Pixar‘s 1998 movie, A Bug’s Life, brought tiny CGI ants to the world’s largest screens. National Geographic’s new docu-series, A Real Bug’s Life inverts that, turning insects into giants in our homes. The only thing digital about the critters featured in the Disney+ series, though, is the technology filming them. But like its animated counterpart, the show explores the world they live in and their adventures in ways we’ve never seen before.

With its focus on insects, A Real Bug’s Life isn’t limited to specific remote habitats. Over the course of the series you’ll visit arid desert planes, tropical jungle, concrete jungle, a rural farm in the UK and even the humble backyard. But thanks to a series of innovations, we see these worlds from entirely new perspectives. “I think that the look and feel of this show, and this is not just me saying it, I don't think that there's anything else that looks like this or has ever looked like this” Nathan Small, a self-shooting Producer/Director who worked on the show told Engadget.

National Geographic

The series opens in New York City where we follow the misadventures of an adorable bold jumping spider. While our eight-legged hero begins his journey on a city rooftop, it’s not long before we’re down at street level and joined by a cast of intrepid ants, industrious flies and a menacing praying mantis. Some of the shots instantly stand out without you fully knowing why. But Small does.

He explained that macro professionals have long favored 60- or 100mm lenses, which give incredible detail but have a very shallow depth of field (DOF). “Which means that there's no context ever, there's no geography, and you're always in this sort of very smushy, blurry world,” he said. “In the last few years, there have been lots of what are called ‘probe’ lenses released. The main one, which was a bit of a game changer, is made by a company called Laowa and it's a 24 millimeter” he added.

A probe lens looks exactly how you’re imagining — more like a vacuum cleaner attachment — but the shots it produces have two key advantages, Small explained. The first one is practical: the 16-inch barrel means you don’t need to be as physically close to the bug you’re shooting. The second, and the real reason those shots are standing out, is that with a 24mm lens you have a much deeper DOF, leaving much more in focus. “You get that geography and you get that setting which gives it a really cartoony and fresh… kind of funky look.” All I’ll say after watching that episode is, a New York all-beef will never seem the same again. You’ll also see a fly dining on a burger in excruciating, stomach-churning detail.

Perhaps the most surprising thing about the Laowa lens is that it’s relatively affordable. At $1,600 it’s not cheap, but it’s the same price as a regular (albeit very good) Canon 85mm lens that serious hobbyists might consider.

National Geographic

Small also explained that sometimes techology isn't changing the shot, instead it can improve what happens within it. “Not very long ago, all the lights that I was using were your classic film lights, Arri Blondes and all that kind of thing. They're very hot” he said. “LED lights, they're super bright, but they're cold, so it means we're getting all the light we need without cooking the animal, which obviously no one wants, while letting it act in a natural way” he added. Capturing critters trying to escape the heat is far less interesting than watching them do what comes naturally.

But the thing that enabled many of the most cinematic shots in A Real Bug’s Life isn’t available to buy, at least not off the shelf. “I never really touch the camera any more,” Small said. “I'm doing everything on custom built motion control rigs. I have a robot that I've been working on for the last five years, gradually changing things.” Small’s “robot” is a machine-engineered rig, hewn with the same precision as medical tools — something he says is vital as any shake or wobble at the scale he’s working at is hugely magnified.

The robot allows him to work at a distance and monitor via a large display for a better idea of what the things will look like on a TV. Two rails with sliders provide dual axes of movement while a rotating stage and tilt control provide a full range of motion that, put together, opens up shots you could only dream of with a tripod and slider alone. The robot’s “brain” uses an eMotimo motion controller and he directs it all with a PlayStation 2 DualShock. After years of updating and refining, the robot can finally deliver the dynamic macro footage we enjoy in the show. Head to the episode set on the British farm if you want to see Small's cinematic robo-shots for yourself.

Some things still require a human though. If you ever wondered how they capture seemingly impossible moments, like a spider spinning a web, the answer is… patience. In the show we see an elephant hawk-moth emerging from its chrysalis. “I just didn't really sleep for about five days, that's short of it” he said. “You collect a lot of them so you have options. I had my camera on a big rail and then as soon as I saw one start to twitch and move, I slide the camera along and bang, you're on that one.” The final shot in the show lasts barely 10 seconds, but without it the narrative falls apart, such is the life of a wildlife photographer.

