Roger Linn, who gave us the classic sample-based drum machine, took time over the weekend to share his thoughts on recent LinnDrum recreations from Behringer and GForce and it makes for interesting reading.
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The recreation of long-passed classic instruments has always been, shall we say, a subject of vibrant and lively discussion. There are arguments on all sides and people with opinions that range from casual to downright vociferous. So it is always interesting when a significant party gets involved in that discussion.
In this case, Roger Linn himself has weighed in on the recent duo of LinnDrum recreations that hit the market just before Christmas 2024, namely the Behringer LMDrum and the GForce Software IconDrum which, completely coincidentally, were announced at the same time on the same day!
Behringer LMDrum · Source: Behringer
Behringer announced their recreation back in 2021, with availability finally being made a few weeks ago. Being software, GForce’s offering was available immediately. Neither was the first attempt at recreating this most legendary of drum machines. Aly James Lab has had an incredibly worthy software recreation for some time, which is shortly getting a significant update.
And there’s probably not a modern sample-based drum machine or drum sample library that doesn’t include sounds lifted directly from the LM-1, LinnDrum or Linn 9000. Those unmistakable sounds are ubiquitous.
In December 2024, Behringer released their “LmDrum”, which is described on their site as:
“If you are looking for a drum machine that can recreate the classic sound of the 80’s, look no further than the Behringer LM DRUM. This amazing drum machine features an authentic 8/12-bit sampling sound engine that captures the essence of a hundred legendary 80’s drum sounds including those designed by Roger Linn such as the LM1, LM2, LM9000* and more. You can even record and store your own samples using the integrated line input.”
Uli Behringer kindly sent me an LmDrum in August of 2024, giving me a chance to try it out. What do I think? I think it’s a bit of a head-scratcher. It is clearly intended to evoke my 1982 “LinnDrum” drum machine, borrowing its visual style, control layout, colors and logo style, as well as copying its sounds and those of my LM-1 and Linn9000 drum machines. I took it apart and it even copies much of my LinnDrum sound generation circuit, even my bad ideas like the inability to tune any drums except the snare, toms and congas.
However, it uses an entirely different operating system and user interface, one that is based on earlier Behinger drum machines. Personally, I found it somewhat confusing and difficult to use, though I was given an unfinished manual. I’d imagine they will improve both the software and manual over time. I suspect the designers found it difficult to find a balance between 1) the impression of a LinnDrum clone, and 2) the addition of modern features, given that the 1982 LinnDrum’s feature set is woefully inadequate by today’s standards.
It’s worth noting that Uli never asked my permission to either copy my visual design or my drum sounds. Though in 2020, he did kindly invite me to collaborate on a future drum machine, and I respectfully declined because of concern about Behringer’s past business ethics and legal practices.
How do I feel about the LmDrum? My feelings are mixed. On the one hand, it’s not unusual for companies to borrow ideas from older products in order to inspire a new and innovative design, which I’ve done in past. Plus, my old drum sounds are all over the web, controlling copying is difficult, and I don’t enjoy legal stuff so I’ve generally ignored the issue so far. Also, the value in those old sounds is probably due more to Art Wood (the drummer who played the sounds, and my friend of many years), and to artists like Prince, Michael Jackson, and others, who made those sounds famous on their hits. Finally, I must admit that I’ve never cared much about the past, because I find the future far more exciting.
The legendary LinnDrum, the throbbing neon heart of the 80s · Source: Amazona
On the other hand, even if we discount the copying of the visual design, logo style and sound circuit of LinnDrum, the LmDrum copies my sounds. So I’d have preferred for Uli to ask my permission. Even if he thinks it is legal, I question whether it is ethical.
I find it interesting that the LmDrum is being sold in the U.S. for only $399. Having taken it apart and seeing how complex the copied old circuitry was to reproduce, I doubt Behringer is making any money from it. I suspect that they originally intended to sell it for much more, then discovered that while many people may say they want a LinnDrum clone, few are willing to pay more than a low price for it.
On a related topic, GForce Software has recently released their “IconDrum” software drum sound generator. Like the LmDrum, it copies the LinnDrum’s visual design, logo style, and drum sounds, but has no sequencing. Unlike Behringer, GForce did say they wouldn’t release the product if I objected, but they seemed like good people so I turned a blind eye. They also offered to pay me an insignificant royalty for my association with the product and perhaps to use “LinnDrum” name, but I declined because of the low compensation and because I thought it was misleading to call a product “LinnDrum” that wasn’t a drum machine but rather only played my copied drum sounds.
One last comment. What’s the big deal about nostalgia? I can understand that some people value analog synthesis, though I find the many types of innovative software synthesis created in recent decades to be far more capable, versatile and interesting. But even if people value vintage analog synths, why vintage digital drum machines? I ask this because an old bit is no different than a new bit. Our collective love of nostalgia brings to mind an old Douglas Adams quote from Salmon of Doubt:
“I’ve come up with a set of rules that describe our reactions to technologies:
Anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works.
Anything that’s invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it.
Anything invented after you’re thirty-five is against the natural order of things.”
As a guitarist, I recall having endless discussions in my youth about “good distortion”. 🙂
Roger Linn
Linn Recreations · Source: Behringer, GForce Software
What Do You Make of Roger Linn’s Thoughts?
It’s interesting that Roger felt compelled to go on record with his thoughts, but it also provides an interesting insight, particularly around the way Behringer recreated his baby. Roger has always been about looking forward and it would appear that he has little or no interest in the past.
