The same situation applies to a new PPG Wave, a new Roland VP 330, a new 303, a new Korg Mono/Poly, a CS-80... If you want them brand new to use without them being 40 years old technologically and electronically, then Behringer is our friend. Only they can do it.
This is market democratization in action, making new versions of rare and expensive synths available and affordable to the masses. If Behringer clones force other companies to lower prices to stay competitive and/or keep innovating to stay ahead, so much the better. Innovators get all the reward they need by being first to market. They don't need a government-granted monopoly on top of that.
@@LowHeatBeats Korg is the worst, and I own many Korg products. They have capable hardware but really mess it up in the software department every single time. They might patch it after a year or two, but chances are it just becomes abandonware despite them still producing the products. I wish Behringer would clone modern Korg synths and improve on them, because Korg themselves are dropping the ball.
Work that he did 40 years ago... I think ethically speaking there's really nothing wrong with copying a 40 year old device that's no longer in production. I'm assuming it's also legal as Behringer knows what they're doing.
@@deantiquisetnovisSeems you're confused. The design would be trademarked, the sounds copy written, and there would be no case for him to get a patent. So...
@@eyeball226No, that guy is not a lawyer, patents have nothing to do with this, the design would be trademarked, the sounds copy written, still protected by Linn, he just seems to not put money ahead of mental health. And itz fine to make one, but unethical to make, sell and profit from someone elses protected work. So there you go.
Original LinnDrum owner and big LinnDrum fan here. Still have to say: Roger Linn has clearly stated on many occasions he is no longer interested in making or thinking about his old products and doesn't get the nostalgia fuzz, so letting it go and let others do what needs to be done to meet a clear demand is the only right thing to do. Not even any need to be bitter about it. He also stated in forums he has no problem with his sounds being sampled. Why even mention it now. I would have loved to see a reissued LinnDrum again, or be able to get spare parts for mine to get it up and running again, but just about any synthesizer company misses this opportunity. We're left alone facing insane prices when we want original gear or even have our original gear repaired. The fact that Behringer steps in at a reasonable price gives thousands of musicians an opportunity to work with gear they would otherwise never have access to. If anyone truly honors art and music, that is the only thing anyone should care about. If I can barely pay the rent some rich peoples business proceedings or even their ethics can't really be my concern. No one cared about me losing my job, wife or unborn child in the pandemic either. Making music is all I have left. And I appreciate an affordable replacement as much as the next man.
Simple matter of honor, an out of fashion concept for many. They could have just talked about with him. The unwritten code of honor states that you ask permission to appropriate someone elses work, and acknowledge it, even though you may have legal rights to do it anyway you want.
I'm 50 and own quite a few bits of vintage music gear, but I bought it all in the early 90s when it was ludicrously cheap. I also kinda dislike nostalgia. I think it's perfectly fine to want to own clones, or gear inspired by stuff made in the 70s and 80s, because a lot of that gear sounds absolutely fantastic, but I think you should at least use the gear for music that's at least somewhat contemporary sounding. I've always questioned the motives of people my age and older who shell out £30k+ on old gear so they can LARP as Gary Numan, The Human League or Vangelis. To me, that's their prerogative, which is fine, but it just seems a bit redundant and sad. As for Behringer's LM Drum, I think potential buyers are more interested in its 8/12bit D/A converter sound and the ability to load your own samples, than its ability to convincingly emulate a real LinnDrum.
It's not sad, if people enjoy what they are doing then it's great. Don't be so obsessed with age, i have seen young people buying vinyl and rocking an MPC2000XL.
@@StatetrooperBillyBlast I focused on the age thing because it's kinda pertinent to the themes contained in this video. As for young people buying vinyl and using older gear, I'm all for it. Kids are slowly realising that streaming, subscription models, constant firmware updates and the whole "You'll own nothing and be happy" thing is complete BS.
Anyone that has looked into the information that Behringer has made available about this unit can easily see that it is not a copy of the Linndrum. It’s a modern sample based drum kit that uses a color scheme and general exterior appearance similar to the Linndrum and comes preloaded with LM-1 and Linndrum sound samples. The sequencer, touch pads, display screen, etc. are all things that were not even possible in the 80’s. You can load whatever samples you like into the machine, which also wasn’t a feature of the Linndrum. It’s more like a “Digitakt lite” that arrived with classic Linn sounds.
@@brawndothethirstmutilator9848 Just looked it up and it really does use variable rate DACs, which is a big part of the sound and not something the Digitakt at all (which uses resampling). The fact the interface on this is modern doesn't change the fact it's using authentic circuitry in the audio side.
I feel that Mr. Linn is a humble genius. He's such an innovator and continues to look forward. I understand his willingness to leave the past in the past but I like the idea of being able to connect on some level with the things that inspire me and the tools that the people who inspire me used. It might be foolish of me but it brings me a sense of joy. I can't afford an original 808, LinnDrum, or SP1200 so I look forward to the clones. I do feel conflicted hearing he's not involved and isn't the biggest fan.
The release of high quality instruments at affordable prices is a good thing for the musician. If Roger Linn wanted to release a linn drum he could. Respect to both Roger and Behringer for this instrument.
If he/they did, would you pay $2000 for it? Of course not! The only peeps buying the overpriced remakes by these old farts are filthy rich already. There's no real value in legit remakes by original creators vs. copies. We can all get free VST and sample packs regardless. I can do far more with Linn sample pack on MPC One then ever on an outdated analog tech from 50 years ago, that never sounded 'amazing' to start with. It's all a freak'n joke. This entire money grab industry is horrible IMHO.
didn't know manual was already avaliable as the LM Drum is still on preorder status. Thanks for the tip! Yes on page 23 there is info on sampling - 12bit / 24khz user assignable sampling on any empty user banks banks , so bank 8-16 ..samples can be edited in the sampling menu by trip start and end only . But can be edited after assigning to a pad in other edit menu : start , length , play direction Forward Backwards , set loop region ( GREAT!) withing a sample ! Tuning : that's where it gets interesting : you can tune Any sample or sound +- 24 semitones ( 2 octaves) in edit menu ONLY if this pad has Physical Tuning control - and there are 6 of those physical Tuning controls ( like on OG unit?) Snare, Tom drum 1.2.3 and 2 congas = 6 in total . That is a wierd Tuning limitation , providing there are 16 pads of 16 banks!!!?? Hopefully Behringer will adress that limitation in future Firmware updates . But sofar 6 tunable pads aside - 12bit Sampling option is a great selling point of this device ( at least for me) ! It won't make it into EMU-SP12/1200 or an MPC60 but it could have become a new 12bit classic in its own right - let's get it first and see. Peace , Jazz🎷👊🏻
Behringer is doing great! No one cares abouut the copies now we can have such machines without the stupid over priced old ones which have remained among the rich brats.
The funny thing is that the original MPC failed to hit its target demographic the same way Roland's X0X line of gear failed. But they caught on with up and coming producers of new genres that could acquire them for cheap. So Behringer is making instruments that are affordable based off of proven designs. Keep it pushin, Roger.
I love Roger Linn for the impact he has on my musical life. I'd support him if he gave me an affordable way to do so. The Instrument is very cool, but it's not cheap and a solution to a problem I don't know I have yet ;-) The thing with Behringer is they know the mass market is sub $1000, sub $600 ideally. SO owning a physical Linn Drum, the thing that started my musical career, underpinned my first album, is more than just the x bit (punchy) sounds, it is a part of me! I think MANY would choose to licence DIRECTLY from him, if he even sold the sound set, or created (or sub licenced) NEW sound sets. He's a good guitarist too. He's a VERY cool guy! I love his spirit! But marketing/business wise, he doesn't give us mny options to support him :-( He is a legend. I just wish he was a prosperous legend, but that's largely in "his" own hands. @Roger give me something I can afford - you already have my attention 🙂
And why is it, that when a company like Behringer makes a clone of a product and sells it at a price most can afford, like the Robin Hood of synths - it’s unethical?! But if some small “boutique” brand makes a clone of a forty year old circuit and sells it at 3.000,- $, it’s all good?!
They even emulated his NAME on yhe product. It's simply the code of honor. You don't need to get offended. One might choose to follow or not, without any legal consequences, the only consequence being that someone might take notice if you do not follow it. He chose to follow it, they chose not to. He just pointed that out.
