VLINN 2 USER MANUAL
Contents
1. 24 s iP cM 26 PRESETS IMPORT in 29 IDV FCO RR 30 NEL zl C 32 ho PT T 34 EPROMS WITH PROMENADE atugp onitur ibit ette padded 35 CTO e P 36 DISCLAIMER amp LICENCE AGREEMENT 2 38 INTRODUCTION name 15 Aly James French steam funky musician composer and creator of strange musical DIY devices and software 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 tim2. Wh hy M hy iN i M h MLB y aM M M ul ni In VLINN 5 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 5 5 000 RS 0 0000 0 1 poni 2 2 0010 4 3 0011 6 4 0100 5 0101 10 01102 12 7 0111 14 1000 16 9 1 1001 18 10 1010 20 11 1011 22 12 1100 24 13 1101 26 14 1110 ZH 15 1111 30 Size Jf eee e eee eee eee ee e e e hec e e Re RE RE EEE 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 e e e c e EEE e e e e e EE EEE EEE d d d EEE EEE EEE float AJLINNCLAPS EPROM2Linear unsigned short int x i LINN LM 1 6070 1255 DAC Decode Table static int 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 81 66 69 93 9 107 115 123 131 139 1347 155 163 171 179 187 195 203 211 219 231 247 263
3. gt PROGRAM Lil cts ALYTAMES LAB LM 1 DRUMS MAIN CEMS m SETS INFO MIDI SCOPE PROGRAM NAME 91 LM 1 INIT bbl AE RU y AR Sj ASK ww ww ACONGAY A E 2 CONGA I E Y CONGAV SNARE TOMV Tuvos snare SNARE BASS Cw lt WINDOWS DRUMS V2 USER MANUAL HIHAT COWBELL CLAPS RIMSHOT TAMB CABASA EXTRA z CLAPS tamb RIMSHOT TAMB HIHAT COWBELL lt gt rd 2 L 4 LM 1 DRUMS www alyjameslab com v2 USER MANUAL BY Aly James 2014 2016 ALYJAMESLAB TABLE CONTENTS INTRODUCTION E 3 WHA FS NEWIN rc 6 INS TA RLA TION 7 Segel c iim E de te E one 10 THEAMGOZODA Cirera na 13 TUNNIN OR E T E E E G oo E E A 17 E ai an 20 E als 21 M 22 enc e
4. You can have good results with Pultecor API Equalizers Some artists used a lotthe variable pitch available on tape recorders to make effects or drastically change the pitch of the final recording don t know exactly why simplicity of the LM 1 scream for experimentation so have fun with it andtry things What modern DAWS offerin term of automation isa real improvement because in the good old days you have to make manual pitch automation forthe LM 1 samples Another modern thing you could try is to use fast retriggering with an arpeggiatoror whatever can fire fast notes and apply this to for example a TOM sample if retriggered fast enough it can produce a tone and starts to be interesting while changing the tuning try it Couple of last tricks Use 2 snares samples use the EXTRA voice for that panned hard left and right Mix the VLINN with some analog drum synth sounds for extra body or sizzle My VSDS X VST which emulate the Simmons SDS V SDS1 and SDS3 drum brain could get you there or try to findsome expensive hardware units such as Pearl Drum X Simmons SDS V Tama Techstar Synare etc Last but not 15 interesting to note that have asa design choice decided to remove the slight high loss of the circuitry caused by hardware OPAMPs bandwidth limitation have made this design choice mainly because you would often if not always add some highs to analog hardware By designa Linn LM 1 is made to be plugge
5. GmbH Audio Unit is trademarks of Apple Inc 2014 2016 ALYJAMESLAB
6. paste the serial into a basic text file and copy it again from step 4 State of VLINN current features 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 in a loop while only a VCA was triggered for closed hihat 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 amp PANNING This 15 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
7. same on a real LM 1 simply by replacing potentiometers and resistors by the values in this table made 0 00102268 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 and can even go higher or lower depending on the MIDI Pitch Bend global pitch offset setting pitch bend 0 no offset or Max Pitch Bend or 1 75 ratio Hence a sample playing rate of 77175 Hz Note thata common usage 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 envelope that will be applied differently the output For closed hihat 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 You can clearly hearthe loop on the open hihat but it is somewhat hard to tell there is a loop when the Linn LM 1 is inside a full mix so what m
