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gmmusic 9th October 2017 08:13 PM

Roland D-10 & D-110

I read that you like the D-10/110 and was wondering about any tips you might have as far as programming and also how/why you are able to get sounds out of it that are different from the D-50?

Personally I use D-110 and like it. Apparently its also 12bit as opposed to 16 bit D-50 which we also have at a studio. Has a more "fuzzy" around the edges kind of sound that I like. Just have always felt uninspired when coming up with my own patches and stuff.

Legowelt 10th October 2017 12:05 PM

First of all the D50 is a littlebit more advanced then the D10 - 6 LFO’s with various waveforms per sound which can be routed to filter,pitch,amp compared to only 1 LFO with sine wave for pitch on the D10 (though it has variable speed and depth per oscillator so in theory you can also say it has 4 LFO's...but since its only assignable to pitch its pretty basic still).

No modulatable PWM on the D10 (except with velocity but not while the sound is playing so very static). And no aftertouch on the D10 itself, which is quite important on the D50.

The D10 is more infantine, with a charming almost discrete ’plastic’ timbre to it…but a whole world of interesting sounds lay at your disposal when you start programming it, exceeding the expectation giving by the D10’s mundane presets

Tips for programming hmmmm let me see...

Be sure to know its potential: A 4 oscillator synth each with its own envelopes and filter (if you use the ‘analog’ style square or saw waves’)

Instead of the analog style waves you can use any of the 2x128 digital waves - a lot which are total crap and unusable but there are some rather nice ones, especially If you pitch them all the way down -it will go into dark drone experimental industrial soundscape heaven.

start with only 1 Osc (or partial as it is called on the D10) mute the others, start with structure 1 the basic ‘analog’ waves style synthesis, then unmute the other oscs and slowly build your sound.

Also the envelope generators are pretty cool with the ability to let the sound come in a bit delayed with a fast attack - if you use the filter env in a special way (Level 1 = low , level 2 =high, time 1 = whatever the delay is).
With 4 oscs/parts this means you can have enchanting harp like arpeggio sounds, truly ephemeral vibes when you set each osc a littlebit later.

gmmusic 10th October 2017 02:24 PM

Thanks! Ill try that stuff out

NeoVXR 13th October 2017 12:36 PM

can I share a sound with the D110 that I didn't hear anyone else do?
use 2 partials with "noise".
use a pitch function on one, that slowly drifts the pitch away, or start with slightly different pitch.
try to switch the two noises anti-phase.
you can achieve rising or falling phasey sounds that are very bright and dominant. you can make it very percussive.
the rising sound can have a characteristic like a reverse crash, but more "videogame".
the idea is based on the fact that the noise sources are identical, not random.
my D110 is now rusty and I'm not sure if I can read out the parameters. perhaps I have the bank bulk data somewhere.

< answering for the guest is not allowed :cop: but I'll ok this post - exception ;) >

Legowelt 14th October 2017 01:10 PM

cool will try that!