Hi there I’m not offended :) I just think it’s funny how much it can bother some people, when Behringer makes affordable clones of 40 year old circuits for everybody, while nobody complained when for example Acidlabs did their botique priced 808 clone yeeeears ago. Rogers old studf is being used in hundreds of products, that unlike Behringer doesn’t even mention him. I have his drumpads on my Arturia Keylad. No credits to Roger. Behringer did kindly invite Roger to be part of the project, and have praised him in their marketing about the product. Roger declined because what people write on the internet about Behringer. Well too bad for him. Behringer didn’t write Roger’s name on the unit. It’s called “LM Drum”. Close and so what :D
Great video instant subscribe love your tone and you're completely right. I'll never forget the time I was at the NAMM show watching two older guys have a chat in the corner they smile looked up at me and I realized it was Roger Lynn and Tom Oberheim shortly after to be greeted by Gary Newman truly surreal to see such innovators together and first person contest
Out with the old, in with the new. Thanks to Uli for listening, and bringing to the market some pieces of gear that we do want. These products of recreation could have been brought back by the original manufacturers, but they did not, so thanks to Uli, we are getting what could have been given by the original companies, but because they failed to listen and act, it is their loss, their sour grapes. Again, Thanks Uli Behringer.
I noticed that there are 2 types of musicians: innovators and copy cats. The copy cat group seems to be the biggest. They like being told what to buy by others, don't know their instruments well and have no original vision and instead try to copy their favorite artists. The innovators are constantly pushing the boundaries and intentions of their instruments and sounds. They have their own sound, style and ideas and don't care about the internet warriors typing how the only true "X instrument" is the best and everything else pales in comparison. The copy cat group is however much bigger than the innovators, and I guess that's where Behringer comes into play.
Surely a true copycat musician would want to copy the synths and drum machines used by their favourite artists. In my experience (in pro audio sales), innovators don’t really care what tools they are using and are generally not very well off. They thrive on creating with what they can afford. That’s how things like the 303 and 808 became legendary, they used to be very cheap.
1:30 I do respect Roger Linn very much and probably this is just a minor correction. But Roger is wrong that that you just can tune snare, toms and congas on the LmDrum. Behringer just released a walk through video of the LmDrum today where the demostrate that you just have to copy any sample to one of these slots (snare, toms or congas) to tune it down by recreating the iconic Prince claps with three clicks in the menu. While, as I said, this is just a minor thing, I still wonder that Roger even took the drum apart to understan the circuits, but missed that. And while I agree on almost everything Roger says: I always wanted a Linn drum since I heard it in the 80ies (yes, I'm old) and not just a sample set or a VST, and I'm not a big fan of Behringer either: But that was to tempting, I preorderd a LmDrum. At least Behringer won't make a big profit from it as Roger says.
It's good to have basically proof coming from Linn that Behringer can hardly profit from these selling prices, that profit only comes from selling in bulk. To me that sheds a different light on Uli's motives, though it doesn't excuse him from cloning products from companies as Arturia, MakeNoise and other modular focused companies that struggle to stay in business.
my system still works My SP1200 kicks of my MPC 3.12(custom Roger Linn Chip ) which kicks my TR808 drum machine (TR8S) . I have Linn 9000 and oberhiem DMX Samples in my mpc 3.12 all live to tape my secret funky sause thanks roger and bruce forat(Happy Birthday) for all your help all these years
Hello, hello... Well, I think it's great and perfect that Behringer is releasing their versions of all these old devices. I hope they release more versions of more synths, drum machines, etc., etc., from the 70s and 80s... and that they are all as close to the original versions as possible, both in physical appearance and sound.. I'm delighted.. Behringer... when will there be a Behringer version of the CS80?
Linn is a wise man! Hope he realases its his turn now or never and makes a new revolutionary product thst vombines all his inventions and tge next in One under HIS own name and takes all the credits - Now is the Time !🙌🙌🙌
@@annother3350 I tinker with electronic instruments, thats the exception to "nothing after 1965" - and i apreciate the behringer clones of vintage synths and drummachines as i have sold my originals in the 1990s.
I think a lot of the reason it can be very hard to find Behringer's most desirable value gear is that they don't produce enough to meet demand. They produce just enough that it's a real product out in the wild but not en masse because they aren't making money from it. They're increasing the profile and reputation of the company
I think it’s interesting that people who had access to certain things in the past don’t understand the nostalgia that people have for these things and that people want access to them, and I get it having spent a lot of time with the saga mega drive as a kid I have no interest in revisiting it but I do understand why the generations that followed and grew up surrounded by the culture that came about in its wake are interested in it.
If there is no secret supervillain plan going on with Uli and his company I'd say Behringers practices of cloning old, unobtainable and overprized stuff and selling it to regular ppl with tolerable prizetag is very much ethical indeed. Utilitarianism in the synth market is pretty rare thing.
I'm not gonna lie. Only being able to tune 5 drum sounds is kind of a deal breaker for me. With the LM1, you can tune every sound. My friend ordered one today. I'll let him be the guinea pig. Lol. I have an MPC with samples of almost every drum machine ever made including several LM-1, Linndrum and Linn 9000. Ironic considering the issues that Mr Linn had with Akai. I didn't know until recently.
The most interesting feature I see in the LM Drum are the individual physical outputs per channel. Some interesting things could be done with multiple effects pedals and effects chaining on those individual outs, specifically in a live setting or “live jam” recording session.
Single sounds, like drums, or ANY short samples should not be copyrighted in any shape way or form! As to 80's and prior analog hardware, seriously? Who cares? Same. It's VERY OLD tech and should have zero claim against 21st century recreations. Teen Age 'Morons' is a fine example of the stupidity of copyright claims. We need a new set of rules across the board. I would NEVER have or would buy anything by Roger or any other fat headed 80's left overs. Those vintage synths are NOT worth 1/4 of what they charged then or NOW. Thank you Behringer for being a great company who really brings the prices to where they should have always been! The ELITE snobs can continue to waste endless money on stuff the rest of us can get for free or cheap on VST, or reproductions by Behringer and others. I, personally, HATE analog old school. Nothing I can't sample for free on MPC or any DAW. Let's be honest for a change. We are paying for the specialize hardware interface. So, to Roger? Just go away. No one wants your 2-5k overpriced outdated sound makers.
I think the most disgusting thing with Behringer is that they don t even try to make their own esthetic design and just copy ALSO the work of esthetic designers. One exemple : imagine you are the guy who designed the look of the Apple II and the Emulator I ( same designer) , and then a company make a product with exactly same look / design…. THIEVES
They do that because that’s what most people want. It’s marketing 101. At least they’re not adding a disgustingly large profit margin. Which they certainly could do for something like this which isn’t available any more.
Whatever.... It's old crap from the 80's. If it wasn't for UA-cam clowns feeding the GAS, no one would really care. People who are rich, could just buy an original. This HYPE on VINTAGE gear drives me insane. It's coming up on 50+ YEARS AGAO! COPY is a flattering thing! The originals are trash by modern standards! We can emulate everything for cheap or free on DAW! Behringer is just milking this old junk at a price that it deserves! CHEAP. No Thieves, ROBINHOOD for the rest of us. ArseClowns who complain, do you even play?
Linn was shut down by a lawsuit after a linn 9000 crashed and a large amount of work was lost by a household name composer/pianist. I can completely understand his reluctance to use lawyers however all credit id due to his genius. I am an SP12 used myself and will be buying an LM1. I have also used a linn 9000 with all of forats ( who worked for linn ) upgrades. An MPC60 1 and 2. If the sound engine is anywhere near the linn 9000 which sounds very similar to the SP12 ( different to the SP1209) then the LM1 will give the chance to make music history. The sequencer from 9000 onwards asq10 mpc60 mpc3000 etc is king for songwriting and i hope the LM1 has at least tried to emulate this. That the arrangement and performance modes past the basic pattern song arrangement.
Just so its clear, that we as the consumers are not idiots. There is a huge prophet margin on the product, its produced in china in their own factories. The component cost will be a tiny amount of the product cost. Its actually really expensive in my opinion.
You said you use the Push and that has copied from the Linnstrument the panel that makes slide notes and polyphonic expression, not to mention the aspect that is MPC like.
Fair enough. As I said I'm not judging Behringer or anyone else, I just thought it was an interesting story so I had to share it since it's relevant to the tools I use and show on this channel.
ha ha...Behringer is killing it and I love it. Sorry Roger, I don't care you are upset. I just love gear...cheap or expensive, originals or clones or modifications or circuit bent, etc.