8. the ability to replace some voices with external compatible 8bit companded EPROM data which opens upthe 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 the fly VLINN supports the followingtype 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 sample rate in Hz manually by ALT Left clicking on the knob itself The Pan knobs can be used for convenience if you are not using the separate outputs they will replace the Tuning knobs if you select Pan by clicking on the TUNE writing just above the Mixer 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 the corresponding drum pad some of them have two velocity values available some not and hence the double pads on Bass Snare Hihat amp Tamb Toms amp Congas pads trigger either the high orlow voice Note that the high Tom or Conga can be t
9. 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 limited range or 1 Octave This tuning range can be tweaked and the VLINN provides a useful wide range of pitch from 1000 Hz to 44100 Hz and anythingin between The global tuning is also affected by MIDI pitch bend message that will apply a or 1 75 ratio This also means that you can getas high as 77175 Hz sample rate for a tuning of 44100 44100 1 75 77175 Hz Stock setting range was around 12048 30303 Hz dependingonthe voice See SampleTuning By clicking the TUNE writing just above the Mixer you can select whether you wantto display the Tuning or the panning knob Set 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 Channels for each voice VELOCITY CONTROL You can limit yourself to only 2 velocity levels use the full range of MIDI velocity for convenience For full velocity you can choose froma linear or exponential response GUI amp AUTOMATION The GUI featuresthe original trigger buttonsfor quick listening and controls over every aspect ofthe 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
10. 279 295 311 327 343 359 375 391 307 423 439 455 471 495 527 5059 591 623 655 687 719 751 783 815 847 879 911 943 975 1023 1087 1151 1215 1279 1343 1407 1471 1535 1599 1663 1727 1791 1855 1919 1983 2079 2207 23355 2463 2591 2719 22847 2975 3103 3231 3359 34687 3615 3743 3871 3999 4191 4447 41703 4959 5215 53471 5727 5983 6239 6495 6751 7007 7263 7519 7775 8031 ie int sign chord sample float Volta The fact that the VLINN decodes the EPROM content in real time gives it the ability to import EPROM binary images as a replacement for 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 asa 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 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 LM 1 schematics that
11. ABLE or BYPASS Select if the filter is activated or not for that particular voice PULSE OFFSET This settingin 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 The graphic line represent the shape of the Control voltage the lower the graphic point the more it is filtered SETTINGS 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 EXPORLIN Whenin Full Velocity Mode you can choose from an exponential velocity curve useful for wide dynamic playing such as Hihat or a more standard linear curve You have to experiment with your own triggerin
12. DI Drum Kit Custom drum trigger maps can be created within VLINN 2 for more versatility The default mapping follows almost the same mapping as GM MIDI Standard You can assign 3 custom MIDI notes per drum via MidiLearn on the MIDI panel VLINN V2 Default Trigger Map Bass MIDI notes 35 36 Conga High MIDI note 63 Snare MIDI notes 38 40 Conga Low MIDI note 64 Hihat Closed MIDI notes 42 44 Claps MIDI note 39 WHAT S NEW IN V2 0 List of new features In addition from the new cross platform capability VLINN version 2 features some improvement and changes compared to version 1 e New MIDI Panel with MIDI learnable custom trigger maps e Changeindefault MIDI trigger map see above Newpanningcapability per drum panning knobs will replace the tuning knob row via a popup box selection available whileclickingon the TUNE label on the GUI See control panels e Improved GUI AIL EPROMS can now be replaced versus only 7 ofthemin version 1 e Easierand faster Custom loading and management need to specify the size anymore VLINN doesitfor you Once loaded custom EPROMS are saved with the patch Theadditional CUSTOM voice is renamed to EXTRA and is now loaded by default with a modified delay less stock LM 1Snare see EPROM Loading e Double clicking acontrol resets to default value on most of the GUI controls ALT Left click on each Tune Knob inorderto the clock rate precisely by typing
