There was a question about my tuning here. I don't think it's relevant for the techniques I'm demonstrating, but if anyone wonders, my LinnStrument is tuned in fifths. The Cs are the only notes that are lit.
This is super valuable. And the duduk Surge XT preset is one of my faves! Thanks for contributing so much to the Linnstrument and being a part of what makes it great.
Cool video. I'm glad I'm not the only one who just thinks of pressure as light-medium-hard. I can't consistently get anything in between (and even those 3 give me trouble because I don't practice them much).
This is an enlightening tutorial. After watching you play in your previous videos I have become quite curious about the LinnStrument, especially how in tune you seem to be with the tiny gestures that mnake such expressive sounds. This really explains what's been going on. You have a natural delivery and an inviting voice. This seems like a pretty deep instrument so if you have more to share I, for one, would love to see more of this kind of video!
@@thoughtFormMax +1 This will mean nothing to you if REAPER isn’t in your life, but you could easily be the Kenny Gioia of Linnstrument with content like this.
Had the same question. Test driving both now before returning one. Both are phenomenal controllers for 3D expression with an ergonomic and highly customizable note layout. The 128 is roughly the same length as a 16” MacBook Pro, making it easier to leave out in most desks or stick in a backpack (although I’d wait to do that until a company like Decksaver comes through with a solution to protect the play surface from getting crushed). What you’ll miss on the 128 that the 200 offers is more room for two handed playing, huge slides, and split mode. Also, while the 128 is less of a handful when traveling, the included travel case isn’t as protective as the one that ships with the 200, which also has a pouch for cables and stuff like a USB battery. The 200’s size, however, has been harder for me to leave out in my space. I maybe play it a little less - although more intentionally - as a result of needing to put it away whenever I’m not playing it. While I can’t personally justify it, I can understand why some folks own both. They feel different and are better for different things. If I were trying to save my past self the time, credit usage, and return shipping costs test driving both, I’d focus on asking myself: Am I looking for a moderately sized musical instrument that I’ll need to take out and put away every time I practice? Or would I prefer a more compact controller that’s always on my desk for whenever I want to record a riff or modulate some DAW parameters? If you’re mostly looking to sketch ideas vs recording full performances, you’ll probably find the 128 a lot more manageable. According to the inventor, Roger Linn, the 200 is currently the better seller over the 128 by a wide margin. As more people find out about it, I wouldn’t be surprised if that changes because of the $500 difference and size convenience. It should also be said, the 128’s play limitations can be worked around - for instance, using split mode on 128 can be used creatively for extending two handed play across octaves on the smaller board. There’s also an incredible community of people making these things better. One person developed code for the 128 to change the note layout such that slide length isn’t that much different than a standard layout on the 200. I probably should keep the 128 to save money and space. FWIW, I even found the 128 more comfortable to get my hands around while playing seated without a desk/table or standing with a strap. However, I’m leaning towards the 200 because of the increased slide travel and split mode real estate. It helps me that I got lucky with a demo unit deal and discount through Sweetwater. If I had infinite money and trusted my cat to not destroy it, I’d keep both and permanently install the 128 on my desk. In reality, I’m preparing to say goodbye to mine in favor of the 200. When I’m not practicing music, I plan on using the LinnStrument 200 for sound design and composing work in split mode with 128 keys on the left side for an instrument and the remainder on the right for automation, controlling VST parameters, and triggering DAW actions (start/stop recording, etc.). At the end of the day, you won’t be disappointed by either. The build quality is identically excellent between the two versions and Roger Linn is as responsive in his customer service as I hoped he’d be.
