Roger Linn has shared his perspective on two notable releases tied to his iconic LinnDrum drum machine: the Behringer LmDrum and the GForce Software IconDrum plugin.
At the close of the year, Behringer launched the LmDrum, a hardware drum machine modeled after Linn’s legendary 1982 LinnDrum. Simultaneously, GForce Software released the IconDrum, a virtual drum instrument featuring sampled sounds from the LinnDrum. Both products stirred significant interest among music enthusiasts.
In a detailed statement, Roger Linn addressed the design, functionality, and ethical considerations of the LmDrum and IconDrum.
Behringer’s LmDrum, described as a tool for recreating classic 1980s drum sounds, incorporates an 8/12-bit sampling engine and allows users to record and store their own samples. Linn acknowledged receiving an LmDrum unit in August 2024, which gave him an opportunity to evaluate it firsthand.
Linn noted that the LmDrum heavily mimics the visual style, control layout, and logo design of his original LinnDrum, while also replicating sounds from his LM-1, LinnDrum, and Linn9000 machines. He remarked that even the internal sound generation circuitry mirrored his original designs, including some limitations, such as restricted tuning options for certain drums.
Despite the physical similarities, Linn observed that the LmDrum employs a different operating system and interface, which he found somewhat confusing. While acknowledging the potential for improvements in the software and manual, Linn speculated that the designers struggled to balance the LinnDrum’s vintage appeal with modern features.
Linn also expressed mixed feelings about Behringer’s approach, noting that they did not seek his permission to replicate the designs or sounds. While he appreciated the legacy of his work being celebrated, he questioned the ethics of copying his intellectual property without consent, even if legally permissible.
GForce Software’s IconDrum, a virtual drum sound generator, similarly draws inspiration from the LinnDrum’s aesthetics and sound library. Unlike the LmDrum, it lacks sequencing capabilities, focusing solely on reproducing sampled sounds.
Linn highlighted a key difference in GForce’s approach: they sought his approval before releasing the product and even offered a small royalty for his association. While Linn declined due to concerns about the product being mislabeled as a “LinnDrum,” he appreciated their transparency and respectful communication.
Reflecting on the broader trend of nostalgia in music technology, Linn questioned the fascination with vintage digital drum machines. While he acknowledged the value of analog synthesis, he argued that digital technology, by its nature, offers no distinction between old and new data. Linn expressed a preference for exploring innovative software synthesis over revisiting past designs.
In closing, Linn remarked on the affordability of the LmDrum, priced at $399 in the U.S. He speculated that Behringer might face challenges in balancing production costs and market demand for a LinnDrum clone at such a low price point.
Roger Linn’s insights provide a nuanced perspective on the intersection of innovation, legacy, and ethics in the evolving world of music technology.
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