+1Examigan wrote:I wish they would have put in the time to create a good emulation using small samples plus synthesis. The subscription part of it is another turn off.
Roland Cloud
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- KVRAF
- 11093 posts since 16 Mar, 2003 from Porto - Portugal
Fernando (FMR)
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- KVRAF
- 8486 posts since 5 Aug, 2009
who buys this shit? cloudbased subscription lol.... if this succeeds who knows about the future....
DAW FL Studio Audio Interface Focusrite Scarlett 1st Gen 2i2 CPU Intel i7-7700K 4.20 GHz, RAM 32 GB Dual-Channel DDR4 @2400MHz Corsair Vengeance. MB Asus Prime Z270-K, GPU Gainward 1070 GTX GS 8GB NT Be Quiet DP 550W OS Win10 64Bit
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- KVRAF
- 2212 posts since 28 Jul, 2003
Looks like S+S has gone from meaning "samples + synthesis," to "samples + subscription." 
My main tools: Kontakt, Omnisphere, Samplemodeling + Audio Modeling. Akai VIP = godsend. Tari's libraries also rock.
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- KVRAF
- 11093 posts since 16 Mar, 2003 from Porto - Portugal
"Software version of the D-50"... Is he joking? And that thing taxed badly the CPU.kbaccki wrote:RME interface =Examigan wrote:I found this video of someone using the Anthology 1987
The rest =
Fernando (FMR)
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- KVRian
- 520 posts since 22 May, 2009 from Portugal,Azores (faial island)
thankfully we have a good alternative at the moment:
http://flowstoners.com/wp-content/uploa ... shot-3.jpg
from the developer:
"The Quilcom Q-50 is a synthesiser inspired by the Roland D-50.
"Quilcom Q-50
The Quilcom Q-50 is a synthesiser inspired by the Roland D-50.
It’s not an emulation and the presets and embedded wave files are not a copy of the originals. However the architecture is very similar and I’ve kept the original’s nomenclature.
The original D-50 replaced the Yamaha DX7 in terms of popularity back in 1987. It used a method now referred to as sample and synthesis and was easier for users to understand, and use, than FM synthesis and yet was still all completely digital.
The principle of the synth was to use tried and tested familiar analogue-type metaphors and routing, but combine these with acoustic and other samples for the attack phase only. Our brains apparently recognise a sound with greater emphasis on the initial sound than the Sustain or Decay phases but this Attack phase is the most difficult to synthesise properly. Since memory was very expensive back then it simply wasn’t economical to create a full blown sampler so Roland supplied a built-in ROM with a 'whopping' 8MB capacity pre-loaded with 100 8 bit attack-phase and other PCM samples.
The basic architecture for the D-50 and Q-50 is as follows: A patch (preset) is made from 2 Tones called Upper and Lower. Each of the 2 Tones is made up of 2 Partials. The 2 Partials can each be either a Wave or a Synth. This means you can be using any 4 from 8 generators available.
Each of the 2 Tones has a static filter, a chorus/delay and a Ring Modulator. The final outputs from the 2 Tones are fed into a reverb.
Each Wave Partial has a choice of sample used, pitched or static, single shot or looped and can be tuned in pitched mode. The wave is then fed into an ADSR envelope stage.
Each Synth Partial comprises a tuner, waveform selector followed by a filter with its own ADSR and a separate amplitude ADSR.
Both types of Partial have, in addition, LFOs available for various functions and a Pitch envelope generator.
Of course there are differences in the Q-50 and I see these as improvements:
-Each Partial has 4 LFOs rather than 3. This means each one has a specific assignment.
-Stereo is possible since the Upper Tone is routed left and the Lower right. Width can be adjusted.
-The samples are 16 bit 44.1Khz so sound much cleaner
-You can load any single User sample instead of using the ROM; its path is stored in your preset.
-There are more waveforms available for the Synth Partials and the LFOs
-There are more filter options available for the Synth Partials
-The Tone mixers can have levels set for Partials 1 and 2 AND a Ring Modulator; you don’t have to choose either-or.
