Wooden sides and sliders so that there is enough and is left over. Linndrum LM-2 dominated the 80’s top lists.
One of the instruments that was heard on most hit records during the 80’s is the fantastic Linn LM-2 – a wonderfully beautiful digital drum machine that is large and heavy. It has nice wooden sides and classic design. LM-2 was the slightly thinned sequel to LM-1, which was the first digital drum machine. They worked with sampled drums where the sampling is stored on eproms, which made it possible to change the sound. however, I have never changed the sound in my. Maybe because all the sounds are so good. There are 15 built-in drum sounds and it’s amazing how good they sound. It really sounds like well-recorded live drums. We are working on a record now where we have triggered Linndrum samplings via midi-pads and it sounds as if you are sitting and listening to close-knit drums recorded in a really good, muted drum booth. Fantastic.
Really with print
We can start with the bass drum. A fantastic sound. Airy at the same time as there is a lot of pressure in it. You can not edit any parameters but it is possible to program the sound in two different volume modes for dynamics. It sounds so awfully good about the bass drum. It has that quality that the TR-808 or TR-909 bass drums have. It is as if only it is enough for it to be music. Straight 4/4 stroke. Yep, that’s a song. It feels like they put a lot of time into getting that perfect sound. And it fits perfectly in a mix as well. Pure and simple magic. The swirl does not go off for picks either. It can also be pitched and the pitch steering wheel has a large range and it is possible to get decent piccola if you want it, but it sounds best when you pitch it down a little or a lot. The vortex is the sound in the machine that has the most pressure. Like a slap in the face. And as with anything that has to do with music, timing is important. Also microteiming. It may sound fuzzy, but it’s really important to have a starting point on a sample. LM-2’s vortex has that perfect starting point.
The pucks are classic “synth drums” which together with Simmons came to define how a synth drum should sound. On both drums and congas, there is also the opportunity to tune the sounds really well. Since each sound has its own volume rule, it is also possible to make good mixes directly in the drum machine if you play live or do not record the drums as a stereo track. In addition, it is easy to find balance between the different pucks. Each sound also has a pan rule, so it’s easy to get a nice stereo image without having to scroll through menus. Hihaten is also one of the most swinging to get hold of. It has its own decay control, which makes it easy to find just the right “opening” of the closed hihat. However, my favorite setting is the shortest. Like a little funky quirk that together with cabasan forms the basis for the turn in many of my songs.
Too dry pat
The cymbals also sound fantastic and in a mix very true to nature. The only sound I have objections to is actually the pat. The LM-1’s flap is better. LM-2 sounds a bit too dry I think. However, it works together with the vortex to bring up the pepper in, for example, a chorus. At the back of the machine there are a lot of inputs and outputs, including separate out for each sound. There are also some trigger inputs to trigger sound with pads. Then there is also a trigger out which I usually use to trigger the sequencer in my SH-101. That’s not so stupid. Just to connect, it sounds like a classic disco song from 1984. ■
Year of manufacture: 1982-1985
Number of sounds: 15
Control: Clock In. There is now a good midi interface for installation
Memories: 56 pattern
Effects: Swing, quantization (modern to be 1982!)
Price range: 45,000 – 50,000 kr
The article was previously published in Studio 5-2014