VLINN USER MANUAL
Contents
1. 32 INTRODUCTION My name is Aly James French steam funky musician composer and creator of strange musical DIY devices and software I was planning for a long time to make an accurate Linn LM 1 VST dedicating to the 1 Sample Based Drum Machine in History mainly because have never been happy with packs of samples coming from different recording chains lacks of control over the pitch and all that makes the unique funky sound of that legendary drum computer made by Roger Linn The Linn was THE killer drum machine in town back in the 80 s it was also the first that include real drum samples The Linn LM 1 Drum Computer was created by Roger Linn He used samples of acoustic drum sounds recorded on the fly with some basic hardware he made at that time The fact that they were recorded raw with a custom made ADC ignoring the basis of digital recording makes them cut better in a mix than anything available at the time they sounded so great that they become an alternative to the analog drum sounds of the 80 s drum machines Tothis day the unique sound of the LM 1 is highly regarded and only usingsamples of an LM 1 output cannot reproduce the wide range of soundsthis machine can produce The DAC in usein here and the whole circuitry stands next to the samples characters in that unique sounding team The LM 1 is an historical piece of geartha2. 6070 1255 DAC Decode Table static int dac lut 128 i 0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30 33 37 41 45 49 53 57 61 65 69 73 77 61 86 89 93 99 107 115 123 131 139 147 159 163 171 179 167 195 203 211 219 231 247 263 279 295 311 327 343 352 375 321 107 423 132 4155 471 495 527 559 591 623 655 687 719 751 763 615 647 679 911 9435 975 1023 1087 1151 1215 1279 1343 1407 1471 1535 1599 1663 1727 1791 1855 1919 1983 2079 2207 2339 2463 2591 719 2847 2979 3103 3231 3359 3487 3615 3743 3871 3999 1191 4447 1703 4959 5215 5471 5727 0983 6239 6495 6751 7007 7263 75319 7775 031 ie int sign chord sample float ecutmut Volta The fact that the VLINN decodes the EPROM contentin real time givesitthe ability to import EPROM binaryimagesasa replacementfor certain stock voices like you could do ona real LM 1 See EPROM Loading SAMPLE TUNING This is one of the main exciting features of the Linn LM 1 unlike its successor the Linndrum the LM 1 had a tuning knob per voice for ALL the voices How the system works is not too hard to understand a monolithic function generator chip XR2206 was used as a clock source for EPROM content reading The XR2206 output frequency will determine the frequency at which the EPROM content will be read speed of the counter chip hence the sample rate XR2206 Datasheet tell us that the frequency is determined by the external timing capacitor across pin 5 amp 6 and the timing resistor
3. Channels for each voice VELOCITY CONTROL You can limit yourself to only 2 velocity levels or use the full range of MIDI velocity for convenience GUI amp AUTOMATION The GUI features the original trigger buttons for kick listening and controls overevery aspect of the Drum Machine most of the parameters like volume and pitch knobs can be MIDI learned and controlled by an external MIDI Hardware LOADING EXTERNAL EPROMS DATA The VLINN provides the ability to replace some voices with external compatible 8bit companded EPROM data which opens up the machine to LINNDRUM LM 2 samples LINN 9000 DMX DX DRUMTRACKS etc Evenload your own custom made You can switch between custom loaded and stock EPROMS onthe fly VLINN supports the following type and size EPROMS binaries bin 2716 2048 Bytes 2K 2732 4096 Bytes 4K 2764 8192 Bytes 8K 27128 16384 Bytes 16K 27256 32768 Bytes 32K LOAD amp SAVE FULL PATCH amp BANKS in FXB FXP CONTROL PANELS Overview VLINN GUI INTERFACE is pretty straight forward it stores the different parameters on different panels The main sliders on the mixer set the volume for each voice The Tuning knobs set the pitch sample rate for each voice you can also type in the precise pitch in Hz manually by clicking on the number itself The Hihat horizontal slider to the left bottom of the GUI sets the decay value for the closed hihat circuitry You can also trigger a voice by clicking on t