National Geographic

If you want to have a go at recording an emerging elephant hawk-moth or bold jumping spider but don’t have Disney-level budgets, don’t worry. Small says that today’s consumer products are already more capable than a lot of pro gear was not that all that long ago. Specifically when it comes to working in low light. “Before, you were stuck at like ISO 200, which is a nightmare for macro, because everything is too dark or noisy,” he said. “[Now] you can shoot at 3200 and still get really clean images.” As he mentioned earlier, these higher apertures like f11 or above avoid those “smushy” backgrounds. He also says that a lot of his kit is put together with SmallRig parts (no relation).

For the camera itself, that will largely depend on what you want to capture. For close-up macro photos (rather than video), Small says the Olympus system is preferred within the industry, thanks mostly to its internal focus stacking/bracketing. In the same way HDR photos blend multiple exposures for more even, natural light, focus stacking does the same but with, well, focus, so you can have your subject and background pin sharp.

More of a bird person? Then Canon seems to be the industry favorite according to Small. Particularly the larger sensor models and RF mount lenses. Canon’s stellar auto-focus locks onto animals really quickly, and can keep it locked even when the subject is moving (as birds are wont to do). The RF lenses also have a great reputation thanks to their blend of speed and excellent built-in stabilization making them a good option for general wildlife photography too. When not shooting for work, Small uses a Canon EOS 5DS. “I think that's a good all round camera that does everything that I need it to. Stills are like my hobby now, which is quite sad, isn't it? Because it's very close to my job.”

A Real Bug’s Life, narrated by Awkwafina, premieres on Disney+ Jan 24.

Yamaha is a pillar of the electronic music making world, but it's perhaps best known for its stage synthesizers and studio monitors. Today, that might change as the company unveils the SEQTRAK ("seek-track") groovebox. Let's address the obvious first, yes, this looks very much like Yamaha had a meeting and decided to take Teenage Engineering head-on. The SEQTRAK (R.I.P. my shift key) takes more than a little inspiration from the Swedish firm's OP-Z portable studio and it even borrows the firm's favored gray and orange aesthetic (though the SEQTRAK also comes in dark gray/black).

The SEQTRAK includes a drum machine, sampler, FM and sample-based synthesizers, that semi-eponymous sequencer along with a built-in battery (3-4 hours expected play time) plus a built-in speaker making this a portable, standalone device. It also comes with a multi-platform (Windows, Mac, iOS and Android) companion app that allows more visual control, deeper settings, additional sounds and even a video visualizer. Wireless and physical MIDI plus USB connectivity with a built-in interface promise to make this something of an all purpose on-the-go idea machine that could also just live on your desk.

The drum section offers seven tracks, each capable of holding up to six sounds. There's a wide range of percussive samples pre-installed that can be tweaked and altered to your taste and then fed into the sequencer section below. Patterns can be up to 128 steps/8 bars in length while a substep feature lets you trigger a sound multiple times on the same step, to create flourishes and fills to your beat.

Given the company's heritage in the synth space, no surprise that there's a strong influence from the DX series here. The SEQTRAK's FM synth has four operators and eight-note polyphony. Meanwhile the company's long-standing "AWM2" sample-based synth engine has been shrunk down for the SEQTRAK and goes all out with a max polyphony of 128. If straight samples are more your thing then you can grab 16-bit/44.1kHz sounds using either the built-in mic, USB, aux-in or even resample what you're playing.

The footprint of the SEQTRAK is a little taller than the svelt OP-Z, or even the bigger OP-1 Field, but it still cuts a sharp silhouette. The step-sequencer/keyboard section benefits from the extra space though it'll be interesting to see how apt those keys are for performance. The lack of display isn't uncommon in this form-factor and of course the app is there if needed (again, much like the OP-Z). Many might remember the QY series of portable workstations, and their spirit lives on here but with an interesting new design direction. No doubt there will be a great many number of comparison videos made with its Teenage Engineering rivals once it launches (currently no info on when that is).

One key difference with the OP-Z is the price. While you can pick one of those up for $499, it cost $599 at launch. The SEQTRAK, however, is listed at for pre-order at retailers for $399, that's a pretty solid deal. There are, of course, many differences between them, too. For one, the slightly larger footprint will appeal or detract according to your needs and play style. The OP-Z sure is portable but it's very "hunt and peck" for settings and performance. The sampler credentials on the SEQTRAK also feel more robust than its Swedish rivals with 500MB of space rather than the OP-Z's skimpy 24MB (or the dedicated K.O. II sampler's 64MB for that matter).

Will that be enough to win over the same number and level of fans? Only time will tell. For now, you can register your interest in the SEQTRAK now and expect more information to surface during the NAMM show next week (we'll be there!).