Concerning the "an old bit sounds the same as a new bit" - I saw an Espen Kraft-video where he doubted exact that. He said something like, to create 80s music you'll have to use 80s drum machines and sequencers as well, because of their slight inaccuracy. Modern equipment may reproduce sounds of the era but not the feel. I can't judge on that - just wanted to drop this as a contribution to the discussion.
What many others say here. It’s a forty year old product. Nothing unethical here. On the contrary, Behringer is selling it at a price most can afford if they want to. Roger Linn probably made a shit load of wellearned money on his forty year run, and should only be happy people still care. I say this with all respect to Roger Linn.
@@annother3350 didn't know manual was already avaliable as the LM Drum is still on preorder status. Thanks for the tip! Yes on page 23 there is info on sampling - 12bit / 24khz user assignable sampling on any empty user banks banks , so bank 8-16 ..samples can be edited in the sampling menu by trip start and end only . But can be edited after assigning to a pad in other edit menu : start , length , play direction Forward Backwards , set loop region ( GREAT!) withing a sample ! Tuning : that's where it gets interesting : you can tune Any sample or sound +- 24 semitones ( 2 octaves) in edit menu ONLY if this pad has Physical Tuning control - and there are 6 of those physical Tuning controls ( like on OG unit?) Snare, Tom drum 1.2.3 and 2 congas = 6 in total . That is a wierd Tuning limitation , providing there are 16 pads of 16 banks!!!?? Hopefully Behringer will adress that limitation in future Firmware updates . But sofar 6 tunable pads aside - 12bit Sampling option is a great selling point of this device ( at least for me) ! It won't make it into EMU-SP12/1200 or an MPC60 but it could have become a new 12bit classic in its own right - let's get it first and see. Peace , Jazz🎷👊🏻
Setting aside the question of Behringer specifically, as a longtime musician I have to say I've been mostly appalled at the barriers of entry to getting classic sounds in hardware form. The used market ballooned to ridiculous prices, companies stopped making the hardware for many years and then eventually rolled out similar pieces that are either incredibly expensive or small and limited. Of course there's no right to have any of these things, but my point is there's been an obvious void in what's been offered in the marketplace for ages, which is the entire reason that Behringer can and is doing this. It's hard to fully judge them because the demand that has been present for so long has been ignored for so long. There's no reason original companies couldn't have put out everything that Behringer has, which is what most people have wanted all along.
Fair enough. I think it also has to do with the same sounds being available in software, so the hardware market just isn't as big as we think, which makes it hard for companies to offer these units for cheaper.
Good luck taking a behemoth like Behringer to court. And if he has a solid case, Behringer will just opt to settle out of court for a nice sum of money
Behringer asked whether he would like to work together, he declined. Behringer reached out at first. Behringer is free to copy old gear which doesn't have a copyright anymore. Otherwise he should have created follow up machines and keep the copyright. It's a machine which isn't in production anymore, nor would it take away customers from the original designer. It is just free advertising for him and helps keeping his legend alive. So this guy is just a salty boomer and he just ruined his reputation.
Berhinger basically "borrowing" (so I don't get sued by UB) everyone else's work and recreating them has always been a double edged sword for me. I like that people could afford an old style product without the prices of the originals. As Linn said, his business practices leave a lot to desire.
It’s really going to hurt sales of the original Linn Drum isn’t it 🤦♂️ Behringer provide clones, or loose clones, of synths that the original manufacturers (mostly) chose not to. As a consequence, a lot more people get the chance to start a journey into hardware. Which is good news for everyone.
Behringer losses money on product like the lndrum,r9,r8...how they make profits is they know that most people who will buy a drum machine will need a synth so you will buy one..or buy a mixer,fx unit...etc . Its same as buying a game console they make money on games,joypads not console sales
I agree, I don't understand why so many people on the comments think he's upset or anything. His response was pretty chill, I just found it interesting, so I had to share.
Is it also "unethical" for Roger Linn to swipe and then copy/trace Japan's invention of the first functional sonically pleasing drum machine in 1978, the Roland CR-78 nearly 1 1/2 decades prior to Linn making his derivative reductive piece of music tech five-finger-discounted corporate American knock-off TRASH, the Linn LM-1? #Poll #NoHateJustFax
Behringer copying more niche brands and products that are currently trying to stay in business is definitely more shameful. For example Make Noise Maths and Behringer Abacus
The Make Noise Maths is a clone of a Buchla 257 and it's a fraction of the price of the original. Everyone's mad at Behringer for making a discounted clone of a discounted clone. It's stupid. I've got the Abacus but I've also got the Morphagene from Make Noise because there's nothing like it. I'll shell out good money for something like that but not for a clone of a utility module, especially when I need more than one. Blind loyalty to any company is stupid.
@@BeyondTyrants also, Maths is heavily inspired by Buchla’s 281 Quad Function Generator and Serge’s Dual Universal Slope Generator (DUSG). Maths builds on the general concept of these classic designs, which use voltage-controlled rise and fall slopes (essentially envelope generators or function generators), but it adds several enhancements and extra features. Aka innovation.
@@squarelanguage who cares if they drive a Kia? at least they got a car that gets them to where they're going. Or should they only be allowed to drive if they can afford a Tesla? Should they only be allowed to make music if they can afford Buchla? I love it whenever synthesist gatekeepers with trust funds tell the rest of us who's allowed to join their exclusive club of making glitchy beats and wobbly farts like their opinion matters. Uli Behringer with his slave labor factory city in China doesn't give a shit about your feelings. He'll clone anything he thinks will sell and more power to him. He's really not taking that much food off these smaller modular companies' table. The people who can't afford their stuff were never going to buy their stuff because they were priced out of starting their modular journey before it even began. At least Behringer prices help them get their foot in the door. Obviously, it's more ethical to buy a used Maths off some random guy on the internet than a new Abacus made with cheap commie labor, but I care more about what happens to my mental health when I don't make music than what some random guy on the internet thinks about my gear choices. Oh and the knobs on my Abacus are a little wobbly, but so were the knobs on my Maths when I got it. I've seen others say the same thing. But that's not a big deal to me because I'm not rough on my gear. And as far as the aesthetic goes, I love the look of the Make Noise stuff as a whole, but the older my eyes get, the more they appreciate tiny words on modules being easy to read and not a bunch of zigzags that look like signal paths. It's not as much of an issue for me on the Morphagene because that module is a knob tweaker's paradise. By the time I'm sending something to it, I don't even care what happens to it next. But I take one look at their big ReSynthesizer case fully loaded and I get lost. Their stuff is not for the faint of heart. The only thing I've seen that's worse is the Plinky. Lately I've been more keen on Bastl. Their modules get my sound to where I want it faster and gnarlier without trying to make everything look like an ancient alien spaceship like Make Noise does. To each their own though on that one.
Roger Linn has publicly said multiple times that he had absolutely no interest in working on a Linndrum clone and would rather focus on something new, which he states Behringer did offer him to work on something new, so I find it weird that he's suddenly angry now about Behringer cloning it. Roger also abandoned the new Linndrum 2 back like 2020 because he said he didn't have the money or infrastructure. Well, Behringer offered you to make something new and you turned it down. This all comes off as simply seeking headlines.
@@justinmccamish9059 You call it balanced and gracious, I find it hypocritical and strategic. I just find it funny how a guy who constantly spoke out about he wanted nothing to do with remaking the Linndrum throughout his career is now going on in a blog post about how he wasn't approached to remake the Linndrum. People wanted a Linndrum clone and Behringer is simply filling a market he refused to fill. And he already stated how he turned down working with them years ago, but then goes on about how they didn't reach out to him about the Linndrum. For all we know, when Behringer reached out about working on a future drum machine, in their eyes, this could've meant the Linndrum. This isn't clarified in his blog. Then tying this all into nostalgia when it's more about a type of sound/vibe. 12 bit sampling has a vibe that high quality sampling doesn't have. Look at Sonicware's Lofi 12. You can still make something new that sound/vibe. Maybe he should write an essay on how vinyl is all about nostalgia and we should all simply move to digital music because we should be moving forward and vinyl listeners are simply chasing nostalgia. Obviously that's a joke because listeners are chasing a sound/feeling with vinyl that's different from digital and gets us away from our computers.