13. If you purchased itas an institution or company you are licensed to use it on one machine only and must purchase additional copies for each machine you wish to install it on Upgrades If you purchased VLINN 2 0 youare entitled tofree updatesuntil the next major version number The developer makes no guarantee that this product will be maintained indefinitely License transfers You may transfer yourlicense to another person As the original owner you are required to contact the developer with the details of the license transfer so thatthe new ownercan receive the updates and support attached to the license Upontransferringalicensethe original owner must remove any copies from their machines and are no longer permitted to use the software Additional Info VLINN VST does not emulate the LM 1 Drum Computer Sequencer amp OS only the internal circuitry It does notin any way imply Roger Linn s permission or endorsement of the VLINN product However have a kind permission from Roger Linn to use the LM 1 original samples binaries in 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 While the software can read and import EPROM content from other brands such as Oberheim DMX DX Linn 9000 Linndrum SCI Drumtraks no copyrighted binaries come bundled with the software VST is a trademark of Steinberg Media Technologies
14. M A S h gt n F 6 RSS 4 E T M MS u S i SS d pie 5 Ill Ig g seed 2B ese 21 j t Co uas ili f i PENAT gt i F T 3m T eir On This emulation is based on reverse engineering old datasheets it uses C custom with modeled AM6070 DAC Oscillators counters OPAMPS amp Filters The product has been assembled through the IPlug framework using the very last version Mostly custom coding and somethird party licensed code where nothing fancy were needed This version 2 of VLINN is now also compatible with OSX and x64 Hosts thanks to the IPlug framework developed by Oli Larkin who also did a greatjob working with me to port my original VLINN 1 code helped in adding new features and push VLINN into a more refined easy to work with version 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 Oli Larkin co developer of VLINN 2 amp Paul J Whites Electrongate com Full Credits amp Thanks can be accessed on the VLINN GUI panel Mainly VLINN can be triggered via MIDI following mostly the GM MIDI Drums mapping or your own defined mapping Each trigger will engage a binary counter tha
15. Machine Linn DMX MPC BY 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 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 betteror worse buta little different apparently peopleseemsto prefers 48 hence more quantized things Of course if youtry thison a straight 1 16 quantized beat nothing should change Thisis 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 timinglike the LM 1 or VLINN playing the beat because the Snare sample had a bit of dead air on the front and thisis changing based on the sample pitch HIDDEN SECRETS 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 stereo Flangers like the Roland SBF 325 Stereo Choruslike the Dimension D etc
16. acity you will end up 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 in 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 t have a gritty vintage sound because the image frequencies aren tthere The resultisthat 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 orsampler 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 output 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 m 4 Wy 1 W Wi BT Id
17. alue and quantize Yeah some notes will be shifted by x amount and they will be stored in one of the possible place according to the PPQresolution 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 better known as today s swing offering 50 54 58 62 66 and 70 swing Why these values Here is the answer this is what permits a48 PPQresolution If you don t quantize on the LM 1 set to 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 quantize 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 E EN qM 50 54 58 52 66 70 75 79 83 87 91 95 100 percent of a 1 8th note at 48 Pulse per quater note 1 4 so what is the difference 2 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 15 because as the resolution is limited possible places fora note also BE Why SWING Diiren 57 Swing differencies on Modern DAW 960 PPQ or more Vintage Drum Machines Vintage Drum
18. ames info gmail com External links ELECTRONGATE Archive http www electrongate com dmxfiles downloads html PROMENADE Software http www electrongate com dmwxfiles promenade index html WINEBOTTLER Software http winebottler kronenberg org Credits VLINNisdesigned and developed by Aly James Version 2cross platform port by Oli Larkin http www olilarkin co uk Manual by Aly James Original LM1 drum sounds by Roger Linn http www rogerlinndesign com HOPE YOU HAVE FUN WITH THE VLINN DISCLAIMER amp LICENCE AGREEMENT DISCLAIMER VLINN 2 0 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 2 0 the Software is developed by Aly James the Developer VLINN is copyright 2014 2015 Aly Jame
