We aimed at “real” sound, but we could create the “ideal” sound around there.
The TR-808 and TR-909, which were developed long before D-50, aimed at reproducing real sound. However, in the end, a new sound which is simpler but stronger than real drum sound, without contaminating or being trivial, was born. And this is the “ideality”. It doesn’t mean just “idea” but also Theory of Forms (Plato), ideal, imagination, or creation. If reality is compared to a photograph, ideality is a painting.
Therefore, D-50’s sound is like a painting of impressionism and abstractionism, and it is not a sampler but a synthesizer, which is a creative instrument.
Japanese anime has its special aesthetic standard; big eyes in small face, small mouth and chin. It looked strange to western people, but is well accepted nowadays. Aesthetic study, which is a study of aesthetic value, seems to become more and more popular now.
I think D-50 is just a milestone vintage of the transition period from analog to digital. I am proud that Roland was, and still is, searching for “ideality” in such transition period, and even now for the future.
Finally, let me express my big appreciation to Eric, Adrian Scott, and the engineers who worked for this project, and who became creative leaders.
We Design The Future.