I own a Moog GM and a Moog SubH. Both were blatantly copied by Beringer. I have absolutely no problem with that! For a start if you buy a beringer, it's not a Moog. Moog have a special look and feel. That might seem subjective, but I get a kick some how when jamming with them. Unlike my TD-03. I barley ever use it, because it just feels like a chore. The sound is pretty good. But there are easier ways to get the acid sound, so you really do get what you pay for. But if some struggling musician who can't afford high end but wants the sounds then beringer are their life line. Also beringer have been great with these new releases! Who the hell for instance can get a real Solina? I'm probably going to get the beringer offering because THERE IS NO WAY TO GET THAT SOUND! and it really is pretty damn close. The same with all their other releases of old tec emulation. I doubt any musicians except the very richest could actually collect and maintain the originals without huge expense. So beringer offers a way of doing it at a realistic cost. Take the Moog system 55. How much would it cost for the original? Beringer do it for just over a grand! And remember I am talking about equipment that is still in production. I wouldn't swap my Moog gear for anything. I'm happy with the product and the service. But if you can't afford them. Please get the beringer clones. They mostly sound the same and do the job. Stop beringer shaming! Because I bet you want some classic sound in your inventory but can't because you are paying thousands for the gear and then hundreds for the maintenance.
This isn't unethical to say the least. 40 years out from the original? Screw Behringer haters, and whiners. This isn't any different than what other companies have done.
They wouldn’t make it if they didn’t make money on it, it’s just when the labor is unpaid a much lower price point is possible, Behringer is unethical to the core please don’t buy from them there are tons of small and large creators doing amazing things and actually contributing to the space that deserve your money much more
This is a simplistic and ignorant view. This thing isn't even an exact copy of the Linn Drum, but even if it were Behringer paid for the reverse engineering labor. There's still a good deal of R&D cost to making these "clones." Behringer "copying" prior "IP" doesn't explain most of the price differences. Their lower price points come from a number of factors including the age and rarity of the originals, brand prestige of the originals, old vs. modern manufacturing techniques, and so on. This is market democratization in action, making new versions of rare and expensive synths available and affordable to the masses. If Behringer clones force other companies to lower prices to stay competitive and/or keep innovating to stay ahead, so much the better. Innovators get all the reward they need by being first to market. They don't need a government-granted monopoly on top of that.
Are you really going to argue unpaid labor from Behringer? As far as good sources have claimed, though of course take it with a grain of salt, the workers at Behringer factories are much much better off than say Apple or any other big brand that makes stuff in China. Moreover, you think all of the praised Arturia Minifreaks and Microfreaks, Korg volcas, microkorgs, roland boutiques, various other music tools such as headphones, audio interfaces, cables, contorllers and all the rest of the chinese trash is made in mom and pop shops in much better conditions? I don't buy it, not for a second. In fact, they might as well be made down the street from Behringer. Of all the completely valid arguments against them this one in particular Isn't among them and I find is the weakest and most hypocritical.
B have a lot of opportunities and yet they fail to hit the mark on most of them. Out of the 100 or so bit of gear they are working on, only 3 of them are original ideas, correct me if I am wrong, but that seems like a really low % for how to get anything right. Next they will clone Dolly the sheep and it will be a farting frog.
In the age of affordable DAWS and affordable iOS music production are any hardware synths or samplers really “needed”? More to the point, since when has art or a hobby been about “need”?
Roger Lynn stole all the sounds for the Lynn drum from real drummers so he a Hypocrite who is jaded and out of touch. You're so desperate to make money off the new generation. He's becoming a better man.
What part of the thumbnail do you consider innacurate? Clickbait would mean that I promise something in the thumbnail and the video doesn't fulfull the promise. I really want to do better, so please elaborate.
I dont care about people and their problems, all I want is good and cheap gear. Without Uli my jam setup would cost 4 times more. God, I love Uli Behringer!
Hey, I understand what you mean, but that's not the case. I just happened to cover 2 controversial topics in the last few days and none if it is gossip, it's all facts. And I still do beat making stuff.
Another channel who loves pointing out others being devided about their beaf or copied work. While it is known this stuff super normal in all other businesses to copy each other like cars,hairdryers,ovens,bikes really super normal not normal is accualy that someone gets a market cornered because they at sometime developed something so dude move the f on. The last this synth community needs to point out this 100 time recycled story. Maybe you should create something yourself than beating this dead horse.
I have alot of beat making videos and tutorials on the channel, so I do make original content, just take look at some of my other videos. You may be very familiar with these stories but not everyone knows about them. I've always been a fan of Roger Linn and this was an opportunity to make a video about him.
You are probably failed.musician teleporting your bitterness on the rest of the internet. The Limm Drum has not been developed for decades by the creater because of no interest so at 1 point others can move on with it fair use after 5 years after the creating for a market to have a existince. To have a UA-cam is nothing special especially when you create loser content like this.
@@LowHeatBeatsHe did do antthing with this creation for decades so at 1 point be it will become fair use for a market to develop like after 5 years after the creation is standard. But do in real life hé everynody these folks.don't agree with each other and see where this behaviour will get you.
My Ableton Live packs + sample packs ► lowheat.gumroad.com
the way i see it, if you can still buy a linndrum new then screw behringer. if you cannot buy a new linndrum then screw the behringer haters.
Absolutely 100% agree. Linn could of pumped out a new version
Exactly. If Roger linn couldnt be bothered like behringer to give us a new machine then let behringer cook!
Well said
The same situation applies to a new PPG Wave, a new Roland VP 330, a new 303, a new Korg Mono/Poly, a CS-80...
If you want them brand new to use without them being 40 years old technologically and electronically, then Behringer is our friend. Only they can do it.
@@inperfectsequence7840 i agree completely.
This is market democratization in action, making new versions of rare and expensive synths available and affordable to the masses. If Behringer clones force other companies to lower prices to stay competitive and/or keep innovating to stay ahead, so much the better. Innovators get all the reward they need by being first to market. They don't need a government-granted monopoly on top of that.
I was expecting other companies to lower prices too, but it hasn't happened. Korg, for example, have increased their prices in recent years.
@@LowHeatBeats Korg is the worst, and I own many Korg products. They have capable hardware but really mess it up in the software department every single time. They might patch it after a year or two, but chances are it just becomes abandonware despite them still producing the products. I wish Behringer would clone modern Korg synths and improve on them, because Korg themselves are dropping the ball.
Work that he did 40 years ago... I think ethically speaking there's really nothing wrong with copying a 40 year old device that's no longer in production. I'm assuming it's also legal as Behringer knows what they're doing.
Patents last for 20 years only. After that time there‘s nothing anyone can do anything against a copies.
@deantiquisetnovis Well there we go, legal and (IMO) ethical.
@@deantiquisetnovisSeems you're confused. The design would be trademarked, the sounds copy written, and there would be no case for him to get a patent. So...
@@eyeball226No, that guy is not a lawyer, patents have nothing to do with this, the design would be trademarked, the sounds copy written, still protected by Linn, he just seems to not put money ahead of mental health. And itz fine to make one, but unethical to make, sell and profit from someone elses protected work. So there you go.
@@kekejones9185 Copyrights lasting as long as they do is unethical, so I revise my opinion to ethical and of untested legality.
Original LinnDrum owner and big LinnDrum fan here. Still have to say: Roger Linn has clearly stated on many occasions he is no longer interested in making or thinking about his old products and doesn't get the nostalgia fuzz, so letting it go and let others do what needs to be done to meet a clear demand is the only right thing to do. Not even any need to be bitter about it. He also stated in forums he has no problem with his sounds being sampled. Why even mention it now. I would have loved to see a reissued LinnDrum again, or be able to get spare parts for mine to get it up and running again, but just about any synthesizer company misses this opportunity. We're left alone facing insane prices when we want original gear or even have our original gear repaired. The fact that Behringer steps in at a reasonable price gives thousands of musicians an opportunity to work with gear they would otherwise never have access to. If anyone truly honors art and music, that is the only thing anyone should care about. If I can barely pay the rent some rich peoples business proceedings or even their ethics can't really be my concern. No one cared about me losing my job, wife or unborn child in the pandemic either. Making music is all I have left. And I appreciate an affordable replacement as much as the next man.
❤️❤️❤️
Simple matter of honor, an out of fashion concept for many. They could have just talked about with him. The unwritten code of honor states that you ask permission to appropriate someone elses work, and acknowledge it, even though you may have legal rights to do it anyway you want.
