LinnStrument Support Page

Recommended Sounds


LinnStrument sends standard MIDI messages and therefore works with every MIDI sound generator in existence, so in a sense every MIDI sound generator is recommended. However, there are two categories of sounds that are helpful to know about:

1) MPE-compatible sounds
This means that each voice receives from a separate MIDI channel, permitting polyphonic pitch bends and Y-axis control when LinnStrument's Channel Per Note (MPE) mode is used. These are listed under the "Mac/Win MPE", "iOS MPE" and "Hardware MPE" tabs below.
However, it is important to note that because of LinnStrument's smart one-channel MIDI handling and ability to send polyphonic pressure messages, the primary advantage of MPE is to perform polyphonic pitch bends, which aren't an especially common performance gesture.

2) Expressive solo Acoustic Winds and Strings
Currently, there is really only one choice for expressive solo acoustic winds and strings-- Sample Modeling's software instruments. They have the perfect sonic accuracy of sampling but with the expressive malleability of synthesis. Nothing else comes close.

If you are aware of any other sound generators that that fall into the above two categories, please let me (Roger) know and I'll add it to the list.

Mac or Win MPE


Hardware MPE

Acoustic Winds and Strings

  • Ableton Live (a cumbersome kludge permits semi-MPE operation)


    Even with the two significant limitations listed below, Ableton does work fine with LinnStrument's One Channel mode, permitting polyphonic play of sounds that do not require independent pressure for each touch, such as electric piano or guitar sounds, but with the enhancement of LinnStrument's pitch slides and vibrato capability. Given that much of expressive playing is solo playing, Live does work well for solo voices with 3 degrees of expression.

    Live is not MPE-compatible but given its popularity, we've described two different methods of kludging it to give it semi-MPE operation. These kludges are described at the end of the Pluses and Minuses section below.


    Pluses and Minuses

    + A variety of included instruments

    - Does not support Poly Pressure messages, so independent pressure for simultaneous touches is not permitted, either from Live's internal instruments but also from plug-in instruments.

    - All channel information is removed from MIDI messages when they are received, so MPE operation is not only prevented on Live's internal sound generators, but also on any MPE plug-in instruments used within Live. However, there are two workarounds for this, albeit cumbersome ones:

    1) If using a software instrument that doesn't support MPE (like those in Live): create a separate MIDI track for each desired polyphonic voice, each using the same plug-in instrument with the same sound, but receiving on a unique MIDI channel. In this way, each track will play a single expressive voice from a unique MIDI channel, and LinnStrument's Channel-Per-Note mode will send each touch on a different MIDI channel,  rotating through its assigned Per-Note Channels.

    2) If using a non-Ableton software instrument that supports Channel Per Note operation, create a single MIDI track with the software instrument on it. Then create a separate track for each desired polyphonic voice, each receiving on one of the unique MIDI channels sent by LinnStrument's channel-per-note mode, and assign each of these tracks to send its MIDI output to the track containing the software instrument on the same channel that the track is receiving on. This allows the software instrument to receive each of LinnStrument's notes on the same MIDI channels over which they were sent by LinnStrument. Here's an example screenshot showing how to set up Live's tracks for 2-voice polyphonic expression with U-He's Diva software instrument. Thanks to Mark Harris for this tip.


    Sounds File

    Here's a project file for Live containing some sounds optimized for LinnStrument. It requires loading the "Guitar and Bass" pack. To work around Live's removing all received MIDI channel information (and therefore preventing polyphonic expression), some of the sounds use the above-described workaround, using 4 identical tracks for one sound with each track receiving on a different MIDI channel from 2 to 5.

    This project contains a simple 4-bar looped example sequence that uses most of the sounds.

    First set up your LinnStrument's Per-Split Settings as shown here. This enables Channel Per Note mode using channel 2 - 5, with a Bend Range of 24, sending Y-axis using CC1 and sending pressure using Channel Pressure.

    Next, in Live's Preferences > Record/Warp/Launch tab, turn off Exclusive Arm. This will permit you to arm all 4 tracks of a polyphonic expression sound.

    Each track (or group of 4 tracks for polyphonic expression sounds) contains a sound. Here is a description of the sounds:

    Tracks 1-5) FM Synthesis. To play, arm tracks 2-5. For polyphonic expression, track 1 is the group track and tracks 2-5 are identical except that they receive from single MIDI channels 2-5. Pressure controls frequency modulation amount and Y-axis controls balance between 2nd and third harmonic modulators.