4. even a MIDI Drum Kit The mapping follows almost the same mapping as GM MIDI Standard Note that most DAW can convert incoming MIDI notes to another if needed and that most of the hardware MIDI pads can be assigned to any MIDI notes Bass MIDI notes 35 36 Conga High MIDI note 49 Snare MIDI notes 38 40 Conga Low MIDI note 50 Hihat Closed MIDI notes 42 44 Claps MIDI note 39 INSTALLATION COMPATIBILITY VLINN isa Windows 32Bit VST Instrument for use with MIDI capable DAWs RUN on 32 64 Bit Systems If you wantto use it with a 64bit DAW you can use JBridge or internal DAW Bridge INSTALL VST 1 Decompress the downloaded archive file 2 Copy the entire Folder VLINN to your VST PLUGINS folder 3 Load it in your DAW INSTALL STANDALONE 1 Decompress the downloaded archive file 2 Copy the entire Folder VLINN_STANDALONE where you want 3 Simply RUN VLINN exe State of VLINN current features WIN 32 VST runs on 32 64Bit Systems and it is multicore compatible HIGH QUALITY GUI Different panels for controls etc INSTANT UPDATE FOR ALL CONTROLS FULL MIDI AUTOMATION With midi learn right click to assign MIDI AM6070 MODELED REAL TIME DAC DECODING Following the exact datasheet decode table for 8bit companded incoming DATA HIHAT DATA LOOPING amp VCA The LM 1 Hihat circuitry was pretty unique the hihat proms were read constantly ina loop while only a was triggered for closed hih
5. little different apparently people seems to prefers 48 PPQN hence more quantized things Of course if youtry this on a straight 1 16 quantized beat nothing should change This is the main reason did not felt the need to emulate the LM 1 sequencerin VLINN VST You can sample an LM 1 but it will not feel orhave the timing like the LM 1 or VLINN playing the beat because the samples had a bit of dead air on the front and this is changing based on the sample pitch LM 1 Experiments In the studio sometimes the LM 1 was processed through guitar pedals and other gears like eventide harmonizer AMS RMX16 reverb with nonlin2 and reverse presets You can have good results with Pultecor API Equalizers Some artists useda lotthe variable pitch available on tape recorders to make effects or drastically change the pitch of the final recording I don t know exactly why but the simplicity of the LM 1 scream for experimentation so have fun with it and try things What modern DAWS offer in term of automation is a real improvement because the good old days you have to make pitch automation for the LM 1 samples manually LINKS Aly James centric links Official Website www alyjameslab com Dev Blog www alyjameslab blogspot com Facebook News www facebook com alyjamesound Youtube Channel www youtube com alijamesproduction Soundcloud demos http www soundcloud alyjameslab Twitter alyjamestwitt CONTACT alyjames info gmail c
6. or disassemble the Software for any purpose You may only redistribute the Software for promotion purpose with Aly James prior written permission Where redistribution is authorized writing by the Author VLINN must be redistributed in its original archive format and must not be modified in any way All such authorized redistribution must be accompanied by clear messages stating the origin of the software as Aly James Lab product this license a link to the Website alyjameslab com The userIDis hard coded into the GUI and each version of the software is unique By Using the Software you are agreeing to this disclaimer and license VSTisatrademark of Steinberg Media Technologies GmbH VLINN VSTdoesnotemulate the LM 1 Drum ComputerSequencer amp OS It does notin any way imply Roger Linn s permission or endorsement of the VLINN product Howeverl have kind permission from Roger Linn to use the LM 1 original samples binariesin VLINN for convenience Secondly the use of the Linn name and logo type font is use strictly here for the legitimate purpose of comparison and tribute to this great machine 2014 2015 ALYJAMESLAB
7. 19257 a A Vel my ANNAT B v ve Ave EPROHS SRATE He 19235 13797 16842 9078 24745 24451 25118 19883 23492 24131 24623 a 4 AORN x LM 1 DRUMS SNARE BASS HIHAT COWBELL CLAPS RIMSHOT TAMB CABASA CUSTOM MAIN CEMS m CONGAA TOMA E E AP c tamb _ cabasa p wi mei p AY A 5 n Y 18 mm ER CONGAV TOMV HIHAT COWBELL RIMSHOT TAMB CABASA DRUMS USER MANUAL lt gt reve cre MARS ours WINDOWS 32BIT LM 1 DRUMS www alyjameslab com USER MANUAL 1 0 BY Aly James 2014 2015 ALYJAMESLAB TABLE OF CONTENTS INTRODUCTION E 3 NS AIA ION emm a de a dre a dd een 6 CONTROL zi iuh c de ae ee ne ed ee dr de nu 9 THE AMOO D DRE ae do done 11 TONIN OR ad do a ct a co 15 TAE A es cc ae ao na too ao de 18 NP ANS 19 CNRS a amanneedanentabantiiens 19 ccm 22 EPROM TOA DEN C M ae 24 PRESETSIMPORT J EXPOR nn none annees assoc dt nana 27 AVA RON de ee a ci 28 Bises az qM 29 ADDEN SECRET 31 SSSR