I'm 50 and own quite a few bits of vintage music gear, but I bought it all in the early 90s when it was ludicrously cheap. I also kinda dislike nostalgia. I think it's perfectly fine to want to own clones, or gear inspired by stuff made in the 70s and 80s, because a lot of that gear sounds absolutely fantastic, but I think you should at least use the gear for music that's at least somewhat contemporary sounding. I've always questioned the motives of people my age and older who shell out £30k+ on old gear so they can LARP as Gary Numan, The Human League or Vangelis. To me, that's their prerogative, which is fine, but it just seems a bit redundant and sad. As for Behringer's LM Drum, I think potential buyers are more interested in its 8/12bit D/A converter sound and the ability to load your own samples, than its ability to convincingly emulate a real LinnDrum.
It's not sad, if people enjoy what they are doing then it's great. Don't be so obsessed with age, i have seen young people buying vinyl and rocking an MPC2000XL.
@@StatetrooperBillyBlast I focused on the age thing because it's kinda pertinent to the themes contained in this video. As for young people buying vinyl and using older gear, I'm all for it. Kids are slowly realising that streaming, subscription models, constant firmware updates and the whole "You'll own nothing and be happy" thing is complete BS.
Anyone that has looked into the information that Behringer has made available about this unit can easily see that it is not a copy of the Linndrum. It’s a modern sample based drum kit that uses a color scheme and general exterior appearance similar to the Linndrum and comes preloaded with LM-1 and Linndrum sound samples. The sequencer, touch pads, display screen, etc. are all things that were not even possible in the 80’s. You can load whatever samples you like into the machine, which also wasn’t a feature of the Linndrum. It’s more like a “Digitakt lite” that arrived with classic Linn sounds.
@@brawndothethirstmutilator9848 Just looked it up and it really does use variable rate DACs, which is a big part of the sound and not something the Digitakt at all (which uses resampling).
The fact the interface on this is modern doesn't change the fact it's using authentic circuitry in the audio side.
Copium....
@@eyeball226you're totally wrong on every level
I feel that Mr. Linn is a humble genius. He's such an innovator and continues to look forward. I understand his willingness to leave the past in the past but I like the idea of being able to connect on some level with the things that inspire me and the tools that the people who inspire me used. It might be foolish of me but it brings me a sense of joy. I can't afford an original 808, LinnDrum, or SP1200 so I look forward to the clones. I do feel conflicted hearing he's not involved and isn't the biggest fan.
I think he should consider doing a couple eurorack modules that utilize his design skills. They would sell, zero doubts. 🤷♀️
The release of high quality instruments at affordable prices is a good thing for the musician. If Roger Linn wanted to release a linn drum he could. Respect to both Roger and Behringer for this instrument.
If he/they did, would you pay $2000 for it? Of course not! The only peeps buying the overpriced remakes by these old farts are filthy rich already. There's no real value in legit remakes by original creators vs. copies. We can all get free VST and sample packs regardless. I can do far more with Linn sample pack on MPC One then ever on an outdated analog tech from 50 years ago, that never sounded 'amazing' to start with. It's all a freak'n joke. This entire money grab industry is horrible IMHO.
Re. tuning, Behringer have announced that they are working on making all drum sounds tunable via a future software update.
Nice! He did mention that the unit he received was not completely finished, so I’m sure they will make it better with updates.
Ah, nice I was wondering about that!
didn't know manual was already avaliable as the LM Drum is still on preorder status. Thanks for the tip! Yes on page 23 there is info on sampling - 12bit / 24khz user assignable sampling on any empty user banks banks , so bank 8-16 ..samples can be edited in the sampling menu by trip start and end only . But can be edited after assigning to a pad in other edit menu : start , length , play direction Forward Backwards , set loop region ( GREAT!) withing a sample ! Tuning : that's where it gets interesting : you can tune Any sample or sound +- 24 semitones ( 2 octaves) in edit menu ONLY if this pad has Physical Tuning control - and there are 6 of those physical Tuning controls ( like on OG unit?) Snare, Tom drum 1.2.3 and 2 congas = 6 in total . That is a wierd Tuning limitation , providing there are 16 pads of 16 banks!!!?? Hopefully Behringer will adress that limitation in future Firmware updates . But sofar 6 tunable pads aside - 12bit Sampling option is a great selling point of this device ( at least for me) ! It won't make it into EMU-SP12/1200 or an MPC60 but it could have become a new 12bit classic in its own right - let's get it first and see. Peace , Jazz🎷👊🏻
Behringer is doing great! No one cares abouut the copies now we can have such machines without the stupid over priced old ones which have remained among the rich brats.
The funny thing is that the original MPC failed to hit its target demographic the same way Roland's X0X line of gear failed. But they caught on with up and coming producers of new genres that could acquire them for cheap. So Behringer is making instruments that are affordable based off of proven designs. Keep it pushin, Roger.
I love Roger Linn for the impact he has on my musical life. I'd support him if he gave me an affordable way to do so.
The Instrument is very cool, but it's not cheap and a solution to a problem I don't know I have yet ;-)
The thing with Behringer is they know the mass market is sub $1000, sub $600 ideally.
SO owning a physical Linn Drum, the thing that started my musical career, underpinned my first album, is more than just the x bit (punchy) sounds, it is a part of me!
I think MANY would choose to licence DIRECTLY from him, if he even sold the sound set, or created (or sub licenced) NEW sound sets.
He's a good guitarist too.
He's a VERY cool guy! I love his spirit!
But marketing/business wise, he doesn't give us mny options to support him :-(
He is a legend. I just wish he was a prosperous legend, but that's largely in "his" own hands.
@Roger give me something I can afford - you already have my attention 🙂
And why is it, that when a company like Behringer makes a clone of a product and sells it at a price most can afford, like the Robin Hood of synths - it’s unethical?!
But if some small “boutique” brand makes a clone of a forty year old circuit and sells it at 3.000,- $, it’s all good?!
They even emulated his NAME on yhe product. It's simply the code of honor. You don't need to get offended. One might choose to follow or not, without any legal consequences, the only consequence being that someone might take notice if you do not follow it. He chose to follow it, they chose not to. He just pointed that out.
Hi there
I’m not offended :)
I just think it’s funny how much it can bother some people, when Behringer makes affordable clones of 40 year old circuits for everybody, while nobody complained when for example Acidlabs did their botique priced 808 clone yeeeears ago.
Rogers old studf is being used in hundreds of products, that unlike Behringer doesn’t even mention him. I have his drumpads on my Arturia Keylad. No credits to Roger.
Behringer did kindly invite Roger to be part of the project, and have praised him in their marketing about the product.
Roger declined because what people write on the internet about Behringer.
Well too bad for him.
Behringer didn’t write Roger’s name on the unit.
It’s called “LM Drum”.
Close and so what :D
The behringer lm drum is 700$ in australia.
Great video instant subscribe love your tone and you're completely right. I'll never forget the time I was at the NAMM show watching two older guys have a chat in the corner they smile looked up at me and I realized it was Roger Lynn and Tom Oberheim shortly after to be greeted by Gary Newman truly surreal to see such innovators together and first person contest
Thank you and I appreciate the sub!
Thanx Roget Linn 🙏🏿MPC 60 is still rocking
Out with the old, in with the new. Thanks to Uli for listening, and bringing to the market some pieces of gear that we do want. These products of recreation could have been brought back by the original manufacturers, but they did not, so thanks to Uli, we are getting what could have been given by the original companies, but because they failed to listen and act, it is their loss, their sour grapes. Again, Thanks Uli Behringer.
I noticed that there are 2 types of musicians: innovators and copy cats. The copy cat group seems to be the biggest. They like being told what to buy by others, don't know their instruments well and have no original vision and instead try to copy their favorite artists. The innovators are constantly pushing the boundaries and intentions of their instruments and sounds. They have their own sound, style and ideas and don't care about the internet warriors typing how the only true "X instrument" is the best and everything else pales in comparison.
The copy cat group is however much bigger than the innovators, and I guess that's where Behringer comes into play.
Surely a true copycat musician would want to copy the synths and drum machines used by their favourite artists.
In my experience (in pro audio sales), innovators don’t really care what tools they are using and are generally not very well off. They thrive on creating with what they can afford. That’s how things like the 303 and 808 became legendary, they used to be very cheap.
1:30 I do respect Roger Linn very much and probably this is just a minor correction. But Roger is wrong that that you just can tune snare, toms and congas on the LmDrum. Behringer just released a walk through video of the LmDrum today where the demostrate that you just have to copy any sample to one of these slots (snare, toms or congas) to tune it down by recreating the iconic Prince claps with three clicks in the menu. While, as I said, this is just a minor thing, I still wonder that Roger even took the drum apart to understan the circuits, but missed that.
