Roland's D50's "sampled attacks, synthesized sustains" but implemented by replacing oscillators with samples, feels like a really good idea reflecting a genuine improvement in synth design. Gigabytes of samples make sense to me for cellos, it doesn't make sense to me for electric pianos.
Filter and amp section of syntorial really hard software#
I guess the question I'm trying to ask is if there is a software synthesizer that can only be done with a computer that everyone considers a "must have" or "must be aware of". It is however possible to fake things somewhat convincingly, but the depth of say, Serum or Vital's sample-based oscillator is much more shallow. Wavetable synthesizers are not a substitute for samplers the length of the sample in a wavetable is much shorter. Meanwhile, on a Juno Stage you get several of these variations built in, but under the surface it's often the same set of samples with different effects, often geared towards a certain sound like you'd have on a famous album.
This means you get 1 electric piano (NI's Mark One) and it's up to you to adjust any effects. These libraries are also about depth first, not breadth first. As a consequence, the sound quality in Kontakt will be much better, but it'll also take much longer to load.
One very pleasant aspect of the Juno Stage (or any other rompler - a contraction of "ROM" and "sampler") is that the samples in there are tiny compared to Kontakt's gigabyte-sized libraries. You only need a DAW if you plan to record something like Cantabile and Mainstage will just let you play any virtual instrument you like - and combine several layers/splits if you want to. "Linear Arithmetic" is 100% Roland's own made-up name for their particular combination of sample-based subtractive synthesis.
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