Actually, I think there would be a workaround for getting a sort of parametric EQ as well but the workaround would be just too annoying. You could always resample multiple times through the filter, because essentially it gives you an adjustable bandpass.
All boils down to how much I’m prepared to jump though hoops I suppose. Sampling and resampling, to build sound, sure, but the example I gave above due to lack of control on the EQ, nope, that’s crossing the line even for me as far as jumping through hoops goes. Same with the distortion, it’s just needlessly far too basic sonically, yet plenty of room for shift-knob parameters have gone untapped.
So yeah sigh I really wanted one, but nah, not in its current firmware state.
You should definitely check out the Deluge.
Stereo sampling, two band EQ with freq adjustment, plenty of the usual effects including a distortion+saturation and bitcrush.
SD card slot, battery powered so it’s portable. Unlimited number of synth voices (up to cpu limit) and unlimited number to tracks.
Resampling, and plenty of connectivity.
You might not like the screen and gripe that it’s hard to believe why the perfect product spec-wise didn’t include a more function screen.
That said I had a deluge and thought it was a real cool piece of kit, lots of upgrades! In the end, I have a computer that has a daw and vst’s that blow the deluge out of the water spec wise and I couldn’t justify $1,000 on a piece of kit that just wasn’t fun for me to use.
I’d argue that it doesn’t sound like you’ll have fun with an OP-1, I could be wrong, but at the end of the day: specs don’t really mean much if you don’t enjoy working with a piece of kit.
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Oh I’d definitely have fun with the OP-1, but it would also frustrate due to certain things. I looked into the Deluge probably just a month back. Looks like a quality piece of kit and yes, very powerful, but it doesn’t strike me as being a very musical experience.
I could be very wrong about that though, and don’t want to knock it since I’ve not given it anywhere near the amount of attention I’ve given the OP-1.
Just throwing some thoughts in as it’s an interesting discussion…
I’d agree with the comment further up about the limitations being part of the experience, that you have to sort of, get on board with to enjoy.
I see the OP-1 as a very complicated musical instrument, rather than a full music production system. So, its limitations are built in, more as conscious design decisions rather than simply due to them not thinking the usability through sufficiently. They’re not trying to tick all the boxes, they’re just saying ‘we’ve ticked these ones, like it or not!’.
Basic fundamentals like the tape functionality, recording to album, even copying and pasting tracks are… peculiar. They certainly take some getting used to - especially in these days of seamless devices and clouds. The OP-1 feels primitive in that way, sort of outdated and sometimes frustrating.
But I feel it’s a little like being annoyed that an old upright piano can’t just midi into a computer. The joy of an old upright piano is in the sound, the playing, the creating. You can write something on there and use that as a base for something on the computer later, and that’s kind of how I feel about the OP-1. Its stubborn isolation means you do everything on the device, but that’s a good thing!
I remember watching one of Accurate Beats’s youtubes or instagrams and he commented that the single best piece of advice he’d give people was to pick a machine and focus on it - learn everything inside out and don’t be distracted. I think this is great advice in our world of yearly phone upgrades and the constant stream of shiny new tech.
This is what appealed to me initially about the OP-1 - no new plugins to try, no software updates or functionality changes, no other machines to connect, no screens etc. Just a little box full of things to play with and learn (and I still have so much to learn) - a pair of decent speakers and you’re off! And ten years later, it’s pretty much the same machine they launched with. The fact that it’s still relevant is testament to the quality of that early design.
So it really comes down to what you want to use it for. Is it expensive? Yes, (although I got mine for about £900 on Gear4Music or Bax I think, can’t remember which). Do I think it’s worth it? Totally - it’s a self contained music making instrument that I use literally every day. It’s free from computers and desks and screens so I can use it anywhere, whenever the mood takes me - just pure creativity! Do I think it could replace a DAW for someone who wants to master proper tracks? No, I really doubt it.
But as an INSTRUMENT to create a huge variety of types of music from scratch, it’s a wonderful thing!
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I have to totally agree with this sentiment. I use the Op1 primarily as an instrument- and it’s peculiar workflow system as an arranger/sketch book.
While it has become exorbitantly overpriced these days, it’s kinda silly to compare it with other hardware functionality being produced nowadays. I also had the fortune of owning one years ago before it got a bit cultish and prices started getting out of hand.
