Speedbump surface

[mrspiral]

I love my LS128 more than ever with the black Speedbumpy installed! I will be showing it off at the "petting zoo" (thanks to Mark Mosher of Rocky Mountain Synthesizer Meet for coining the term) at the Electrowave festival at the University of Colorado, Colorado Springs, this weekend, and using it during my concert to control a quad software instrument setup. I expect a lot of curious questions....

[Lizzard]

I received and installed my black 200 yesterday, and first impression is that it's glorious! Totally different feeling, I think I'm in love. Not to knock on the original design too much, but this just takes it to another level. Thanks a bunch, I'm very curious to see where this takes me.

[LarsDaniel]

…this just takes it to another level.

Exactly how I feel.

[John the Savage]

As I have done with all my instruments, I intend to get one of these, if only to fully explore the boundaries of what's available and possible. I honestly feel, as a working professional, that I would be doing myself a disservice if I didn't.

And I want to support Chris in this endeavor, because I think he has done exemplary work in bringing this to fruition, and it has obviously resonated with the Linnstrument community.

However, I just want to lend some objectivity to this conversation, from the pragmatic viewpoint of a staunch technician. While I am confident that this alternate surface has its advantages, without even trying it, I already know that there are certain playing techniques and visual aspects of the U.I. that it will impede.

As much as I like the look of the black one, for instance, it does challenge the LinnStrument's light-based menu system and minimize other important visual cues.

I can also tell you from experience that the physical grid etched into the original playing surface is not trivial in various stage-lighting situations and outdoor shows.

And there are vertical sweeping techniques that the ridges on Speedbumpy will prevent, despite conversely improving horizonal slides, pitchbends, and general intonation.

When it comes to instrument design, every aspect is give-and-take.

To which end, I'll most likely be getting the white one (despite it not being as pretty), because it boasts the same tactile advantages as the black one, while preserving the greater functionality of the lights as intended by design.

Anyway, just some food for thought.

Cheers!

[mrspiral]

All reasonable points, John. I don't think anyone is implying that the Speedbumpy is ideal for everyone – far from it. But there are people who find the different tactile information it provides to be an enormous help to THEIR playing, and I am one of those. It was a transformative experience for me, to be sure.

Someday if I have some extra money knocking around, I might try the white surface to see if the improved LED visibility makes a difference. It does make using the display a bit trickier! But as I frequently perform in planetarium shows, the greatly lessened light emission is a big deal for me, and when I am NOT trying to use menus, I love the look. So, horses for courses.

[John the Savage]

Oh, I agree.

I think we're on the same page, Mike.

My post was intended more for the sake of those who might be looking a little too closely at what this playing surface presumes to improve upon, at risk of not seeing the various caveats that it also brings. It has been my experience that many people do struggle with stepping back in that regard.

I field a lot of questions about the gear that I use; especially from beginners, whom often respond with "Oh, so, that's what I should get then?" And I can see that they find it perplexing when I say "Well, no, not necessarily."

Anyway, I genuinely look forward to giving this playing surface a go; but, for the record, the original has never held me back.

I see Speedbumpy as being more akin to things like string gauge, action, fret wire, neck profile and scale, etc. I wouldn't expect my preferences to suit another accomplished player, but the conversation is always relevant.

Who knows, swapping out playing surfaces or having more than one LinnStrument onstage, much like having multiple guitars with different setups, would not be unreasonable for my purposes.

Cheers!

[TigerBalm]

When it comes to instrument design, every aspect is give-and-take.

Totally valid thoughts John. I've noticed Roger says the same thing in interviews... how every instrument interface has advantages and drawbacks. This is sort of contrarian in the expressive synth world, because so many makers market their expressive products by saying "with this one tool you can make ANY sound!"

However I do think that the bumps make vertical sweeps (across the rows) easier for two reasons. First, you get a tactile bump on every row like running a stick across a fence. Second, the bumps ensure that you apply force right on the Y center of the row without wasting any force on the boundaries between rows. For similar reasons it makes double stops feel more confident.

Actually at the very end of this video where Connor was jamming, you can see where I was like "hey try sliding across the rows" and he picked it up right away

https://www.instagram.com/p/DOZaAbEEmVm/

But I do agree it will have drawbacks. It will feel less familiar to people coming from Launchpad/Push. Probably less good for finger drumming. Initiating a pitch slide is a bit trickier because you start in a groove with 0 speed, whereas with the squares you can get your finger moving before riding over the boundary groove. Surely there are other drawbacks I haven't thought of yet.

[mrspiral]

… Initiating a pitch slide is a bit trickier because you start in a groove with 0 speed, whereas with the squares you can get your finger moving before riding over the boundary groove.

Wow, is that really an issue for some people? I suppose I shouldn’t be surprised. This is just another data point indicating that my fingertips are made of concrete and my idea of subtle aftertouch is stomping on the keyboard.

