Korg Z3 Guitar Synthesizer

Yamaha FM Synthesis Technology Combined With A Roland-Compatible Guitar Synthesizer, Sold By Korg!

The Korg Z3, produced in the late eighties along side more well-known Korg breakthrough products like the M3.

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 modules featured Korg Wavestation type vector synthesis.

Pop open the hood of the Korg Z3 and you will find a Yamaha 2414 sound chip. The 2414 was a versatile sound chip, it featured 8 voices of FM polyphony, with a wider selection of raw waveforms compared to the historic DX-7. The Yamaha 2414 is found in the popular Yamaha TX81Z and DX-11. The big deal here is you have more than sine waves to work with. A DX-7 would use several operators to get to a more complex waveform, but the YM2414 had more complex waveforms to start with, meaning more complex sounds were possible.

The synthesis engine of the Z3 is a Korg engine, and it is remarkably fast. The speed of the Z3 puts it in the same category as modern synthesizers such as the Roland GR-20 or GR-33, rather than the comparatively sluggish and error-prone GR-700. The Korg Z3 is easily twice as fast as the Roland GR-700, 20 millisecond versus a 40 millisecond average response time. Even more impressive is the fact that the Z3 is much less prone to errors and mistriggers that are the trademark of the GR-700.

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:


The Korg ZD3 Driver, very much similar in size and design to the Roland GK-1. The ZD3 has volume and patch up/down controls, while the GK-1 has CV#1, CV#2, volume and balance controls.	String and volume signals are Roland standard, but program up and down are incompatible.	Because of its recessed design, only later Roland cables will plug into the Z3, the early latching cables will not work.

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:

Official Korg Description:


The Z3 features two processors: one for tracking, and one for FM synthesis.	The Korg ZD3 Driver for mounting to any guitar.

"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."

Magazine Advertising:

PLEASE SEND ME DETAILS OF THE KORG Z3 AND ZD3!

Magazine advertising from a British Music Magazine featuring the Korg Z3. What limited materials I have found for marketing the Korg Z3 seem to come more from European sources than from the domestic US.

Click on the image for a much larger version in a new window.

NEW! Video Demos of the Korg Z3 Vintage Guitar Synthesizer System:

	Introduction to the Korg Z3 Features
	Brief over view of this forgotten 3-way guitar synthesis system from the later nineteen eighties! Guitar synth, pitch-to-MIDI and stand alone FM synthesis system!
	Pitch-to-MIDI, the Z3 with MIDI Modules and Soft Synths
	MIDI Out from the Z3 is used to drive various synthesizers and soft synths with MIDI. For the soft synths, a MOTU 2408 mk3 and MTP AV is used to get MIDI and Audio to and from a dual-core Mac.
	Z3: Yamaha Vintage FM Synthesis Sound Module: Poly Mode
	In addition to being a great Guitar Synthesizer system, the Korg Z3 can work as a stand-along Yamaha synthesis module. This demo features all the Z3 voices playing the same sound, in Poly Mode.
	Z3: Yamaha Vintage FM Synthesis Sound Module: Multi-timbral Mode
	The Z3 can also bu used in multi-timbral mode. Each of the six voices of the Z3 are assigned to a different MIDI channel. And each voice can be assigned a different sound.
	The Korg Z3: Tuning and Operation
	Setting up the Z3 System: mode, and tuning. Plus explanation of front panel live performance controls: bend, octave, etc.
	The ZD3 Synthesizer Driver
	Close-up look at the Korg ZD3 guitar synthesizer driver, plus a look at mixing the guitar sound with the synthesizer sound.
	Z3: Rear Panel Interface Connections
	Quick look at rear panel interface connections. The Z3 has MIDI In and MIDI Out, plus hold/sustain, synth mute, and patch increment/decrement controls.

Details: ZD3 Driver, Pickup and Mounting Bracket


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I was able to test the ZD3 driver with various similar Roland 24-pin gear. The driver does deliver the basic string signals, but it only generates master volume commands, so it is not compatible with the US-2 switcher. 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. I would not recommend the ZD3 as a direct replacement for the Roland GK-1.

Details: Interior Electronics and Replacement Battery


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When I bought this unit, the display would flash when I first turned the unit on. This indicated the lithium memory backup battery was dead. The Korg Z3 uses the very popular CR 2032 battery, found in most synthesizers to back up memory contents.

Patch Editing:


The editing display of the Z3 consists solely of a 3-digit alphanumeric display.	To edit the Z3, you need to move the recessed, incredibly tiny MODE A-B switch on the back panel.

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.


Front panel switches offer easy access to basic parameters. There is no detailed patch editing on the Korg Z3.	Shown above is the optional FC6 Remote Control Foot pedal for Program switching.

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?

24-pin Cables Used with the Z3 - IMPORTANT NOTE


Only the pin-style cables will connect to the recessed front panel connector on the Z3.	This picture show an Ibanez pin-style cable connector with the Z3. The metal latching connectors will not fit.	The standard 24-pin latching-type Roland connector will not slide all the way into the front panel of the Z3	The Roland plastic pin-style cable connector (with the same type of end as found on the GK-1 system) with the Roland GM-70.

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.

Original Korg Z3 Brochure:


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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.

Download the Korg Z3 Manual

Download the Korg ZD3 Installation Guide

Download the Korg Z3 Patchlist

Download the Korg Z3 Patch Parameters