![]() But while this is true for some of the D50's factory sounds, they are the exception rather than the rule. Now, you may think that combining two different ways of (re)creating sounds in the way that the D50 does may not produce a very integrated result. The best way to understand this is to listen to a sound such as Jete Strings (internal patch 54) without and then with the samples tacked on the front end. This is a sound principle (if you see what I mean), because the attack portion of a sound conveys a lot of information about what the instrument is - as the D50's 16-bit samples well illustrate. ![]() ![]() And while Korg's instrument uses samples as the sonic basis for synthesis, on the D50 the samples are attack segments of sounds which can be combined with synthesised sounds whose attack depends on the relevant envelope setting. But unlike Korg's DSS1 (which at first glance is the obvious comparison point), the D50 doesn't involve itself in sampling. Not only does it employ a new method of sound-creation - known as Linear Arithmetic synthesis - it also allows you to combine synthesised sounds with sampled ones. ![]() ![]() IF YOU READ the first part of our D50 review in last month's MT, you'll be aware that Roland's latest synth offers a new angle on synthesis. ![]()
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