Note: listings are ending today with a handful extended through Sunday.
Click the auction link on top when you get there for additional listings.
"Deft Audio Luma 1 Drum Computer. This is from the first run of 100 units from Deft Audio. Serial number 073. An incredible and faithful reproduction of the Linn LM1 brought back to life by Joe Britt. It has the same DACs and filters, but has a few new features to make life easier such as the ability to load your own samples via USB. Absolutely beautifully built and sounds completely authentic as you would expect from Deft Audio. Also comes with a rather huge protective case that will survive anything."
Note: listings are ending today with a handful extended through Sunday.
Click the auction link on top when you get there for additional listings.
"Bought from new, absolutely flawless and very lightly used. This is the incredible. Luma-1 drum machine which is the only faithful clone of the Linn LM-1, made with Roger Linn's blessing."
"The Akai MPC60 by Roger Linn is the machine that reshaped hip-hop, electronic, trip-hop, and rave culture.
Today, I'm diving into why this legendary sampler still inspires producers, and then I jump into a hands-on sampling session inspired by The Prodigy — 'Smack My B%tch Up' from The Fat of the Land era.
I’ll explore its story — from design breakthroughs and 12-bit grit, to the Akai drama that cut Roger Linn out of his own creation — and then I’ll show you how to sample, trim, assign pads, sequence, and jam directly on the MPC60.
What you’ll learn:
• Why the MPC60 became a classic
• How early electronic pioneers used it
• Sampling on the MPC60 step-by-step (The Basics)
• Assigning pads, bars & sequencing
• Playing & jamming the samples on the MPC
I’ll show you a simple way to start sampling and building beats on the MPC60 using The Prodigy’s iconic track as inspiration, no plugins, no DAW, just the machine."
00:00 — Intro: Why the Akai MPC60 changed music forever
00:35 — MPC60 history: specs, limitations & the Roger Linn drama
02:33 — Why producers still love the MPC60 (Dilla, Shadow, Prodigy & more)
03:28 — Sampling The Prodigy “Smack My B%tch Up” on the MPC60
05:56 — How to sample a song on the MPC60 (step-by-step)
06:15 — How to assign a sequence on the MPC60
06:41 — How to set the number of bars on the MPC60
07:00 — How to record a new sample on the MPC60
07:20 — How to set sample length (seconds) on the MPC60
07:56 — How to check recording levels (REC METER) on MPC60
08:44 — How to name and save a sample on the MPC60
09:26 — How to edit and trim a sample on the MPC60
10:19 — How to assign a sample to pads on the MPC60
10:47 — Poly vs Mono: stop samples from overlapping on the MPC60
12:28 — Playing and testing samples on the MPC60
13:10 — MPC60 live jam: “Smack My B%tch Up” Prodigy-style
15:03 — Outro & final thoughts of the MPC60
"(c)2007-25 by RetroSound
supported by UVI: http://bit.ly/retrosound-uvi
Synthwave with the Yamaha DX7 II and the Roland Juno-106.
A ride on my motorcycle through the autumnal countryside around my town in middle of germany. 🍂
Roland Juno-106 Analog Synthesizer (bassline, add sounds)
Yamaha DX7 II (main theme, fx sounds, strings)
E-MU Emulator II Sampling Synthesizer (guitar sample)
Simmons SDS8 e-drum module
LinnDrum drum machine
❤️ You can support the RetroSound channel:
synth tees: https://retrosound.creator-spring.com"
"Gorgeous LinnDrum, fully refurbished by the legendary Bruce Forat. This unit has been given a complete overhaul, including a rebuilt power supply, quick-swap EPROM sockets for easy sound changes, and the updated 3.1 operating system. All sliders, buttons, and potentiometers have been cleaned or replaced, ensuring smooth, reliable operation. Functionally, it performs exactly as it did when it left the factory, with rock-solid stability and that unmistakable Linn sound. A rare opportunity to own a classic that’s been professionally restored to near-new condition. A truly inspirational piece to work with."
"(c)2007-25 by RetroSound
supported by UVI: http://bit.ly/retrosound-uvi
❤️ Support #RetroSound channel: https://retrosound.creator-spring.com
One of my favorite tracks from the 80s
Eyes Without A Face by Billy Idol from the album Rebel Yell (1983)
Written by Billy Idol and Steve Stevens
Featured the Oberheim OB-Xa, the LinnDrum and the Yamaha DX7
This cover song series contains my own recreations of my favourite songs from the last 50 years. The original music from which I take inspiration belong to their respective owners. I recreate tracks only for personal passion and to pay homage to these tracks."
