| Reprinted
from the August 2002 issue of Electronic
Musician magazine
Roger Linn Design AdrenaLinn
By Richard Alan Salz
Adding to a long list of groundbreaking products — including
the LinnDrum, the LM-1, the Linn 9000, and the Akai MPC-series workstations
— Roger Linn has now developed the AdrenaLinn, a guitar-effects
processor that includes a programmable 32-step filter, a drum machine,
time-domain effects, and amp modeling. All of that is packed into
a sturdy cast-aluminum box that's about the size of a paperback
book. What makes the AdrenaLinn unique is how everything works together.
The AdrenaLinn features 100 ROM-based factory presets and an additional
100 user-editable presets that initially contain data identical
to the factory presets. Those presets control the effects (including
filter and delays) and which amp model is in use. The amp-modeling
section includes ten amp simulations, ranging from Fender Champ
to Mesa/Boogie Dual Rectifier. Also included are fuzz box and direct-injection
simulations.
One thing to keep in mind is that the AdrenaLinn is a very deep
box, and it can take a while to understand the interface. Fortunately,
the manual is well written and concise.
ON THE SURFACE
The AdrenaLinn's control surface has four main rotary encoders (one
of which is a volume knob with an associated LED to indicate clipping),
four buttons, two stompbox-style momentary (foot-activated) push
buttons, and a three-digit numerical display (see Fig. 1). A legend
that covers most of the front panel lists the unit's functions.
LEDs indicate the status of the device.
The rear panel has a ¼-inch input, two ¼-inch outputs
(left and right), MIDI In and Out jacks, and an input for a 7.5
VDC wall-wart power supply. The only things missing are a dedicated
headphone output and digital I/O.
The main rotary encoders control a wide variety of parameters depending
upon the mode the AdrenaLinn is in, but their nominal functions
are Preset, Drumbeat, Tempo, and Volume. There are status LEDs that
light up next to the function that is in use.
The two footswitches (labeled Start and Bypass) can have multiple
functions, as well. Besides starting and stopping the active drum
machine or filter sequence, the Start button can provide a one-measure
hi-hat count-in. If the drum machine or filter sequence is playing,
holding down the Start button causes the AdrenaLinn to play to the
end of the measure and stop.
The Bypass footswitch acts as a conventional effects bypass, but
you can also use it to set the tempo of the drum or filter sequence:
instead of tapping in time with the tempo, you hold the footswitch
down for an entire measure of the tempo that you want to sync with.
In addition, the Bypass footswitch can be configured to switch between
two presets.
DA DRUMS
The drum machine offers nine kick drums, nine snares, and nine hi-hats.
Five other groups offer three drum sounds each, mostly assorted
percussion and toms. The drums are well recorded and punchy, and
in many cases, they sound as though they could have come from a
standalone percussion module.
The drum machine's output can be routed internally through the
filters, amp models, or delays. Although you can't access the individual
drum sounds through MIDI, you can sync the AdrenaLinn to incoming
MIDI data.
Patterns are created using the Step-Programming mode. Any step
of a pattern can contain four voices (bass, snare, hi-hat, and percussion),
and like the original LinnDrum, the AdrenaLinn provides only three
volume levels for each voice (except for the percussion voice, which
plays at just one volume). Panning and volume are controllable,
but pitch and decay are not.
The AdrenaLinn can also be programmed and controlled from a module
in Emagic's SoundDiver (see Fig. 2; the module is available for
download from the Roger Linn Design Web site). SoundDiver is a cross-platform
application, so PC and Mac users are taken care of. According to
the manufacturer, options for other editors are being explored.
The AdrenaLinn's drum machine offers 100 factory drumbeats and
100 user-created drumbeats. The presets range from normal rock and
pop to fairly wild electronic beats, with some slightly stiff hip-hop
and R&B beats in between. The presets are certainly good enough
for a rough demo or, better yet, something to jam over.
FILTERS AND EFFECTS
The filter module is controlled by a 32-step sequencer, though alternate
note resolutions will move the number of steps down to 16 or 24.
Modulation level and envelope-generator trigger parameters can be
set for each of the steps. The sequencer is configured so that it
is synced with the drum machine; alternatively, it can be synced
with MIDI.
The first element of the filter is a low-pass filter that can be
configured for 2-pole (12 dB Oberheim-style) or 4-pole (24 dB Moog-style)
operation. Cutoff frequency and resonance parameters are programmable.
An envelope generator controls the filter's attack and decay settings.
An LFO section — with sine, triangle, sawtooth, pulse, and
random waveforms — is available for autopanning, filter sweeps,
and chorusing. An amplitude envelope generator that tracks the input
signal provides autowah and Mutron-style envelope effects.
The filter section responds to MIDI Control Change messages in
addition to Velocity and note number. The filter's cutoff frequency
can be raised (and in some cases lowered) in response to incoming
MIDI data.
Overall, both filter configurations sound impressive and excel
in capturing an analog sound. By dialing in copious amounts of resonance,
I easily created a dead ringer for Jerry Garcia's '70s-era envelope-filter
tone. Rolling off some of the treble on my guitar enhanced the effect
of the filter envelope.
Other effects include flanger, inverted flanger, pitch (for harmonization
and vibrato), volume (for tremolo effects), and delay. Those effects
can be combined to produce other effects such as autopanning, vibrato,
and chorus. Conspicuous in its absence is reverb: the manufacturer
told me that was because of the unit's digital signal-processing
limitations. In my opinion, it is much better to have no reverb
than a poor reverb.
