Still here…just busy with other projects. Will be posting some more on this channel very soon. I have some cool stuff up on another channel of mine…here: youtube.com/@kalakymata-b8z?si=ZLWvb0qiFnzrmgWI

Hi Loomit! Well there is certainly nothing wrong with playing scales with just thumb, index and middle fingers. But you’ll might notice that you can gain a lot more speed and dexterity by adding your ring finger to the game. Have you checked out my „eight-fingered hand video“? There I explain it a little better. I often play on my Akai Force which has even larger pads than the Push and I think using (at least) four fingers per hand helps tame the larger distances much better. But your mileage may vary! 😊

@@FontaineBurnett Thanks for taking the time to reply. I watched your eight-fingered hand video just after leaving my comment. That makes a lot of sense, where the left hand does the foundations, and the right fills with "inner voicings/melodics". The layout makes it more comfortable to play inversions with the left hand as opposed to a basic triad. And I see the ring finger coming in use there too. It makes me think playing with an alternating thumb finger technique, a bit like heel tip on conga, might yield something interesting. Would love to see an Akai Force performance if ever you get the time. Thanks for making the videos! They're really helpful.

I’ll be putting up the loooooong overdue third part to this series soon. It has some interesting tips concerning the thumbs…I think you’ll dig it!

Algorithm found me... Thx Al.

Well thanks to the benevolent Algorithm gods for sending you my way! 😊 I think you and I used to haunt a couple of the same forums a few years back! It’s good to see you here!

@@FontaineBurnett I have pianoteq 7 and just need to connect correctly and practice for 20 yrs

If I can be of any help, let me know!

@@FontaineBurnett I will thx mate

Hi Martin! I definitely hear an F being played…one of them was pretty short and soft though. Enough to register the light but not really that present audibly. Maybe that was what you are referring to?

Thanks. I was referring to the note that I think you tried to play at that time with your right ring finger. It looks like your finger hit the pad, but the light did not illuminate.

@martinmalandro3839 Might just be there camera angle…not sure.

I find it to be very intuitive…Especially if you have some previous experience with other instruments. Although that certainly isn’t a prerequisite.

How cool. I’m not much of a video game kind of person but I know there is a lot of cool music being made for video games! I’ll have to check that one out! 😊

Thanks! 🙏🏽

That is something I should very seriously consider Juan! In standard notation or in some form of tabulature?

That's the question... A grand staff could show the hands and pitch, the tablature could show the position/shape (perhaps even irrespective of pitch?) either format benefits from the 8-fingered hand where 0-4 is left and 5-8 is right

Yes…I have the feeling that Tablature would offer a better way of visualizing the shapes and not be tied to specific keys. And for me the „Theory“ is already in practice and has been for four years now! 😂 But certainly some form of notated exercises could be beneficial for a lot of people.

Yes! 😊

I don’t find the velocity tracking to be imprecise…but your mileage may vary. I sometimes use other controllers for percussion simply because of the feel and spacing but not because I find the velocity sensing on the Linn to be insufficient. But once again, your experience might be different from mine. 😉

Thank you Harrison! 🙏🏽

Well, I don’t have a lot of experience with the push since I’m not an Ableton user. I have tried out a friend’s push 3 and I liked it but I still prefer the feel of the Linn’s surface. I think they are two different devices with different use cases. If I were an Ableton user though. I would give the new push some serious thought.

i would like this series to continue as well 😊 if you find the time, it would be great

Thanks for the great comment! 😊 With your background it really does sound like the LinnStrument is perfect for you! I’m sure you will love it! And maybe one day we can convince Roger to create an MPE capable steering wheel too! 😂

Hi Jeff! The isomorphic layout of the Linn makes it very easy to transpose to different keys. Much like a guitar player can just by moving up or down the fingerboard. You could set the lights to reflect different keys but you would need to do this manually every time you wanted to change keys or have some presets setup for your favorite keys. I personally find that cumbersome and unnecessary.

Hehe! You are the first to notice! 😉 I have my harmonicas tuned to Augmented tuning…also known as the wholetone tuning in some circles.

@@FontaineBurnett I didn't notice anything. I just guessed that since you play such a weird but mathematically nice instrument as Linnstrument (its keyboard is transposition invariant), I thought there's a high chance you play some weird harmonica layout too.

I like how you think crabman! You are absolutely correct! If there is any way to modify an instrument so that it works better for my way of thinking, I‘ll do it! 😊

@@FontaineBurnett What do you think about diminished tuning for chromatic harmonica?

To be honest I haven’t tried it out yet. But certainly curious to do so. What I like about Augmented is the extended range. 4 Octaves on a 12 hole harp is wonderful. And contrary to many, I actually like not having the redundant notes…although in certain situations they could be useful I suppose. You sound like you have some experience with the harmonica….do you use alternate tunings?

Aber sehr gerne Jürgen! 😉

Thanks so much for the kind words! Yeah, Medusa can be a little finicky. You have to have the pitchbend sensitivity set quite low…around 2 or 3. Deactivating velocity also helps. The Linn is a far more natural feeling controller but has its price and obviously doesn’t have that amazingly beautiful sound of Medusa. I haven’t really been able to get Medusa to respond to MIDI from the Linn in a satisfactory way either. She has her quirks…but oh how I love her! 😉

@@FontaineBurnett Yeah the Medusa is such a weird instrument, but you know it actually feels like an instrument? I've had it for a year and I feel like I'm finally taming that beast and getting sounds that I want. Its hard to use so I think a lot of people slept on it. Out of all my synths it took me the longest to kind of jive with but I don't think I'd ever sell it. I feel like I need that Linnstrument in my life though lol.

