RedMeansRecording Unleashes the Korg Z1

What happens when you shove a wild digital synth into the spotlight? RedMeansRecording dives into the Korg Z1, showing why it’s a hidden marvel. With specs that’d make any synth geek drool and a sound palette straight from a sci-fi rave, the Z1 challenges everything you know about synthesizers. Let’s break it all down in typical RedMeansRecording fashion.

The Z1 Finds Its Way to the Studio

The video kicks off with RedMeansRecording, also known as Cooler Jeremy, recounting how the Korg Z1 landed in his studio. It all began with a message on Bluesky from someone desperate to offload their Z1, dangling it at a bargain in front of Jeremy’s eyes. But with a studio packed with neglected toys, Jeremy struck a deal to feature the Z1 in his channel instead, hoping to drive up interest. With a hint of hesitation, he took on this beast, waiting to be tamed and tested, as he aimed to showcase its beauty and madness in equal measure. A soundscape from years gone by, yet somehow, eternally fresh – the Z1 promises a ride into the sonic unknown.

"This synth is wild. Korg was really cooking when they came out with the Z1."

The Beastly Specs of the Korg Z1

"It had 12 voices of polyphony standard, meaning you can play up to 12 notes at once."

Jeremy wastes no time diving into the jaw-dropping specs of the Korg Z1, a synth that seemed more futuristic in the ’90s than today’s overpriced widgets. For £2,395 back then – about four grand in today’s inflated madness – you got an instrument that could conjure twelve voices in perfect polyphony, with six-part multi-timbral magic. Once you slot in an expansion card, it elevates to an 18-voice monster. Sure, Reddit would have a collective fit at its price tag today, but this thing held real value under its hefty metal shell.

The Z1 was the herald of multi-timbral physical modeling synths and had the power to make six different musical statements at once, each dripping in effects and control. Jeremy stands in awe, discussing its polyphonic prowess, reminiscent of synths from a gritty cyberpunk novel. With MOSS (Multi-Oscillator Synthesis System), it wasn’t just a synth but a flagship of innovation, pushing the boundaries with technology like variable phase modulation and physical modeling. With echoes of Yamaha’s VL1 and Korg’s own Prophecy, the Z1 offered ain’t half bad stab at changing the game.

In-depth oscillators, filters, and effects packed into a chassis mirrored earlier hits like the Korg Triton. Jeremy light-heartedly mocks his slip-of-the-tongue – tangling Aftertouch with After Effects – yet the Z1’s spec list was anything but error-prone. It’s an instrument that ticked more boxes than a Korg employee’s bingo card in a meeting about innovation.

Inside the Heart of the Beast: MOSS Technology

Introduced with the Korg Prophecy in ’95, MOSS technology was a game-changer. The Z1 expanded this tech significantly, infusing its guts with polyphony and richer modeling capabilities. Jeremy paints a vibrant picture of how Korg layered up their tech game, equipping the Z1 not only with various synthesis models but also with integration opportunities for Korg’s big brothers – the Triton and the Trinity.

Korg’s dream of crafting the ultimate flexible synthesizer platform was embodied in OASIS, the ambitious project nestled in the Z1’s circuits. The ability to integrate multiple synthesis engines into a robust digital framework wasn’t just groundbreaking; it was the stuff of synth nerd fantasy. This forward-thinking approach paved the way for Korg to become a heavyweight in synth innovation, despite OASIS taking an age to reach consumers in 2005, in its own right.

Jeremy gives a cheeky nod to pricing, reminding us that this tech didn’t come cheap – OASIS’s workstation fetching as much as $13,000 after tariffs. It’s a wonder how far synth design has come without the burdens of yesteryear’s price tags, igniting a debate on how companies like Korg could revitalise such legacy models today at a fraction of the original development costs.

From Oscillators to Filters: The Z1's Diverse Sound Engines

RedMeansRecording unveils the Z1’s sonic artillery, boasting a formidable array of synthesis engines. From traditional analog modeling oscillators that mirror classic waveforms like sawtooth and triangle, to innovative modeling techniques, the Z1 stands out as a versatile beast. It brandishes comb filters for resonant string timbres, offering a metallic richness that rings out into the void.

Notably, the Z1 ventures into FM synthesis territory with VPM, Korg’s twist on phase modulation, expanding the sonic palette to cover gritty, colourful tones. This eclectic mix continues with effects like ring and cross modulation, energizing sounds with layers of harmonic complexity. Jeremy paints it as a synth capable of aural shapeshifting, moving from haunting bell-like textures to aggressive sync sounds that slice through any mix.

Physical modeling takes centre stage with brass, reed, and plucked string engines, capturing the sonic essence of real instruments in the digital realm. Even a noise generator finds its place in this sound box, adding breathy undertones and character. Jeremy cheekily highlights the synth’s ample mixers and modulation envelopes, claiming its hefty LFO capability just misses the boat against AMS Hydrasynth, yet remains vast in its modulating prowess. All in all, the Z1 is a sonic juggernaut, ready to tackle any sound-design challenge thrown its way.

"Do you have a new shampoo? Oh no, you're just getting licked a lot? That's based, keep that up."

Challenging the Status Quo: The Korg Z1's Unique Impact

"I think the Z1 could be considered a hidden gem and ahead of its time."

In a market plagued with specs that often sound like marketing waffle, the Korg Z1 offers a refreshing take. RedMeansRecording emphasizes just how special the Z1 is, not only because of its feature set but due to its inherent multi-timbral magic. Jeremy praises the Z1’s unprecedented offering of independent effects per each of its six timbres, something of a rarity even when analog modeling was still trying to find its feet.

Eclipsed by its Triton and Trinity brothers, and with few synths appealing to those craving for physical modeling, the Z1 remains an underappreciated gem. Its particular affinity for electronic wind instruments further chisels out its niche, making it a versatile choice for musicians wanting to explore beyond generic sounds. The synth landscape today, dominated by hordes chasing specifications, can learn a page or two from Z1’s all-encompassing manual.

Jeremy finishes on a note of admiration, hoping the Z1 finds a worthy abode. With a nod to the link in the description for purchasing this very unit, he invites fellow synth aficionados to share their discoveries or tips on the Z1 in the comments. A hidden gem, indeed, the Z1 transcends mere nostalgia, suggesting a rebirth in today’s synth world for those ready to appreciate its unmatched sonic toolkit.