contact me with news and offers from other Future brands
Receive email from us on behalf of our trusted partners or sponsors
More stories to check out before you go
MusicRadar is supported by its audience. When you purchase through links on our site, we may earn an affiliate commission. Here’s why you can trust us .
The PO-32 is a fun and inspiring noise-maker and the added MicroTonic compatibility broadens its sonic scope considerably.
Comes stocked with quality, characterful drum synth sounds.
Performance effects are great - instant ’90s IDM!
Workflow is a little fiddly and unclear.
The PO-32 Tonic is the seventh addition to Teenage Engineering’s range of compact, battery-powered Pocket Operator grooveboxes.
As with previous iterations, this PO packs 16 sounds, 16 performance effects and a 16-step sequencer into an exposed-looking hardware unit slightly larger than a credit card. However, where previous POs have been limited to a pre-defined range of sounds, this one is capable of a broader sound palette via some clever cross-platform compatibility.
This flexibility is thanks to the fact that the PO-32 has been created in collaboration with Swedish developer Sonic Charge. The PO-32 takes both the ‘Tonic’ part of its name and the basis for its sound engine from Sonic Charge’s MicroTonic - a software drum synthesizer first released over a decade ago. The primary upshot of this is that, as well as coming stocked with an array of sounds created using MicroTonic, the PO-32 can be loaded with fresh sounds and patterns created using the plug-in, allowing users to completely alter and overwrite its sonic palette.
This loading of sounds is made possible by the addition of a small microphone to the PO hardware itself. Information is transferred from plug-in to hardware as sound - using the harsh, tinny audio-data signals synonymous with old dial-up internet connections. To make a transfer, put the PO-32 into receive mode, hold its mic close to a studio monitor or computer speaker and let the retro protocol do its stuff.
As the PO features a built-in speaker, it’s also possible to use the same method to transfer data from one unit to another, allowing users to clone a set of sounds or send creations to friends. It’s possible to make transfers via a wired connection too, by connecting a computer or PO output to the PO’s input jack - which is fortunate, as a few transfers will inevitably be enough to remind most users that the sound of dial-up internet was actually fairly irritating.
Even ignoring the transfer capabilities, the PO-32 has a lot going for it. MicroTonic remains a quality drum synth (see MicroTonic), and its capabilities have been put to good use in stocking the PO-32 with factory sounds. The 16 sounds span bass-heavy kicks, fizzy white-noise hats, crunch snares and plenty of more esoteric, synthesized percussive sounds.
Despite being fairly old in plug-in terms - the current iteration, version 3, arrived in 2011 - MicroTonic remains a powerful and well-designed drum synth. It features eight drum channels (compared to the PO’s 16 sound slots), each of which offers noise and oscillator sections for building sounds, along with various mixer, distortion and EQing tools. A morphing function allows users to set and transition between two different iterations of each sound, a feature which is carried across to the PO-32. There’s a sequencer too, which can send patterns to its hardware counterpart.
As with the previous POs, each sound can be manipulated by a pair of parameter knobs. Here, these control the sound’s pitch and MicroTonic’s morphing capabilities. The latter of these allows each sound to smoothly transition between two pre-defined parameter set-ups, effectively meaning that each sound slot can contain two different drum sounds and a whole range of variations between the two. The PO’s Parameter Lock capability allows the movement of these two knobs to be automated on a per-step basis too.
As is true of all the POs, the performance effects are the real star of the show here. The effects themselves cover rhythmic filtering, delayed fade outs, lo-fi and distortion effects, beat repeats and more. They’re a lot of fun to play around with and are capable of quickly conjuring up glitchy, stuttering sounds akin to classic ’90s IDM.
MicroTonic compatibility aside, the workflow of the PO-32 is much the same as the other POs. As with those, there’s a lot of Shift presses involved to accommodate so much functionality into a fairly limited range of controls. A small screen offers some visual feedback - numerical bpm and shuffle settings, position of the two parameter knobs and a digital alarm clock - but screen real estate is mostly dedicated to a cartoonish animation, and on the whole it serves more of an aesthetic than a functional purpose. Labelling of the controls isn’t too clear either, meaning that you’ll want to memorise the manual to get the most out of the PO-32.
The PO-32 is a fun and inspiring noise-maker and the added MicroTonic compatibility broadens its sonic scope considerably.
