AudioPilz Takes On The OP-1 Field Fiasco

AudioPilz kicks off his deep dive into the Teenage Engineering OP-1 Field with a bang, questioning the perplexing strategy behind its pricing. In his classic memetic and humorous style, he mocks the company for trying to juggle marketing strategies that leave consumers paying extreme prices. The introduction paints the OP-1 Field as a polarising device—receiving criticism not only for its price tag but for its perceived lack of tangible improvements over its predecessor. This is no ordinary synthesiser; it’s an overpriced piece of kit with what seems to be nothing more than a designer’s flair attempting to cover technical redundancies.

AudioPilz delves into the technical specifications of the OP-1 Field, inspecting whether the upgrades justify the substantial cost. Emphasising the aesthetic shift from plastic to a sleeker aluminum design, he comments on the marginally welcomed USB-C integration—a nod to modernisation amidst an otherwise quirky, retro interface. The synth maintains its six-voice engine, introducing a ‘Juno for Dummies’ algorithm—a cheeky addition that feels as superfluous as a sixth pint at a Monday lunch. Florian picks apart the sequencing capabilities, noting the quirky yet burdensome nature of the ‘monkey drummer’ and other features, leaving him questioning how intuitive this setup really is. With limited storage for eight arrangements and a clunky virtual tape, it resembles an artsy escape room more than a streamlined music workstation. It feels like owning a vintage car less for the ride and more for the trouble you get into along the way.

Under the hood, the OP-1 Field provides a mixed bag of sonic capabilities. AudioPilz acknowledges the quality of the synth engines but bemoans the overall feature set. With its tape machine upgrade to 32-bit stereo and the niche reverb effects, the OP-1 Field plays the part of a beauty that’s more about looks than functionality. AudioPilz points out the frustration of menu-digging and limited parameters, likening it to trawling through a dodgy kebab shop’s 3 a.m. menu only to discover they’ve run out of chips. While the mixer and FX promise flexibility, they deliver little more than eye candy without substantial functional value.

In his final verdict, AudioPilz wraps up his examination of the OP-1 Field, deliberating whether it’s worth its high price. The synthesiser finds itself in a unique position; it’s adored by some for its avant-garde aspirations while others see it as a triumph of marketing over substance. AudioPilz appreciates the ardour of artists who make it work, yet for most, including himself, it seems to embody the sort of contrived challenge akin to navigating a pub brawl with both hands tied. He quips that he’d rather endure the labyrinthine menus of vintage Rolands over dealing with the OP-1’s eccentricities at a resort. Ultimately, it’s a piece of high-priced gear that flaunts its boutique allure without providing the satisfaction of delivering sound productiveness.