    Tracks 6-10) Overdriven slide guitar. To play, arm tracks 7-10. For polyphonic expression, track 6 is the group track and tracks 7-10 are identical except that they receive from single MIDI channels 2-5. Pressure and Y-axis are not used for this sound.

    Tracks 11-15) Clean Slide Guitar. To play, arm tracks 12-15. For polyphonic expression, track 11 is the group track and tracks 12-15 are identical except that they receive from single MIDI channels 2-5. Pressure and Y-axis are not used for this sound.

    Tracks 16-20) Expressive Organ. To play, arm tracks 17-20. For polyphonic expression, track 16 is the group track and tracks 17-20 are identical except that they receive from single MIDI channels 2-5. Pressure controls volume & filter frequency, and Y-axis controls balance between dark and full organ sounds.

    Track 21) Pan Pipe. This sound doesn't use polyphonic expression but works well with LinnStrument's Arpeggiator in Replay All mode. (Click here to see how to set Replay All mode on LinnStrument.) Turn on the Arpeggiator by turning on Switch 2. To play this sound, arm this track. Vary your pressure as the notes repeat.

    Track 22) Kick. This is simply a kick drum sample for the included example loop sequence.

    Track 23) Fretless Bass. This sound doesn't use polyphonic expression but works well with LinnStrument's pitch slides. To play this sound, arm this track. Use pitch slides similar to playing a fretless bass.

  • Apple: Logic Pro X & MainStage (7 instruments, downloadable sound files)


    Logic Pro X ($200) and MainStage 3 ($30, same sounds as Logic) both provide fully polyphonic 3-dimensional control on 7 of their built-in instruments: EXS24 Sampler, ES2 Subtractive Synth, EFM1 Frequency Modulation Synth, Sculpture physical modeling synth, Alchemy synth, Retro Synth and Vintage Clav. Given that most LinnStrument owners are on mac and already own one of these, they are the primary sound sources we've used in our videos, and our downloadable LinnStrument-optimized sounds files for these are the most complete and versatile collection of LinnStrument sounds that we offer.


    Click here for the Logic Pro X sounds file and here for the MainStage 3 sounds file. The sounds in these two files are identical and are organized into 3 folders:


    1) ChPerNote, Bend = 24.

    These sounds are optimized for polyphonic 3-dimensional control using LinnStrument's Channel-Per-Note mode. (The plucked-string sounds don't use pressure or Y-axis control.) To play these sounds, turn on the PER-SPLIT SETTINGS button, then in the MIDI MODE column (column 1), hold ChPerNote (2nd pad from the top) for 1/2 second. (It will turn light blue.) This will set all necessary MIDI settings for polyphonic 3D control.


    2) One Chan, Bend = 12.

    There in only one sound in this folder-- electric piano. Logic's Electric Piano is excellent but only works with a single MIDI channel. To use this sound, set MIDI Mode = One Chan and Bend Range = 12.


    3) One Chan, Bend = 12.

    You'll need to buy these software instruments from to use these sounds. They are included because they are wonderful! They use an advanced hybrid of sampling and synthesis, so they produce perfect reproductions of the named wind or bowed-string instruments without any of the undesirable artifacts of sampling. To use these sounds, set MIDI Mode = One Chan and Bend Range = 12.


    If you wish to create your own sounds in Logic or Mainstage using any of the 7 above-named instrumens, here's how to enable polyphonic 3D expression: click the small triangle in the lower left corner of the instrument's window, then set MIDI Mono Mode to "On (with common  channel 1)" and Mono Mode Pitch Range to "24".


    Note: If the above settings don't work correctly, you may have changed other settings in LinnStrument. To reset LinnStrument to default settings: Turn on GLOBAL SETTINGS, then in the ACTIONS column (column 16), press NOTES OFF and UPDATE OS at the same time. You will briefly see "RESET" displayed.

  • Bitwig Studio & 8-Track (4 instruments)

    In Bitwig Studio and 8-Track, the instruments Polysynth, FM4, Organ and Sampler support Channel-Per-Note function. Note that a free license for Bitwig 8-Track is included with every LinnStrument sold.

