Introduced in 1987 as the rackmount companion to the legendary D-50, this module brought Linear Arithmetic synthesis to studios everywhere, blending PCM waveforms with subtractive synthesis for those signature glassy pads and evolving textures that still turn heads in ambient and new age productions.
At its core is the LA synthesis engine, pairing up to four partials per patch—each mixing sampled attacks with synthesized sustains—for 16-voice polyphony that's bitimbral in split or dual modes. You'll find dedicated pitch, filter, and amp envelopes, plus a versatile LFO with triangle, saw, square, and random waves that sync and delay for dynamic movement. The 2U chassis (480 x 410 x 90 mm, 6.5 kg) sports a simple front panel with volume knob, headphone jack, backlit 2-line LCD, patch buttons, edit controls like scroll/cursor/value wheels, and a card slot for RAM expansion; rear offers stereo outs, MIDI In/Out/Thru, and chase/chorus/reverb effects with 16 reverb types and 2-band EQ. Partial editing is possible onboard, though the PG-1000 programmer unlocks deeper tweaks, and it responds to velocity and aftertouch.
Players love its warm digital glow and unique spatial effects from panning partials or the quirky chase function—a MIDI delay that adds rhythmic flair—making it a go-to for lush soundscapes, though some note the menu-diving can feel dated without the external editor.
