AudioPilz Tackles the OverPriced-1: A Field Day with the OP-1

AudioPilz kicks off the episode with a jab at the ever-climbing prices in the gear world, spotlighting the Teenage Engineering OP-1 Field. The initial glance at the device leaves most of us scratching our heads. It’s reminiscent of a Schrödinger’s cat scenario: you choose your price, and it’s always equally overpriced. The world of synths often sees price hikes for functionality tweaks, but here, we’re left wondering just what we’re paying for. Florian Pilz, the mastermind behind the AudioPilz alias, humorously dissects this marketing ploy, critiquing the OP-1 Field’s resemblance to its predecessor. His playful yet sharp words strip away the glamour, revealing the core dilemma: is this really worth a potential four-figure investment? Comparisons to the luxury swinging of synths roll off his tongue like a well-rehearsed stand-up routine.

As AudioPilz delves deeper into the OP-1 Field, he uncovers what lies beneath its slick, marketed exterior. The synth holds a six-voice multi-engine, making it comparable to a well-intentioned reboot that doesn’t quite spark full nostalgia. While other synths boast of innovative voices and mystical capabilities, the OP-1 seems content with rehashing its history. Yet, there’s more to explore: a drum sampler, an array of sequencers, and a particularly intriguing LFO section. The sequencers range from classic 16-step types to those with more esoteric names. While Florian appreciates the aesthetic simplicity, he notes the clunky interface, reminiscent of trying to dance in a mosh pit while keeping your pint intact. There’s a charm here, albeit wrapped in layers of frustration. AudioPilz’s tongue-in-cheek critique hints at the frustration of using a pastiche of classic ideas rather than pushing forward with new sonic adventures.

In true AudioPilz fashion, Florian doesn’t shy away from critiquing the build quality and overall longevity of the OP-1 Field. The build speaks of durability—ready for a marathon, if you’re planning a prolonged escapade in the tropics. Yet, Florian hints at the irony of such ruggedness being wrapped in designs that almost plead to be displayed rather than used. The mixer, while sporting aesthetic charm, falls short with limited routing capabilities. The practical usability of such a costly device is questioned, especially when Florian weighs it against the backdrop of an era he’d rather not revisit. The tape’s nostalgic allure might charm a synth romantic, but for the seasoned creator, it’s akin to insisting on film photography in a digital world. With such arresting design juxtaposed against lacklustre features, Florian presents the question we all dread: are style and substance mutually exclusive here?

Finally, we reach AudioPilz’s biting conclusion, where he reflects on just who this synth really serves. As much as he respects artists finding magical uses for the OP-1 Field, his own experience leaves him untempted to join their ranks. The OP-1 might find its niche among creatives who revel in its vintage quirkiness, but for Florian, it represents deliberate limitations that conflict with his quest for straightforward usability. No risk of splurging here, regardless of the cost, as Florian dryly acknowledges that this device’s allure doesn’t justify its price tag. Like a hipster haunt that promises artistry amidst its bare-brick walls, the OP-1 Field invites intrigue but ultimately leaves the pragmatic musician cold. In Florian’s book, this synth is best appreciated from a distance, where its quirks remain a novelty rather than a challenge.