One datapoint to the contrary - I had an excellent experience with their support. Shortly after I bought my original OP-1 (the $800 version), I managed to brick it during a firmware update (my computer died while loading the new FW IIRC). They're a Swedish company but had an "authorized repair" guy based in the states, so I just dropped it in the mail and had it back in about a week.
Can't remember if they covered shipping, but they were super communicative through the whole process.
This was a few years ago, so maybe that's changed!
TE make toys - finely designed and polished toys supported by a finely designed and polished web site. But still toys.
OP-1 has a lot of options that make you feel like you're making music, when in fact you're trapped in an endless round of "What happens if I...?" inside the feature space.
Hence the novelty tag. They're not particularly productive instruments, but they can be a fun way to pass an hour or two.
A software environment like Max, PD, or Reaktor is much less limited. But the learning curve is much steeper, and the instant gratification factor much lower.
And then there are the code-based environments like Supercollider, in which you can implement the OP-1 sequencers and synths with a few lines of code, and easily create your own variations - but the learning curve for non-coders might as well be vertical, and it's not shallow even for experienced coders.
> A software environment like Max, PD, or Reaktor is much less limited. But the learning curve is much steeper, and the instant gratification factor much lower.
I think comparing any physical keyboard synth/sequencer to the full desktop software is going to make the device look like a toy in comparison. It's apples and oranges in terms of available power and interface and really purpose.
Your disdain for the device out of the box may be warranted but that could be said for any pre-programmed music device ever released including the Casio keyboard that still takes C batteries but has an adjustable bpm.
made this in bed at 3am last night...like any device people do not put in the work to learn how to use it musically, then claim its a toy. theres tons of threads from people like you on muffwiggler talking about how the minilogue is a toy. nah man, you're just talking out your elbow.
you should read up on why Bon Iver ditched bringing his guitar with him on his travels, and replaced it with an op-1.
I would call it limited. In fact, even Jesper Kouthoofd, the CEO of TE, would call it limited. From PUSH TURN MOVE (an amazing book on UI design in synthesizers) - "And to be creative, you often need many limitations. Suppose you have an endless canvas to work on - the result is that you can't even start."
I think the limitations of the OP-1 are one of its strengths. Anyone can dive into it and start making music. And once you really learn the device, you can do some really great stuff with it. I think any artist is made better by limitations. It's when creativity shines.
That being said, I think it's current price point is a bit high. I got mine for $899 which I thought was steep, I was literally the last order before they raised the price to $999, then $1099, and now $1299. It's wonderfully built, a lot of fun, but $1300 is a lot. I can't say that I would pay that much for it.
Yeah that's why I would just build my own video synth its not that difficult to do and stick with pocket operators which are under $100. Especially since op-z can't record digital tracks or sample like the op-1.
just as a note, the original post is discussing the op-z and not the op-1, although responses to criticism of both instruments is usually the same in that they do way more than people think. :)
? that's not even in the same product category. the maschine requires constant connection to a computer. and none of the maschine line is the size of a tv remote with a long-lasting battery.
in addition, the op-z is not just a sequencer. even if you considered it just a sequencer, it can sequence multiple audio tracks, cv tracks, and a video track.
