KVR Audio

I'm learning how to use and play the Linnstrument in Harpejji mode.

For those unfamiliar, the Harpejji is a 16 or 24 stringed instrument on a large tablet played sitting and tapping stings. See https://www.marcodi.com/ for info on physical instrument.

The Linnstrument turned 90 degrees lends itself to an incredible controller version of this being able to play Harpejji samples or any sound source imaginable as an "8 string" (8 column) version.

Info on setting up this configuration is on the Linnstrument Support page under Tips and Tricks: see Harpejji tuning.
https://www.rogerlinndesign.com/support ... ps-tricks .

As I'm learning this as one primary method of playing 2 handed "piano style" playing with harpejji tuning, I thought I'd set up a discussion thread for me and others to share their experiences with this configuration of the Linnstrument.

Part of my harpejji mode pursuit was heightened by a recent purchase of a second 200 note linnstrument. Having 2 units side by side provides 16 columns which corresponds to a 16 string version of a harpejji.

I just got my basic harpejji tuning setup with low left bottom note as a C (see pic).

Note the patterns on bottom 2 rows. Those lit up are the white keys on the piano with blue being C. If you played in one column bottom to top, it would ascend chromatically. Each column left to right is a whole step up.

This was very easy for me to play simple chords and melodies without much learning curve. Learning shapes and scales is easy as transposition is almost instant moving up a row or over a column.

Hi Kevin,

I suggest removing the wood sides between the units so that they are 1 inch closer together.

Removing adjacent wooden rails was easily accomplished. This makes 2 adjacent linnstrument units a better fit in harpejji orientation or standard orientation (see pic).

Although I was hesitant to disconnect parts I'm likely to misplace longterm, it appears that the wooden rails are purely cosmetic and screw removal has no impact on holding anything together except attaching rails -- great design. Fortunate for me, Roger sells replacement rails separately when I can't remember that "safe place" where I stored them.
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Video on Harpejji Playing Basics



Although I'm applying these techniques to the Linnstrument in Harpejji mode, this video is a great tutorial on how to navigate this tuning.

As a user of samples and virtual instruments, learning the playing technique and the acoustic physical nature of any real instrument enhances using a controller or how to compose or access the sound.

The real harpejji is a very powerful playable work of art designed and continually improved by the harpejji luthiers Marcodi. Owning a real one would be likened to owning a fine cello instead of playing a physically modeled one. One would be very fortunate to play or own a real Marcodi Harpejji.

That said, the Linnstrument in harpejji mode unlocks this orientation to be applied to almost limitless sonic options when used with other sound sources. I was amazed with applying this Linnstrument harpejji mode to exotic rare keyboards in Spectrasonic's Keyscape I've played for years on a traditional midi keyboard ... its a game changer with the Linnstrument adding slides, vibrato and cc expression in a naturally playable fashion this harpejji mode offers.

I will add that as a previous owner of a Harpejji 24, the Linnstrument is so much easier to play.
The real Harpejji requires lots of practice as it really requires new callouses and muscles, and over time found it really hurt my wrists. Especially if not playing it all the time.

I'd suggest perhaps trying to angle the Linnstrument downward to help, when I did that with the Harpejji it made things more comfortable. A lot of modern keyboard players do that these days, but I think they do it for the looks.

By the way, it's got to be way cool to have 2 vertical like that. So much better with the side rails removed as well.

Here’s another thought, Kevin. In the vertical orientation, the USB cables stick out the front. An alternative would be to use USB cables with a right-angle or left-angle jack, depending on whether you’re willing to block the foot switch jack or the MIDI jack.

Dirk Diggler wrote: Wed Jul 30, 2025 1:19 pm I'd suggest perhaps trying to angle the Linnstrument downward to help, when I did that with the Harpejji it made things more comfortable.

Interesting, I'll have to try that. My inclination was the opposite, to slightly angle upward away like a mixing board or qwerty is angled for visual and reach.

Glad to hear feedback from someone who has used a real harpejji and Linnstrument, thanks!

Roger_Linn wrote: Wed Jul 30, 2025 1:51 pm An alternative would be to use USB cables with a right-angle or left-angle jack.

Good idea. I waviered between switches or jacks to be closest to me. I figured I'd bump the switches at an unfortunate moment, so I opted for jack being close. I do plan to use footswitches, but may send those direct to computer to bypass linnstrument as I primarily use sustain and cc for footswitch controls.

Thanks for tip!

I tried the Harpejji flat, tilted back, and tilted forward.
Forward was the most ergonomic and most comfortable to play for me.

I think also the real Harpejji requires a heck of a lot more downward pressure to tap the strings compared to Linnstrument.

