The specs were unremarkable even for the time. 24 sounds
(12-bit/32kHz sample rate) assignable to 10 pads. There were 50
preset and 50 programmable patterns that could be chained in up
to 10 songs. Unlike the R100, however, the pads weren't velocity
sensitive (an ACCENT pad was used to program dynamics) but the internal
samples could be triggered with velocity over MIDI so all was not
lost. There were just stereo outputs. Unusually, however, the R50
and R50e also featured effects but these were limited to delay and
flange.... unfortunately no reverb which would have elevated the
product's standing in the market.
But despite these compromises, the sounds were surprisingly good.
Perhaps they could be considered a bit 'safe' by today's standards
but they are decent sounds nonetheless that can work well in a variety
of different circumstances. The R50 featured 'acoustic' drum and
percussion sounds whereas the R50e drum sounds were more 'electronic'
in nature (derived, presumably, from Simmons and the like) as well
as gimmicks such as orchestral and brass stabs.
There are two programs - one for the R50 and one for the R50e.
The R50e program also includes pitched tympani from C3-C4, a pitched
orchestral strike from C#4-C5 and a brass stab (from C#5-C6). The
drum sounds are panned for a stereo kit in both programs.