8. 4 Almostall type of MIDI message can be assigned or MIDI learned LM 1 SEQUENCER Behind the myth Lots of things have been told about vintage drum machine distinct groove Always being compared with modern counterpart resulting in differences between 2same sequences Why is the start of an answer the sequencer resolution A resolution is usually marked as a PPQN value which stands for Pulse per Quarter Note The number before the PPQN oroften written PPQis simply the maximum number of places available to store a recordingnote inside the timelapse of a 1 4 note at a giventempo Modern sequencers just as your DAW usually have a 960 PPQor higher whichis more than enough to capture the data accurately But whathappens when you use a swing value and quantize Yeah some notes will be shifted by x amount and they will be storedin one of the possible place according to the resolution Vintage Drum Machine such as the Linn LM 1 had a 48 PPQ sequencer which is smallerthan modern sequencers but still enough to provide some good timing Roger Linn introduced the shuffle function betterknown astoday s swing offering 50 54 58 62 66 and 7096 swing Why these values Because thisis what permits a 48 PPQ resolution If you don t quantize on the LM 1 setto HI things are still recorded at 1 192 whichis 48 PPQ The CPU used a clock signal to determine the length of a 1 192 note If you use auto correct you have these quantiz
9. MULTI This will route all the voices to a separate output labeled with the voice name You have to enable the multiple outputs in your DAW Each DAW has its way of doing it but it is generally straight forward The multiple outputs let you MIX easily the VLINN voices in your DAW as you will have a plain channel strip for each one gt gc Here an example in Cubase D sactiver toutes les sorties sauf la premi re Bass 5t r a Snare St r o Hihat St r o Cowbell St r o Tom High St r o Tom Low St r a Rimshot St r o Claps St r o Conga High St r o Conga Low St r o Tambourine St r o Cabasa 5t r a Custom St r o 14141414 4 44 4 EPROM LOADING BASS 2732193096 HIGH TOM E 2132139096 SK HIGH CONGA ICE 213209096 HIGH HAT 2732 FEPFIETAIOET 513203096 S ff S2 h096 SK 1 s du r if li Huy hk Stock EPROMS The STOCK setting uses the original LM 1EPROMS including the Rim Shot that wasn t there on the very first few LM 1 There were differences between LM 1 models have noticed that the stock Kick Drum might be different on certain model the Linndrum Kick seems to be often used as a replacement through the years The stock LM 1 sounds are written in the ears of those who have experienced the 80s funk vibe as were the Linndrum ones but the LM 1 is definitely the fattest Cu
10. ORD RITS STEP BITS Aaa ee CI a 4 1 4 amp 18 9 1 TOF 8 CHORD GECOCER STEP SELECTOR PEDESTAL CHDRD GENERATOR SELECTOR ES 8 Mr e 41 Me CHDRD AND ais PEDESTAL 1 POLAC ES Vai i Table 6 Decoder Chord Sire Summary Chord Endpoints Chord Endpoints Chord Endpoints Chord Endpoints Normalized ta in HA with as a of in dB Down Full Seale 2007 75u4 FS Full Scale fram Full Scale 7 5 0 3746 29 26 1 76 54 75 2 739 117 75 B 2483 75 12 15 496 75 24 7 299 75 48 85 ZUGCT 75 TOC Cd PR ANALOG OUTPUT Lj DIGITAL INPUT DIGITAL IMPLIT ANALOG OUTPUT I 1 The AM6070 DAC which is used for decoding every LM 1 voices to a linear voltage provides a 15 segment linear approximation to the Bell System 1 255 companding law The law is implemented using three bits to select one of eight binarily related chords or segments and four bits to select one of sixteen linearly related steps within each chord A sign bit determines signal polarity and an encode decode input determines the mode of operation It was a popular choice for 80s Pro Audio gear The companding law gave the 8 bit sounds 12 bit performance 0 10 Encoded Signal dBFS WJ No Companding Law Law Quantized A Law A Law Quantized Linear Signal dBm0 At that time memory was pretty expensive and st
