I'll kick-off with my humble and simple setup.
Linnstrument is attached to a basic keyboard X-stand with bungee chords. X-stand has got some flex when doing manual vibratos but I'm usually holding the left side of Linnstrument to keep it steady a playing with right hand. It's still shaking a bit but at least audience can connect it with what they are hearing
Last weekend I've played with a band at open air festival first time and got caught up unprepared by direct sunlight, not seeing the LED lights at all, leaving me blind. I had to put the synth and Linnstrument into the transport case and it's lid provided some shadow. Not ideal but it worked. This upcoming weekend our band is again playing outdoors so I used red and black acrylic markers (0.7 mm) to be able to play without the need of shadow (still hoping to get partial shadows by trees).
Concerning sounds, I play synth with drums/bass/guitar/vocal kinda-math rock band. I've settled on Sequential Prophet 6 module. Love it's sonic range and how it nicely blends with electric guitar, thanks to analog VCO's, filters and distortion. Effects are seemingly basic but I've found out by trial and error that they sound better then many external effects which tend to thin-out synth's raw sound.
P6 has basic MPE support. It's mono-timbral so no upper/lower zones and MPE mode has at default very limited Y-axis modulation destinations - you can only switch between full control of either filter or PW or both in the global settings. Aftertouch on the other hand has 6 destinations with variable common amount. And here it is where the Linnstrument really shines - I swapped the controllers so that Y-axis sends the Aftertouch and Z-axis sends the CC74 which is set to PW of both oscillators. With this trick I have much better expressive options.
Unisono sounds are not friends with MPE mode on P6 but Linnstruments saves the day again with it's second 'split' which is configured as single-channel and works wonders with unisono although with pitch slides limited to 12 semitones.
I have a magnetic foil with cheats for current playlist. Info for each song contains playing order number, name, tempo, key, preset numbers (P6 displays only numbers) and initial click countdowns that come from drummers click source to IEM. IEM headphone preamp is hanging velcroed on the stand, right below the Linnstrument (not in the pictures below).
My playing technique is perhaps a bit unorthodox (judging from other Linnstrumentalist videos). I use lower edge of the Linnstrument pads as guiding line for fingers and swing the fingerpads towards the upper pad egde. It's not a rule but most of my self-designed sounds are nearly muted with closed filter on lower pad edge and moving upwards it gets more open/bright/detuned/high-passed/broken/twisted... it depends. Sometimes this expression is subtle other times it goes to extremes. I.e. when playing chords the expression range is usually lower. For expressive 1- or 2-finger pad sounds/leads it is more drastic timbre change on Y-axis.
On my primitive 'pedal board' I have Radial Engineering Key Largo, a keyboardists mixer that has 3 stereo inputs (I'm using only one), USB interface, FX loop, volume pedal loop, monitor and DI outputs that FOH sound guys love. In the volume pedal loop is Really Nice Leveling Amplifier that is set to limit the highest peaks a bit. Both boxes are powered by Cioks power brick that also powers the Linnstrument with its USB out and IEM HP preamp. Everything fits in relatively small flight case. For the future I might add Eventide H9 with expression pedal for further sound tweaking but if it adds too much complexity, I'll just stick with the rig as it is. I'm getting older and my cognitive abilities are not exactly growing while the world around us is getting more and more complex so keeping things simple is necessary
I'm looking forward to your rigs and tips!
