MPE Hardware Controllers (Pros/Cons)

[FranklyFlawless]

To kickstart a discussion about MPE hardware controllers, I would like to talk about the story about how I decided on the LinnStrument.

I used to be a keyboardist/pianist. I primarily played on portable keyboards using synth-action keybeds, so I had significant difficulty adapting to traditional piano action. My music producer/engineer has a Rhodes Mk1, and during one of our recording sessions, I bemoaned about how heavier the action was compared to even an acoustic upright piano, and how nice it would be to have a musical instrument with little action and a flat surface. They suggested for me to research the Continuum Fingerboard.

After reviewing the product line, I had to say no, as it was, and still is, prohibitively expensive. It also requires proprietary software (Max), and thus, only supports MacOS and Windows. Then I found out about Xenharmonic Wiki and the other "keyless" options. I decided to check out the Soundplane next.

A few issues arose. Only 90 units were produced, and the street price for them then was about the same as the LinnStrument. As well, the client software is only compatible with MacOS, with planned releases for Windows and Linux. However, it is open-sourced on Github under the MIT license. I fund a lot of software development, so I considered it as a viable option while I took a look at the LinnStrument.

It was looking better. Mass-produced, replacement/spare parts from Roger Linn, OS-agnostic (except for the updater), more dealers/retailers accessibility, as well as a somewhat similar open-source situation for the firmware and updater. Some things I did not like were the lights and labels.

At the time, there was a listing on Reverb for a Soundplane. I took a few weeks to deliberate between the two options, and decided that the LinnStrument is the better investment, so I called Tom Lee Music and made a deposit for the order. Once it arrived, my music producer/engineer drove us to pick it up, and we both played with it back at their studio using, at the time, Surge on Cubase.

For now, that is the end of the story. A lot has happened since, but I will reveal more details when opportunities occur in the future.

[Tj Shredder]

When I was working at CCMIX studios near Paris, I had a first contact with a Haken Continuum. A dream of a controller with a price tag and size to remain as a dream. Years later our ensemble got a special deal with Roli for getting a Seaboard, but already in the past my attempts to learn keyboard made me never like its layout. I also didn‘t gel with this very soft surface, slides where interrupted by the waves unless you move them completely up or down.
Not too much later I read about the LinnStrument, and found a special offer at Thomann. This was love on first sight. Finally a way to play electronic sounds expressively. Its still the best MPE controller on the market for me. But having tasted this, I got others as well. I first got a Roli Block, cheap enough, but rarely used. Too stiff for playing pressure relaxed. Later I added a Seaboard Block, which was meant as a small controller whenever the LinnStrument was too big to carry around, and it came with a license for Equator. Still the synth which is best suited for expressive sound design. My Seaboard Block is broken at the moment. I can only use it as a weird fader box with a custom Max patch…
Then I got a Sensel Morph. This one is really perfect as controller, though still has bugs which never got fixed. I made a LinnStruMini layout for it. The sizes of the grid are very close to those of the LinnStrument. Its touch is harder than that of the LinnStrument, but that is actually very good as well. I play it without any overlay. Love it and hope it will stay alive till the rest of my days…
Recently I acquired also an Erae Touch. In terms of programmability and its size its great. Of course I made a LinnStrument like layout. But its resolution is much smaller than that of the LinnStrument or the Sensel. That makes it more difficult to play, at least with a 2*2 grid, which is again in the size of a LinnStrument grid. If you play neighboring keys, it might not get them separate. The plus is, you can even play it with sticks.
I also got a BobPad in a sale. That certainly is meant for drumming. And finally an Artiphone Orba which really is just a toy, kind of an expensive shaker…
I should mention also my iPad mini. It does not only contain the smallest biggest collection of MPE synths, it can also function as MPE controller with apps like GeoShredControl…
I‘ll add two controllers to that list that have nothing to do with MPE, but add so much expression to electronic sounds that they deserve to be mentioned as well. Its the Expressiveé Touché and the TEControl Breath & Bite Controller 2.
Btw. my first pre MPE, but still expressive instrument/controller is a Peavey MidiBase. As each string sends Midi on a separate channel, I could call it a MPE controller as well…
On my wishlist is a ContinuuMini, and a Midi guitar

Its obvious, I am a controller junky…

[FranklyFlawless]

I have several comments regarding most of those MPE controllers, but I have another story to tell first about my encounters with MPE hardware controllers.