There's something of a theme running through Teenage Engineering's recent products. That theme is you need more money. The Field range represents the Swedish company’s most exclusive music making gear. So when its website teased a new product with a colorful countdown, the wallets of Teenies everywhere braced for impact. Once that timer hit all zeros, the big reveal turned out to be the EP-133 sampler. Or, to give it its full name, the EP-133 K.O. II 64MB Sampler Composer. The real surprise though, was that it both looked cool and, at $299, was reasonably priced.

Fadergate

The countdown was really just the start. Barely 24 hours after the K.O. II was revealed units started landing in buyers’ hands. Within days, YouTube was awash with first look videos and tutorials. Before our review unit even showed up, several users were complaining that theirs had defective faders. Enough folks were having this problem that it quickly became known as “fadergate.” One brave creator even took their unit apart and, possibly, discovered the cause — the internal pins were bent and not making a connection. I asked Teenage Engineering about the issue and will update this story once I hear back.

Some buyer’s theorized that the issue might be caused by the fact that the K.O. II ships without the caps on its rotaries and fader. They come loose in the box to enable the packaging to be flatter, but the cap for the fader is unusually tight fitting. This led to speculation that the enthusiasm required to push this cap down might be putting too much pressure on components inside, opening up the cruel possibility of users breaking their own devices before they even got to play with them. I used extra caution, along with some needle-nosed tweezers to support the fader as I applied its cap and so far… so good?

Photo by James Trew / Engadget

The K.O. II name tells us that Teenage Engineering considers this something of a sequel to the original PO-33 K.O. Clearly the K.O. II isn’t a Pocket Operator, but its retro desk calculator aesthetic does take subtle design cues from that series. At 12-inches diagonally, it’s in iPad territory size-wise. The K.O. II also runs on AAA batteries (or USB power) which is another nod to the PO series. It’s hard to say how long it’ll run on those batteries and it’ll vary from brand to brand, but I’ve been using some cheap rechargeables for over a week and they seem to be going strong.

Personally, I was never particularly enamored with the Pocket Operators and much prefer the form factor of the K.O. II. It’s still very portable, but feels a bit more “serious.” It’s also just very nice to look at, which is something Teenage Engineering is quite good at. The model number, EP-133, indicates that we might see others in the line, so fingers crossed for giant calculator versions of other instruments, too.

In use

Fader fully checked and batteries in place, the K.O. II springs to life with a flourish of icons across its display. Those icons are actually fixed and not made up of pixels. Teenage Engineering calls it a “Super segment hybrid display” which basically fuses the digital watch part with a bunch of colorful, cute custom icons to let you know when certain modes or features are activated. It reminds me of the old Game & Watch handhelds where you can see where all the icons are and they are simply switched on or off as needed. Some of the icons are pretty abstract but there is a guide on the website to let you know that, for example, the red umbrella means undo.

Photo by James Trew / Engadget

Something I like to do with music gear is to see how easy it is to use without reading the manual. This works for all gadgets of course, but with music gear there are common tasks like sequencing, timing adjustment, automation and so on. How you achieve these on a drum machine might be very different to a keys-based synth. Teenage Engineering in particular likes to do things its own way but I was pleasantly surprised with the K.O. II. Within minutes I had managed to figure out basic navigation and how things are organized (sample groups, accessing shift functions, what the fader does and when and so on).

During this blind test I also got to know the K.O. II’s buttons and faders. It was obvious from the launch materials that we weren’t getting rubber MPC-esque pads here but I would describe the ones on the K.O. as keys rather than buttons. Fortunately they are satisfying to click and they’re pressure sensitive so you can give your drum hits different velocities or play notes at different strengths, just be sure to focus on the lower part of the key as that seems to be where the sensor is.

You probably should read the manual though. If for no other reason than it’s likely the prettiest one you’ll use in a while. There’s also a very cute tool for managing your samples which works via desktop browser. For the brave, you can also use this on your phone if you have Android (Chrome, Brave and Opera should all work). On iOS the same browsers can’t access Web MIDI and therefore will not work. (There’s the iOS Web MIDI Browser which crashes when I tried it with an iPhone but it does connect so your mileage may vary.) The K.O. II won’t show up on your PC as either a drive or an audio interface, so the main uses for the USB port are power and sending/receiving MIDI.

The workflow for grabbing sounds is pretty straightforward. If you want to sample from either a PC or phone or other sound-making device then as long as you can connect it to a 3.5mm cable you’re golden. For everything else, you’ll be using the built-in mic, which is surprisingly good. I recorded a few short vocal phrases and other found sounds and they come out well, assuming you’re in a quiet environment.