And yes, the portability of it is really the clincher. For me if I’m working away from home, it’s important to me to be able to play something that feels like an actual instrument, instead of having to open up a traditional DAW on desktop/laptop (something I try to avoid when making music). I try to leave traditional DAWS out of the equation until I’m ready to record/final mix & master. I feel like I’ve seen this whole thread crop up throughout the years by different people, only to resurface whenever a new wave in interest pops up for the OP1.
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@BillyTuns I actually like I for it’s peculiar workflow. I’d even go as far to say it’s workflow isn’t perculiar to me, it makes perfect sense and feels like each feature is internally separated but linked by cables like a real world setup would be if it involved a tape machine.
While TE might say they’ve ticked all the boxes, I would agree for the main part, but my issue is that the boxes they ticked feel a nbit half-baked (some of them). For example, one of the OP-1’s stand-out features is it’s Tape system. Another cool feature is it’s assignable modulation system. So to me it feels like a missed opportunity that you can modullate the tape spped with a crank, but not the LFO or envelope. One of the biggest ‘character’ attributes peole love about tape, is wow and flutter, yet here the OP-1 with it’s remarkable internal systems does not allow you to do the most obvious thing a person into tape or wanting the tape sound, would want to do.
My other example, the EQ. There is absolutely no reason why, using a shift-knob mode, that there could not be another four parameters for that EQ. THree of them to control the selected frequency of each band, and the foourth as a global ‘Q’. This means that the EQ would look and behave exactly as it does now, but if you hold shift, you realise it has the power of a much more capable parametric Equalizer. Parametric Equalizers are essential sound tools, not just for mastering, but for bringing out certain frequencies in the instruments you create. So to me this is another missed opportunity.
And the distortion, again, shift-knob functionality would give you another four parameters, one knob for selecting different types, and the other three for doing, I dunno, whatever they could think-up really, as long as what it does gives the effect the ability to go from mild tonal change, to full-on Death Metal distortion. So again, yes, they ticked the distortion box, but the box feels empty when it needn’t be like that.
@HotAsianGarbage Hey, I’m no “New Wave” dweller, I’ve been wanting an OP-1 for years, pretty much since it came out 
Thing is, I wanted something where I can do it all on one device, so this is why certain things such as the needlessly limited EQ and the Distortion are major bummers for me. The machine would be so much more capable sonically with even those two minor changes. And they are minor changes, neither is rocket science, especially for the caliber of engineers TE obviously have.
Anyway, I’m amazed I can even stll post here. I gave the mod a right bollocking in private earlier due to my stuff getting hidden. Either he hasn’t seen it yet or he decided not to ban me, so just in case I do get banned, it’s been nice talking with y’all 
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BTW, another missed opportinity regards the Tape system and assignable modulation is the inability to drive tape speed with the Envelope, cause guess what that would mean?
Driving the tape speed with an envelope means you get to do custom envelope-driven tape-stops 
… and Starts 
I’m not sure it was answered…
Yes CWO, Valve, Dsynth, sketch,and some other stuff came much later…
Regarding the limits, there will be always sth that you miss after they would have included your whish-features.
An example: I wanted to participate at that Greenpeace djs4ca.com contest. There was no other thought than of taking the challenge together with the OP-1 for me. Of course I have other options, but none of them make it so easy to finish a track out of nothing in a very fast way and with so much fun.
We had to use samples… And it’s a battle with Ninja Tune involved. So I was considering to not use it because of the stereo issue and 4 Track limitations. I struggled…
30 sec later, I didn’t give a funk and grabbed the OP-1 to begin. And again as always I’m very happy with the result and the spring reverb all over the top.
Pro Tip: get the party started
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Hey, @SmoothOperator, it’s on sale now ($1,121 teenage engineering - OP-1 the portable wonder synthesizer) because of the 10th anniversary! Still resist to buy? 
I had it since it came to this world a couple of times, once even paid for one only $500ish or so. Then sold them again. Now just bought a new one out of Amazon. So… As you see… Resistance IS futile, nevertheless 
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Hey, @SmoothOperator- Just came across this independent developer, thought it’s open source accessibility would turn you on.