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Introduction to the Korg Z3 Guitar Synthesizer:
| The Korg Z3 is the long lost, forgotten child of the excitement of the late eighties boom in guitar synthesizers. For those used to hearing classic analog tones from Roland guitar synthesizers, the Z3 offers a surprise: the unmistakable sound of FM synthesis! For a brief period of time in the late eighties to early nineties, Korg was basically a division of Yamaha. This produced an array of products containing both Yamaha and Korg technologies. The Yamaha SY-22 and Yamaha TG-33 sound module featured Korg Wavestation type vector synthesis. Likewise, the Korg 707 and DS-8 both contained Yamaha FM synthesis. The Korg Z3 appears to be the same technology found in the DS-8: dual oscillator, 4-operator FM synthesis with built-in reverb. |  |
Features of the Korg Z3:
- Yamaha FM Synthesis
- Built-in Reverb
- Built-in Tuner
- Multi-timbral operation (allowing each string to play a different sound)
- Easy front-panel access to most frequently used functions
- Responds only to Master volume commands, ignores all guitar controller information, CV knobs, bender-arm, etc.
- Front panel guitar input connector will not accept first generation Roland locking cables!
- Sound Patch Editing only through Software
- Limited editing for Programs (basic string settings, etc)
- Useable as MIDI sound module (disables Guitar Synthesizer input)
- Synthesizer Off foot switch input
- Foot switch inputs for Patch Up and Down
- Dedicated Hold foot switch input (like Ibanez MC1)
The Korg Z3 and ZD3 Driver:
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At first glance the Korg ZD3 Guitar Synthesizer Driver appears to be a clone of the Roland GK-1, but the ZD3 has only a master volume control. While the GK-1 has controls for CV #1 and CV #2 (typically, filter cutoff and resonance) plus balance, the Korg system does not support any of these features. The ZD3 does have program up and down switches, but these are not compatible with the Roland standard, and they use pin #17 (used for the hex-fuzz) to transmit their transistor logic signals. The final quirk of the Korg system is the recessed front panel connector, which mandates the use of a Ibanez type connector (which Korg uses) or a later Roland C-24D Version 2 cable.
Korg Z3 Block Diagram:
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Official Korg Description:
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"The 1-unit size Z3 features built-in sound sources and various performance functions combines with the expressive power of the compact ZD3 drive unit for simultaneous output of both actual guitar sounds and synthesizer sounds. The sounds of the synthesizer alone, the guitar output by itself, or a combination of the two can be produced without changing instruments - the possibilities are virtually endless. The time-lag problem associated with conventional pickup systems was eliminated in the Z3/ ZD3 system through three developments: 1)application of parallel processing with dual microcomputers (CPUs) for pitch extraction and sound generation, 2) use of high-speed analog-to-digital converter to handle the waveform data from the divided pickup, and 3) utilization of a 16-bit microprocessor and a custom LSI chip with a newly developed algorithm for instant conversion to MIDI. With 6-voice, 128-preset internal sound sources and four digital oscillators per voice, guitarists have access to a completely new sonic palette."
"High-quality 16-bit digital reverb has also been included to beef-up the sound with spacious stereo ambiance. The instrument operates in two different modes. In Mode A, you can choose from any of the 128 preset sounds, as well as select and change 6 different parameters of each sound, such as pitch bend, sensitivity transpose, and so on. Mode B lets you write these parameter settings to 128 programs and offers four different function groups for detailed editing: Play, Edit, Patch Play, and Patch Edit. By bringing the electric guitar into the world of MIDI, the Z3/ZD3 combination allows use of other MIDI sound generators as well. Two MIDI output modes are available: POLY and MONO."
"To control sound sources that are not multi-timbral, you can use the POLY mode to send MIDI data from all six strings over a single MIDI channel. The MONO mode makes it possible to simultaneously control up to 6 different sound sources, since separate MIDI channels are assigned to each string. Convenient and easy foot control of the instrument's functions is possible by connecting the foot controller, FC6, using the special RCC-050 remote cable."