  • Cycling 74: Max (and any MPE instruments created in Max)

    Version 7.2.0 adds Multidimensional Polyphonic Expression support:

    midiparse / midiformat: @hires attribute to output a two-byte list to set high-resolution (14-bit) pitch bend output

    mpeconfig: Configure MIDI devices that support MPE

    mpeformat: prepare MPE-compatible MIDI messages

    mpeparse: Interpret and parse raw MPE data (similar to midiparse)

    polymidiin: Output MPE MIDI data in a patcher loaded by poly~

    poly~: @midimode attribute to send MIDI events to all voices

    poly~: @zone attribute for setting the MPE 'zone' that the poly~ will listen to (the default is to ignore zones)

    vst~: accepts 'mpeevent' message to handle MPE data

  • East West Sounds: "Play 5" Sample Engine

    The "Play 5" Sample Engine from East West Sounds contains an MPE mode as shown in this screenshot. 

  • Fxpansion: Strobe 2

    Strobe 2 is based on an analog synth model, but has extensive sound stacking, deep modulation, sound morphing, great effects and very flexible arpeggiation. And it permits fully polyphonic 3D expression when used with LinnStrument. To set up a sound for basic polyphonic 3D control:

    1) In the Settings menu (the wrench on the left side), enable Multi Dimensional Control.

    2) To initialize the selected preset, in the Settings Menu select Reset To Default.

    3) If you're new to Strobe 2, you'll need to learn how its TransMod system of modulation works. Once you know this, Perf2+ is the source of pressure modulation, PerfX+ is the source of X-axis modulation, and PerfY+ is the source of Y-axis modulation.

  • KV331 Audio: Synthmaster

    From their web site:

    [In version 2.8,] we've added support for “Multidimensional Polyphonic Expression”, so SynthMaster supports multichannel MIDI now! Each note SynthMaster receives can have its own MIDI channel and hence it has its separate pitch bend/after touch/CC values!

  • Madrona Labs: Aalto & Kaivo  (2 insttruments, downloadable sound file)

    Randy's Jones' Aalto is a remarkably flexible synth that combines powerful FM, subtractive and waveguide synthesis in a deceptively simple interface. Not only does it incorporate Channel Per Note operation for polyphonic expression, but it has a variety of ways to alter the source waveform in real time, which makes it a great match for LinnStrument. This is no surprise, given that Madrona Labs also created the marvelous SoundPlane, a superb expressive controller instrument that shares many goals with LinnStrument.

    Update: as of December 2015, Kaivo also supports Channel Per Note operation.


    LinnStrument-optimized Sound file for Aalto

    Here is an Aalto patch that I (Roger) created and which  I used in this LinnStrument video. Set Per-Split Settings > MIDI to ChPerNote Mode, then Bend Range = 24, Y = CC74 and Z = Channel Pressure. Also, set the Per-Split Channels to 2-5, because Aalto can play a maximum of 4 simultaneous voices.

  • Native Instruments: Kontakt, Reaktor (and any MPE instruments created in Reaktor)


    Kontakt does not have an MPE mode but it is fairly simple to configure for MPE use. Simply load Kontakt then load, for example, 7 instances of the same sample group into it. Each instance will automatically load a separate MIDI channel automatically (2-8) or you can change each instance to the channel you want as long as they match LinnStrument's per-note channels. Go through each instance and change the pitch bend to 12 (the max that Kontakt allows) and set LinnStrument's Bend Range to 12. Because Kontakt intelligently loads samples it will share samples between all instances and therefore not use any more ram than one instance. Of course you will need a host that passes all MIDI channels to Kontakt.



    LinnStrument owner Mark Harris has created a Reaktor 6 block that processes MPE (note-per-channel) messages within Reaktor 6's new modular blocks.

    Also, here is a semi-modular, polyphonic expression synth for Reaktor called MultiExp, created by Michael Stocker.

  • Poly-Ana from Admiral Quality

    To use this analog-modeled synth in a channel-per-note configuration, set the following controls, located in the lower left corner of the panel:

    * Set Poly Mode to Poly.

    * Set Polyphony to 1. (Each received channel gets one voice.)

    * Set PB Range to 24 to match LinnStrument's Bend Range (24 by default.)

    Then you can use modulation sources of:

    * "Pressure", which is fed from both Channel Pressure and Poly Pressure messages.

