Teenage Engineering EP-2350 FX MIC Microfone dinâmico para voz

Teenage Engineering EP-2350 FX-MIC — Handheld Performance Microphone with Built-In Vocal Effects

Teenage Engineering EP-2350 FX-MIC puts vocal processing and sample triggering directly into the performer's hand. Unlike conventional dynamic mics that simply capture sound, this unit ships with four onboard voice effects, four sample slots, and a parameter modulation lever that reshapes the signal live. Built for beat makers and MCs, it connects straight to a K.O. II sampler or any audio mixer via a 3.5 mm stereo line output. Lo-fi by design, the mic trades studio polish for tactile, on-stage character.

What Makes This Mic Different from Any Other Dynamic Vocal Microphone

Most dynamic vocal microphones are passive capture devices — this one is a self-contained performance instrument. The unit ships with 1 MB of internal sample storage, accepts user-loaded WAV files at up to 96 kHz and 32-bit float, and exposes its effects engine through a plain-text config.json file. A built-in accelerometer lets performers shake the mic to modulate effect parameters on the fly, while the push-to-talk handle doubles as both a power switch and a continuous parameter controller.

Dynamic Capsule and Signal Path — Engineered for Live Vocals

The dynamic capsule is tuned for close-mic vocal performance rather than critical studio recording, matching the product's lo-fi ethos. Audio exits through a stereo 3.5 mm line output with a signal-to-noise ratio that keeps the noise floor well below the performance signal.

• Capsule Type: Dynamic — handles high SPLs from aggressive vocal delivery without distortion
• Signal-to-Noise Ratio: 98 dBA — clean enough for stage and small-room recording
• The output level peaks at 8 dBu / 2 VRMS, which is perfectly optimized for direct connection to mixers and the K.O. II sampler.

Four Voice Effects and Four Sample Slots — Performance Without a Laptop

Four factory presets — echo, echo+spring, pixie, and robot — cover the most common live vocal treatments. Each preset's parameters can be modulated live by the handle position, by shaking the unit, or by an internal LFO. Four sample slots accept user-loaded WAV files for one-shot, hold, or start-stop playback triggered from the mic body.

• Voice Effects: echo, echo+spring, pixie, robot — switchable from the orange button on the mic body
• Sample Storage: 1 MB internal — holds four user WAV files at up to 96 kHz, 32-bit float
• Users can define custom playback modes including one-shot, hold, or start-stop for each of the four slots via the config.json file.

USB-C or Battery Power in a 100 g Handheld Body

Portability defines the experience. The unit runs on two AAA batteries for cable-free performance or draws power from any USB-C source. The included curly 3.5 mm cable keeps the output lead tidy on stage, and the entire device fits in a closed fist.

• Dimensions: 88 x 56 x 16 mm — pocket-sized handheld chassis
• Weight: 100 g — light enough for extended handheld performance
• Power: 2x AAA batteries or USB-C — five-minute auto-sleep, twenty-minute auto-off
• A 3.5 mm stereo line out on a curly cable allows for seamless integration with K.O. II units, mixers, or audio interfaces.

Beat Makers, MCs, and Live Electronic Performers

This microphone is the right choice for performers who want vocal effects and sample triggering without hauling a laptop or effects rack to the stage. Beat makers working with the EP-40 Riddim or K.O. II ecosystem will appreciate the direct 3.5 mm connection and shared sample workflow. MCs and vocalists will find the handle modulation and shake-to-trigger gestures more immediate than knob-twisting on a pedalboard. Sound designers can rewrite the entire effects engine through a simple config.json file, turning the mic into a customizable creative platform.

The EP Series and the Pocket Performance Studio

Teenage Engineering has built its reputation on compact, design-led instruments that rethink what music gear can look and feel like — from the OP-1 field synthesizer to the K.O. II sampler. This model extends that philosophy into the microphone category, treating the instrument as a self-contained performance piece rather than a passive transducer, and ships as part of a growing pocket-sized performance ecosystem aimed at creators who want to make music anywhere.