I’ve never had this issue myself, because I think I’m pushing harder than any other normal human. The folks at Embodme finally suggested that I switch to playing my Erae2 with the hard surface designed for drumsticks, because my fingertips were making the fabric surface bunch up and stretch out of shape whenever I did a bend.

Just call me Metlay Granitehands…

[John the Savage]

However, I do think that the bumps make vertical sweeps (across the rows) easier for two reasons. First, you get a tactile bump on every row like running a stick across a fence. Second, the bumps ensure that you apply force right on the Y center of the row without wasting any force on the boundaries between rows. For similar reasons it makes double stops feel more confident.

Thanks, Chris. I promise you that I am listening.

Honestly, I am genuinely hoping to like it, and I will be buying one regardless.

I am rethinking my decision to get the white surface though. See, I don't light up a scale pattern, but rather a very sparse pattern of lights to serve as "fret markers".

A few pages back, Kevin posted pictures of both the black and white surfaces next to the original, and the first thing that struck me was how difficult it is on the white Speedbumpy surface to see the detents on the unlit cells. Whereas the detents on the black surface are clear and therefore seem to provide a natural contrast even without the lights.

With my setup, there are multiple unlit cells between the lit ones. And so, I do rely on the grid markings on the original to distinguish the note boundaries in those voids.

That one detail may have to take precedence over any other visual feedback.

Cheers!

[John the Savage]

… Initiating a pitch slide is a bit trickier because you start in a groove with 0 speed, whereas with the squares you can get your finger moving before riding over the boundary groove.

Wow, is that really an issue for some people?

I'm with you on this point, Mike.

The grid lines on the original never bothered me either. I just seem to power right through them. As such, I can't imagine the detents on the Speedbumpy surface being an issue for me.

Cheers!

[ElVincente]

Received my black 200 yesterday.
I just really love how it looks.
From quick test I think it makes me more precise when searching low velocities.
Doesn't bother me for fast playing at all.
Now I'll explore more unquantised and y axis playing.
Thanks @Tigerbalm

[TigerBalm]

My Pleasure ElVincent

PS... I just shipped off the last of 205 boxes! Wow that took a surprisingly large amount of effort. I felt like I worked at a fish market slanging fish fillets (rubber sheets). My two goals for this project were 1) expressive synth R&D, and 2) to practice running a small business. On both counts this has been very successful.

With so many orders there's a chance I could have made a mistake. Already one customer reached out because he ordered black and I sent him white (sent him a black surface today to fix the issue). Please message me hello(at)soundwork.shop if there are any issues and I will fix them.

Thanks to all of you for supporting the project. Special thanks to LarsDaniel and Connor Golden for making videos (edit: also Kevin for reviewing the geometry, and Roger for 100 things). Looking forward to seeing these things pop up on youtube and instagram!

[SneakyT]

I ordered the black one for the 200. Hopefully it ships this month but I am not betting on it. Early adopting something is rarely on the timline that they give. No problem.

Got mine today!!! Not as late as I expected.... Havent installed iot yet but it's definately well made.

[LarsDaniel]

As I have done with all my instruments, I intend to get one of these, if only to fully explore the boundaries of what's available and possible. I honestly feel, as a working professional, that I would be doing myself a disservice if I didn't.

And I want to support Chris in this endeavor, because I think he has done exemplary work in bringing this to fruition, and it has obviously resonated with the Linnstrument community.

However, I just want to lend some objectivity to this conversation, from the pragmatic viewpoint of a staunch technician. While I am confident that this alternate surface has its advantages, without even trying it, I already know that there are certain playing techniques and visual aspects of the U.I. that it will impede.

As much as I like the look of the black one, for instance, it does challenge the LinnStrument's light-based menu system and minimize other important visual cues.

I can also tell you from experience that the physical grid etched into the original playing surface is not trivial in various stage-lighting situations and outdoor shows.

And there are vertical sweeping techniques that the ridges on Speedbumpy will prevent, despite conversely improving horizonal slides, pitchbends, and general intonation.

When it comes to instrument design, every aspect is give-and-take.

To which end, I'll most likely be getting the white one (despite it not being as pretty), because it boasts the same tactile advantages as the black one, while preserving the greater functionality of the lights as intended by design.

Anyway, just some food for thought.

Cheers!

Perhaps revisit all these imagined impediments, once you have actually tried the new surface?
Sorry if that sounds a bit grumpy, but of all the “problems” you mention, I do not see any to be true at my end. Like, impeding the menu system - what?

[John the Savage]

Like, impeding the menu system - what?

I think my questions have been more than fair and measured, Lars.

In nearly 40 years of playing music, employing countless instruments and tech along the way, and poring over the various pros and cons of numerous setups, big and small, with my colleagues, I have never met with the kind of defensiveness and insecurity that I often run into here.

At any rate, Chris kindly addressed my concerns, much to my appreciation.

I'd say take your sarcastic laugh somewhere else; but honestly, I'd rather show myself out.

Best of luck to you in your musical endeavors.

Cheers!