11. The LM 1 used R1 amp R2 a potentiometer to set the value of the timing resistance This configuration is the same for each voice Here you can see a part of an LM 1 schematics that shows how the XR2206 is connected and what values were used for the timing capacitor amp timing resistor s for the Cabasa voice a LS 1711 XR 2206 PRINCIPLES OPERATION MAXIMUM R Description of Controls Frequency of Operation The frequency of oscillation is determined by the extemal timing capacitor G across Pin 5 and 6 and by the timing resistor R connected to either Pin or 8 The frequency is given as 2 TYPICAL VALUE Timing Resistor 2 h Hz and can be adjusted by varying either H or G The recommended values of H for a given frequency range as shown in Figure 5 Temperature stability is optimum for 4k lt lt 200k Recommended values of G are from 1000pF to Frequency Hz Following the datasheet we know that frequency is given as 0 1 RC Hz Basically on the LM 1 every voice was set like this Timing Capacitor 0 01pf 5 Timing Resistor 1 R2 1 3 3K R2 0 to 5K which is a 5K pot With this particular setting this gives us the following minimum and maximum sample rate for a voice on stock configuration MAX 1 0 000033 30303 Hz MIN 1 0 0000833 12005 Hz Quick modifications to increase the tune range were easy fo
12. at the circuitry had the ability to discharge the current through an additional way based on the decay pot setting This basically makes the hihat sounding different on every hit CEM 3320 Filters Unlike the very first produced LM 1 some Voices with Bass frequency content were filtered to minimize the remaining 8bit noise using a VCF configured as a4 poles low pass filter with no resonance The CV frequency of the VCF was shaped by the circuitry in a way that lets the transients pass through relatively unfiltered The VLINN lets you fine tune the CV pulse or completely bypass the filter this is useful when a voice is tuned very low orif you want to replace a Bass slot with another EPROM that doesn t require filtering SEPARATE PITCH TUNING This 15 one of the coolest features of the LM 1 letting you tune any voice to a particular frequency for a wide range of sounds The PROMS data were read one byte at the time by a counter which speed was controlled bya relatively stable oscillator the counter reading speed could then be affected by the external tuning pots a limited range or 1 Octave Thistuningrange can be tweaked and the VLINN provides a useful wide range of pitch from 1000 Hz to 44100 Hz and anythingin between Stock setting range was 12048 30303 Hz See Sample Tuning SEPARATE OUTPUTS The LM 1 features separate outputs for every voices soas the VLINN You can choose from ALL to 1 Stereo Channel or Separate Stereo
13. citor voltage vs time AG CONGA SNARE BASS HIHAT COWBELL CLAPS RIMSHOT TAME CABASA CUSTOM Mik Quantized noise filtering Unlike the very first few produced LM 1that were made without noise filters later Revisions featured some CEM3320 Voltage Controlled Filter chips forthe voices that needs a more bassy output The BASS TOMS amp CONGAS voices were filtered to minimize the remaining 8 bit quantized noise The 3320 can be configured in many ways to produce different type of filtering in the LM 1 case it was basically configured as a 4 Poles Low Pass Filter with no resonance The CV which controls the frequency of the VCF was shaped by the circuitry in a way that lets the transients pass through relatively unfiltered The VLINN lets you fine tune the CV pulse or completely bypass the filter this is useful when a voice 15 tuned very low or if you wantto replace Bass slot with another EPROMthat doesn t require filtering Try to experiment with or without depending of yourneeds J ENABLE Li ENABLE ENABLE CEM Parameters e ENABLE or BYPASS Select if the filter is activated or not for that particular voice e PULSE OFFSET This setting in Milliseconds lets you fine tune the voltage pulse that controls the VCF frequency the greater the offset the more transients will remain unfiltered this ranges from 0 300 Ms RESET sets it back to default Default has been tuned to 30 Ms Th