19. d into a Mix console using onboard EQs and FXs so you would rarely hearit dry If you really want to be a bit closerto the dry hardware anyway just roll off some highs after 12K MAKE EPROMS WITH PROMENADE Prommer EPROM Utility File Options Prommer EPROM Help EPROM 1 of 1 2764 8K File 1 C Users Aly James Desktop EPROMS LIB DRUMTRACKS Snare bin File 2 C Users Aly James Desktop EPROMS LIE DRUMTRACKS Rim bin PROMENADE SOFTWARE The Promenade Software is Windows only but should work on a Mac via WINEBOTTLER See links Promenade is an application originally developed by Paul J White that runs on any Windows computer with a MIDI interface to connect with the Oberheim Prommer Promenade can program and read EPROMs among other things Promenade can also translate Windows wave files into DMX binary files and vice versa Also Linn LM 1 Linndrum DMX DX Drumtraks etc all featured companded 8bit format so EPROMS are interchangeable Basically Promenade will let you import raw EPROM binaries merge or split them or make EPROM binaries from wav files it also support drag and drop Promenade isa free download though a donation to Paul J White to help support further software development would be greatly appreciated USAGE Sometimes you might find a sample spread onto multiple EPROMs mainly because at that time memory was expensive and longer samples needed more room than a 4K EPROM 2732 Sounds like Cymbals
20. e 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 sounds this machine can produce The DAC in use here and the whole circuitry stands next to the samples characters in that unique sounding team The LM 1 is an historical piece of gearthathas 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 outthere had to make the VLINN Version 1 0 has been critically acclaimed so thanks to the awesome support here is version 2 now cross platform 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 fx units or guitar pedals The usage of algor
21. e Summary Chord Endpoints Chord Endpoints Chord Endpoints Chord Endpoints Normalized ta in HA with 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 2007 75 TOC DM 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 u 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 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 Companding Law Law Quantized A Law A Law Quantized Linear Signal At that time memory was pretty expensive and storing 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 Aud
22. e patch if different be sure to turn on LOCK on Program Change into the MIDI panel Simply name the preset and click the SAVE MENU to save either 1 preset or the whole bank 81 LM 1 INIT Save Program Lake Bank Only the VST2 version of VLINN will store a bank of presets with the DAW project The VST3 and Audiounit versions will only store a single patch 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 Hardware MIDI CC Control or use your DAW automation MIDI Learn mapping is global and is shared for all instances of VLINN across all plugin formats and DAWS MIDI Learn MIDI Forget MIDI TRIGGERS CONGA HIGH COWBELL CONGA LOW CLAPS TOM HIGH RIMSHOT TOM LOW TAMB SNARE CABASA BASS HIHAT OPEM HIHAT Assign MIDI triggers While assigned by default to GM MIDI map the VLINN triggers can be assigned to any MIDI notes precisely 3 notes slots are available per drum However you cannot assign the same note to trigger multiple drum atthe same time Itis multiplenotes 3 notes max per Drum and not multiple drums per note if that make sense You can access the MIDI settings via the MIDI panel button To assign 1 2 or 3 notes for a particular drum process as follow e Engage the ASSIGN switch for that particular drum i