The bottom line is, do what's most comfortable for you to play.
Ergonomics should be a huge concern with any instrument.

Oh and on my Linnstrument, I have it tilted slightly back on my keyboard stand.
Maybe 20 degree angle or so, but it's also on the top tier row.

Made custom brackets to connect 2 Linnstruments using 1" aluminum angle brackets and M4 screws on each end where optional strap buttons are inserted.

My brother used his milling machine for precise hole placement using info from Roger's Linnstrument chasis design drawings on website.

1" aluminum angle cut to 80mm (appx 3") length with holes 20 mm apart. Rock solid with 2 brackets which rubber feet still clear thickness of bracket on bottom. I may paint them black.

Pictured without wood sides. Brackets mounted on each end (2 brackets needed for connecting 2 Linnstruments).
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Nice aluminum work, very sharp look, well done!

MY NEW SETUP WITH 5 LINNSTRUMENTS:

3 LinnStrument 128s for Vertical Orientation - Harpejji Mode with 24 vertical columns
2 LinnStrument 200s for Standard Horizontal Orientation.
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After experimenting with original LinnStrument 200, I decided to get 3 Linnstrument 128 units dedicated for Vertical Orientation. A significant investment, but well worth it.

Why so many? I wanted a dedicated vertical orientation setup:

1) 3 units vertically provide 24 columns with a 5 octave range in Harpejji tuning.
2) Smaller 128 version is comfortable to reach range in vertical orientation.
3) Smaller 128 in vertical orientation fits stands / desk with smaller depth footprint.
4) Allows for modified custom setups based on Harpejji tuning.

Vertical orientation (Harpejji or other tunings) is a great way to play “piano style” with chords and 2 hands. Having a single unit with 8 columns in vertical is limiting, sort of like a concert pianist playing on a 25 note keyboard. 2 units side by side is a game changer. 3 units are even better.
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When grouped together, I removed wooden sides and connected units together using angle aluminum with holes 20 mm apart mounted in strap holes.

I still love my 200 units horizontally for soloing (mono or 2 voice note solos) in default tuning. These offer a 25 note slide range or a more generous space on either side of a split.

Which LinnStrument version is better? Depends on how your use it. Web site details differences and there a dedicated thread on 128 vs 200.

I started with 200 which is my favorite. That said, for playing in vertical orientation I’d choose two 128 units over one 200 unit.

For me multiple 128 units works best for Harpejji mode, but best scenario is having multiple of both LinnStrument versions.

Traditional Harpejji Vertical Orientation with 3 LinnStrument 128 units
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3 connected units with wooden edges removed:
- No Split zones
- Tuning goes from low C and continues in whole steps across all 3 units – as if it were one big unit
- For individual note bends / slides, must be either set up in MPE mode or with each column being a separate midi channel and multiple virtual software instances or multiple sound modules of same patch if non-MPE sound source.
- Instructions under Harpejji mode set up for first unit found here:
https://www.rogerlinndesign.com/support ... ips-tricks
- For setting up additional units, use same instructions but adjust Octave / Transpose to continue tuning pattern.
Great layout for Harpejji sound, classical guitar, piano or any instrument being played with one sound for chords or polyphonic 2 hand "piano style" playing.
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Modified Harpejji Vertical Orientation with 3 LinnStrument 128 units
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- All 3 setups the same EXCEPT octave range and sound source selection
- Bottom Split 2 rows in whole steps. This is used for alternate sound, same sound but an octave up, or for keyswitches to change sound variation.
- Upper Split from C to C on bottom row in whole steps
- CC control on left side in vertical orientation (called “Bottom Row” when programing)
- For individual note bends / slides, must be either set up in MPE mode or with each column being a separate midi channel and multiple virtual software instances or multiple sound modules of same patch if non-MPE sound source.
- Instructions under Harpejji mode set up for first unit found here, but requires tuning tweaks and adding split / bottom row cc:
https://www.rogerlinndesign.com/support ... ips-tricks
- Additional higher pitched units each tuned an octave higher. Option: tune 2 higher units same with different sounds.
- Standardized each units to be tuned C to C

Great layout for playing bass on lowest unit, chords with a different sound on higher pitched units. Bass and Guitar, bass and electric piano, bass synth and synth pads are just a few applications.
Lower split options work well as complimentary variations. Example: sampled Guitar bar chord below single note guitar on upper split. Muted guitar (or bass) notes on lower, with regular guitar (or bass) notes on upper. Keyswitching midi notes (non sounding) on lower split to change sound options on upper split from Legato to staccato or mute or other sound variation. Or midi note keyswitch to activate playback / stop or other DAW functions. Many possibilities.
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