14. e graphic line represent the shape of the Control voltage the lower the graphic point the more it is filtered SETTINGS hgc 0 2048 LOOP ETT TI IU TOME ET Fy EY i 2 Boe H 1 4096 5096 4096 Velocity The Linn LM 1 as an early vintage unit did not featured a wide range of velocity storage you had basically only 2 main levels Loud or Quiet e ORIGINAL This will convert any incoming MIDI trigger velocity to Max or Middle velocity depending on the incoming velocity if above 64 it will be LOUD else is quiet e FULL This will apply the full range of 127 MIDI velocity levels however this features wasn t possible on a real LM 1 without heavy modifications So why implement it in VLINN Well usually you control the individual volumes of arecorded sequence while playing it back this allowed live modification over the volume you see the point With full velocity applied it can saves you the levels automation task latter on if needed EPROM Reading Status You can see EPROMS counters in real time this was originally a debug feature but I leave it there because it feels geeky and itis nice to see those numbers move anyway Output Routing The Linn LM 1 featured different outputs for all the voices and also main stereo out SINGLE This will route all the voices to the first stereo pair which is labeled as BASS because it also serves as the BASS only output when set on MULTI e
15. e values available 1 8 1 8T 1 16 1 16T 1 32 1 32T Look at this table and notice why Roger Linn sticks to those values of swing on the LM 1 E E M NH EN qM 50 54 58 62 66 70 75 79 83 87 91 95 100 percent of a 1 8th note at 48 Pulse per quater note 1 4 Ok so what is the difference Look at this this is the same thing recorded at 960 and at 48 PPQN You will notice that the final placementis not the same This is because as the resolution is limited possible places foranote also BE Why SWING ENEEEENE NENNEN Diiren 57 96 Swing differencies on Modern DAW 960 PPQ or more Vintage Drum Machines Vintage Drum Machine Linn DMX MPC EH ALY JAMES 48 PPQ 137 007 DURATION OF ONE QUATER NOTE used a divide by 4 for graphic representation of time division 960 4 240 PPQ amp 48 4 12 PPQ Now lets do the math 57 swing 240 PPQ 100 57 136 8 rounded to 137 modern DAW 012 PPQ 100 57 006 84 rounded to 07 Linn Drum So basically the groove is different because of the 48 PPQN and the good newsis You can do the same easily in your modern DAW When you have created a sequence you like exportitas a MIDI file but specify the resolution to 48 PPQN most DAW can dothis Import it back and compare to the original this does not means it will sound better or worse buta
16. he corresponding drum pad some of them have two velocity values available some not and hence the double pads on Bass Snare Hihat Tamb amp Cabasa Toms amp Congas pads trigger either the high or low voice Note that the high Tom or Conga can be tuned lower than the low corresponding voice this is basically just a name to differentiate the two voices Once a voice is triggered a red LED indicates the status These are the main panels than can be reached by the panel buttons to the left PANELS MAIN Access to the Mixer Board CEMS Access to the filters settings of the CEM 3320 chip for BASS TOMS amp CONGAS voices PROM Access to the EPROMS configuration panel SETS Access to settings like velocity handling and voice output routing also displays the binary counters for each EPROM in real time One is blank for future updates and extended features 19235 13797 16842 9078 24745 24441 25118 19883 23492 24131 14679 24623 Le vlinn TUNING PiTCH LM 1 DRUMS ACONGAY TOM 7 SNARE BASS HIHAT COWBELL CLAPS RIMSHOT TAMB CABASA CUSTOM CONGAA hihat HIHAT cabasa CONGAV TOMV SNARE HIHAT COWBELL RIMSHOT TAMB CABASA DRUMS PiT CH LM 1 DRUMS A SNARE BASS HIHAT COWBELL CLAPS RIMSHOT TAMB CABASA CUSTOM HIHAT CONGA V 55 COWBELL RIMSHOT DRUMS Right click ona knob button or slider will open a midi learn assign menu Ctrl click move allow fine tuning THE AM6070 DAC CH
17. made samples into the VLINN and it will pass through the circuitry Itisa good way to experiment has you can load anything in there just make sure you prepare your samples correctly normalize the peaks and put a nice fade out in the end so the sample do not cut short this could also produce buffer squeak in some cases Try to record your sample at 22050 Hz so as you can have a nice range of tuning PRESETS IMPORT EXPORT FXP amp FXB VLINN can load and import its own format presets amp banks All Custom EPROMS file paths are also saved with the patch All MIDI LEARNED amp ASSIGNED parameters will also be saved with the patch Simply name the preset and right click the PROGRAM MENU to