During the time I was ordering the LinnStrument at Tom Lee Music, there was a Seaboard I saw as a floor model, so I took the time to play with it for a bit. Some things I liked about it was the texture, and the lack of action compared to other keyboard models. The major drawback was the flat/sharp keys, as they were elevated and shorter than the other keys, like any piano layout. That experience reinforced my decision to commit to "keyless" keyboards.

Later on, after I got the MicroMonsta 2, I discovered someone named Ken Rushton from their blog, who creates and uses alternative controllers. In one of their blog posts, they mentioned about starting a Alternative Musical Instrument Special Interest Group, and I thought it would be a great idea to contact them about it. After some time, we established contact and I brought the LinnStrument and MicroMonsta 2 to their studio.

Ken showed the various alternative controllers they had: Jammers (with prototypes), a dualo du-touch, and a pair of AXiS-49 keyboards using the Wicki-Hayden layout, each vertically inverted from the other. I demonstrated the LinnStrument's tritone layout with the MicroMonsta 2, which lead to a lengthy discussion about his visit with Roger Linn, comparison of layouts, and the future of the special interest group. Near the end of our session, I noticed a Sensel Morph and inquired about it. Ken offered to give it to me for free, much to my surprise, so I declined. I later learned that it was discontinued.

A common theme with our stories are ROLI and Sensel. There are a lot of discontinued MPE controllers from ROLI that are not on my list, including the aforementioned Seaboard. Their products are not meant to last, which is highly concerning if one is looking to invest in a MPE controller from them. Sensel chose to discontinue the Morph while keeping the firmware/software closed-source, providing limited recourse if users are experiencing bugs, want further customization, and/or to extend the life of the product.

That brings the discussion to other MPE controllers. I have been paying attention to the Exquis, the latest MPE hardware controller to be announced on the consumer market. Very promising from a eco-responsibility perspective, claiming a repairable circuit board and a replacable/customizable casing, among others. My concerns about the Exquis are largely echoed by Mark, but I will add that there is not much point having the ability to repair/replace the hardware if the firmware/software is locked down and not extensible, as that is how planned obsolescence works in the electronics industry.

[wakyct]

My concerns about the Exquis are largely echoed by Mark, but I will add that there is not much point having the ability to repair/replace the hardware if the firmware/software is locked down and not extensible, as that is how planned obsolescence works in the electronics industry.

In spirit I agree, but the Exquis guy in that thread has a valid point that they're concerned about post-sales repair issues from customers with modified FW. It's easy to have a policy about that but a policy doesn't compensate you for the time it takes to interact with all those customers who don't read the manual so to speak. That said I'm curious if this is actually an issue -- maybe it's a hypothetical you don't need to worry about in practice?

[FranklyFlawless]

The Exquis guy happens to be Bruno Verbrugghe, the founder of Intuitive Instruments. That being said, we can take a nice overview of the LinnStrument's product life so far, as it has had open-source firmware since entering the consumer market and has sold at least 4,076 units as of 2023. Since then, the LinnStrument has had several custom firmware. Here is a list of the ones I know and have found:

• Custom Scale Split
• Less Jumpy Z and Y Axes
• Custom Profiles
• XY-Tuning
• Nathan's CFW

Luckily for us LinnStrumentalists, we have the privilege to directly ask Roger about whether or not Bruno's argument has any credibility. Roger, have you ever had to deal with post-sales repair for custom firmware, listed above or otherwise, since selling the first LinnStrument in 2014?

[t-IB]

I'm in the early stages of learning the continuum - it's interesting to compare it with the Linnstrument I've been using/used to for some years now (admittedly at a fairly basic level - I'm no virtuoso though my output is often more experimentally focussed)...

I'll ignore layout since that's obvious, but first impressions are that I'm far more accurate in terms of pitch sliding (z-axis) than I was upon first start with the Linnstrument - transferrable skills I expect. While much better at knowing various chord shapes (basic piano background) I'm not great at holding them on the Haken - obviously I could experiment with the software rounding here but my inclination is not to (it's a learning process after all). I do like the smoothness of the surface though probably won't look to replicate that on the Linnstrument, though must admit I've wondered how neoprene might feel/work on the Linnstrument (happy to stick with Rogers choices though - imagine he may have tried that already given the relative inexpensiveness of the material.

I like the tactility of the continuum on the z axis, though had become very used to the relative 'stiffness' of the Linnstrument - it's not as emphatic a thing that I'd expected though, and feel both are similarly responsive in terms of pressure expression - ie expression is the same, tactile feedback is different. Ultimately I'm happy with both approaches.