    * "In-1", fed by default from CC74 and therefore works for LinnStrument's Y-axis.

  • PPG: WaveMapper 2, WaveGenerator


  • ROLI: Equator For Rise

    This is a very deep and capable synth containing subtractive, FM and sampling synthesis methods. It was built from the ground up for polyphonic expression on ROLI's Seaboard Rise, but it works great on LinnStrument. It provides extensive modulation capabilities, lots of effects and plenty of ways to fine-tune the response, resulting in beautiful sounds that play evenly at all pitches and velocity or pressure levels.

    Note: Equator For Rise is available only with the purchase of a Roli Seaboard Rise and is not available separately.

  • SoftTube: Modular

    From LinnStrument software creator Geert Bevin:

    Softube Modular has a ROLI Seaboard RISE module which enables MPE for it. It also ships with 18 ROLI (MPE) presets. To make this work with LinnStrument, simply enable MPE mode with channels 2-5 as per-note channels and pitchbend 48. Sadly they don't handle MPE in the modular automatically and you have to duplicate the configuration of each voice.

  • Spectrasonics: Omnisphere & Trillian (sound file)

    Omnisphere and Trillian are real powerhouses that combine well-recorded sample sources with highly malleable synthesis and a very versatile modulation routing. The thing that makes them a good match for LinnStrument is their "Multi" feature, effectively permitting Channel Per Note operation with all 3 dimensions of LinnStrument control for each note. To make a Channel Per Note patch, create your desired sound in "Part 1" then in the Utility menu select "Clone Part 1" to copy it to the other "parts" 2 though 8, receiving on MIDI channels 1 through 8 respectively. Now LinnStrument can send in Chanel Per Note mode with the Per Note Channels set to 1 through 8. The other nice thing about Omnisphere's synthesis is that the source waveform can be fundamentally altered in a variety of useful ways, making it a good match for LinnStrument's Y-axis control.


    LinnStrument-optimized Sound file

    Here is an Omnisphere "multi" patch that I (Roger) created. Load it somewhere in your Omnisphere "multi" directories then set LinnStrument's MIDI Mode to ChPerNote, PerNoteChs to 1-8, Z to Channel Pressure, Bend Range to 24, and Y to CC74.  In this patch the Y-axis controls oscillator sync for a radical timbral variation.

  • Steinberg: Cubase (5 instruments)

    Contributed by principal LinnStrument software writer Geert Bevin:

    Channel-Per-Note is supported as part of VST Note Expression in Halion, Halion Sonic 2, Halion Sonic SE2, Retrologue & Padshop.

    In real-time, you can use it with third-party VSTs just as any other DAW by streaming MIDI straight to the plugin when the MIDI input channel for the track is set to Any. Note that the per-note recording I mention below also works with this.

    If the track MIDI Channel is set to 1 though, and you host a VST3 software instrument like Padshop, Halion, Halion Sonic SE, Retrologue, then you can transform ChannelPerNote MIDI in real time to VST Note Expression. To do that, instantiate the VST3 plugin and go to the Note Expression tab for the track. There you have to enable "MIDI as NoteExp" and "Channel Rotation". This will then allow you to assign MIDI CCs and Pitchbend to the Note Expression parameters in the same tab. Thanks to channel rotation support, it will properly keep all the MIDI expression in the same channel tied to the note that's playing.

    The nice thing now is that Note Expression directly shows the acoustic parameters of the synth and is very easy to work with. Also, when you record, it stores all the per-note MIDI information together with each note and shows it  in the GUI. So you can edit the expression of each note separately and play it back in full detail later.

    Here's a video in which Geert describes using LinnStrument's Channel-Per-Note mode wth Cubase and U-He's Diva plug-in.

  • Symbolic Sound: Kyma 7

    The wonderful Kyma 7 fully supports LinnStrument's MPE mode. Click here for a page on Symbolic Sound's site containing details.

  • U-He: Bazille, Ace,  Diva & Hive (4 instruments, downloadable sound files)

    These plug-in instruments permit Channel Per Note operation with all 3 control dimensions for each voice. There's no special setup required--simply set LinnStrument's MIDI Mode to Channel Per Note and play. It automatically gives each MIDI channel its own voice.