23. ffset can be used to tune up or down ALL the drums via 1 macro control e PITCH BEND The Midi Pitch bend Datais the only option for now to control the global pitch Offset forexampleat Max positive Pitch bend the global playing sample rate of the EPROM will be affected by 1 75 that meansthat if a particular sample is actually tuned to a sample rate of 44100Hz it will be now played at 77175 Hz 44100 1 75 You can use itto globally affect the whole drum kit tuning or to make interesting effects hard to do on the hardware EPROM LOADING COWBELI Stock EPROMS The STOCK setting uses the original LM 1 EPROMS including the Rim Shot that wasn t there on the very first few LM 1 units it was a Clave instead that is well not very useful There were differences between LM 1 models have noticed that the stock Kick Drum might 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 An Extra voice is also available that is loaded with a modified STOCK LM 1 Snare If you are not aware of it the stock LM 1 Snare has been originally recorded with a bit of dead air in front it gives it a slight laid back feel and helped define the legendary LM 1 groove BUT it might be problematic on lower tuning as the sample is pla
24. for example are often availablein 2 4 and sometimes more binary parts To load the full sound in VLINN you will first have to assemble all parts into one with the Promenade software this can also be done via DOS in a more geeky way For example let s say you have Cymbal that consist of 4 EPROMs of 4K CYMB1 4k You then need 4 4K size EPROM so 16K You then export the assembled CYMB2 4k binfile that will be 16K and can CYMB3 In Promenade you would choose a 4 EPROMs 1 load the sound into VLINN or CYMB4 sound setting with an EPROM value of 4K 2732 burn it to a real 16k EPROM 27128 The same logic apply for EPROM binaries that contains more than one sound in them you have to split them first to use them into VLINN if not you would have 2 sounds or more playing in a row which also can be creative btw If you planto make your own from 44 1 kHz wav files make sure to resample them at around 24 kHz sample rate to have a nice room fortuning up or down If you can resample without interpolation to keep them gritty sounding For more details about Promenade it comes bundled with nice help documentation LINKS amp CREDITS 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 alyj
25. g gear such as keyboard or electronic drum pads to fine tune the velocity curve basically if you plan to use your hardware curve set VLINN to FULL LIN 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 moving anyway Output Routing The Linn LM 1 featured different outputs for all the voices and also main stereo out e SINGLE This will route all the voices to the first stereo pair which is labeled as BASS MIX because it also serves as the BASS only output when set on MULTI e 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 Also it is better for dynamic range amp VST Instru ms gt gc EE 15 an example in Cubase D sactiver toutes les sorties sauf la premi re Bass St r o Snare St r o Hihat St r o Cowbell St r o Tom High St r o 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 St r o 4 4 lt lt lt Custom St r o Tuning Offset A global tuning o
26. ight sound like a possible problem doesn t really matter ina real world context This discharge following aclassicnatural Decibel like curve forthe hihat VCA Linear Constant Dms 500 0ms 1 05 1 56 2 05 2 55 3 05 3 55 4 s 4 BOs 5 8 05 B 5s time sraph Capacitor voltage vs time MAIN PANEL 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 inthe LM 1 case it was basically configured as a4 Poles Low Pass Filter with no resonance The CV which controls the frequency of the 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 from 300ms or completely bypass the filter this 15 useful when avoice is tuned very low orif you want to replace a Bass slot with another EPROM that doesn t require filtering Try to experiment with or without depending of your needs ENABLE ENABLE ENABLE PULSE OFFSEI PULSE 1 PULSE OFFSET L Nn LN ms qp 38 ms i am L RESET CEM Parameters e EN
27. images are provided in parts and need to assembled to a bigger EPROM image You can do that easily with the PROMENADE software see make EPROMs with Promenade 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 made samples into the VLINN and it will pass through the circuitry Itisa good way to experimenthas 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 around 22000 27000 Hz so as you can have a nice range of tuning Or resample your 44 1 wav samples without interpolation Note that since a copyright claim Linndrum LM 2 and Linn 9000 Binaries are not available anymore from Electrongate You can buy them directly from Forat electronics PRESETS IMPORT amp FXB VLINN can load and import its own format presets amp banks All Custom EPROMS are saved with the patch Only 8 Presets can be contained in one bank it might seems little but in real world use it is fairly enough it also save a bit of memory if you use custom EPROMS All MIDI LEARNED amp ASSIGNED parameters will also be saved with the patch If you do not want your current MIDI trigger assignation overwritten by th