save either 1 preset or the whole bank you can also copy the current patch to another location Copy Patch Load Inst Save Inst LoadS ank Save Bank About MIDI AUTOMATION MIDI LEARN Almost all of the VLINN parameters can be automated via midi learn or DAW automation allowing great control over the sound Simply right click on a button knob or sliderto assign external MIDI Control or use DAW automation Assign Controler p z RFN SYSEX 15 Poly Trigger 16 General Purpose Slider Poly Gate 17 General Purpose Slider 3 Poly Pitch 18 General Purpose Slider D Poly Velocity Key On 19 General Purpose Slider Poly Velocity Key Off 20 Poly Aftertouch 21 Voice ID Bender 23 Channel Pressure 2
18. om External links Roger Linn Website http www rogerlinndesign com ELECTRONGATE Archive http www electrongate com dmxfiles downloads html PROMENADE Software http www electrongate com dmwxfiles promenade index html HOPE YOU HAVE FUN WITH THE VLINN DISCLAIMER amp LICENCE AGREEMENT DISCLAIMER VLINN the software is provided as is without warranty of any kind Aly James Lab alyjames info gmail com the Author disclaim all warranties relating to the Software whether express orimplied including but not limited to any implied warranties of merchantability and fitness for a particular purpose and all such warranties are expressly and specifically disclaimed The Author shall not be liable for any indirect consequential or incidental damages arising out of the use or inability to use the Software even if the Author has been advised of the possibility of such damages or claims The user of the Software bears all risk as to the quality and performance of the Software If your computer blows up say I wasn t there of course that should not happen LICENCE AGREEMENT VLINN is copyright 2014 2015 Aly James VLINN the software is not public domain and 15 protected by the copyright laws of the international community In using VLINN you are not obtaining title to VLINN or any copyrights You may not sublicense rent lease convey distribute copy modify translate convert to another programming language decompile
19. oring digital data in a tiny space was the way to go The LM 1 samples were stored in 255 companded format in 8 bit this is the main task of the AM6070 to turn this digital encoded data into an analog voltage byte after byte If you try to importa raw binary EPROM image in for example an audio editor like Audacity you will endup with a bunch of noise because companded format is not linear it needs to be decoded first Basically the DAC holds a constant value until the next sample comes To be theoretically proper the extra higherfrequency stuff is supposed to be removed by areconstruction filter resultingin a smooth signal and correctly reproduced spectrum But vintage digital hardware don t dothis or badly which instead results in a bright gritty sound Modern sample playback techniques which use phase accumulators and high quality interpolation do a pretty good job of producing the correct signal but this doesn thave gritty vintage sound because the image frequencies aren tthere The result 15 that low resolution samples just sound dull This 15 particularly the case onthe LM 1 when you lowerthe sample pitch if you import a sample of a Linn LM 1 in a modern software or sampler and try to pitch it down it will not sound the same depending on the interpolation method will sound really less bright and nasty Keeping the same gritty 8 bit sound at any pitch was very important for VLINN VST to produce an accurate o
20. rent or custom made samples The Linn LM 1 was controlled by a 780 processor and featured a builtin sequencer An urban legend goes fora longtime about the LM 1 having a special groove and even akind of secret randomization builtin This is plain false as Roger Linn himself have recently stated and debunk the myth the LM 1 groove only comes from the low resolution of its sequencer whichis 48 PPQN see LM 1 Sequencer section ORG HAI Kra n mM 3 n QU t Fg 7 AN y STAY EN F SY FA SS M amp ee roy Bees ie I I Cm m DP 513209 g 7 A Ein D This emulation is based on reverse engineering and old datasheets it uses a C custom core with modeled AM6070 DAC Oscillators counters OPAMPS amp Filters The product has been assembled through the SYNTHEDIT framework using the very last version Mostly custom C coding and some third party licensed code where nothing fancy were needed It will be ported to OSX atsome pointin the future Thanks to all the nice people that started to use VLINN and support my projects and to proud owners of original Linn LM 1 Units who have sent me some recordings to make tests A special thanks to Roger Linn LM 1 Creator amp Paul J Whites Electrongate com Full Credits amp Thanks can be accessed on the VLINN GUI panel Mainly VLINN can be
