The LinnStrument pads are extremely responsive. I find them much better than the Seaboard Rise in that respect. What I have noticed, however, is that a lot of patches in, for example, Equator, have modulation optimized for a long travel along the Y axis. That same amount of modulation on the LinnStrument happens in mere millimeters, rather than sliding your finger all the way along the length of a key. Those patches need to be reoptimized for LinnStrument so that you don't get such drastic modulation changes happening. As a consequence, you're going to make different patches. I will say that, in general, I've noticed that less is more when it comes to expressive patches... you don't need drastic changes in modulation, and it works better if you focus more on the performance and less on the sound design.zerocrossing wrote: ↑Sun Jul 21, 2019 2:18 am I’ve only found one decent Linnstrument demo video, and it wasn’t that great. All of them seem to be plagued by awkward modulation that’s probably exasperated by the small pads. But if you like that sort of thing, good for you. The Continuum, OTOH, looks awesome, but too rich for my blood.
The layout is similar. I don't find that they feel or respond alike. LinnStrument feels much more like a true expressive instrument and less like a gimmick. Or to put that a little more politely, I could see devoting years of practice to mastering the LinnStrument, but not to Roli Blocks.Echoes in the Attic wrote: ↑Sun Jul 21, 2019 2:19 am Linnstrument works pretty much the same as the pightpad block when it's in melodic/scale mode, with a bunch of other features like a low row that can strum or act as a cc/ modwheel etc.
There is some truth to that. Using one kind of interface to emulate all of the idiomatic techniques of a completely different instrument will never be totally convincing. A Continuum, or a LinnStrument paired with Audiomodeling instruments, can pull off a passingly convincing wind instrument performance. But it will never be 100% authentic. I've just picked up a TEControl BCC2 breath controller to use with Respiro, and that combination works much better for woodwind performances, even when paired with something as basic as an Arturia Keystep. Choose the right tool for the job.Mats Eriksson wrote: ↑Sun Jul 21, 2019 4:51 pm As with the legato playing, I would think they could not have solved that easier on the Haken though. As I am as good on keyboard as bass and guitars, I very well know the gnarls. I e the hammer on legato thing on a guitar string in the note shaping of things, is very different from a pull-off. And neither a Roli nor Haaken would be able to second-guess what you are actually doing, or thinking of doing. A saxophone players legato may not just be "devoid" of "re-blowing" into the mouthpiece. There's a slight difference in the beginning of each note whether you press on the "key" on the saxophone, or lift it off. Such nitpicking may not be of importance to others, but as I have heard many Indian and Arabic "flute" impersonations on both Roli and Haken, I hear it immediately. BTW Roli is way more handy as an instrument, The Haken may be a tad too unwieldy and cumbersome, due to the included synthesizer engine resides UNDER the keyboard.
All of these expressive controllers lend themselves primarily to monophonic instrument performances. You aren't going to try to play chords on a clarinet, and I don't think any of these controllers are best used for chordal playing.Mats Eriksson wrote: ↑Sun Jul 21, 2019 5:02 pm The Linnstrument to me seems like drawing from the same legacy as an accordeon, but with touch and vibrato sensitivity thrown in. What is a libalility and shortcoming of mainly all keyboard designed instrument is that you have to play a chord within the span of your own hand and hands. Say a C major chord. A symphonic orchestra can let the very very low bass fundamental C be played by certain people on double bass, the middle E some octaves up, and then the high C at the far right end of a grand piano. With Linnstrument and so on, like an accordeon, you have the octave ranges within the split of your hand, and if that ain't enough you use your left hand. On a piano, grand piano you have to use pedals in order to let sustain ringing for those note you can't reach unpedalled.
I agree with you regarding MPE. However, it's nice to have it, so that if you do happen to play more than one note at a time, it won't be an issue. You just won't have to think about it either way.BONES wrote: ↑Mon Jul 22, 2019 12:39 am As I've said many times before, I don't care about MPE at all, I just want the 5D touch experience and you can get that with pretty much anything, straight out of the box. I still haven't seen more than one convincing use-case for MPE and that single use-case is just as easily accomplished with two instances of a plugin and a keyboard split.