philip wrote:Sir Ruff wrote:philip wrote:Nothing can beat 106...nothing
Bitexion wrote:I've owned both.
A D-50 is like having 4 individual 1 oscillator polysynths under the same hood. Each part can do it's own thing, be it playing a filtered "analog" waveform, or play a PCM sample (can't filter the samples for some reason). The samples range from small attack portions of real instruments like the "chiff" of a brass instrument, that you can layer with a subtractive synthesized brass sound to make it sound more realistic. There's also lots of various full waveform samples of hammond organ with various drawbar settings that you can mix together into really complex hammond sounds.
It's a super versatile and good sounding synth, but can be really hard to get into. The manual is actually helpful, kind of opposite to Roland's reputation of having useless user manuals. It also has a nice effects section that gives you your basic reverbs, delays (various time settings) and chorus.
The Juno is very hands-on and almost impossible to make a bad sound with. But it is quite limited since it doesn't have a ton of synth features, like just one oscillator, shared filter/amp envelope. You can mix together the saw and pulse waveforms though. Plus a very useful suboscillator that can add serious weight to a strings sound. The whole synth is a huge sweet spot basically, with or without the chorus enabled. When you set the suboscillator at a certain spot, the sawtooth turns into something like an "uber sawtooth" one octave lower, it drowns out the original waveform, seriosly thick sound. The subosc is really a square wave, but when they're mixed just right it sounds like a very thick sawtooth one octave lower than the original note.
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