21. rexample replacing the 5K pot by a 10K pot gives alower minimum of 7512 Hz This table shows the values I used for the VLINN VST range You can do the same on a real LM 1 simply by replacing potentiometers and resistors by the values in this table made So you are able to set the tuning frequency from 978 Hz to 44092 Hz in VLINN VST this has been set to 1000 Hz to 44100 Hz for convenience Note thata common usage in recording studios was to use the vary speed on tape recorder machine to also change the pitch while recording or playing Get yourself a good multi track K7 Recorder for cheap and experiment THE HIHAT CASE The LM 1 Hihat circuitry was pretty unique Contrary to the other voices the hihat proms were read constantly in a loop the closed or open triggered hihat then fires a VCA envelope that will be applied differently on the output For closed hihat the circuitry had the ability to discharge the current through an additional way based on the decay potentiometer setting This basically makes the hihat sounding different on every hit and kind of gives ita live feel The LM 1seemsto be the only drum machine of that time to do this clever trick that way even the Linndrum doesn t had it This discharge following a classic natural Decibel like curve 0 95 0 90 Constant 0 25 0 10 0 05 Dims 500 0ms 1 05 1 56 2 05 2 3 05 3 55 4 s 4 BOs R 5s 6 05 6 55 time sraph Capa
22. stom EPROMS The VLINN features an import function for compatible EPROM Binary Images bin files This kind of works in a vintage way Mainly because HEY IT S A VINTAGE GEAR EMULATION DUDE BASS CK 2732 8096 S HIGH TOM CK 2132 4096 HIGH CONGA 2732 8896 AK HIGH HAT 2132 4096 SNARE CK 2132 4096 S TAMB CK 2FS2 4096 CABASA 2716 2048 2K ADD CARD USTOM 2132 4096 AK 2764 8192 8K 27128 16384 16K 27256 32768 32K e FIRST you need to set the custom size of the EPROM image you plan to load don t do it after because changing the size of a custom slot will erase the memory of the PROM to ensure the next loaded data will not be corrupted e Note that the EPROM sizes available correspond to typical format you might find and most of the samples you will load will fit in claps bin 2 11 05 2014 14 cowbel bin 4Ko 11 05 2014 14 crashpl bin 16 11 05 2014 14 crshl bin 32Ko 11 05 2014 14 Hihat_Alt bin 16 08 02 2014 02 Im 2 m du fichier crashp1 bin bin Files bin Annuler CABASA of 128 16384 ADD CARD CUSTOM 232 4896 e Once the size is specified you can LOAD an EPROM image of the corresponding size by clicking the first square button If you make a mistake it will not blows up simply if you try to load a bigger file than the size previously set you will lack the ending part of the sample if you do the opposi
23. te loading a shorter file than the previously set size you can have corrupted data instead of silence in certain cases e The STOCK CUSTOM switch can be changed at any time this means you can change between STOCK and the CUSTOM loaded EPROM on the fly however depending on the EPROM loaded content you can experienced a short buffer squeak that will disappear on the next trigger It is safer to change between STOCK and CUSTOM when not playing but it doesn t mean you cannot do it Also note that the ADD CARD voice is an additional voice that is always set to CUSTOM which means that it does not contain data unless you load some in e Notall the voices be replaced but 7 of them can the ones marked VCF will benefit from the CEM filtering replacing the HIHAT will pass through the VCA and the Decay will work on it the looping capability of the STOCK HIHAT is unique for the STOCK HIHAT so the CUSTOM loaded DATA will not loop Paul J Whites owner of ELECTRONGATE COM did a great work in finding and hosting a huge archive library of compatible EPROM images in companded format that you can load in VLINN VST Linndrum DMX etc Some EPROM images are provided in parts and need to be assembled to a bigger EPROM image You can do that easily with the PROMENADE software provided and hosted on the same website It also lets you convert your own wav prepared samples to compatible bin images Yeah you can also load your own personal custom
