To compete with recent piano samples libraries (that contain up to 80 Gb for a single instrument), Roland had to develop modeling techniques to allow :
– smaller samples size and count (notably sustain/decay and resonance ones), since they do not use hard disk and they have to load patch quickly (only Korg uses SSD and fast loading technology in the new Kronos, or Kontakt 4 that only loads samples start initially, and then remaining parts in background)
– better playability/expressiveness (progressive/natural tone change – no more distinctive samples layers switch -, better dynamic) and more homogeneous tone.
This technology, SuperNatural, reminds Roland’s L.A synthesis found on D20 and D50, that was based on short samples for attack, and oscillators for sustain (in fact the limited memory at that time was the real reason, and Korg worked it out a year later with the M1, that brought longer samples and multisamples).
These samples finally allowed more creating interesting/original sounds/effects (thanks to their aliasing) than providing realistic reproduction of acoustic instruments, with the exception of drawbar samples, that were really usable looped ones (contrary to the other looped samples versions).
There is to note that V-Piano does not seem to even use samples for attack (full modeling instead), contrary to RD-NX300/700 and FP-7F.
Roland seems then back with innovating (see I believe in music).