Roland RD1000 (tenéis alguna información).

#1 por RoyRogers el 04/03/2009
Recuerdo que en los años 80 y principios de los 90 me dejó impresionado este sinte.
Lo solía ver en conciertos de Elton John y Queen y me molaba un montón.
Tenéis algo de información sobre el bicho?
Alguien lo tiene?
Sabéis cuánto puede costar uno de estos de 2ª mano?

Mis composiciones en:
http://www.hispasonic.com/royrogers

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#2 por RoyRogers el 08/03/2009
up!

Mis composiciones en:
http://www.hispasonic.com/royrogers

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#3 por aespanol el 17/06/2015
Yo tengo uno. Espectacular.

No es sinte, es un piano con tecla contrapesada
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#4 por KlausMaria el 17/06/2015
Un hilo resurrecto desde 2009!!! vuelven con el veranillo!!!!

RoyRogers escribió:
Recuerdo que en los años 80 y principios de los 90 me dejó impresionado este sinte.
Lo solía ver en conciertos de Elton John y Queen y me molaba un montón.
Tenéis algo de información sobre el bicho?


roland6rd1000.l.jpg

SOS escribió:
It's sometimes hard to remember that there was a time when it was impossible to synthesize a realistic acoustic piano sound. In fact, it was as recently as 1984 that Kurzweil demonstrated that it was possible to imitate the piano using PCM-based synthesis. However, the K250 was expensive and, while some players loved its sound, few would have suggested that it was almost indistinguishable from the real thing. Two years later, Roland changed all that...
When the SAS system appeared, it was a revelation. With more than 30 keyboard 'zones' differentiated not just by pitch and brightness, but also by individual formant structures and string enharmonicities, it was far superior to any straightforward sample-replay system. For the first time, you could recreate acoustic and electronic pianos on a range of stage instruments, and — most realistically of all — on the range of domestically styled Roland Digital Pianos.

Of these, the most celebrated was the RD1000 stage piano. Famously adopted by Elton John, this featured a superb 88-note weighted, wooden keyboard housed in a stylish case, accompanied by a stylish pedal unit, and supported by an even more stylish chrome and black stand (the KS11), all of which looked and sounded as good as anything since. It offered just eight voices, but you could tweak these with a three-band EQ, and add chorus and tremolo, storing the results in a further 56 memories, or to 64 memories in an M16C cartridge. The polyphony was stingy by today's standards — just 16 voices for the acoustic pianos, and 12 for the electric-piano emulations — but par for the course in 1986.

The same SAS system was available in a MIDI module, the MKS20, which quickly became a standard, but most interesting, perhaps, were the remarkable HP-series domestic pianos, which offered the same sounds without the editing and memories. Instead, they came with dedicated speaker systems built into heavy wooden cases that emulated the resonances and rattles of... umm, heavy wooden cases.

Roland discontinued the original SAS sound generator in 1990, replacing it with 'Advanced SA Synthesis', and then replacing it again in 1996 with a 64-voice stereo implementation. Coupled to improved acoustic design for the domestic/concert pianos and, more recently, a genuine hammer action, these developments have kept Roland at the forefront of the digital piano market for nearly two decades.


http://www.soundonsound.com/sos/jan05/articles/roland.htm

Tengo un colega que creo tiene un RD300 que es básicamente de la misma serie (creo que el combo RD300 + D50 era estándar en las orquestas a finales de los 80).



Supongo que le pasa como al triple strike de Kurzweil, en su momento era lo más en realismo... pero la ley de Moore es cruel :-) aunque algunos teclados aguantan el paso del tiempo y se convierten en "sonidos clásicos". A mi es lo que me pasa con el piano de Kurzweil, hasta cierto punto me da igual que sea más o menos realista porque asocio su sonido a temas que me gustaron mucho en su tiempo (está en incontables temas).

"Fiat iustitia et pirias mundus". (Haya justicia aunque arda el mundo)
"Ad maiora nati sumas". (Estamos llamados a obras mayores).
"Après moi, le déluge". (Después de mi, el caos).

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