This thing is actually huge, I compared the specs to my MPC live 2 and the LM drum is BIG. I’ve never played with an RD8 or RD9 but are they 3 inches thick and 19 inches wide x 10.5 inches tall? That seems enormous.
I know the original linndrum was like 22 inches wide, but I didn’t really expect that this would be so closely scaled.
Actually, I just checked, and I guess this is in line with their other drum machines. Those things are bigger than anticipated!
They are the correct drum machine size 
No arguments there!
Especially when you’ve got sausage fingers and shit eyes
I really wonder how close it sounds to the original. If it beats the S2400 for close-enough-to-authentic lofi grit, it’s a big deal to me
i have the machine and have had for some time which is how i know what a backup is, , we had more space and recording time in general early in beta but that has been halved, maybe they will release more once the machine is settled and they know how much ram they are using for tasks and that is why they are being tight lipped about it - would make sense to me
native play is 12 bits, can go down to 1 bit via the crusher
i questioned this a long time ago as it seemed a bit confusing but the response i got internally is they mention the 8 bit due to the early Linn being 8bit , there you go
Wish Roger Linn would create it and Oberheim create new version of the DMX.
@shigginpit i have been pestering for per step modulation the entire way through development, once its on the street if enough people ask for it then they will likely spend the resource to achieve it
it would also open the machine up for those of us that are elektron heads and are just normalised to this behaviour 
yes the CC count is low - they have their reasons and i expect it is mostly down to the circuits and the cost of adding cc control to them, they are still trying to be super competitive on cost and this machine is a heavy investment on their part so something has to give - of course there are areas like the digital side where it should exist but it doesn’t, i am fine with it in fairness as it just means i use it manually and it has a decent workflow , i love the thing, looks way better in life than on video
So is that to say it does not receive velocity over midi from external sequencers at this time? Would a person ideally load prepared samples that have been pitched up in a daw via synthtribe which would convert them? Is there any benefit to using any specific sample rate during prep?
I’m wondering about the synthtribe step sequence editor, does it allow you to preview audio for what you’re editing in the software or by staying connected to the LM via DIN sysex or are you just sort of editing blind, except whatever the opposite of blind is. Deaf I guess?
How granular is the sample edit on board? Just say, compared to digitakt which is not very detailed, rather than an mpc. I’m just wondering if more a more authentic “lofi sampler” character can be achieved by using the native mono sample recorder at 12 bits 24 rather than in digital conversion, or perhaps you found that at 12 bits it all sounds about the same?
Sorry for all the questions, thanks for popping in.
we updated the app on the computer now so it converts any sample from stereo and higher rates to the desired format so you can just dump files into the app and let it do the lifting, you don’t need to worry about sample rates/mono etc - vast improvement from where it was where users had to do all the lifting prior to loading
if you want to pitch stuff up before you import it that is up to you, suppose it depends just how much artefacts you want adding from the lmdrum when you pitch back down, of course space is saved with higher pitch samples whether sampled up pitch or transferred
synthribe sequencer is just data , not audio BUT the swap is instant so you dont need to preview, you just press play on the machine after any editing on the app - the app is connected by usb
used my a4mk2 to send data to the machine, it records velo on board
the onboard sampler editing is not granular at all, it samples, we have truncate, normalise, auto gain or user defined gain - it does what it needs to but it’s simple
the primary advantage is the circuitry - not the spec of the sampler etc
hope this helps
more are coming from patrick @ behringer soon, one of which i believe is covering a lot of stuff people are asking about tech
beta team likely wont do any - well, maybe one guy will on the team who i know does videos but i won’t, its not my thing at all
you can on the pads by playing them - worth remembering that velocity in this isn’t strictly what we are used to, velocity only serves to swap the samples that are on the tracks that have multiple samples, you cannot get a kick to go from velo 1 - 127 as the kick only has 2 variations, soft and hard, snare has 3, clap has 1 and so on
to be able to do it as an edit will need per step modulation which it does not have. this may or my not change later , hope this is helpful
Of course, I oversimplified but I understand it’s the sum of it’s parts which creates the character. Thanks for all the clarifications, that is helpful. I noticed you mentioned some file sizes and durations of recording as a reference to the overall capacity and I was definitely thinking I could save some space by pitching up and live with some artifacts, but I was never thinking 2 octaves up, more like 6 or 8 semitones where I’ve had reasonable success with other old samplers in the past.
Having long samples with older technology becomes kind of a liability, but compositionally I find it hard to stop using them 
So, given that you’re saying the sampling behavior is, I guess gated? Is the ideal sampling workflow (if sampling via the TS jack) to first prepare your audio with nothing before or after it, so that when you play it into the LM it’s simple for the machine to automatically truncate the recording, rather than sampling from records etc.?
Just imagining if you can’t edit start and end points of a recording capture, then as a sampling drum machine it’s mostly engineered to capture short drum sounds and therefore you’re sort of working within that paradigm to get your samples onto it. That is, if you don’t decide to use the transfer style app.
This is all helpful to know, thank you. Also good to know that it responded to velocity over midi.
When ever B has a new release I always think it’s a missed opportunity for then to prove they can make A SICK machine . I don’t think IKEA and it’s Cult need to feel threatened by that little screen . Maybe after Behringer has finished cloning the entire industry they may realise their potential.
I hope they never make an original synth or any other machine and focus solely on reintroducing the wheels of the past. The very last thing I want Behringer to do is make their own stuff. That would be soooooooo lame.
people have moaned about wanting more i/o since manufacturers started limping out decades ago and now because behringer have decided to do it on most of their machines it is down to being cheap? This isn’t just a 12bit drum machine fwiw - ok i am the 1st to admit that it isn’t some god but to attempt to limit or completely ignore what it is seems a bit naive, it’s copied circuitry of a machine that many desire and it samples in at low res which is not only the ‘thing’ right now for many but is actually a really pleasant sound
Uli and the company has said over and again that they will bring what folk have desired, not only that but they will do it while targeting the most reasonable 1:1 within a set boundary and without making every product a loss leader, it’s a pretty honourable ethos if you ask me - i know many have contrasting views and that’s normal and perfectly acceptable
i have to say this, it’s not using panning faders etc because it is cheaper - if you remove all the panning etc then you have something that looks nothing like the OG, and your idea of adding a vcf per track would 100% remove it from the roots of the OG , maybe you know nothing about the machine it is based on and that is why you say it - yes it would be nice to have a machine like that but it would miss the point of the reboot completely - if we were going to do that we may as well stream audio via usb, add 500 NRPN, and use a large touchsceen for our interactions, i for one couldn’t support that
we can edit the sample, start and end point so you can hit record whenever you like - we have truncate and you can simply preview what you are doing, basic but functional
I see, I misinterpreted what you meant when you said there was no granularity to the sample editing. I should have probably used the term resolution instead, as I was just wondering how far you can zoom in on the waveform compared to something like digitakt while you trim your sample.
I mistakenly thought you were saying that the truncation is automatic and that there was no zoom or editing beyond the normalize, auto gain and user defined gain that you mentioned. That makes more sense, thanks.
We need an inch of dust on it. And a Tears for Fears sticker.
we can zoom right in to see zero crossings