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Old 10th October 2017
  #2
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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.