@@Monster_Radio_Man Yeah, I feel like they marketed it wrong. They really underplayed the fact that it is a real instrument. I agree, most people just don’t take the time to really understand what she is capable of. She ain’t your next gen groovebox/workstation doohickey. As It’s a shame that they discontinued it. I most certainly won’t sell mine…as a matter of fact, I have two! Would love to hear what you’ve been coming up with on your Medusa!

You are very welcome…I‘m glad that you find the videos useful! 😊 As far as the question “Vertical vs. Horizontal” is concerned, I think that a lot of it depends on your previous musical experience. If you are coming to the Linn from a guitar/stringed instrument background you will probably be more inclined to visualize the surface from the vertical perspective…and if you come from keyboards, the horizontal perspective. I do my best to leverage both aspects and find that for practical reasons (like fitting it on a stand or my lap) that the horizontal orientation is better for me. Vertical orientation is basically like having a 16 or 24 string wide instrument (with only 8 frets) and if you are a string player that is used to playing “across” the fretboard, then you will immediately see the advantages of using that orientation. It does require a lot more of a “hand over hand” type playing position however and that could be considered by some as a disadvantage. The horizontal orientation will be for any keyboard folk that are used to the “left hand low, right hand high” way of thinking. I personally find having 8 rows to play across more than enough and prefer to reposition my hands horizontally when necessary. 128 vs. 200: Honest answer? With the style of playing that I have developed, it really does’t matter much. The 128 has more than enough range for me and is more portable. Now if you plan on splitting the surface between two sounds, then the 200 has the clear advantage. Luckily, I have both available to me and decide according to the situation. If I need to be more portable, I’ll take the 128 and if I need more pretty lights to look at then I’ll take the 200! 😂😂

@@FontaineBurnett Thanks for taking the time to reply, it's very much appreciated. The "vertical vs. horizontal" answer surprised me. I play violin and piano, so I had to visualize what you said first about the vertical layout. Ok, I held my Launchpad X which I use as a "prototype" atm to my chin like a violin. 😂It's still hard to imagine how that translates, but I will have to try it out for real. Regarding the "128 vs. 200" question, it kind of confirms what I suspected watching you and Jesse Washmon play... It's a good reminder that I should think about how many pretty lights I really need in my life. Anyway, looking foward to more videos of yours, should they come.

Hi Harry! It’s coming…it’s a matter of a few days. It’s recorded…just need to edit! 😊

Awesome Harry! You are going to love it! 💛

Hi Soulman! The piano on that track is the Ravenscroft 275. Upright and drums were programmed. All done on a 2018 iPad Pro. 😊

@@FontaineBurnett What did you use for the upright sound and what brand is the Ravenscroft?

@@blueeyedsoulman Ravenscroft is a product of UVI. It is quite popular on the desktop and they have a smaller but nice version for the iPad that is pretty much my main acoustic piano sound on the iPad. On the desktop I prefer Modartt Pianoteq….which will hopefully be coming to the iPad later this year. The upright was the iFretless Bass app…if I’m not mistaken. It’s been a while since I recorded that so I’m not a hundred percent sure. 😂 Anyway, another good option for upright would be the SWAM Contrabass. Available on desktop and iPad. Hope that helps. 😉

Hey Fall! Glad to hear of your awakened interest in the Linn! 😊 Well, there are no technical differences between the two. I originally had purchased the 128 simply because it was a bit less expensive and I wasn‘t sure how I would actually get along with it. I always had it in the back of my mind that the larger 200 would give me more flexibility for two-handed playing, so when the opportunity came up to get one used, I jumped on it. Nowadays, after having spent a couple of years developing my style of playing, I really don‘t see a major benefit for choosing the 200 over the 128. I am glad (and fortunate) to have both and usually it comes down to a question of portability. If I‘m playing a gig where the Linn is my main instrument, then I‘ll probably bring the 200. If the size of my setup has to be restricted due to space constraints or weight issues, then I‘ll bring the 128.

@@FontaineBurnett thanks so much, fontaine, for your prompt & thoughtful response. so, given that a used 128 is at least $400 less than a used 200, you feel like... sure, there's a notable difference, but it's kinda negligible?

Yes…at least for me.

@@FontaineBurnett copy that. thanks kindly for your responsiveness & insights. I just checked out an in-depth performance-oriented demo that roger linn did a few years ago, & he was using the 128 for that, so... yeah!!

Yes! Medusa….one of my greatest loves too! 😍 I‘ll be posting a lot more Medusa content in the near future. I‘ve got a little series planned.

Your words warm my heart…thank you! ☺️

💛🙏🏽😊

Thank you so much! 😊

Much appreciated 🙏🏽

Most of the time I’m using either Ravenscroft 275 on the iPad or Pianoteq on the Mac for my piano sounds. When I play the LinnStrument in a live setting (which is very often) I have been using my Akai Force and iPad as sound sources. 😊

Oh…that’s a very good question. I’m pretty sure you can assign a footswitch for octave switching…although I personally have never needed that. As far as half-damping is concerned it is something I’ve rarely used even with conventional keyboards so I never thought of trying to replicate that with the Linn. To be fair, the LinnStrument wasn’t originally conceived of as an ideal replicator of piano mechanics, and most people don’t tend to use it with piano sounds. So features like half damping are probably more a niche thing.