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Average rating:
3.8 out of 5
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Sorry. I meant 4 out of 5
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The D-10 is one of the most under-rated synths. First of all, it is a synthesis/digital sample keyboard. That means that it is capable of both analog sounds and digital. Problem is, the presets are the worst i've ever had the displeasure of hearing. Thus, the D-10 is often slammed by some impatient people. Impatient in the sense that they don't take the time to learn the keyboard's capabilities, and are too lazy to search the net for decent patches and sysex files. You'd be surprised at the variety of sounds that can be produced on this keyboard. 8 parts multi-timbral is a big plus. Most modern day analog/digital hybrids only have 2 parts.
Combine this keyboard with a midi sequencer program, and a midi file/patch editing program such as Unisyn or MidiQuest, and you'll be able to get a lot out of it. Take the time. It's well worth it.
By the way, the D-20 has better reviews as more people have bought and used it because it comes with a built in sequencer. The D-10 is EXACTLY the same, other than the lack of the sequencer.
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I am a Audi Design-Student at the Electronic Studio of the Musicacademy Basel. I like this Synth very much and with the EMC-Editor i become nearly every sound i need. I use the D-10 also on stage with my rock band POWERPLAY (ourworld.compuserve.com/homepages/sitan) and i had never any problem with this unit. The only problem of some sounds are the aliasing.
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It's a late-eighties Linear Arithmetic synthesizer, a kind of multi-timbral D50 with a drum machine, slightly fewer effects, and a non-aftertouch keyboard (apparently the sound-generating algorithms have been simplified, but until somebody explains this convincingly I remain a sceptic). In its favour it has more samples than the D50, and several more sample/synth-wave/ring modulation combination routings. Think of the D50 as a DX7 and the D10/D20/D5 (the D20 had a disk drive and sequencer, and the D5 was a D10 with no effects and fewer buttons) as a DX11, only much less rubbish. The sounds that emanate from its lovingly-crafted audio outs (left and right stereo - this was pre-M1 by about six months, and the incredibly useful trend for multiple audio outputs had not yet congealed) are very identifiably 'LA' - ethereal and floaty (Enya has a D50 and uses it a lot), and very good at making flutey noises, and uniquely LA chiming-wibbly-chink type sounds. Think Wavestation-lite, only you can't edit any of the samples (you can't even filter them) and it's not nearly as good. The synthesizer section (sounds can be made of synthesizer tones and samples, mixed in any combination) is a bit like a cut-down Alpha Juno synth, and you absolutely will *not* be getting squelchy analogue noises out of it, and the lack of bittage means that bass noises are drowned in hiss and digital noise. Nonetheless, the keyboard is wonderful, there are some choice flashing lights (eight of them in a row which blink on and off as the recieve MIDI), and you can't get LA sounds elsewhere (are they trendy? they certainly don't seem as pathetic as FM does now, that's for sure).
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The D-10 was my first synth, but I still love it to death. It is very unique and a riot to program with its adorable counterpart the PG-10. The loop functions can get pretty crazy to. If your into those cold computery sounds you may like this synth.
Ive had quite a few problems with bottons breaking, but I've gotten quite a bit of use out of it. And its also nice to have the multi-timbrality, very handy in live P.A. situations. My advice is if you own it spend some nice quality programming time on it and it will be your friend.
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