A bit about LAS or Linear Arithmetic Synthesis
Linear Arithmetic Synthesis (LAS) is a sound synthesis technique used in digital music production and computer-generated audio. It is a form of additive synthesis that combines multiple individual waveforms to create complex sounds.
The method was developed by Roland in the 1980s. It creates sounds by attaching the attack portion of a sampled waveform to one or more internally generated waveforms.
For example, the Roland D-50 patch “Fantasia”, uses a percussive, bell-like attack. This us added to a sustained pad sound.
Roland called these PCM samples and generated waveforms “Partials”.
Two partials can be grouped together forming "tones".
Tones could be modified using up to three LFOs, a pitch envelope, a programmable equalizer, and on-board effects such as reverberation and chorus. Two tones grouped together created a patch.
The Roland Linear Arithmetic Synthesis (LAS) method was primarily used in the following Roland synthesizers:
1. Roland D-50:
This was Roland’s first all-digital performance keyboard.
The Roland D-50 is the most well-known and iconic synthesizer that utilized LAS.
It was released in 1987 and became hugely popular due to its unique sound and
expressive capabilities.
The D-50 combined sampled attack transients with synthesized sustain elements,
allowing for a wide range of rich and evolving sounds.
2. Roland D-550:
The D-550 is the rack-mount version of the Roland D-50 and was released around
the same time. It offered the same synthesis capabilities as the D-50 but
in a compact module form.
To use this module a programmer such as the Roland PG-1000 is useful
The Dtronics DT-01 is a hardware controller for the Roland Boutique D-05 and D-50/D-550.
This editor may also be useful:
3. Roland D-10:
The Roland D-10, released in 1988, was a more affordable version of the D-50.
Polyphony - 32 voices. 8 effects
It featured a similar synthesis engine based on LAS but had a reduced number of
voices and lacked some of the advanced programming features of its predecessor.
Multi-timbral (can work as 8 independent synths/parts) with a rhythm section.
61 note keyboard.
MIDI
This is the rackmounted version of the D-10
MIDI-in/out/through
The D-110 adds 6 individual outputs
The D10 & D110 also had their own dedicated programmer called the PG-10
4. Roland D-20:
The D-20 was introduced after the D-10 in 1988.
It was another budget-friendly version of the D-50.
32 voices of polyphony. 9 part multi timbral.
61 keys with velocity
This version adds an 8-track sequencer & retains the rhythm track.
It also had a floppy disk drive for storing sounds
5. Roland D-70:
The D70 was the only machine which expanded at all on the spec of the D50,
and that was in practical areas like the number of keys on the keyboard,
and controller functions.
6. Roland D-5
released in 1985.
Cheap, great for live performance.
7. Roland Boutique D-05
It's not a clone but all the reviews Ive read are favourable
Roland uses a technology called Digital Circuit Behaviour in all their boutique synths,
where paradoxically in this case, they try to digitally copy the circuit behavour of
the digital D-50 synth.
Luckily , a single D-05 offers the full polyphony of the original D-50.
In addition, the D-05 offers improvements: an arpeggiator, a 64-step sequencer,
and an expanded memory.
8. Roland E-10, E-15, E-20, E-30
9. Roland MT-32 Multi-Timbre Sound Module
10. Roland JD-800
It's worth noting that while LAS was a distinctive feature of these Roland synthesizers, they often incorporated other synthesis methods as well, such as subtractive synthesis, to enhance their sound design capabilities.
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As far as I know, only Roland has used this technology in synths, even to this day
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