28. inavalue The main info display will now only display the last edited parameter info or value such as which EPROM binis loaded or the knob slider etc current value e In addition tothe original velocity mode 2 Full velocity modes are now available with linear and now exponential response e Incoming MIDI Pitch Bend Message is now recognized and will act asa Global tuning offset great for live tweaking the whole set or to transpose up or down e VLINNnowtransmit its triggers as MIDI OUT External MIDI learn for controls can now only be attached to MIDI CC messages no more Sysx or aftertouch INSTALLATION COMPATIBILITY WINDOWS System Requirements MAC Windows XP Vista 7 ornewer 32bit or 64bit Host VST 2 4 VST 3 InteliSor better CPU and 4GB ram recommended System Requirements Snow Leopard 10 6 or higher 32bit or 64bit Host VST 2 4 5 3 Audiounit Host Intelibor better CPUand 4GB ram recommended INSTALL VLINN 2 1 Decompressthe downloaded archive file 2 Run the installer for your platform 3 Load the plugin in your DAW 4 Copy to the clipboard your serial 5 included in your Email copy the full line including START amp END yourserial should look like so START Your Name your email com XXXX XXXX XXXX XXXX END Finally click on the grey box on the plugin GUI to paste your serial from the clipboard if for some reason it may not work while copying directly from the Email first
29. ithmic 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 different or custom made samples The Linn LM 1 was controlled by 280 processor and featured a builtin sequencer An urban legend goes fora longtime about the LM 1 havinga special groove and even akind of secret randomization builtin Thisis 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 WALI Kian Oru 5 d me 3 77 By 5 H vasa i 153 lll 5 2 LI ji san L V s slaj e 5 a 3 SS 114 4 ILL e 251 RS LEF EIA PEF fitit 5 E M j F
30. le an EPROM is loaded you can still revert to the STOCK one without unloading the memory Passing the mouse over the load switch will indicate the binary EPROM name for that particular slot If the memory is filed with a custom EPROM the LOAD switch will be activated If for some reason you do not use the custom EPROM in that particular patch you can unload all custom EPROMS from the memory by clicking on UNLOAD CUSTOM EPROMS STOCK COWBELL STOCK e The STOCK CUSTOM EPROM TYPE switch can be changed at any time this means you can change between STOCK and the CUSTOM loaded EPROM on 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 EXTRA CARD voice is an additional voice that is loaded STOCK with a slightly modified LM 1 Snare no dead air in front see above e All voices can be replaced but 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 an option to use looping or not for custom hihat might be added in future updates 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
31. s The Software is not public domain and is 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 or disassemble the Software for any purpose Disclaimer By installing this software you agree to use it at your own risk and are agreeing to this disclaimer and license The developer cannot be held responsible for any damages caused as a result of its use Distribution You are not permitted to distribute the software without the developer s permission This includes but is not limited to the distribution on magazine covers or software review websites You may only redistribute the Software for promotion purpose with the developer prior written permission Where redistribution is authorized in writing by the Author the software must be redistributed 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 an Aly James Lab product this license a link to the Website www alyjameslab com Multiple Installations If you purchased this product as an individual you are licensed to install and use the software any computer you need to use it on providing you remove it afterwards if itis a shared machine
