Request for videos for the next "LinnStrumentalists" compilation

[ghiekorg]

Thank you Roger and John <3

[Reckon104]

Wow! Very nice. I imagine that took a bit of time getting some of those runs down. Love that flourish at the end (and the video production throughout).

[ghiekorg]

Thank you
Well, some run took longer than other but generally they use "regular" patterns so it's easier than it seems. The last one was the hardest but i made the whole clip in 2-3 evenings (learning, recording and editing), so didn't take long (maybe 2x 30 minutes sessions). Probably the thing that took more time was actually finding good fingerings. The linnstrument is really amazing on this kind of music, i could never play this with my guitar

[jcub]

I am pleased to announce the release of my new album "Elephant In The Room" which features LinnStrument on nearly every track. All violin, cello, and sax sounds are from Audio Modeling, the fretless bass is from Trillian, virtual lead guitar from Orange Tree Samples, and lead synth (DSI Pro2, Cypher, Synthmaster, Omnisphere). A CD release is in the works as well. It is amazing to me how LinnStrument has become my main controller for everything except piano, organ, and drums. Thank you Roger and Geert!

https://jeremycubert.bandcamp.com/album ... n-the-room

Thanks.

Jeremy

[zerocrossing]

Who doesn't love Aalto?

https://youtu.be/G072PvfwLAQ

This is by far the best Linnstrument demo I’ve ever seen.

[zerocrossing]

I have a question about pressure sensitivity on the Linnstrument. Is it like the Roli, in the sense that it’s “alwaystouch,” or can it work like a more traditional keyboard aftertouch, where velocity is sensed, but pressure only after giving it a bit more pressure?

[Roger_Linn]

I am pleased to announce the release of my new album "Elephant In The Room" which features LinnStrument on nearly every track.

Hi Jeremy,

I'm just now listening to it and it's beautiful. You are such an amazing player and composer too! What a wonderful example of what LinnStrument is capable of under skilled hands. Thank you!

[Roger_Linn]

I have a question about pressure sensitivity on the Linnstrument. Is it like the Roli, in the sense that it’s “alwaystouch,” or can it work like a more traditional keyboard aftertouch, where velocity is sensed, but pressure only after giving it a bit more pressure?

Hi zerocrossing,
LinnStrument normally senses the full pressure range from lightest to heavy touch, but there's also an "aftertouch" mode that emulates the traditional aftertouch feature of MIDI piano keyboards in which only the last 5% or so of pressure is sensed, beginning after the pad is pressed to the normal pressure level. This is described on this page, search for "aftertouch":

http://www.rogerlinndesign.com/ls-global-settings.html

[zerocrossing]

I have a question about pressure sensitivity on the Linnstrument. Is it like the Roli, in the sense that it’s “alwaystouch,” or can it work like a more traditional keyboard aftertouch, where velocity is sensed, but pressure only after giving it a bit more pressure?

Hi zerocrossing,
LinnStrument normally senses the full pressure range from lightest to heavy touch, but there's also an "aftertouch" mode that emulates the traditional aftertouch feature of MIDI piano keyboards in which only the last 5% or so of pressure is sensed, beginning after the pad is pressed to the normal pressure level. This is described on this page, search for "aftertouch":

http://www.rogerlinndesign.com/ls-global-settings.html

Thanks! Now I have to decide if I can totally go without a traditional 61 key controller poly pressure. Both exciting and scary.

[Roger_Linn]

FYI, most LinnStrument owners find the AfterTouch mode to be a vestigial artifact left over from earlier age.

[jcub]

Roger:

Thanks so much for the kind words and the LinnStrument!

Jeremy

[zerocrossing]

FYI, most LinnStrument owners find the AfterTouch mode to be a vestigial artifact left over from earlier age.

I’m a vestigial artifact left over from an earlier age.

Seriously though, how does one map filter cutoff to pressure when you also have a EG controlling it without messing up the attack? I do things like that all the time. It’s the Rise’s Achilles Heel. (Though their own software instruments have a work-around.)

[Roger_Linn]

Personally, I haven’t used EGs in years. 50 years ago, they were merely a stop-gap solution for the problem of playing music with on/off switches. I no longer see the need to simulate what I can perform with my finger. Do we really still need every note’s envelope to be identical? Maybe that’s why there are no more instrumental solos in pop music.

[zerocrossing]

Personally, I haven’t used EGs in years. 50 years ago, they were merely a stop-gap solution for the problem of playing music with on/off switches. I no longer see the need to simulate what I can perform with my finger. Do we really still need every note’s envelope to be identical? Maybe that’s why there are no more instrumental solos in pop music.

No offense, but if you think that an envelope’s job is to maker “every note’s envelope... identical,” then you should watch some tutorials about creative ways to use and modulate envelopes. Mapping something like release velocity to envelope release is an excellent example of how you can add expression using envelopes. Acoustic instruments have their own inherent envelopes, but you can alter them using manual forms of expression. I can’t even think of another way to introduce a quick transient moment to a sound that goes on and sustains. I’m well versed on how MPE can be used to create my own “envelopes” but many of my sounds use 3... and I’m not really sure how that could be articulated on your controller or my Rise. Of course, I do a lot of ambient music that involves long evolving drones and sometimes multiple MSEGs (sometimes even looped).

Word around these parts is that you’ve been around the block in the music biz, eh? From one geezer to another, it’s never too late to learn.

[John the Savage]

FYI, most LinnStrument owners find the AfterTouch mode to be a vestigial artifact left over from earlier age.

I actually prefer the behaviour of Aftertouch myself. In terms of feel, Aftertouch lends itself well to aggressive playing techniques, by drawing a direct correlation between the physicality of pushing hard on an instrument and the intensity of the sound it might make in return: i.e. like overblowing a horn or hitting a guitar string too hard, pushing the sound into a state of distortion or feedback.

From a sound design perspective, at least as far as MPE is concerned, the gesture has to match the sound for me. In that respect, when it comes to realistically emulating the many subtleties of expressive playing, I find that there is a broader range of useful applications for Velocity and the Y-axis; as apposed to mapping parameters to continuous pressure, which is far more limited in terms of having a visceral connection to acoustic reality. In other words, it's all about how it feels versus what your subconscious expects to hear. Don't get me wrong, continuous pressure is useful, but it's kind of "bowing" or bust really — strings and pads. When I want to dig into a sound though, I need the pushback of Aftertouch.

Cheers!