![]() How to play sounds NOW that fully realize LinnStrument’s potential To see a list of such synths, read the next section. The best solution for all of the above limitations is to use a synth that is MPE-compatible, and which has preset sounds that are optimized for LinnStrument's 5 types of touch control (pressure, pitch slides, Y-axis, note on, and note off). To learn about MPE, read "What is MPE?" at left. Therefore, when playing two or more simultaneous notes, each note sends its own unique Pitch Bend and Control Change 74 information, permitting polyphonic pitch slides, polyphonic Y-axis, and polyphonic finger pressure. ![]() To overcome this 4th limitation, you must use a synth that is compatible with the new MPE standard, in which each note is sent over a unique MIDI channel. The same limitation applies to Control Change messages including Control Change 74 that is used for LinnStrument's Y-axis control. This is because MIDI requires that the Pitch Bend message must apply to all notes that are playing. You'll also notice one more limitation of the piano-optimized preset sounds of such common one-channel synths: 4) Polyphonic pitch slides or polyphonic Y-axis movements aren’t possible. For example, Audio Modeling's wind and bowed-string software instruments (see "For expressive bowed strings and winds" below) are all one-channel, monophonic instruments whose sounds are optimized for LinnStrument's pressure, long pitch slides and Y-axis. To get around these limitations, you'll need to either create your own sounds in your synth (see "Creating Sounds" at left), or use a synth that has presets optimized for LinnStrument's pressure, Y-axis and long pitch slides. This is because these piano-optimized sounds are expected a MIDI piano keyboard's bend wheel, which isn't very useful for bending more than 2 semitones. 3) Left/right pitch slides will be limited to 2 semitones. This is because MIDI piano keyboards don't have the ability to send Y-axis finger movements. 2) They don't respond to LinnStrument's Y-axis (forward/backward) control. If they do respond to pressure control, they are expecting the Aftertouch signal of MIDI piano keyboards, which is only sent after the key is fully pressed, so at best finger pressure is used to add a modulation or filter effect to a note that is already playing. When playing such piano-optimized sounds from LinnStrument, you'll notice some limitations: 1) They don't respond to LinnStrument's finger pressure to control the note volume from silence to full. Why? Most synthesizers respond to a single MIDI channel, so this provides the best compatibility with the preset sounds of these one-channel synthesizers, which are intended to be played from a conventional MIDI piano keyboard. By default, LinnStrument sends its MIDI data over a single MIDI channel (channel 1) and with a Bend Range of 2 semitones. But know that I have I have a lot of great violin libraries, this is something I'm going to use a lot going forward.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. ![]() Hell, I already see him that way.įull disclosure: I was a beta tester on this, so I'm going to be very restrained about what I say. He is so young, but if he keeps at it, I think he will become recognized as one of the greats, like Tarilonte and Alex from Cinematic Studio. You can just load them up and play them and they sound great. There are two things I particularly like about him: 1) he is a perfectionist, and will not stop until he is completely satisfied and 2) his stuff is very plonkable. Those of you who know me, know that I have been a huge fan of Luft since he started Organic Samples, and did a video on his Solo Opera library. There is a big discussion on this on VI:Control here I think we're going to be hearing a lot about them in the future. His new company is called Streamtech Music. Maxime Luft, who founded Organic Samples before going over to Orchestral Tools, has gone independent again.
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