-The parametric EQ is far more advanced than the D-50’s
A point of interest to sound designers is that you can make this your own instrument!
In the Flowstone app the schematic’s top level allows you to easily load a different ROM for each Wave Partial, should you want to experiment. As supplied, all 4 ROMs (wave arrays) are loaded with the same WAV files. I have provided detailed instructions in the schematic to show how you do this. Of course you need Flowstone for this but you can get a free demo to play with.
The first 50 presets all use at least one of the samples. The Q-50 should really be thought of firstly as a synthesiser but which can also be enhanced with samples, and I made preset 51 (Fatima) to show just how phat this can sound without samples at all."[/quote]
ps: you can even replace the roms ,if you can find the original pcm waves you have a great replacement for a d-50.the hardes job is to program the original patches.
http://flowstoners.com/wp-content/uploa ... shot-3.jpg
from the developer:
"The Quilcom Q-50 is a synthesiser inspired by the Roland D-50.
"Quilcom Q-50
The Quilcom Q-50 is a synthesiser inspired by the Roland D-50.
It’s not an emulation and the presets and embedded wave files are not a copy of the originals. However the architecture is very similar and I’ve kept the original’s nomenclature.
The original D-50 replaced the Yamaha DX7 in terms of popularity back in 1987. It used a method now referred to as sample and synthesis and was easier for users to understand, and use, than FM synthesis and yet was still all completely digital.
The principle of the synth was to use tried and tested familiar analogue-type metaphors and routing, but combine these with acoustic and other samples for the attack phase only. Our brains apparently recognise a sound with greater emphasis on the initial sound than the Sustain or Decay phases but this Attack phase is the most difficult to synthesise properly. Since memory was very expensive back then it simply wasn’t economical to create a full blown sampler so Roland supplied a built-in ROM with a 'whopping' 8MB capacity pre-loaded with 100 8 bit attack-phase and other PCM samples.
The basic architecture for the D-50 and Q-50 is as follows: A patch (preset) is made from 2 Tones called Upper and Lower. Each of the 2 Tones is made up of 2 Partials. The 2 Partials can each be either a Wave or a Synth. This means you can be using any 4 from 8 generators available.
Each of the 2 Tones has a static filter, a chorus/delay and a Ring Modulator. The final outputs from the 2 Tones are fed into a reverb.
Each Wave Partial has a choice of sample used, pitched or static, single shot or looped and can be tuned in pitched mode. The wave is then fed into an ADSR envelope stage.
Each Synth Partial comprises a tuner, waveform selector followed by a filter with its own ADSR and a separate amplitude ADSR.
Both types of Partial have, in addition, LFOs available for various functions and a Pitch envelope generator.
Of course there are differences in the Q-50 and I see these as improvements:
-Each Partial has 4 LFOs rather than 3. This means each one has a specific assignment.
-Stereo is possible since the Upper Tone is routed left and the Lower right. Width can be adjusted.
-The samples are 16 bit 44.1Khz so sound much cleaner
-You can load any single User sample instead of using the ROM; its path is stored in your preset.
-There are more waveforms available for the Synth Partials and the LFOs
-There are more filter options available for the Synth Partials
-The Tone mixers can have levels set for Partials 1 and 2 AND a Ring Modulator; you don’t have to choose either-or.
-The parametric EQ is far more advanced than the D-50’s
A point of interest to sound designers is that you can make this your own instrument!
In the Flowstone app the schematic’s top level allows you to easily load a different ROM for each Wave Partial, should you want to experiment. As supplied, all 4 ROMs (wave arrays) are loaded with the same WAV files. I have provided detailed instructions in the schematic to show how you do this. Of course you need Flowstone for this but you can get a free demo to play with.
The first 50 presets all use at least one of the samples. The Q-50 should really be thought of firstly as a synthesiser but which can also be enhanced with samples, and I made preset 51 (Fatima) to show just how phat this can sound without samples at all."[/quote]
ps: you can even replace the roms ,if you can find the original pcm waves you have a great replacement for a d-50.the hardes job is to program the original patches.