I first learned about Roger a few years ago while making a film called “The History of Sampling in Music” [below]. While I didn’t know anything about Roger at the time, I was astounded to learn that he had created both the LinnDrum and the MPC, which shaped the punchy robotic drums of 80s pop music and the grungy experimental grooves of 90s hip-hop respectively. I did a quick bit of research about him for my video, but didn’t really dig much deeper than that… However, a few months ago I decided to rewatch my old project, which reignited my interest in Roger’s story and gave me the idea for this video.
Like my previous project, I’d initially planned to write a script and do a voice-over, but after discovering the assortment of recorded interviews that Roger has already appeared in, I realised that I could just chop them up and have Roger tell his own story. I thought 'hey that sounds pretty cool, how hard could it be?'
Well, let’s just say I’m probably never going to do something like this again. I did enjoy making this and I am proud of it, but if I had just done a voice-over not only would it have been easier to make, but I also could’ve included a lot information without it feeling incredibly clunky. The initial cut was about 26 minutes, but I cut out loads of stuff for the sake of pacing and trying to stick to narrative beats. Roger is a fascinating guy with a lot of great anecdotes though, so if you enjoyed this video then I highly recommend you seek out some of the podcasts/interviews he’s done over the years.
I planned on making all the music for this film myself, but decided it would be better to use music that relates to Roger in some way (for example, he co-wrote 'Promises' by Eric Clapton and 'Quittin’ Time' by Mary Chapin Carpenter, and first used the LM-1 Drum Computer on the Leon Russell album 'Life & Love' which featured the track 'One More Love Song'.) I salvaged one of these demo tracks for the credits, but you can listen it and a few more scrapped tracks here:
Since you’ve read this far, here’s a few bonus Roger facts that got cut out of the video:
The LM-1 was featured on the best selling album of all time - 'Thriller' by Micheal Jackson, as well as other early 80s hits like 'Maneater' by Hall & Oates, 'Valerie' by Steve Winwood, and for some reason - the original 1983 Thomas the Tank Engine theme song.
Roger hired his friend, a professional session drummer called Art Wood, to record most of the sounds on the LM-1. They set up the kit in Roger’s closet, recording each of the drums one at a time… then called it a day. Given the popularity of the songs featuring these recordings - Art Wood is technically one of most prominently featured drummers of all time.
And here's two bonus facts about this video:
The title 'The King of Drum Machines' is a quote from the father of MIDI - Dave Smith, when he spoke about Roger and the Tempest drum machine (which they built together) on a Sweetwater panel in 2015. [below]
This video was released on Roger’s 70th birthday.
I hope you enjoy it!"
The History of Sampling in Music (2022)
"Join Mitch Gallagher as he moderates 'The Inventors of Synth' panel discussion at Gearfest '15. Featuring industry icons Dave Smith, Tom Oberheim, and Roger Linn discussing their thoughts on the past, present, and future of analog synthesizers and controllers.
Legendary synth designer and Grammy-winner Dave Smith was the founder of Sequential Circuits in the mid-'70s. His Prophet-5, the world's first fully programmable polyphonic synth, was the first musical instrument with an embedded microprocessor. Dave is also known as the driving force behind the development of the MIDI specification. He has continued to innovate, and recently unveiled his latest synth creation, the Sequential Prophet-6.
A pioneer of the synth and MIDI world, Tom Oberheim co-designed the Synthesizer Expansion Module (SEM), a device that allowed musicians to simultaneously combine live playing and sequenced playback - a concept that pre-dated the MIDI revolution. In 1981, he, along with Roland's Ikutaro Kakehashi and Sequential's Dave Smith, developed the MIDI spec, which changed the course of modern music. Tom recently re-released his famed Two Voice synth.
Technical Grammy award-winner Roger Linn invented the LM-1 Drum Computer (the first sample-based drum machine) in 1979. He later designed the Akai MPC60, which combined a sampling drum machine with a real-time MIDI sequencer. His guitar effects unit, AdrenaLinn, has been used on hit recordings by John Mayer and Red Hot Chili Peppers. In 2014 he released the LinnStrument, an expressive MIDI performance controller."
"Get your SYNTH LEGENDS Limited Edition T-Shirt here: bit.ly/SynthLegendsTshirt Pre-orders open through August 25th!
Join us live on August 21, 2025 at 8 pm EDT as we present the entire 𝘚𝘺𝘯𝘵𝘩 𝘓𝘦𝘨𝘦𝘯𝘥𝘴 symposium from April 19, 2005 - Bob Moog’s final public appearance. This historic event, originally organized by Russ Jones of AudioMIDI, brings together synth pioneers Bob Moog, Tom Oberheim, Dave Smith, and Marcus Ryle, with Roger Linn moderating. For the first time ever, the full 1-hour and 38-minute symposium will be broadcast in its entirety.
Note: the original audio recorded at this 2005 event was only captured on the camera mics and is not studio-perfect. We’ve worked to make audio enhancements, including painstaking audio mastering by Harold LaRue (https://haroldlaruemastering.com), to make this once-in-a-lifetime conversation as clear as possible. We suggest turning on closed captioning in order to not miss any of the content.