24. thas a placein the sound of the 80 s era Only around 500 of these things are out there so don t count on finding a working one easily or for cheap It has been used by major acts like Prince Phil Collins Thompson Twins Stevie Wonder Gary Numan Depeche Mode The Human League Jean MichelJarre Vangelis John Carpenter Todd Rundgren The Art of Noise etc The Machine was made by a musician for musicians and tried to stick to that standard So as there were no accurate VST for that legend out there had to make the VLINN Personally grow up listening alot of Funk Music and especially the Minneapolis Funk scene The LM 1 Linndrum amp DMX Drum Machines sound were preeminent and were a huge part of that particular sound The fact that the LM 1 had multiple outputs screamed for experimentation and it wasn t uncommon to send each drum sounds to fx units or guitar pedals The usage of algorithmic gated reverbs of that era was also part of the sound think AMS RMX16 or Eventide harmonizer Most of the rare LM 1 machines were usually modified to suit the artist needs increasing pitch range adding external triggers amp changing stock EPROMS samples wasn t uncommon Still the characteristic stock sounds of the Bass Snare Claps Rim shot and Hihat were always present The coolest thing was that each and every sounds of the LM 1 were tunable and as they were stored in EPROMS chips they can be replaced by other EPROMS with diffe
25. triggered via MIDI following mostly the GM MIDI Drums mapping Each trigger will engage a binary counter that will run at the speed of an oscillator which pitches is fixed by the tune knob setting Byte after byte the EPROM content will be read and the output will be decoded by the emulated AM6070 DAC The output of the DAC is amplified by an OPAMP and will be filtered in some way differently depending on the voice The counter will read all the EPROM content even if you release the key before the end A main mixer is used to set the volume of each voice before it hits the output stage The Linn LM 1 featured panning switches that are not needed anymore because we have separate outputs that will be mixed and panned inside a DAW hence there is no panning in VLINN VST Each voice has its own tune knob that will control the speed of the EPROM data reading the range available is 978 Hz 44092 Hz which correspond to a real mod you can apply to the Linn LM 1 to increase the pitch range stock was 12048 Hz 30303 Hz See Sample Tuning Seven of the stock LM 1 EPROMS can be replaced by external compatible content and an additional voice can also be used This opens up to Linndrum sounds often called LM 2 DMX Drumtracks etc and even your own created EPROM content See EPROM Loading Basic MIDI implementation MIDI IN VLINN can receive any MIDI CH as main source for triggers It can be triggered with a standard MIDI Keyboard Pads or
26. utput Here is a comparison between a down pitched LM 1 Claps sample at 13000 Hz in a modern audio editor VS a 13000 Hz tuned claps in VLINN VST among the differences one is clearly visible one really lacks high frequency content The graphic ranges from OHz to 22050Hz VLINN Output h T Li M ak EP NT j y M fh v uf pad uL Wh Mm h u gt i y Ny TL i Ay In VLINN VST like on the hardware this process happens in real time as byte are coming to the DAC at the emulated XR2206 Oscillator Clock speed The exact decoder output table from the AM6070 Datasheet has been use in the VLINN Code for accuracy ADDITIONAL DECODE OUTPUT CURRENT TABLES Table 3 Normalized Decoder Output Sign Bit Excluded Tr Step 5 000 RS 0 0000 1 poni 2 2 0010 4 3 0011 6 4 0100 5 0101 10 0110 12 0111 14 1000 16 9 1 1001 1H 10 1010 20 11 1011 22 12 1100 24 1101 26 14 1110 ZH 15 1111 30 Size Jf eee e eee eee eee ee e e e hec e 444444444444 e EEE e e e e e e e e e dee VLINN VST EPROM Linear Convert EPROM byte in companded format to linear voltage Based on the AM6070 DAC Datasheet EEE ee e e e e e e e e e e e e e e e EE EEE e e d d d EEE EEE EEE float AJLINNCLAPS EPROM2Linear unsigned short int x i LINN LM 1
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