...want to know how to program great synth sounds,check my video tutorials: http://www.youtube.com/user/sergiofrias25
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- KVRian
- 520 posts since 22 May, 2009 from Portugal,Azores (faial island)
ps:
http://www.dsprobotics.com/support/view ... f=3&t=4250
you can also find it here ,download it by clicking the image:
http://flowstoners.com/quilcom
http://www.dsprobotics.com/support/view ... f=3&t=4250
you can also find it here ,download it by clicking the image:
http://flowstoners.com/quilcom
...want to know how to program great synth sounds,check my video tutorials: http://www.youtube.com/user/sergiofrias25
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- KVRAF
- 11093 posts since 16 Mar, 2003 from Porto - Portugal
AFAIK, being Flowstone means it's just 32-bit, right? Also, the GUI needs desperately a revamp. Besides being ugly, there are lots of wasted space. He should take a look at K Brown and see how it should be done.sergiofrias wrote:ps:
http://www.dsprobotics.com/support/view ... f=3&t=4250
you can also find it here ,download it by clicking the image:
http://flowstoners.com/quilcom
Fernando (FMR)
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- KVRAF
- 2106 posts since 31 Dec, 2002 from London, UK
I have zero interest in recreations of 80s digital synths.
However, what got me excited was the cello Jeremy mentions or the 8 TB piano.
Surely, that's should be the main focus for Roland - instruments so deeply sampled that it just wouldn't be possible for the average user to actually use them in their full capacity.
However, what got me excited was the cello Jeremy mentions or the 8 TB piano.
Surely, that's should be the main focus for Roland - instruments so deeply sampled that it just wouldn't be possible for the average user to actually use them in their full capacity.
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- KVRAF
- 15515 posts since 13 Oct, 2009
It is just 32 bit. And agreed, all of his instruments need a bit of a visual upgrade.fmr wrote:AFAIK, being Flowstone means it's just 32-bit, right? Also, the GUI needs desperately a revamp. Besides being ugly, there are lots of wasted space. He should take a look at K Brown and see how it should be done.sergiofrias wrote:ps:
http://www.dsprobotics.com/support/view ... f=3&t=4250
you can also find it here ,download it by clicking the image:
http://flowstoners.com/quilcom
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- KVRian
- 520 posts since 22 May, 2009 from Portugal,Azores (faial island)
i agreeghettosynth wrote:It is just 32 bit. And agreed, all of his instruments need a bit of a visual upgrade.fmr wrote:AFAIK, being Flowstone means it's just 32-bit, right? Also, the GUI needs desperately a revamp. Besides being ugly, there are lots of wasted space. He should take a look at K Brown and see how it should be done.sergiofrias wrote:ps:
http://www.dsprobotics.com/support/view ... f=3&t=4250
you can also find it here ,download it by clicking the image:
http://flowstoners.com/quilcom
...want to know how to program great synth sounds,check my video tutorials: http://www.youtube.com/user/sergiofrias25
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- KVRian
- 858 posts since 25 Sep, 2014
I got mine for $400 plus shipping in 2015. Only, uh, 13 or so months of Roland Cloud!chili beans wrote:Can I rent your D-50? C'mon $10 bucks a month
Anyway, why are Roland pussyfooting around the name of their own synthesizer?
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- KVRAF
- 11093 posts since 16 Mar, 2003 from Porto - Portugal
I paid more, but I got a V-Synth XT as a bonusdumbledog wrote:I got mine for $400 plus shipping in 2015. Only, uh, 13 or so months of Roland Cloud!chili beans wrote:Can I rent your D-50? C'mon $10 bucks a month
Anyway, why are Roland pussyfooting around the name of their own synthesizer?
Fernando (FMR)
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- KVRAF
- 2469 posts since 6 Jul, 2013
This is the most (only?) interesting aspect of this whole Roland cloud thing for me. Rather than letting this third-party company sample the D-50 and let them have it's look, logo and trade-dress, it's very clear that it's *not* a D-50, and nor is it represented as such.dumbledog wrote:Anyway, why are Roland pussyfooting around the name of their own synthesizer?
Maybe they have other plans for the "D-50" logo and branding...