And while I agree on almost everything Roger says: I always wanted a Linn drum since I heard it in the 80ies (yes, I'm old) and not just a sample set or a VST, and I'm not a big fan of Behringer either: But that was to tempting, I preorderd a LmDrum. At least Behringer won't make a big profit from it as Roger says.
It's good to have basically proof coming from Linn that Behringer can hardly profit from these selling prices, that profit only comes from selling in bulk. To me that sheds a different light on Uli's motives, though it doesn't excuse him from cloning products from companies as Arturia, MakeNoise and other modular focused companies that struggle to stay in business.
my system still works My SP1200 kicks of my MPC 3.12(custom Roger Linn Chip ) which kicks my TR808 drum machine (TR8S) . I have Linn 9000 and oberhiem DMX Samples in my mpc 3.12 all live to tape
my secret funky sause thanks roger and bruce forat(Happy Birthday) for all your help all these years
Hello, hello...
Well, I think it's great and perfect that Behringer is releasing their versions of all these old devices.
I hope they release more versions of more synths, drum machines, etc., etc., from the 70s and 80s...
and that they are all as close to the original versions as possible, both in physical appearance and sound..
I'm delighted..
Behringer... when will there be a Behringer version of the CS80?
Rodger Linn says "look forward move forward and not backwards"
Exactly
Linn is a wise man! Hope he realases its his turn now or never and makes a new revolutionary product thst vombines all his inventions and tge next in One under HIS own name and takes all the credits - Now is the Time !🙌🙌🙌
I never found anything interesting moving forward. I barely listen to any music made after 1965. (With the exception of some electronic music.)
@@snörre23 Then what brings you to this video!?
@@annother3350 I tinker with electronic instruments, thats the exception to "nothing after 1965" - and i apreciate the behringer clones of vintage synths and drummachines as i have sold my originals in the 1990s.
Insightful video. Thanks for putting contemporary music tools in perspective.
Thank you for watching.
I think a lot of the reason it can be very hard to find Behringer's most desirable value gear is that they don't produce enough to meet demand. They produce just enough that it's a real product out in the wild but not en masse because they aren't making money from it. They're increasing the profile and reputation of the company
I think it’s interesting that people who had access to certain things in the past don’t understand the nostalgia that people have for these things and that people want access to them, and I get it having spent a lot of time with the saga mega drive as a kid I have no interest in revisiting it but I do understand why the generations that followed and grew up surrounded by the culture that came about in its wake are interested in it.
If there is no secret supervillain plan going on with Uli and his company I'd say Behringers practices of cloning old, unobtainable and overprized stuff and selling it to regular ppl with tolerable prizetag is very much ethical indeed. Utilitarianism in the synth market is pretty rare thing.
There is a difference between borrowing and down right stealing
It’s an old design that isn’t supported by its creator.
But people want it.
I'm not gonna lie. Only being able to tune 5 drum sounds is kind of a deal breaker for me. With the LM1, you can tune every sound. My friend ordered one today. I'll let him be the guinea pig. Lol. I have an MPC with samples of almost every drum machine ever made including several LM-1, Linndrum and Linn 9000. Ironic considering the issues that Mr Linn had with Akai. I didn't know until recently.
The most interesting feature I see in the LM Drum are the individual physical outputs per channel. Some interesting things could be done with multiple effects pedals and effects chaining on those individual outs, specifically in a live setting or “live jam” recording session.
@brawndothethirstmutilator9848 I understand the capabilities, but to name it after the original and skip one of its features is silly IMHO
@avace917, I understand your point and don’t disagree. On the contrary, gave your comment a like before I replied.
@@brawndothethirstmutilator9848 I guess we'll see when it comes out.
@brawndothethirstmutilator9848 and thank you
Single sounds, like drums, or ANY short samples should not be copyrighted in any shape way or form! As to 80's and prior analog hardware, seriously? Who cares? Same. It's VERY OLD tech and should have zero claim against 21st century recreations. Teen Age 'Morons' is a fine example of the stupidity of copyright claims. We need a new set of rules across the board. I would NEVER have or would buy anything by Roger or any other fat headed 80's left overs. Those vintage synths are NOT worth 1/4 of what they charged then or NOW. Thank you Behringer for being a great company who really brings the prices to where they should have always been! The ELITE snobs can continue to waste endless money on stuff the rest of us can get for free or cheap on VST, or reproductions by Behringer and others. I, personally, HATE analog old school. Nothing I can't sample for free on MPC or any DAW. Let's be honest for a change. We are paying for the specialize hardware interface. So, to Roger? Just go away. No one wants your 2-5k overpriced outdated sound makers.
I think you can tune anything you like on the device by resampling it first then tuning the sample
I think the most disgusting thing with Behringer is that they don t even try to make their own esthetic design and just copy ALSO the work of esthetic designers. One exemple : imagine you are the guy who designed the look of the Apple II and the Emulator I ( same designer) , and then a company make a product with exactly same look / design….
THIEVES
No thieves
Thieves AND BASTARD
_"don t even try to make their own esthetic design"_
because the whole purpose of the beringer business is *to steal somebody else's thunder.*
They do that because that’s what most people want. It’s marketing 101.
At least they’re not adding a disgustingly large profit margin. Which they certainly could do for something like this which isn’t available any more.
I think the Behringer clone isn’t clone enough!
Whatever.... It's old crap from the 80's. If it wasn't for UA-cam clowns feeding the GAS, no one would really care. People who are rich, could just buy an original. This HYPE on VINTAGE gear drives me insane. It's coming up on 50+ YEARS AGAO! COPY is a flattering thing! The originals are trash by modern standards! We can emulate everything for cheap or free on DAW! Behringer is just milking this old junk at a price that it deserves! CHEAP. No Thieves, ROBINHOOD for the rest of us. ArseClowns who complain, do you even play?
Linn was shut down by a lawsuit after a linn 9000 crashed and a large amount of work was lost by a household name composer/pianist. I can completely understand his reluctance to use lawyers however all credit id due to his genius. I am an SP12 used myself and will be buying an LM1. I have also used a linn 9000 with all of forats ( who worked for linn ) upgrades. An MPC60 1 and 2. If the sound engine is anywhere near the linn 9000 which sounds very similar to the SP12 ( different to the SP1209) then the LM1 will give the chance to make music history. The sequencer from 9000 onwards asq10 mpc60 mpc3000 etc is king for songwriting and i hope the LM1 has at least tried to emulate this. That the arrangement and performance modes past the basic pattern song arrangement.
It's true, nobody could ever replicate the brushes used by Leonardo Da Vinci.
enjoyed this perspective
Just so its clear, that we as the consumers are not idiots. There is a huge prophet margin on the product, its produced in china in their own factories. The component cost will be a tiny amount of the product cost. Its actually really expensive in my opinion.
I bought an Arturia Spark. It can do linndrum too. But just like a stradivarius is just a violin. It is an inspiring instrument.
You said you use the Push and that has copied from the Linnstrument the panel that makes slide notes and polyphonic expression, not to mention the aspect that is MPC like.
Fair enough. As I said I'm not judging Behringer or anyone else, I just thought it was an interesting story so I had to share it since it's relevant to the tools I use and show on this channel.
ha ha...Behringer is killing it and I love it. Sorry Roger, I don't care you are upset. I just love gear...cheap or expensive, originals or clones or modifications or circuit bent, etc.
linn architecture, arturia buttons and pads, moog faders
The future is now, old man
LOL. Excellent. I truly want all these old F's to just retire and get out of the business! 50 year old tech. Bye!
Concerning the "an old bit sounds the same as a new bit" - I saw an Espen Kraft-video where he doubted exact that. He said something like, to create 80s music you'll have to use 80s drum machines and sequencers as well, because of their slight inaccuracy. Modern equipment may reproduce sounds of the era but not the feel. I can't judge on that - just wanted to drop this as a contribution to the discussion.
Espen’s ears are able to detect timing differences of less than a millisecond.
It’s all bollox 👍
The ‘feel’ comes from your eyes 😉
What many others say here.
It’s a forty year old product.
Nothing unethical here.
On the contrary, Behringer is selling it at a price most can afford if they want to.
Roger Linn probably made a shit load of wellearned money on his forty year run, and should only be happy people still care.
I say this with all respect to Roger Linn.
Behringer proclaims this LM can sample at 12bit but fails to provide ANY specs on sampling ...strange ?
Read the flippin' manual man!