Video Demo of the Korg Z3:
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| This video demonstrates the excellent M. V. Pedulla XJ-S with the Korg Z3. The sounds are classic, vintage early 1990’s FM synth sounds. While the Z3 does not support any of the Roland controllers, modulaton, etc., it is a very fast a responsive instrument. In MIDI speed tests, the Korg Z3 is just as fast as any of the current pitch-to-MIDI systems available now. |
Patch Editing:
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I was really excited when I first hooked up the Korg Z3. My first impression was that this unit featured really fast, really responsive tracking. In particular, patch 05, a fretless-type bass patch, seemed to track precisely everything I did. Hammer-ons and pull-offs and the slightest finger vibrato were all accurately captured. No doubt this has something to do with the fact that there is no MIDI delay in the transmission of the information to the on-board sound generator. Or perhaps it is in the nature of FM synthesis to be more responsive than the typical analog tones you hear with most vintage Roland gear.
There is very limited editing of synth sounds on the Z3. Mark of the Unicorn makes the Unisyn universal editing software, which will allow you to get to the detailed parameters of the Z3. Given that its architecture is similar to the Korg DS-8, you should be able to create some nice sounds. A check of the service manual provides complete documentation for remote, MIDI system exclusive editing.
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MODE B, Edit Mode:
You can enter MODE B, edit mode, by switching the Z3 off, then moving the microscopic, recessed tiny switch on the back panel from A to B, and powering the unit up again. Then you can edit a program, which is basically six sets of assignments, one for each string. Here are the functions you can set for each string in edit mode:
- Program Change Request
- Bend Range
- Note On Sensitivity
- Velocity Curve
- Transpose
- Hold (Sostenuto)
- MIDI Channel
- Sound Number (Patch)
- Timbre (Patch) Output Level
- Reverb (Global)
In some ways, the Z3 is more like the current Roland GR-20 guitar synthesizer, where the focus is more on performance controls, rather than the detailed synth patch editing associated with keyboard players. I wonder, did the folks at Korg eliminate Patch (sound) editing from the Z3 as a cost cutting measure? Did they feel that the average guitarist was not interested in creating new sounds? Or did use of the Roland-compatible technology mean that they agreed to limit sound editing, so it would not compete directly with other Roland products?
Finally, while I have the ZD3 driver, I do not have the hex-pickup that goes with it. Therefore, I have been unable to test the functionality of the ZD3 driver/pickup combination. The ZD3 appears to use a different connector, not compatible with the original GK-1 pickup. Also, if you read the notes on the 24-pin connector page, you will see that the patch up/down selector switches use a non-Roland protocol, so they will not change patches on Roland gear, and visa versa.
24-pin Cables Used with the Z3 - IMPORTANT NOTE
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Because the Z3 has a recessed front panel connector, the older latching-type cables will not slide in far enough to connect securely. You need to use the later, pin-type cables made by Roland and Ibanez, or of course you can use the ZD3 as well. If you are determined to use the Z3 with an older Roland cable, you can use a large, flat edge screwdriver to remove the latching connectors, though I do not recommend this.
Korg Z3 - The Fastest Vintage Pitch-to-MIDI Converter:
I did some testing one morning, to compare the speed of various guitar synthesizers. I played open strings, fretted at the fifth fret, and the twelfth fret. I recorded the direct output from the 1/4” jack on the guitar and the output from the synthesizers. MIDI only converters like the GM-70 or GI-20 were used to drive a Yamaha CS6R. I felt this was more of a real world test.
The Z3 is as fast as any modern Pitch-to-MIDI converter. I was very impressed, but I should not be surprised, as the Z3 is a very responsive synth. Here are the average results:
GM-70: 40.39 milliseconds.
MC-1: 33.62 milliseconds.
GR-700: 29.87 milliseconds.
MKS-30 with GI-20 (GR-700) : 27.24 milliseconds.
Korg Z3: 20.15 milliseconds.
GI-10: 21.99 milliseconds.
GI-20: 19.77 milliseconds.
Clearly, the Korg Z3 looks like a real champion! The Z3 sits between the GI-10 and GI-20, which is pretty impressive. However, the GI-10 and GI-20 will let you drive any synthesizer you like, and with the Z3 you are stuck with the factory patches, which are less than impressive when compared to modern synthesizer modules.
Download the Korg Z3 Patchlist
Download the Korg Z3 Patch Parameters