    LinnStrument-optimized Sound file

    Here are 6 sound files for Bazille (zipped into one file for download), submitted by LinnStrument owner Michael Kedzierski. The text comments in each patch describe how they are mapped, which is pressure = Channel or Poly Pressure, X = Pitch Bend and Y = CC1, with a bend range of 24. Set Per-Split Settings > MIDI Mode to ChPerNote for polyphonic expression. In the Patches tab, Cntl-click (or right-click) on the User directory and select Reveal In Finder, then drag the patches into that directory.

  • UVI: Falcon

    From their web site:

    Support for MPE devices like ROLI Seaboard or LinnStrument.

    New ‘MPE’ section in preset library with dedicated sounds.

  • Apple: GarageBand

    As of February 2017, GarageBand is MPE-compatible.

    To enable MPE use, open the iOS Settings App, then scroll down and click "GarageBand", then turn on "Support MPE Controllers" at right. Now all sounds will receive per-note messages on channels 2-16, with common messages (sustain/CC64, volume/CC7, etc.) received on channel 1.

    In LinnStrument:

    1) Select MPE mode: In Per-Split Settings > MIDI Mode column, hold ChPerNote. (It turns blue).

    2) Set Bend Range to 48 semitones: In Per-Split Settings > Bend Range column, hold "+/-24", then swipe to the right to change the large "24" to "48".

    3) Garage Band's sounds are optimized for standard MIDI keyboards, and therefore use pressure only for an occasional added effect instead of controlling continuous note volume from lightest to heavy touch. So it's best to turn on LinnStrument's Aftertouch mode, which simulates  now a MIDI keyboard's Aftertouch feature sends pressure messages only after the note pad is pressed at least 80% of full pressure: In Global Settings > Pressure Sensitivity column, turn on "Aftertouch".

    4) Garage Band's sounds are optimized for standard MIDI keyboards, and therefore none respond to CC74,  MPE's standard Y-axis message. For this reason, you may consider sending Y-axis messages on CC1, but for many sounds with modulation on CC1, that will make it difficult to avoid playing without modulation. Another option is to turn off Y-axis messages but set the Low Row to send CC1, using it as a standard Mod Wheel.

  • Christophe Duquesne: SpringSound

  • Jesper Nordin: Gestrument

  • KV331 Audio: Synthmaster Player

  • Moog Music: Model 15 Modular, AniMoog

    To enable MPE mode, in the Settings page set Input Channel to MPE, Pitch Bend Range to 24, and turn off Load From Preset. Then set LinnStrument to MPE mode by holding Per-Split Settings > Midi Mode column > ChPerNote. (It will turn blue.)

    Note that LinnStrument software creator Geert Bevin was the lead engineer and product manager of both the Model 15 Modular app and the current versions of AniMoog. Here are a couple of pics (pic 1, pic 2) of LinnStrument with an iPad Pro running Moog Model 15, and with the iPad held by Geert's 3D printed LinnStrument iPad holder.

  • Ngo Minh Ngoc: iFretless Bass, Sax, iFretless Guitar

  • One Red Dog Media: Arctic ProSynth

  • PPG Apps: WaveGenerator & WaveMapper

    To enable Channel Per Note function, in the Setup screen > MIDI section, set the Mode field to VpC (Voice per Channel).

  • ROLI: Seaboard 5D, Noise


  • Sonosaurus: ThumbJam, DrumJam


  • Wizdom Music: GeoShred, Geo Synthesizer, SampleWiz


    Click the 3 dots in upper right corner and select MIDI. In the menu that follows, select LinnStrument Multi. ("LinnStrument MPE" s the same except Bend Range is 48 instead of 24.)

    Then in LinnStrument, select MPE mode: in Per-Split Settings, MIDI Mode column, hold ChPerNote. (It will turn blue.)


  • Expert Sleepers FH-1 (MIDI/USB to Control Voltage interface)

    The Expert Sleepers FH-1 Faderhost is a Eurorack module that converts class-compliant MIDI over USB to 8 control voltage & gate outputs. And you can add up to 7 FHX-1 Expanders to bring the total outputs up to 64. Also, it is internally optimized to process LinnStrument's high volume of MIDI data well.

  • Kurzweil V.A.S.T. Synthesizers

    The description below is provided by LinnStrument owner Jakub Forejt:

     Setting up MPE Setup on Kurzweil V.A.S.T. machines:

    1. Choose the sound
    * Select the sound of your choice in Program mode on Kurzweil.
    * Play it in Linnstrument's One Channel MIDI mode first (no MPE yet).