But it would seem that Roger Linn’s words have struck a chord over at Behringer HQ. In a post on their socials today, they stated that they are “actively exploring the possibility of a software upgrade to enable pitch shifting for all sounds.“, just like on the LM-1, addressing Roger’s point about the inability to tune any drums except the snare, toms and congas”.
Roger seems to have a fairly relaxed view on the matter of people replicating his designs and ideas, which is somewhat contrary to the views of many users, and maybe we can all take something from that. Roger famously called out a certain Jack O’Donnell of inMusic when he claimed that inMusic had ceased paying Roger’s MPC royalty cheques.
In that infamous online video, Roger said that he didn’t need the negative energy of litigation in his life, and I think we can all relate to that. But at the end of the day, we, as consumers, now have a choice of how to obtain those classic Linn drum sounds, even if Roger Linn sees no value in them! What do you think? Let us know in the comments below.
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I really love his blog post. I find it really ironic that this 69 yo dude is still trying to innovate and push electronic music forward when the industry is just rehashing outdated designs to squeeze every bit of nostalgia out of your wallet.
All the while being he’s extremely humble about contribution to the medium (go watch him trying a modern MPC for instance).
The industry should start emulating the man’s spirit rather than copying his 40 years old designs
Wow, Roger Linn is really able to maintain his cool with all this, explaining his position with calm and without strong judgment/grievances against Behringer and GForce even though it is all about what he created in the 80s.
Kudos to him, a great person on top of a great engineer apparently.
the reason why the market for these “rebuilds” and “recreations” or whatever you call ’em is so robust is very simple: romance. romance is a powerful thing, and the same way guitar makers sell recreations of famous guys’ guitars and the buyer expects to sound like the famous guy, so does the user who immerses himself in using these kinds of instruments and software believe that having products like these around will enhance their ability to re-create the magical vibe they romantically crave from older recordings.
I agree. I had to tuck my whimsy away to resist buying the UB-XA. When I calmed down, I got the MODX7+, a much BETTER bang for the buck. I’m using free Disco DSP OB-XD for emulations of Oberheim, it’s excellent. Joe
Art Wood.
Art Wood made the sounds in his machines.
It says it so it the article, “Art Wood (the drummer who played the sounds, and my friend of many years),”
Nobody gets permission or needs it to play a certain drum kit. Roger Linn made samples from his friend’s playing, what further permission is needed. If you think more is needed, you’ve really not worked in the music industry nor do you understand it. I suspect you’re making a sideways attempt to defend Behringer. Roger Linn comes off as a class act here.
Some of those sounds are still being used in chart music years later. 24Kmagic is one that comes to mind.
If you want the flavor of 80’s Dance music for a vibe in your track, you can now get that sound still.
Familiarity and repetition is a very important part of music.
Probably too much today.
Of course you need to innovate,
but it is still nice to have the old sounds
for nostalgia feelings, and music is all about feelings.
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4,8 / 5,0 | 
I really love his blog post. I find it really ironic that this 69 yo dude is still trying to innovate and push electronic music forward when the industry is just rehashing outdated designs to squeeze every bit of nostalgia out of your wallet.
All the while being he’s extremely humble about contribution to the medium (go watch him trying a modern MPC for instance).
The industry should start emulating the man’s spirit rather than copying his 40 years old designs
There is clearly a positive choice here, and a negative one. Guess who’s on the positive side.
Wow, Roger Linn is really able to maintain his cool with all this, explaining his position with calm and without strong judgment/grievances against Behringer and GForce even though it is all about what he created in the 80s.
Kudos to him, a great person on top of a great engineer apparently.
the reason why the market for these “rebuilds” and “recreations” or whatever you call ’em is so robust is very simple: romance. romance is a powerful thing, and the same way guitar makers sell recreations of famous guys’ guitars and the buyer expects to sound like the famous guy, so does the user who immerses himself in using these kinds of instruments and software believe that having products like these around will enhance their ability to re-create the magical vibe they romantically crave from older recordings.
I agree. I had to tuck my whimsy away to resist buying the UB-XA. When I calmed down, I got the MODX7+, a much BETTER bang for the buck. I’m using free Disco DSP OB-XD for emulations of Oberheim, it’s excellent. Joe
“Copying is the highest praise.”
“Imitation is the sincerest form of flattery that mediocrity can pay to greatness.” – Oscar Wilde
Everyone leaves out the last, most important, part of that sentence.
the irony:
who did Roger ask permission to sample the sounds in his machines in the first place?
No one, that’s who.
Art Wood.
Art Wood made the sounds in his machines.
It says it so it the article, “Art Wood (the drummer who played the sounds, and my friend of many years),”
On what drums from what company? What did the company say? Did they know? Did he asked permission? Doubtful.
Nobody gets permission or needs it to play a certain drum kit. Roger Linn made samples from his friend’s playing, what further permission is needed. If you think more is needed, you’ve really not worked in the music industry nor do you understand it. I suspect you’re making a sideways attempt to defend Behringer. Roger Linn comes off as a class act here.
Some of those sounds are still being used in chart music years later. 24Kmagic is one that comes to mind.
If you want the flavor of 80’s Dance music for a vibe in your track, you can now get that sound still.
Familiarity and repetition is a very important part of music.
Probably too much today.
Of course you need to innovate,
but it is still nice to have the old sounds
for nostalgia feelings, and music is all about feelings.
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