Roland D-50 Waverom. Anyone care to donate wav samples?

[aciddose]

I may agree with what you say regarding "Native Dance", but not the "loops" that are in the ROM, nor the vast majority of sounds. I remember that the Fantasia patch was replicated in almost any other synth that came after in the next years. The same foir the "Soundtrack", etc. And noone was sued for that.

What gives you the impression I was referring to those things? Did I refer to them?

[ghettosynth]

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[aciddose]

It's definitely a tricky subject with a lot of complex caveats.

My point was only to say that to re-create a "D-50" even from scratch would be infringing due to the fact it would resemble the original.

I agree that something that an ordinary person familiar with the D-50 wouldn't associate with the original could not be infringing. Although that would force me to ask: why bother? It wouldn't have anything to do with the D-50 in such a case.

Even Xhip can be used to play back sampled instruments quite similar to many old sample-based synthesizers such as the D-50. The number of plug-ins in this area is near unlimited to be honest because it is so simple to accomplish. I do use Xhip this way on a regular basis.

[ghettosynth]

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[aciddose]

Of course yes... as for recreating "sampled instruments"... My question still remains though: why bother?

The D-50 has nothing to do with sampled instruments (containing a loop/sustain) other than that it is one example of a device which contained sampled instrument sounds.

The modular architecture of Zebra2 would allow me to make some pretty nice Roland D-50 emulations. Like the D-50's 4 "partials" per patch, I can use each of Zebra's 4 columns to emulate a D-50 waveform in each, effectively using a column as a "partial" (not sure sure about those sequenced loops, though hehe), even going as far as to follow the various "structures" as in the D-50.
If anyone that has a d-50 might be interested in recording some of the waveroms then sending the result to me via email or other means, it would be very much appreciated.

Here the OP is clearly talking about using Zebra to reproduce the D-50 patches, and requesting assistance in collecting recordings of the "minimally processed" samples themselves to use for this.

He then goes on:

*Not so much the rythmic loops, piano, brass and string transients. I
would find the other, more abstract stuff far more useful to emulate.

*I don't need pro quality. No need to loop anything, either. Just clean, line-in recordings saved as small wav files. Record middle C, the C above and the C below. I would just like to have a good idea of the general character of the waverom sound I would be trying to mimic.

"Other more abstract stuff", I'm not sure about what this is intended to mean at all. The D-50 doesn't contain anything that I'd say fits that description at all without being extremely unique.

So it's either unique and distinctly "D-50", or not. I think he obviously wanted to re-create something similar if not identical to the unique, distinctive sounds from the D-50 and if so those works would be derivative simply via the intention to derive them in that way!

Although I admit it's possible he only wanted to get an idea of the "type of sounds" and recreate entirely original sounds that no one would associate with the D-50. Then again back to square one: why bother?

[ghettosynth]

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[Examigan]

You still know that this is not allowed, the wav material on the d50 is still (c)opyright by Roland Corp.!

Frank

[aciddose]

When it comes to facts, it seems to me there are more lawsuits that could be filed than are in actuality seen through completely from start to finish. So for example merely because one imitates another without a lawsuit doesn't mean there couldn't have been a violation of rights. It rather means that in balance, the harm versus benefit weighed toward not seeking remedy for the rights holder.

This may be for any number of reasons, such as for example the fear of a ruling where their sample was determined to be validly protected as a recording but not for its content which was devoid of creativity leading to greater duplication of that sample than otherwise.

The rarer something is the more valuable we intuit it to be despite not accounting for the difficulty of acquiring it. The true value is the cost to acquire, but, with artificial scarcity we might take something commonplace of no value whatsoever and render it impossible to acquire. If the remedy sought was worth less than the harm of invalidating that artificial scarcity, that remedy may not be sought out.

And so it comes down to subjective judgements like "is it worth it?", or "would anyone notice?" rather than strict true or false.

[electro]

All you need is for Roland Cloud to support usb ilok

This was 32bit only
https://www.tubeohm.com/vst-vintage.html