Y-axis is a very different experience on the Haken, and seems more open to playing more consistent shifts in timbre (and splits if you have the processing power - I don't at this point) due to the greater size of the splaying surface, as opposed to lift up/sweeps as I would on the Linnstrument. I'd say this was the biggest difference between the two surfaces, since I'm not sure I could play timbre shifts as easily on the Linnstrument and vice versa (sweeps harder on the Haken).

That's about it really - I haven't found a huge difference in playing the same Eaganmatrix patches with both instruments, other than the y-axis, though haven't A-B'd (and won't - life's too short!). I won't be replacing one with the other but using more in a horse's for courses way and eventually most likely both together. I think Rogers layout pushes me in a different direction to the piano layout too which I value.

Tldr: fantastic controllers both!

[FranklyFlawless]

I do like the smoothness of the surface though probably won't look to replicate that on the Linnstrument, though must admit I've wondered how neoprene might feel/work on the Linnstrument (happy to stick with Rogers choices though - imagine he may have tried that already given the relative inexpensiveness of the material.

It would not work because neoprene is opaque, so you will be unable to use the LEDs. I also briefly sampled neoprene/polyester from Contrado and noted the poor quality of it during my experimentations of replacing the silicone playing surface with other materials in my LinnStrument Darker Mod thread.

Y-axis is a very different experience on the Haken, and seems more open to playing more consistent shifts in timbre (and splits if you have the processing power - I don't at this point) due to the greater size of the splaying surface, as opposed to lift up/sweeps as I would on the Linnstrument. I'd say this was the biggest difference between the two surfaces, since I'm not sure I could play timbre shifts as easily on the Linnstrument and vice versa (sweeps harder on the Haken).

It takes more practice and focus to control Y-axis expression on the LinnStrument. Most LinnStrumentalists tend to roll the top of their fingers over the note(s), but sliding them vertically within the note boundaries, similar to the motion of adjusting faders, is also effective.

[t-IB]

It would not work because neoprene is opaque, so you will be unable to use the LEDs. I also briefly sampled neoprene/polyester from Contrado and noted the poor quality of it during my experimentations of replacing the silicone playing surface with other materials in my LinnStrument Darker Mod thread.

Interesting to know, thanks. I don't think it's likely I'd try different surfaces, though I've been tempted to have a go with the speed bump thing.

It takes more practice and focus to control Y-axis expression on the LinnStrument. Most LinnStrumentalists tend to roll the top of their fingers over the note(s), but sliding them vertically within the note boundaries, similar to the motion of adjusting faders, is also effective.

Agreed, though the shorter length makes it a very different experience still to the Haken, as I think I'd find it very hard to get the same level of precision when deliberately playing higher up/at different positions on the Y-axis, which I think is where the strength of the Haken implementation is on first impressions. Obviously that's a layout payoff and by no means a criticism, just a different approach by the two designers.

[FranklyFlawless]

I don't think it's likely I'd try different surfaces, though I've been tempted to have a go with the speed bump thing.

You are going to have to wait a while until Chris has time to revisit that project, since they are currently preoccupied with the Wiggler. Their eventual plan is to crowdfund the molds, so the campaign will require at least $17,500 USD to succeed. This is so that the matted polyurethane non-stick coating is applied to the silicone playing surface, otherwise it will have too much friction to be playable in a normal context.

Agreed, though the shorter length makes it a very different experience still to the Haken, as I think I'd find it very hard to get the same level of precision when deliberately playing higher up/at different positions on the Y-axis, which I think is where the strength of the Haken implementation is on first impressions. Obviously that's a layout payoff and by no means a criticism, just a different approach by the two designers.

Sure, if you want more Y-axis playing surface using an isomorphic layout, the Madrona Labs Soundplane Model A makes that tradeoff, reducing the amount of notes to 150 using 5 rows by 30 columns.

[t-IB]

I don't think it's likely I'd try different surfaces, though I've been tempted to have a go with the speed bump thing.

You are going to have to wait a while until Chris has time to revisit that project, since they are currently preoccupied with the Wiggler. Their eventual plan is to crowdfund the molds, so the campaign will require at least $17,500 USD to succeed. This is so that the matted polyurethane non-stick coating is applied to the silicone playing surface, otherwise it will have too much friction to be playable in a normal context.

Agreed, though the shorter length makes it a very different experience still to the Haken, as I think I'd find it very hard to get the same level of precision when deliberately playing higher up/at different positions on the Y-axis, which I think is where the strength of the Haken implementation is on first impressions. Obviously that's a layout payoff and by no means a criticism, just a different approach by the two designers.