@@annother3350 didn't know manual was already avaliable as the LM Drum is still on preorder status. Thanks for the tip! Yes on page 23 there is info on sampling - 12bit / 24khz user assignable sampling on any empty user banks banks , so bank 8-16 ..samples can be edited in the sampling menu by trip start and end only . But can be edited after assigning to a pad in other edit menu : start , length , play direction Forward Backwards , set loop region ( GREAT!) withing a sample ! Tuning : that's where it gets interesting : you can tune Any sample or sound +- 24 semitones ( 2 octaves) in edit menu ONLY if this pad has Physical Tuning control - and there are 6 of those physical Tuning controls ( like on OG unit?) Snare, Tom drum 1.2.3 and 2 congas = 6 in total . That is a wierd Tuning limitation , providing there are 16 pads of 16 banks!!!?? Hopefully Behringer will adress that limitation in future Firmware updates . But sofar 6 tunable pads aside - 12bit Sampling option is a great selling point of this device ( at least for me) ! It won't make it into EMU-SP12/1200 or an MPC60 but it could have become a new 12bit classic in its own right - let's get it first and see. Peace , Jazz🎷👊🏻
I love Roger Linn, but his comments will help make Berhinger's machine fly off the shelves.
Thank you for not being AI voice clickbait!
Thank you for watching!
Setting aside the question of Behringer specifically, as a longtime musician I have to say I've been mostly appalled at the barriers of entry to getting classic sounds in hardware form. The used market ballooned to ridiculous prices, companies stopped making the hardware for many years and then eventually rolled out similar pieces that are either incredibly expensive or small and limited. Of course there's no right to have any of these things, but my point is there's been an obvious void in what's been offered in the marketplace for ages, which is the entire reason that Behringer can and is doing this. It's hard to fully judge them because the demand that has been present for so long has been ignored for so long. There's no reason original companies couldn't have put out everything that Behringer has, which is what most people have wanted all along.
Fair enough. I think it also has to do with the same sounds being available in software, so the hardware market just isn't as big as we think, which makes it hard for companies to offer these units for cheaper.
Hmm…. Wonder if Warm Audio asked Rupert Neve if they could make a 1073
Why doesn’t care? Does he get a share of the crazy eBay sales? I love Behringer for bringing instruments down to our level.
Good luck taking a behemoth like Behringer to court. And if he has a solid case, Behringer will just opt to settle out of court for a nice sum of money
He clearly stated that he doesn't intend to do that, just shared some interesting insights and opinions in a very respectful manner.
Behringer asked whether he would like to work together, he declined. Behringer reached out at first. Behringer is free to copy old gear which doesn't have a copyright anymore. Otherwise he should have created follow up machines and keep the copyright. It's a machine which isn't in production anymore, nor would it take away customers from the original designer. It is just free advertising for him and helps keeping his legend alive. So this guy is just a salty boomer and he just ruined his reputation.
Berhinger basically "borrowing" (so I don't get sued by UB) everyone else's work and recreating them has always been a double edged sword for me. I like that people could afford an old style product without the prices of the originals. As Linn said, his business practices leave a lot to desire.
people only mention it when it's Behringer
They did invite him to participate in developement, but he declined
They "invited" him to help them rip him off. Strong arm tactics that any mafia would recognize as standard operating practice.
To be correct he responded to Behringer and Gforce. I think he was not happy with both releases.
Aly James made the best clone years ago with the VPROM
I don't need to talk to a victim to know they stole it. That's what Behringer does. That's their entire business model.
It’s really going to hurt sales of the original Linn Drum isn’t it 🤦♂️
Behringer provide clones, or loose clones, of synths that the original manufacturers (mostly) chose not to.
As a consequence, a lot more people get the chance to start a journey into hardware. Which is good news for everyone.
are you going to buy a Roland P-6? I'd like to see what you do with it =)
I've considered it but not sure if it's going to be fun for me to explore. Still considering it.
@@LowHeatBeats as you wish. but watching you make music is much more interesting than watching you just talk on camera 🙄
Thanks, I really appreciate your feedback and support. There will be more music making content on the channel for sure.
Ethics? Capitalism? Too funny! Keep up the great work Behringer.
whatever. Still bought an LM drum.
He was gonna do it then the corksniffer incident happened
Behringer losses money on product like the lndrum,r9,r8...how they make profits is they know that most people who will buy a drum machine will need a synth so you will buy one..or buy a mixer,fx unit...etc .
Its same as buying a game console they make money on games,joypads not console sales
He should have told B to abandon those last decade soft rubber buttons (also used in Korg Volcas and past Akai controllers). 😉
Funkbox on the iPad. That’s all.
Bro you care way more than Roger Linn, he doesn't worry, he's cool, because Lm Drum is already a legend
I agree, I don't understand why so many people on the comments think he's upset or anything. His response was pretty chill, I just found it interesting, so I had to share.
re- issue the lm1 then no problem .if not thats on you rodggg
Thank you for not suing Behringer, Robert Linn. You should definitely collaborate with Behringer one day.
I have 2 words for you and everyone: Ally James
Is it also "unethical" for Roger Linn to swipe and then copy/trace Japan's invention of the first functional sonically pleasing drum machine in 1978, the Roland CR-78 nearly 1 1/2 decades prior to Linn making his derivative reductive piece of music tech five-finger-discounted corporate American knock-off TRASH, the Linn LM-1? #Poll #NoHateJustFax
To be honest, i don't care about his opinion, i do care that i'll be able to afford the gear tho
Interesting thank you
My pleasure
Behringer rip-off someone else's design? Surely not! Who'd have thought it?
Behringer copying more niche brands and products that are currently trying to stay in business is definitely more shameful. For example Make Noise Maths and Behringer Abacus
The Make Noise Maths is a clone of a Buchla 257 and it's a fraction of the price of the original. Everyone's mad at Behringer for making a discounted clone of a discounted clone. It's stupid. I've got the Abacus but I've also got the Morphagene from Make Noise because there's nothing like it. I'll shell out good money for something like that but not for a clone of a utility module, especially when I need more than one. Blind loyalty to any company is stupid.
Thanks to Behringer the gear industry is still alive.
@@BeyondTyrants yeah and people can buy Kias if they want too, you just have to live with a cheap knock off with a poor design aesthetic
@@BeyondTyrants also, Maths is heavily inspired by Buchla’s 281 Quad Function Generator and Serge’s Dual Universal Slope Generator (DUSG). Maths builds on the general concept of these classic designs, which use voltage-controlled rise and fall slopes (essentially envelope generators or function generators), but it adds several enhancements and extra features. Aka innovation.
@@squarelanguage who cares if they drive a Kia? at least they got a car that gets them to where they're going. Or should they only be allowed to drive if they can afford a Tesla? Should they only be allowed to make music if they can afford Buchla? I love it whenever synthesist gatekeepers with trust funds tell the rest of us who's allowed to join their exclusive club of making glitchy beats and wobbly farts like their opinion matters. Uli Behringer with his slave labor factory city in China doesn't give a shit about your feelings. He'll clone anything he thinks will sell and more power to him. He's really not taking that much food off these smaller modular companies' table. The people who can't afford their stuff were never going to buy their stuff because they were priced out of starting their modular journey before it even began. At least Behringer prices help them get their foot in the door. Obviously, it's more ethical to buy a used Maths off some random guy on the internet than a new Abacus made with cheap commie labor, but I care more about what happens to my mental health when I don't make music than what some random guy on the internet thinks about my gear choices.
Oh and the knobs on my Abacus are a little wobbly, but so were the knobs on my Maths when I got it. I've seen others say the same thing. But that's not a big deal to me because I'm not rough on my gear. And as far as the aesthetic goes, I love the look of the Make Noise stuff as a whole, but the older my eyes get, the more they appreciate tiny words on modules being easy to read and not a bunch of zigzags that look like signal paths. It's not as much of an issue for me on the Morphagene because that module is a knob tweaker's paradise. By the time I'm sending something to it, I don't even care what happens to it next. But I take one look at their big ReSynthesizer case fully loaded and I get lost. Their stuff is not for the faint of heart. The only thing I've seen that's worse is the Plinky. Lately I've been more keen on Bastl. Their modules get my sound to where I want it faster and gnarlier without trying to make everything look like an ancient alien spaceship like Make Noise does. To each their own though on that one.
