EP-133 K.O. II

Your instrument. Tap them to play sounds, use them to draw beats step-by-step, or switch to Keys mode to play one sample melodically like a keyboard.

tip: Turn on velocity sensitivity so how hard you hit changes the volume — it makes finger-drummed parts feel alive instead of robotic.

Four banks of twelve sounds. Put your drums in A, bass in B, chords in C, and so on, then jump between them to play and sequence each part.

tip: Think of the four groups as your four 'tracks' — organizing sounds by group keeps big projects manageable.

The button for choosing and shaping the sound on each pad — where you set where a sample starts and stops, how snappy it is, and how it's tuned.

tip: Double-tap or hold into the sound-edit pages to fine-tune trim points; tightening the start point kills dead air before a hit.

The big-picture view. Use it to work with whole patterns and to chain them into a finished song.

tip: Build several short pattern variations, then use Song mode from here to arrange intro/verse/chorus without re-recording.

Sets the speed of everything. Also lets you change the time signature and match tempo to other gear or a sample.

tip: Use Tempo Match to line the project up with an imported loop's BPM so chops stay in time.

The record-your-own-sounds button. Capture a snippet from the mic, a plugged-in source, or your computer, then slice it onto pads.

tip: Selecting a lower recording sample rate deliberately dirties the sound for that crunchy, vintage sampler vibe.

The 'get more options' key. Hold it and press another button to reach the extra function labeled on that button.

tip: Most hidden features — metronome, scales, copy/commit tricks — live under SHIFT, so explore combos when you're stuck.

The red 'capture what I play' button. Turn it on and everything you do goes into the loop.

tip: Hold RECORD while PLAY is running to punch in overdubs on the fly without stopping the beat.

Go button. Press to roll the beat, press again to stop.

Stops everything and resets to the top of the pattern.

tip: Double-stop actions can reset playback position — handy for tightening up a live restart.

Nudge up and down. Use them for precise one-at-a-time changes to a value, or to move between patterns.

tip: For fine parameter setting use + / − ; for fast sweeps use the blue value knob instead.

Your eraser. Hold it and hit a pad to wipe that sound's hits, or use it to undo a mistake.

tip: Hold ERASE and a pad while the sequence plays to scrub away just that instrument's part in real time.

Duplicate things. Copy a pattern or a sound and paste it elsewhere to build variations quickly.

tip: Copy a pattern before you experiment — you keep the original safe and can A/B two versions.

Bakes in what you've done — turning a live performance or effect into a fixed sample so it's permanent and lighter on the machine.

tip: Commit a heavily-effected part when you're happy with it, freeing FX to be used on something else.

The effects button. Reach echo, space, grit, width, tone-shaping, and glue for your whole mix here.

tip: The compressor and distortion together are the fast route to a loud, aggressive, 'produced' sound.

Instant live mayhem. Hold a pad to smash the beat with stutters and glitches, release to snap back to normal.

tip: Use these on the last bar before a drop for the classic build-up stutter effect — no automation needed.

Cuts up a loop or phrase so each pad plays a different slice — the core of sample-flipping.

tip: Use equal-length auto-chop on a drum loop to instantly get playable, tempo-locked slices.

Makes a sample hold or repeat instead of playing once — good for pads, drones, and sustained notes.

tip: Combine loop with reverse playback for swelling, backwards textures.

Machine-gun rolls. Hold a pad and it fires repeated hits in perfect time — great for hi-hat rolls and snare buildups.

tip: Change the repeat rate mid-hold for accelerating fills.

Auto-tightens sloppy timing so your hits land exactly on the beat.

tip: Loosen or bypass it slightly when you want a human, laid-back feel instead of a rigid grid.

Play one sample up and down in pitch like a keyboard — turn a single note or chop into a melody or bassline.

tip: Set a musical scale so every pad you hit stays in key, even if you're not a keyboard player.

The big dial. Turn it to make things louder or to change whatever number is highlighted on screen, and press it to turn the unit on or to say 'yes/enter'.

tip: When you're editing a parameter, this knob changes its value even faster than the + / − buttons — great for big sweeps.

A hands-on tweak knob. Depending on the mode it might warp the current sound or push an effect harder — twist it live to add movement.

tip: In FX mode the A/B knobs become the effect's main controls, so keep a hand on them for expressive fade-ins and stutters.

The second tweak knob, partnered with A. Together they give you two-dimensional, real-time control over a sound or effect.

tip: Knob moves can be recorded into the sequence during live record, so automate filter sweeps by just recording yourself turning it.

A big slider for smooth, dramatic moves — perfect for fading a part in or out or riding an effect during a drop.

tip: Because its throw is long, it's the best control for slow, musical fades that a knob can't do as smoothly.

Your dashboard. It tells you what mode you're in and what number a knob is currently set to, so you're not guessing.

tip: Watch the level meter while sampling — keep the loudest part just below clipping for the cleanest recording.

Plug in a phone, synth, or player to sample straight from it at higher quality than the mic.

tip: A clean line-in sample beats a mic sample every time when the source has a headphone/line out.

Your main way out — plug in headphones or run it to speakers or a mixer.

tip: Watch the master level here; the output can be hot, especially with distortion engaged.

One cable to your computer for power, moving samples, recording audio straight in, and sending/receiving MIDI.

tip: Use USB audio to sample your DAW or streamed sounds directly — no re-miking required.

Lets another device be the timekeeper so the EP-133 follows its tempo.

tip: Use this to slave the K.O. II to a vintage drum machine or a Pocket Operator so everything grooves together.

Makes the EP-133 the master clock, sending its tempo pulses to keep other gear in time.

tip: Chain a Pocket Operator off sync out to expand your setup while the K.O. II stays in charge.

Record the world around you — tap objects, hum, or grab a sound off a speaker — with no cables.

tip: Get close to the source and keep the room quiet; the built-in mic picks up everything.

Lets you hear your beat instantly with nothing plugged in.

tip: Mute the speaker (or use headphones) when sampling with the mic so you don't record feedback.

Where the batteries go so you can play anywhere without a power supply.

tip: Only use matched, new batteries of the same type — never mix old and new or different chemistries.