This new sound creating technique became so popular that soon it was not long before every synthesizer on the market used a similar method to create sounds.Īlong with it's great sounds, another thing that made the D50 so popular was that it was a lot easier to program then the DX7. This "dual method" was required in 1987 since RAM was very expensive at the time. The synthesizer played back an attack and used the D50 synthesizer parameters to create the sustain of the sound. Since the most difficult part of creating a real instrument on a synthesizer is the attack, the D50 included 100 sampled attacks in it's ROM. The warm, lush sounds that came out of the D50 were a result of Roland combining sample playback with digital synthesis in a new type of sound making they called "Linear Arithmetic Synthesis" or "LA Synthesis". The sounds that came out of this new box were about as far away as you can get from the FM sounds of the Yamaha DX7 that had dominated the synthesizers of the 80's. The first time I played a D50 back in 1988, I knew Roland was on to something different.
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