Sure, if you want more Y-axis playing surface using an isomorphic layout, the Madrona Labs Soundplane Model A makes that tradeoff, reducing the amount of notes to 150 using 5 rows by 30 columns.

I hadn't noticed that had longer rows - nice spot. Ultimately I'm very happy with the Linnstrument and all it offers, so I'll be sticking with that and using each surface as need requires - feel very fortunate to have that option and here just comparing approaches.

[Gromit42]

Intuitive Instruments have posted a blog update about their Exquis controller.
The Exquis keyboard will now feature a third control axis (left/right).

They say that, "We are currently working on adapting the 200+ presets originally intended for two axes to make them playable on three axes ".

I wonder if the Exquis app (when it is launched), might allow use with other controllers such as the LinnStrument?

[Roger_Linn]

Roger, have you ever had to deal with post-sales repair for custom firmware, listed above or otherwise, since selling the first LinnStrument in 2014?

Hi Frank,

I'm sorry for not responding earlier. I only just saw your post here.

I've never had any repair or other problems resulting from LinnStrument's open source. Even if someone released a malicious source OS that would brick a LinnStrument and prevent subsequent OS loads, I designed the main circuit board with a hardware override switch that guarantees the ability to load new firmware. So far, no such problem has occurred that required using it.

Importantly and unexpectedly, customer comments suggest to me that my sales are 20% higher merely because of the open source. I like Geert's description of open source for musical instruments. He sees it as the equivalent in electronic instruments of the ability to do personal modifications to an acoustic instrument. As a young man, I enjoyed modifying my guitars will different string gauges, fret sizes, bridge saddles, pickups, tuners, etc.

[SteveElbows]

Importantly and unexpectedly, customer comments suggest to me that my sales are 20% higher merely because of the open source. I like Geert's description of open source for musical instruments. He sees it as the equivalent in electronic instruments of the ability to do personal modifications to an acoustic instrument. As a young man, I enjoyed modifying my guitars will different string gauges, fret sizes, bridge saddles, pickups, tuners, etc.

Even when I dont end up making use of the open source stuff directly, including such things also sends out a positive message in terms of the creators philosophy, priorities and attention to customers needs, attitudes towards control, and to the possibility of people making choices beyond what the creator can imagine at the time.

When considering the sort of thing Geert was on about, I also like to chuck in thoughts about modular hardware, open standards etc. Its a shame we dont have the equivalent to eurorack or the PC when it comes to the controller side of electronic instruments. There are obvious challenges in making stuff modular and still being able to hit the right R&D investment, size, weight and price requirements, but I still believe that if enough individuals and companies pushed in that direction for long enough, a very interesting world of possibilities would open up. And contrary to some narrow traditional forms of business thinking, the possibility to make profit would not be sacrificed, in some ways it would be enhanced. The early years would likely be tough though, and getting enough collaboration and momentum isnt a given.

[Roger_Linn]

Thanks, Steve. I think one of the advantages of open source software is that people want to have the choice to edit the software in case they feel that the stock software doesn't do what they want. I take it as a compliment that LinnStrument owners generally find the stock software sufficiently flexible that don't feel the need to edit the code.

In principal, I agree about your second point. However, modular/interchangeable hardware tends to work better for well-established commodity product categories like Eurorack, given that modular synths have existed since the 60s. It could possibly work for drum pad controllers or even 8x8 clip launch pad controllers, which are fairly standardized. But for expressive/MPE controllers, it would be tricky to find any hardware commonality between LinnStrument, Continuum, Seaboard, SoundPlane, etc.

There's always a tradeoff between standardization and innovation.

[SteveElbows]

Yes I know what you mean, and what I was hinting at isnt even half-baked at this stage, and is out of tune with present realities.

I'll probably have another stab at describing the concept in a bit more detail once some other enabling areas have matured a bit. For example, although MPE has been good enough for most of the needs of current individual controllers, a combination of multiple expressive input surfaces would quickly get out of hand when it comes to this side of things. But we are seeing more possibilities in terms of more per-note modulation opening up via certain plugin standards and certain aspects of MIDI 2.0 which could take care of auto-config & mapping, and remove limitations imposed by channel limitations and just having a few expressive dimensions of control available via MPE, as well as low resolution and timing limitations. I'm probably going to toy around in software with these things as I get my head round them and as MIDI 2.0 starts to finally crawl into the landscape. Even once this side of things is ripe, there are obviously all the other unrelated issues that could thwart modular controller dreams, some of which you alluded to.