Roger Linn has publicly said multiple times that he had absolutely no interest in working on a Linndrum clone and would rather focus on something new, which he states Behringer did offer him to work on something new, so I find it weird that he's suddenly angry now about Behringer cloning it. Roger also abandoned the new Linndrum 2 back like 2020 because he said he didn't have the money or infrastructure. Well, Behringer offered you to make something new and you turned it down. This all comes off as simply seeking headlines.
I think he cares less than being “angry”
He simply has focus forward, not in the past
Behringer probabky offered a really cheap deal
Yeah, how did you extract “angry” from Linn’s entirely balanced and gracious blog post?
@@morten1 A lot of words for someone who cares less. If he didn't care then why make a post at all? He knew he'd get some headlines.
@@justinmccamish9059 You call it balanced and gracious, I find it hypocritical and strategic. I just find it funny how a guy who constantly spoke out about he wanted nothing to do with remaking the Linndrum throughout his career is now going on in a blog post about how he wasn't approached to remake the Linndrum. People wanted a Linndrum clone and Behringer is simply filling a market he refused to fill. And he already stated how he turned down working with them years ago, but then goes on about how they didn't reach out to him about the Linndrum. For all we know, when Behringer reached out about working on a future drum machine, in their eyes, this could've meant the Linndrum. This isn't clarified in his blog. Then tying this all into nostalgia when it's more about a type of sound/vibe. 12 bit sampling has a vibe that high quality sampling doesn't have. Look at Sonicware's Lofi 12. You can still make something new that sound/vibe. Maybe he should write an essay on how vinyl is all about nostalgia and we should all simply move to digital music because we should be moving forward and vinyl listeners are simply chasing nostalgia. Obviously that's a joke because listeners are chasing a sound/feeling with vinyl that's different from digital and gets us away from our computers.
Nothing wrong with bashing Behringer.
Meh. I'm planning to buy one of the Behringers.
I own a Moog GM and a Moog SubH. Both were blatantly copied by Beringer. I have absolutely no problem with that! For a start if you buy a beringer, it's not a Moog. Moog have a special look and feel. That might seem subjective, but I get a kick some how when jamming with them. Unlike my TD-03. I barley ever use it, because it just feels like a chore. The sound is pretty good. But there are easier ways to get the acid sound, so you really do get what you pay for. But if some struggling musician who can't afford high end but wants the sounds then beringer are their life line. Also beringer have been great with these new releases! Who the hell for instance can get a real Solina? I'm probably going to get the beringer offering because THERE IS NO WAY TO GET THAT SOUND! and it really is pretty damn close. The same with all their other releases of old tec emulation. I doubt any musicians except the very richest could actually collect and maintain the originals without huge expense. So beringer offers a way of doing it at a realistic cost. Take the Moog system 55. How much would it cost for the original? Beringer do it for just over a grand!
And remember I am talking about equipment that is still in production. I wouldn't swap my Moog gear for anything. I'm happy with the product and the service. But if you can't afford them. Please get the beringer clones. They mostly sound the same and do the job.
Stop beringer shaming! Because I bet you want some classic sound in your inventory but can't because you are paying thousands for the gear and then hundreds for the maintenance.
This isn't unethical to say the least. 40 years out from the original? Screw Behringer haters, and whiners. This isn't any different than what other companies have done.
it's fine to copy stuff that's out of patent.
They wouldn’t make it if they didn’t make money on it, it’s just when the labor is unpaid a much lower price point is possible, Behringer is unethical to the core please don’t buy from them there are tons of small and large creators doing amazing things and actually contributing to the space that deserve your money much more
This is a simplistic and ignorant view. This thing isn't even an exact copy of the Linn Drum, but even if it were Behringer paid for the reverse engineering labor. There's still a good deal of R&D cost to making these "clones." Behringer "copying" prior "IP" doesn't explain most of the price differences. Their lower price points come from a number of factors including the age and rarity of the originals, brand prestige of the originals, old vs. modern manufacturing techniques, and so on.
This is market democratization in action, making new versions of rare and expensive synths available and affordable to the masses. If Behringer clones force other companies to lower prices to stay competitive and/or keep innovating to stay ahead, so much the better. Innovators get all the reward they need by being first to market. They don't need a government-granted monopoly on top of that.
Are you really going to argue unpaid labor from Behringer? As far as good sources have claimed, though of course take it with a grain of salt, the workers at Behringer factories are much much better off than say Apple or any other big brand that makes stuff in China. Moreover, you think all of the praised Arturia Minifreaks and Microfreaks, Korg volcas, microkorgs, roland boutiques, various other music tools such as headphones, audio interfaces, cables, contorllers and all the rest of the chinese trash is made in mom and pop shops in much better conditions? I don't buy it, not for a second. In fact, they might as well be made down the street from Behringer. Of all the completely valid arguments against them this one in particular Isn't among them and I find is the weakest and most hypocritical.
They had the chance to make their own amazing sampler/groovebox and instead they went with this not so cool anymore Idea
Agree! They could and ytey still can!
B have a lot of opportunities and yet they fail to hit the mark on most of them.
Out of the 100 or so bit of gear they are working on, only 3 of them are original ideas, correct me if I am wrong, but that seems like a really low % for how to get anything right.
Next they will clone Dolly the sheep and it will be a farting frog.
They should make a new SP1200 for around 600...that will put a nail in the coffin for SP1200 snob sellers with their greedy price tags.
@@StatetrooperBillyBlast you mean the Pioneer SP1200?
@@DankePlace The E-MU SP1200 goes for around $7000 these days, i'm still waiting for Behringer to make a clone.
I wish behringer would rerelease the studio 440.
The lm drum is rather underwhelming.
I would bury the money 100ft deep before spending it with Behringer. Company is totally amoral.
Morals and ethics are important to you?
we got the joker in the replies
@@titovalasques Lol. Um, yes. They can't get my money. They e never gotten my money.
Many will buy the behringer and they don't even need it. Fact
In the age of affordable DAWS and affordable iOS music production are any hardware synths or samplers really “needed”? More to the point, since when has art or a hobby been about “need”?
guilty
Build a better Boss Dr-55 🙂
Ok, what does he think about MPC Live? Who cares! It's a different instrument
Hey Mr. Linn.. why you produce not a new one of this machine?
do it or leave it, but no stupid busllshit comentars
Roger Lynn stole all the sounds for the Lynn drum from real drummers so he a Hypocrite who is jaded and out of touch. You're so desperate to make money off the new generation. He's becoming a better man.
😂 he is none of those things. He is happy, still designing and is still a legend
From the guitar playing guy who copied Roland 808 smh😮
Including the colour
Clickbait thumbnail...pass🥱
What part of the thumbnail do you consider innacurate? Clickbait would mean that I promise something in the thumbnail and the video doesn't fulfull the promise. I really want to do better, so please elaborate.
Ask him when he will finish the Tempest..... Unethical.
I dont care about people and their problems, all I want is good and cheap gear. Without Uli my jam setup would cost 4 times more. God, I love Uli Behringer!
Dude your channel is recently only about gossip
Hey, I understand what you mean, but that's not the case. I just happened to cover 2 controversial topics in the last few days and none if it is gossip, it's all facts. And I still do beat making stuff.
Unethical… I can’t afford a $5000 original. Why doesn’t Roger Linn build a modern clone then?
Who cares.
It’s always a shame when an elder whom has all of our respect and appreciation has their inevitable “OK Boomer“ moment.
Oh no! Who will think of the multi-millionaires!
Behringer products suck. Their customer services sucks!
Another channel who loves pointing out others being devided about their beaf or copied work. While it is known this stuff super normal in all other businesses to copy each other like cars,hairdryers,ovens,bikes really super normal not normal is accualy that someone gets a market cornered because they at sometime developed something so dude move the f on. The last this synth community needs to point out this 100 time recycled story. Maybe you should create something yourself than beating this dead horse.
I have alot of beat making videos and tutorials on the channel, so I do make original content, just take look at some of my other videos. You may be very familiar with these stories but not everyone knows about them. I've always been a fan of Roger Linn and this was an opportunity to make a video about him.
You are probably failed.musician teleporting your bitterness on the rest of the internet. The Limm Drum has not been developed for decades by the creater because of no interest so at 1 point others can move on with it fair use after 5 years after the creating for a market to have a existince. To have a UA-cam is nothing special especially when you create loser content like this.
@@LowHeatBeatsHe did do antthing with this creation for decades so at 1 point be it will become fair use for a market to develop like after 5 years after the creation is standard. But do in real life hé everynody these folks.don't agree with each other and see where this behaviour will get you.