32. 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 OF 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 connected to either Pin 7 or 8 The frequency is given as TYPICAL VALUE Timing Resistor 2 h Hz and can be adjusted by varying either or The recommended values of for a given frequency range as shown in Figure 5 Temperature stability is optimum for lt lt 200k Recommended values of G are from 1000pF to 100pF Frequency Hz Following the datasheet we know that frequency is given as 0 1 RC Hz Based on this revision schematic basically on the LM 1 every voice was set like this Timing Capacitor 0 01pf 5 Timing Resistor R1 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 forexample 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
33. t is now in MIDI learning mode e Playa note on the keyboard or your electronic drum pad the note should be displayed and assigned e f you want to stop there simply disengage the ASSIGN switch if not continue bellow Ifyou wantto add one or two more notes hita new note again the note should be displayed and assigned after the first one and so on if you entered 3 notes the ASSIGN switch will automatically turn off Note that you can RESET to the default VLINN trigger Map at any time by clicking on RESET FULL MAP You can also LOCK the current MIDI trigger Map so as if you changed the preset program while itis assigned toa different MIDI trigger Map it will not overwrite your current setting To activate the LOCK click on LOCK ON PROGRAM CHANGE 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 Here 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 or often written PPQis simply the maximum number of places available to store a recording note inside the time lapse of a 1 4 note at a given tempo Modern sequencers just as your DAW usually have a960 PPQor higher whichis more than enough to capture the data accurately But what happens when you use a swing v
34. t 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 hard panning left center right switches that are replaced with full pan knobs Pan knobs will replace the tuning knobs if you click on the TUNE writing just above the Mixer Each voice has its own tune knob that will control the speed of the EPROM data reading the range available is 1000 Hz 44100 Hz which correspond to a real mod you can apply to the Linn LM 1 to increase the pitch range stock was around 12048 Hz 30303 Hz depending on the voice See Sample Tuning of the stock LM 1 EPROMS can be replaced by external compatible content and an additional extra voice loaded by default with a delay less LM 1 snare 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 even a MI
35. uned 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 trigger 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 MIDI Access to MIDI triggers settings like 3 MIDI learnable MIDI notes per Drum reset function and Program Change Locking viinn TUNING T8288 71 i TOM v II eut trina Right click ona knob button or slider will open a midi learn assign menu Ctrl click move allow fine tuning ALT Left click on TUNE Knobs allow precise Sample Rate typing in Hz Double click will reset a controlto its default value THE AM6070 DAC CHORD RITS STEP BITS Aaa ee CI a 4 15 amp 18 3 1 TOF 8 CHORD GECOCER STEP SELECTOR PEDESTAL CHDRD GENERATOR SELECTOR o 1 13 _____ ___ e 11 CHDRD AND PEDESTAL 12 POLAC ES Vai i Table 6 Decoder Chord Sir
36. yed slower the delay is also increased to the point that the snare starts to feel way too much behind the beat For this reason have removed the dead air from the stock sample and load the delay less one into the extra slot as default Custom EPROMS The VLINN features an import function for compatible EPROM Binary Images bin files TOM LOW STOCK SNARE STOCK BASS CUSTOM HIHAT STOCK COWBELL STOCK EPROMS SETTINGS you need to take care if you have a correct bin file for that you can use the Promenade Software available at electrongate com e Some binaries you can find on the net are in separated parts long samples like Cymbals for example needed several EPROMS to be stored to So if they not come as one assembled file you need to make one binary image out of the many it is very easy to do with the Promenade software The same thing applies for multiple short samples usually 2 stored on one EPROM You have to separate them into 2 bin files DXSHAKEZ BIN 4Ko 01 04 2015 16 DXTOM BIN 2 Ko 04 05 2000 06 FATSNARE BIN 8Ko 23 05 2000 22 HATLA BIN 4 Ko 04 05 2000 06 fichier ws Ouvrir Annuler SNARE STOCK BASS CUSTOM m HIHAT STOCK COWBELL STOCK EPROMS SETTINGS e Now you can LOAD an EPROM image by clicking on the load switch Once loaded the TYPE indicator will that means that the voice will now play the CUSTOM memory instead of the STOCK one Whi
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