SoulBrix Music’s EP-40 Riddim: Reggae DNA, Rave Attitude

The Teenage Engineering EP-40 Riddim doesn’t just flirt with reggae – it’s built on it. The stock sounds are dripping with that unmistakable dub flavour, but don’t box this thing in. SoulBrix Music quickly points out that these samples have an old-school edge that works just as well for other genres. You get everything from crunchy hats to basses with real bite, all with a texture that feels aged and authentic.

Here’s the twist: you’re not locked into a reggae ghetto. The stock sounds, while clearly designed for skanking, actually shine when you throw them into different musical contexts. There’s a certain grit and warmth that makes them pop in house, hip hop, or whatever mutant genre you’re cooking up. If you’re tired of sterile sample packs, the EP-40’s library is a breath of fresh, slightly smoky air.

Punch-in effects are the EP-40’s secret weapon – and they’re a riot. SoulBrix runs through a bunch of them, from tremolo gates to bit crushers and randomisers. These aren’t just for show; they’re pressure-sensitive, so you can smash the pads for wild modulation or keep it subtle for a bit of spice. It’s the kind of feature that makes you want to poke, prod, and generally misbehave.

But it’s not all sunshine. The muting function is, frankly, a head-scratcher. Instead of muting, you’re forced to solo everything else, which is about as intuitive as a toaster-fight in the dark. Want to mute just the kick? Tough luck. You’ll have to build separate patterns for every possible combo. It’s a workaround that slows down the flow, and SoulBrix isn’t shy about calling it out. Here’s hoping Teenage Engineering fixes this in a firmware update, because the rest of the effects system is pure rave bunker genius.

SoulBrix gets right to the point: the EP-40 Riddim looks like a toy, but it’s got real potential for live performance. The pressure-sensitive effects are a blast for on-the-fly beat mangling, and the workflow encourages quick pattern switching and spontaneous jams. If you’re the type who likes to throw down beats at a mate’s flat or in a sweaty basement, this box won’t let you down.

Sure, the outputs are mini-jack and the build is more plastic than steel, but don’t let that fool you. The immediacy of the interface and the ability to mangle beats live make it a serious contender for anyone who values fun over fuss. It’s not going to replace your main stage rig, but for guerrilla gigs and impromptu sessions, it’s a proper street weapon.

Enter the TingFX microphone – a plastic add-on that lets you sample your voice and slap on some wild effects. SoulBrix demos everything from springy reverbs to robot pitch-shifts, all controlled by a pressure-sensitive lever. It’s fun, it’s weird, and it’s definitely not just for show. You can sample straight into the EP-40, making it easy to add hooks or vocal stabs on the fly.

But it’s not perfect. The button placement is awkward, so you might trigger samples by accident if you’re not careful. And while the customisation options are cool (JSON files for your own effects, anyone?), the mic still feels more like a party trick than a studio essential. Still, for live antics or sampling chaos, it’s a welcome bit of madness.