SUPERMODELS
The AdrenaLinn's amp models also sound good. The unit has a decent
collection of amps and preamps, as indicated by the preset names:
Fender Bassman, Fender Deluxe Reverb, Old Small Fender, Early Marshall,
Classic Marshall, Modern Marshall, Vox AC-30 Top Boost, Matchless
Chieftain, Mesa/Boogie Dual Rectifier, Soldano, Fuzz Box, and Clean
Console. Each model has drive, bass, mid, and treble controls that
model the actual range and frequency response of the device being
simulated.
It's difficult to compare the sound of a modeling device to an
actual amplifier because there are so many variables, such as speaker
age, room characteristics, and microphone placement. The main thing
an amp modeler provides is the vibe and overall tonality of the
simulated amp.
The amps I used for comparison are a Mesa/Boogie Dual Rectifier
(through a Marshall 4×12 speaker cabinet loaded with Celestion
75W speakers); a Marshall JCM 800 2210, which I compared to the
Modern and Classic Marshall models; and a 1970s Fender Vibrolux
silverface model, which I compared to the Deluxe Reverb simulation.
I also used a Bedrock 1200-series head as the target for the Vox
AC-30 model because it has a bit of the midrangy Vox sound.
Of all the amp models, the Dual Rectifier model came closest to
the sound and feel of the original. The tight and aggressive tone
produced by the AdrenaLinn was similar to the tone of my Dual Rectifier,
especially at high gain settings. The Marshall model was good, but
at times it sounded a little honkier and thinner than the real thing.
The Fender sounds were good as well, lacking only spring reverb
to complete the illusion. As for the Vox AC-30 model, it had the
same midrange push as my Bedrock, but a different tonal balance.
That's not surprising, because the Bedrock is an EL 34-based amplifier,
and the Vox AC-30 uses an entirely different tube complement. Still,
it made for an interesting comparison.
I tried the AdrenaLinn plugged directly in to a Mesa/Boogie Strategy
400 tube power amp connected to two 4×12 slant cabinets. I
was able to get some devastating tones out of that rig, which to
my ears sounded better than the '80s Marshall 9001 tube preamp that
I often use. Though it would be tricky to use just the AdrenaLinn
for a live gig, it could be done, especially in conjunction with
a MIDI pedalboard. I suspect most users will use it with a regular
combo or preamp/power-amp setup rather than as the sole preamp stage.
The AdrenaLinn sounded great on two vintage synths — a Fender
Chroma Polaris and a Moog MG-1. Both synths have mono outputs and
lack onboard effects. The AdrenaLinn breathed new life into both
synthesizers, animating them in a way that made them sound much
more modern without robbing them completely of their identity. The
AdrenaLinn is a great tool for “stereoizing,” not to mention
adding a programmable sequencing filter to any mono instrument.
THE RUBBER MEETS THE ROAD
For testing presets, I used a few different instruments: a Paul
Reed Smith CE-24, a Warmoth Gecko five-string bass, a Moog MG-1,
and a Fender Chroma Polaris. I patched the AdrenaLinn directly into
my Neotek IIIc console and monitored using a combination of Fostex
NF-1s and Urei 809s.
Moving through the various presets can be disorienting because
their range is startling. While playing guitar through the AdrenaLinn,
I had to remind myself that I was listening to a guitar and not
a sequenced synth! That's how radical the AdrenaLinn can get.
I don't mean to give the impression that the AdrenaLinn is capable
of only bombastic, highly modified sounds. Some of the more restrained
presets, such as the Fender Deluxe, simply sound like a good amp
with a decent mic in front of it. Some of the vibrato/tremolo and
flanger programs are well within the bounds of good taste and would
fit easily into many production styles.
However, the extreme sounds are what make the AdrenaLinn such a
compelling box. Presets such as Filter Sequence — Ascending
bring sonic and rhythmic textures to the guitar that recall the
work of Pete Townshend and producer Glen Ballard (especially his
work with Alanis Morissette).
My final application was using the AdrenaLinn as a processor during
mixdown. The AdrenaLinn is my choice for taking a boring track and
making it interesting. For example, the flanger is an excellent
tool for bringing a stale rhythm-guitar track to life. Even compared
with my dedicated outboard processors, the AdrenaLinn's flanger
is impressive. Furthermore, the sequenced-filter programs can produce
some wacky effects when used on vocals.
The AdrenaLinn's only downside as a standalone processor is the
mono input. Of course, you could get around that by using two units
locked together by MIDI — a cost-effective solution, considering
the quality of the processing.
RUNNING HIGH
The AdrenaLinn is not only a revolutionary product but also an exceptional
value. Getting a programmable filter, an amp modeler, and a drum
machine of this quality in one box is remarkable. The programmable
filter alone is worth the price.
For both stage and studio use, the AdrenaLinn is ideal. It's a
great idea generator, the kind of tool that inspires you to write
new material and create new sounds. The AdrenaLinn is an all-around
winner.
--------------------------------------------------------------------------------
Richard Alan Salz is a producer living in Southern Vermont.
AdrenaLinn Specifications Preset Rhythm Patterns (100) factory;
(100) user
Preset Effects/Filter Patches (100)/(100)
Filter Sequencer (32) steps
Amp Models (12)
Effects Types (8)
Analog Inputs (1) unbalanced ¼" TS
Analog Outputs (2) unbalanced ¼" TS
MIDI Ports In, Out
AC Adapter 7.5 VDC (wall wart)
Display 1.50" (W) × 0.75" (H) 3-digit LED
Dimensions 7.25" (W) × 1.50" (H) × 4.50"
(D)
Weight 2 lb.
PRODUCT SUMMARY
Roger Linn Design
AdrenaLinn
guitar-effects processor
$395
FEATURES 5.0
EASE OF USE 4.0
AUDIO QUALITY 4.5
VALUE 5.0
RATING PRODUCTS FROM 1 TO 5
PROS: Great sound. Sequenced filters. Excellent-sounding presets.
CONS: Mono input. No headphone jack. No digital output.
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