Or analog preamps… talk about expensive!
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I’d never pay for most of TEs stuff…
… then again most of my friends n family look at me like I’m absolutely crazy when I tell them how much the digi boxes cost me… yeah but feel these clacky buttons!!
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That’s it, let it all out, all that pent-up anger over me suggesting it was six times over-priced!
Anyway, I’m pleased to hear the TE worshippers recognize good gear, it’s exactly the same for me, I always end up falling good gear so God only knows what Bad Gear would think of me!
On first glance Helland is ticking all the boxes:
- Incredibly sexy
- On-the-ball sensibility
- A refreshing no-nonsense approach to pricing
- And a sense of humour that’s almost illegal these days
Then again, if he owns an OP-1 I’m guessing that’s probably not what he’d say 
Just to throw gasoline on the fire, I’ll post a track I just finished here, made on the Field only, to present my own argument for how I feel about its price point -
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already really tired of the price talk and was hoping this would be more the discussion when i posted tp-7 finds…
ive wanted a dedicated TE field recorder for a long time (sold my op-1/op-1 field because i realised that i only used/liked it as a a tape machine instead of a synth/sampler) so i got a couple features that wil make it perfect for me and probably swap my tx-6 for one;
-
op-1 tape workflow; if they can just translate all its functionality over to the tp-7 with more than 4 tracks ill be really pleased
-
‘a always recording live tape’ feature akin to ob-4/op-z where you can run audio through it and live manipulate the tape buffer as an effect is a dream feature i want but i dont think this would have…but i can still hope!
-tx-6 esque basic eq/comp/filter; this would be really handy hope they bring it over to tp-7
- two ouputs; another feature i really want carried over from tx for aux/effect loop recording, or for recording to another track while one is playing
-Good fx; this is one i expect it will have but i dont know what approach they will take…port over the tx-6 fx or brand new fx…or a mixture of both would be ideal
Interested to see if any of these will be included!
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Sounds like $1800!
I’m kidding, that was lovely.
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Saying people worship TE is as inaccurate as saying you’re trolling. I don’t think you’re trolling- I just think you’re not as smart as you think you are. Kinda boring too. Hope that helps!
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It’s just that the endless discussion about TE prices is a bit pointless. I guess people rather want to discuss about the functions, design, workflow, and making music with these instruments. If TE stuff is too expensive for you, that’s fine, but other people do think it’s worth to pay 2000€ for e.g. an op1f (myself included), and that’s okay as well. There’s really little sense in repeating the price discussion over and over again.
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This. Good design is hard, harder than most forms of engineering IMO. Few companies get good design right, but the ones that do tend to be handsomely rewarded for it (Apple, Teenage Engineering, etc).
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Sounds like you could have afforded some sound isolation for the recording if the Field was only a few hundred bucks.
I bet his family would love a fully sound proofed room at the family piano…
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The fact that I don’t even quite know what sound isolation means, goes some way to show where I’m spending my cash these days 
And also, it’s not an acoustic piano. That was a line recording. If that adds to the conversation in any meaningful way 
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Lol, I guess it does 
.
Goes to show how we are all different and find value in different things as this whole topic encapsulates perfectly.
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Yeah, I can appreciate the various replies to my somewhat provocative post, because it’s not like sound isolation and proofing isn’t important. It’s just not what I’m into, being mostly a line in kind of musician and when I’m not, I enjoy the ambience and noise from crude field recordings.
But I got mates who try to kill me every time they listen to my music because I won’t go into their studio to fix things up. And their approach works fine, too.
And also, it won’t change the overall quality of my music much. It is what it is. In a professional context, these things matter and are crucial almost always. In an amateur context, it only matters if you think it does. And I don’t think it does, for me. If the track’s not working, it’s not working, period.
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Actually, that is exactly why I like TE stuff so much. They create a coherent environment for music creation that’ll take you close enough to a finished result, so that you can’t blame equipment or process if the music isn’t working. You got all the tools to reach a level that’d catch anyone’s attention if the music’s good. Their comprehensive approach to their eco system is what makes it work for me. As long as no one else is doing it quite in the way they’re doing it, I’d say it’s worth the euros, so far.
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I was just kidding that the rain noise was an unwanted recording artefact… we know it’s your thing.
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Now I get it.
Good one 
now I feel like twice the fool. But you nailed it, tho
Come on, you really think anyone would fall for that?
You’re trolling pretty hard for someone who pretends to not be trolling.
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