Photo by James Trew / Engadget

Don’t worry though, if you don’t have a bunch of samples yet, the K.O. II comes with a bunch pre-installed, and they’re pretty great. There’s a good mix of drums, bass pads and lead sounds — certainly enough to get you going straight away. You’ll definitely want to add your own though to make your projects unique. The presets use about half of the 64MB of memory, but you can back them up, delete them and free the slots up for your own. Max sample length is 20 seconds (same as on the OP-1 Field).

If 64MB doesn’t sound like a lot, know that it translates to about 11 minutes of samples at the 46kHz/16bit in which the K.O. II records. You can halve that time if you sample in stereo. Even if you go all out, over five minutes of samples should be plenty enough for most songs (we hope). If there’s going to be a bottleneck, it’ll more likely be due to the 12-voice limit. This means the K.O. II can make 12 sounds at once, so if you have six stereo samples playing at one time, you’ll hit that limit. My compositions aren’t interesting enough to hit that threshold, but if you’re a maximalist, then it’s worth keeping in mind.

A common technique to help avoid hitting the voice limit on other devices is resampling — basically merging separate sounds down into one new sample. This is also the technique for baking in any effects and modulation, which, given that the K.O. II can only manage one master effect at any one time makes the lack of resampling all the more obvious. Understandably, it’s possibly the biggest complaint among users I’ve seen so far (after fadergate of course).

There are ways around this, but it would involve recording out into another device and then sampling that back into the K.O. II and no one should have a sampler for their sampler, not in this economy. Teenage Engineering does have a decent track record of adding functionality via firmware updates — the company just added a new effect to the OP-1 Field as I wrote this — so fingers crossed.

Photo by James Trew / Engadget

While we’re on the topic of features the K.O. II doesn’t have, there doesn’t appear to be any kind of song mode. There are four sample “groups” that you can think of as tracks (drums, bass, lead and so on). Each of these groups can hold up to 99 patterns and patterns can be up to 99 bars in length. The active patterns across the four groups can be saved as a “scene” and scenes can be triggered consecutively. But, importantly, there’s no way for that to happen automatically right now. This means if you wanted to tease a whole recorded song out of the K.O. II you’ll have to either get clever with MIDI or trigger scenes and patterns manually in real time.

This performative nature might be a burden for songs, but I found it to be a feature in other areas. On top of the master effects you also have 12 “punch in” effects that can be applied — or punched in — by holding down the FX key and then any of the 12 black pads. Each is marked with its effect name (Level, Pitch and so on). These punch-in effects express themselves differently based on the amount of pressure you apply, making it a very expressive experience. The effects on these keys also correspond to modulation tools when used with the fader. So FX+7 adds the “Level” punch-in effect (rhythmic gating) while Fader+7 will assign gain/level to the fader until you choose another modulator such as Attack or Low Pass Filter.

I swear, half of the things you learn about how to use the K.O. II happen by accident. Yes, it’s in the manual, but I discovered you can solo groups by pressing the FX button and the corresponding group. You can also press multiple buttons to “solo” multiple groups or sounds at the same time. With a group or group solo’d you can then apply punch-in effects to create a lot of variations in real time. With so many touches like this, I am starting to assume that Teenage Engineering envisioned the K.O. II as a playful performative device rather than a linear song-making machine.

Photo by James Trew / Engadget

I’ve talked before about the sort of “magic” factor that Teenage Engineering sometimes hides into its products. Just small, cute and often a bit hidden features that aren’t necessary but are tons of fun. A common one is the inclusion of FM radio on the OP1/Field and OB 4 etc. Or the video making tool in the app for the OP-Z. There was a brief moment of excitement when I spotted “loop mode from OB-4” on the K.O. II’s product page. The hope being the two devices would interact somehow, but it appears that’s just a way of describing the looping feature that’s been borrowed from the OB-4.

As I write these closing thoughts, the second official firmware update (v1.1.1) has just been released. There’s nothing spicy in here like motion control or sampling the radio, but it’s confirmation of what I mentioned earlier about Teenage Engineering adding features after a product hits the shelves — such as the OP-1 Field’s vocoder synth that landed over six months after release or the fairly substantial 1.2.38 update for the OP-Z which came almost three years into its life.

The K.O. II represents an opportunity for Teenage Engineering to do the unthinkable and create a series of more capable instruments that don’t cost Field-series levels of money. As a sampler, it’s great for beginners or those who love a more performative style. It’s not nearly as detailed and in-depth as something like Roland’s SP 404 or Native Instruments’ Maschine, but it was never going to be a rival to, well, anything really. Fadergate aside, this is a promising product from a company that has tested the loyalty of its fans more than usual in recent years.