This is all forgivable though, given the PO-32’s portability and price. As before, the PO-32 features a few tricks that allow it to integrate into a larger studio set-up. It can send and receive a pulse clock signal, allowing it to act as a master or slave when hooked up to other pulse compatible gear, such as other POs, Korg’s Volca range, Arturia’s analogue hardware or a simple pulse signal sent from an audio interface.
It’s still a long way from being a properly integrated studio instrument, but the PO-32 is more capable than its disposable appearance might suggest. The MicroTonic compatibility adds to its creative scope considerably too. It’s a slight shame transfers aren’t bi-directional; the ability to send sounds and patterns back into the plug-in for deeper editing and DAW processing would really enhance its potential. Hopefully this might be something it’s possible to implement in a future update though.
Detractors will still write this latest PO off as a ‘toy’ no doubt, but the PO-32 sounds great and, even if just as an inspirational source to sample, loop and churn out toplines, at £85 it’s worth the price of admission.
I'm Editor-in-Chief of Music Technology, working with Future Music, Computer Music, Electronic Musician and MusicRadar. I've been messing around with music tech in various forms for over two decades. I've also spent the last 10 years forgetting how to play guitar. Find me in the chillout room at raves complaining that it's past my bedtime.
Don't miss the latest deals, news, reviews, features and tutorials
Thank you for signing up to Musicradar. You will receive a verification email shortly.
There was a problem. Please refresh the page and try again.
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab) .
©
Future Publishing Limited Quay House, The Ambury,
Bath
BA1 1UA. All rights reserved. England and Wales company registration number 2008885.
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If you prefer building beats to fiddling with your phone while you're on the train, in the back of a car, or anywhere mobile, the Teenage Engineering PO-32 Pocket Operator Tonic Drum Synthesizer delivers a true music-making experience in the smallest of packages. Sculpt kicks, snares, claps, and more from real synth engines and plug them into the 16-step sequencer to get the beat going no matter where you are.
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Pros Synth-based. Real-time variation and performance effects. Programmable if you add the Microtonic plug-in. Simple sync with other gear and POs.
Cons A bit tricky to learn. Software doubles the price.
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PO-32 is a hardware version of Sonic Charge’s Microtonic drum synth. The software or plug-in can be used to create and load sounds into the device.
Teenage Engineering take the Pocket Operator game to the next level.
The PO-32 is the latest and most ambitious Pocket Operator in Teenage Engineering’s quirky range of handheld instruments. This one is a programmable synth-based drum machine with a pattern sequencer, performance effects, and parameter lock automation. The ‘Tonic’ moniker is borrowed from Microtonic, the Sonic Charge plug-in whose drum synth engine has been committed to silicon on this device. It’s this plug-in (bought separately) that provides the programming interface for creating your own PO-32 sounds. These can then be transferred to the PO-32 via an audio data burst... you should never expect the ordinary from Teenage Engineering.
Everyone loves a good unboxing, but nothing comes close to opening up a Pocket Operator. The beautiful gold card package protects the main part of the unit, while the integral hook (not something you find on the spec list of much gear) sticks out ready for hanging on a peg. A perforated ‘zip’ in the card is used to unpeel the device in a process my wife described as “an event”; she was dismayed I’d not videoed it and put it on Instagram.
The Pocket Operator looks like a calculator that’s lost its outer case. If it was a cartoon character it would blush and try to cover its midriff. It’s a slice of circuit board with a surface-mounted screen and a 5x5 grid of controls, two of which are small pots while the rest are buttons. On the rear are clips for attaching two AAA batteries, and a simple metal bar that angles the unit up when on a tabletop, or folds away if held in your hand. At the top there’s a tiny mic for data input, and two mini-jack audio ports providing audio output, data transfer and sync connectivity.
At first it just feels wrong to be holding what feels like a half-assembled piece of electronics, but there’s actually very little that’s exposed. The back is mostly smooth bare board, with just the soldered pegs from the knobs poking through. Cleverly, all the delicate components are safely stowed away behind the screen. My review unit survived some pretty harsh treatment, being chucked in a bag in various planes, trains and automobiles, and put through its paces by two under-10s. If in doubt, though, there’s an optional case which provides both an outer shell and nicer button caps.
The PO-32 is not the most intuitive device to get started with — you definitely need the few hints that are printed on the box and on the back of the unit; even simple tasks like changing the volume aren’t straightforward. The screen doesn’t help much: while there are a few small readouts on it that confirm what you’re doing, it’s largely devoted to a cartoon animation that plays along as sounds are triggered, reminiscent of ’80s handheld games.
Sixteen of the buttons make up a 4x4 grid that’s used for
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