    2. Edit the mapping
    * Edit the selected sound. Assign various V.A.S.T. parameters to ModWheel and Pressure as desired. V.A.S.T. can assign any parameter to any modulation source so the choice is yours. You can use CC11 (Expression) instead of Pressure but you need to stick to it later when setting up a Setup.You can also set the amount of modulation for each assignment, use functions to combine different modulation sources etc. Don't forget to set the Pitch Bend Range Up to 2400ct and Down to -2400ct in COMMON page.
    * Set the Linnstrument's setting as follows:
    > Bend Range +/- 24 (this corresponds to 2400ct setting on Kurzweil)
    > Pitch/X - On, quantize or not, as you wish.
    > Timbre/Y - On, CC1 (or any other CC such as 74 if your patch is set the same)
    > Loudness/Z - Chan Press or CC11, this depends on your Program's assignment

    3. Save your edited Program and switch to Setup mode of Kurzweil

    4. Select Setup #127 (Clear Setup) and edit it.

    5. Edit the Zone.
    * You should have just one Zone now. To make life easier, do the basic settings on this single Zone first and duplicate it several times later. In Setups you have to set some controllers again.
    * First, assign the previously edited single Program to current Zone on CH/PRG page.
    * Go to BEND page, set the BendRangeUp to 24ST and BendRangeDown to 24ST.
    * On KEYVEL page you can change the Velocity response curve. VelCurve parameter gives you interesting options (Linear/Compress/Expand/Crossfade/Bump and reversed versions of all).
    * Activate the Pitchbend and ModWheel on WHEEL page.
    > Set the PWUp to PitchUp and PWDn to PitchDwn, leave Scale on 100%.
    > Set MWhl to MWheel, also with Scale on 100%
    * Activate the Pressure
    > Set Press to Pressure destination with Scale on 100%. You can set the Pressure response curve here too.

    6. Duplicate the Zone
    You can set much more stuff but once you are happy, you need to duplicate the Zone several times, depending on how many MIDI channels you want to use for MPE. Let's say you want to use 5 MIDI channels for one Split on Linnstrument. Assign the MIDI channels to 2 - 6 on Left Split and 7 - 11 on Right Split at Linnstrument. On Kurzweil assign the corresponding MIDI channels to individual Zones on CH/PRG page. You can have different Program on Zones 1-5 (MIDI channels 2 - 6) and Zones 6 - 10 (MIDI channels 7 - 11). Flexibility is the keyword of Kurzweil's V.A.S.T.

    7. Save the Setup with different name into a new position.


    You can also create a MPE template Setup with all controllers assigned with one Zone only. Once you find a nice Program and prepare it for MPE with X/Y/Z CC assignments you can set it in you template's Zone which can be then quickly duplicated and MIDI channels has to be assigned accordingly. V.A.S.T. can be overwhelming with all the options but it's minimalist UI makes it quick to navigate and assign things easily once you get familiar with it.

    Here is an excellent tutorial series on general PC3 V.A.S.T. editing ... 183226AE46

    And these three cover the Setups specifically.

  • Futuresonus: Parva

  • Roland JV-1080, JV-80 (keyboard), JD-800 (keyboard), JD-990 (rack module), XP-50

    The following setup information is kindly provided by LinnStrumentalist Nathan Sheldon:


    LinnStrument Setup Steps:

    Configure the MIDI Mode for Channel-Per-Note using channels 1 through 9 and 11 through 16.  (Press “PER-SPLIT SETTINGS”. Press MIDI MODE “ChPerNote” (col 1, row 2).  Press VIEW “PerNoteChs” (col 2, row 2). Press each MIDI CHANNELS button that isn’t light so that all channels are selected except for channel 10).

    Set the BEND RANGE to “+/- 12” (col 7, row 3).

    Turn on PITCH/X (col 8, row 1) then set quantize and quantize hold settings as desired.

    Turn on TIMBRE/Y (col 9, row 1) and set “CC1” as the destination continuous controller (col 9, row 2).

    Turn on LOUDNESS/Z (col 10, row 1) and set “POLY PRES” as the destination control message (col 10, row 2).  The Fantom-X recognizes polyphonic aftertouch, but the effect depends on which patch is selected.

    Configure the LinnStrument to use the MIDI sockets instead of USB for MIDI communication.  (Press GLOBAL SETTINGS then select POWER/MIDI “MIDI JACKS” (col 15, row 2 from bottom).

    Connect a MIDI cable from the “MIDI OUT” socket on the LinnStrument to the “MIDI IN” socket on the Fantom-X.


    Roland Fantom-X Setup Steps:

    Turn on the synth and put it into Performance mode (press the “MIXER” button).

    Select a preset Performance.  (PRST 01 “Seq:Template” is a good choice.  Use the VALUE dial or INC/DEC buttons to select the Performance).

    Mute the Rhythm Part (press F3 (“Mute/Solo”) then press DYNAMIC PAD 10. This will mute Part 10, the Rhythm Part).

    Assign the Patch of your choice to all 15 of the other Parts (Parts 1 through 9 and Parts 11 through 16) of the Performance.  (Preset “PR-I 073 Lethargy” is a good synth lead sound.  Press F2 (“Part View”) to see a grid of all 16 Parts.  Use the CRUSOR buttons to select the Patch Number and change the Patch for each Part except Part 10).

    Set the pitch bend range for each Part to +/-12.  (While still in the Part View screen from step 4, press the F3 “Pitch” button.  Use the CURSOR buttons to move the selection over to the “Bend” column and set every Part’s pitch bend range to 12 using the VALUE dial or INC/DEC buttons).

    Save your Performance to a USER Performance bank.  (Press the “WRITE” button then F1 “Perf”.  Enter a name for the Performance then press F8 “Write”.  Select a destination USER or CARD bank when prompted then press F8 “Write” to save the Performance).


    The Fantom-X steps will work on the Fantom-X6, -X7 and -X8 (all released in 2004) with firmware versions 2.0 or later.  They’ll also work with earlier firmware versions, though some button sequences will differ slightly.  The general setup steps (in italics) will work with the following Roland synths.


    JV-2080 and it’s variations such as JV-2020, etc. (all are rack modules)

    XV-5080 and it’s variations such as the XV-3080 (all are rack modules)

    XP-30, XP-60, XP-80 (all are keyboards)

    XV-88 (keyboard)

    Fantom FA-76 (keyboard)

    Fantom-S and it’s variations (all are keyboards)

    Fantom-G and its variations (all are keyboards)


    The following additional Roland synths will also work with the above general steps (in italics) if the LinnStrument setup step 5 is changed to use channel aftertouch instead of polyphonic aftertouch.


    JV-1080 and it’s variations such as the JV-1010 (all are rack modules)

    JV-80 (keyboard)

    JD-800 (keyboard)

    JD-990 (rack module)

    XP-50 (keyboard)


    All of the above Roland synths (both lists) contain a 16 part multi-timbrel synth engine with Part 10 reserved for rhythm section only (though that’s assignable in later models).  Individual pitch bend positions, modulation levels, and aftertouch positions can thus be used on up to 15 notes at a time with the LinnStrument’s channel-per-note mode.  Excellent LinnStrument expressiveness even for those 90’s synth sounds.  :-)


  • Sample Modeling (unquestionably the best and most expressive solo winds and bowed strings)

    Sampling Modeling is a small Italian company that has created a fascinating technology. They start will excellent sample recordings of wind and bowed-string instruments--cello, viola, saxes, clarinets, flutes, double reeds, trumpets, trombone and French horns--then add a process that permits the note loudness, pitch and timbre to be independently controlled in live performance without the normal undesirable pitch-change and fixed-dynamic artifacts of sample playback, resulting in amazingly natural, dynamic, fluid and expressive performances when controlled by LinnStrument's 3D note expression.

    For using Sample Modeling's SWAM instruments, please set LinnStrument's Per-Split Settings as follows:

    * MIDI Mode = One Chan
    * Bend Range = +/- 12
    * Loudness/Z= Channel Pressure
    * Timbre/Y = CC74

    For the SWAM instruments (The Cello, The Viola, The Saxophones, The Soprano & Bass Clarinets, The Flutes, The Double Reeds), open the instrument's control panel and click the "Reset" button then click "Default LinnStrument". (If you don't see "Default LinnStrument", update your Sample Modeling instrument to the current version.)




Roger Linn Design  •  Berkeley, CA, USA

Roger Linn Design  •  Berkeley, CA, USA