During the stream, join Tom Oberheim, Denise Smith (Dave Smith’s widow), Marcus Ryle, and Michelle Moog-Koussa (Bob Moog’s daughter and Executive Director of the Bob Moog Foundation) in the live chat as they share reflections, answer your questions, and provide personal insights into the legacy of Bob Moog and synthesis history.
Huge thanks to our sponsors, without whom this broadcast would not have been possible:
Special thanks to: Russ Jones, Harold LaRue, Dave Gross, Mark Ethier, Marcus Ryle, Tom Oberheim, Denise Smith, Roger Linn, Axel Hartmann, and David Mash, all of whose contributions helped make this possible.
Why watch? Experience the inspiring reflections of five synth legends. Hear behind‑the‑scenes stories of innovation from the pioneers themselves. Celebrate Bob Moog’s enduring legacy on the 20th anniversary of his passing.
Mark your calendars and bookmark this page! You won’t want to miss this very special tribute. Feel free to share with fellow synth lovers, and join us live on the 21st to celebrate the magic of synthesis together. – Synthesizer pioneer Bob Moog passed away on August 21, 2005. Throughout the month of August, we will share an informal remembrance video series, Voices for Bob, featuring musicians, technologists, innovators, and colleagues as they remember and reflect on Bob's indelible legacy.
Help us carry Bob's legacy forward to inspire future generations through the intersection of science, music, history, and innovation. Support our work by doing one (or all) of the following:
"This tutorial is on the latest integration of Luma-mu and Teensy 4.1 MIDI interface to drive Luma-mu clock input directly. This not only gives you the precise tuning of Luma-mu for perfect pitch stability but radically simplifies the integration in modular setup and makes it possible to use as a part of the polyphonic synth setup.
"Feeling a yearning for a bit of LinnDrum action I loaded up a bunch of samples and it occurred to me to try this song - a bit of a musical 'guilty pleasure' as it has such a distinctive rhythm. I put the song on, donned my legwarmers and had a bit of a 'spin' around the room to the track in my best 'Flashdance' impression. Straight away it became apparent it shouldn't be possible to do it on the Tracks as it has too many tracks. Bass, electric piano chords, arpeggio, melody...and a distinctive 80's guitar solo! Not to be deterred I shrank it down as much as I could and used the layering and extra voices hacks I've talked about elsewhere * and what you hear is the end result.
It was a fun challenge and I hope you enjoy the end result. All you hear was programmed into a single Circuit Tracks and played 'live' just recording the audio outs.
More details for synth nerds
The excellent @CaptainPikant had a great video breaking down how the rhythm track was constructed so I largely followed this guide.
• MANIAC - The most INSANE drum pattern of t... [below]
BPM 155bpm
Synth 1 - mono bass synth
Synth 2 - 'piano'ish patch playing chords, arepeggio and melody lines (at different velocities/ranges)
Drum 1- LM1 bass drum
Drum 2 - LM1 snare and sidestick
Drum 3 - LM1 hihats and combined HH and fake guitar (see below)
Drum 4 - LM1 cowbell and clap
The 'guitar' is faked I'm sorry. My lead guitar skills are not up to this (I did try!) and my friendly local 'shredder' was busy. I used instead the Native Instruments Electric Sunburst plug in instrument to fake a short solo and drenched it in guitar effects. I recorded to 4 bar loops with the hihat pattern duplicated along with them and then triggered the samples at the right moment on the hihat track."
MANIAC - The most INSANE drum pattern of the '80s | Drum Patterns Explained
"The drum pattern of Michael Sembello's 'Maniac' is positively insane. It's what you'd get if you made a Synthwave drum track, decided it wasn't complex enough, glitched it up with a tiny dash of Aphex Twin and then put a second drum track on top of that with over a dozen Tom fills for good measure. Pure '80s maximalism with two of the most iconic drum sounds of that era."
"► / captainpikant Support us on Patreon and get access to lots of drum patterns, cheat sheets and more!
Sweet Dreams is a brilliant example of how a deceptively simple drum beat (if done right) can make a song hit even harder. We're going to recreate it on a modern sequencer so you can follow along and use those techniques in your own beats. Milk bottles and cows on fake grass included. As a bonus The Intern will pick apart the iconic synth riff :)"
"RARE piece of Linn Drum LM-1 history. This machine has been updated by the one and only Bruce Forat from Forat Electronics. Bruce is THE repairman for these machines and he has this one cleaned up oh so nice.
Debuting in 1980, these first LM-1 were $5,000 then! During my research, I found that Roger Linn created the first 35 of the machines in a room in his house.This gem is #00035 meaning this was the last one built by Roger before mass production!
This comes with a custom made dust cover and I'm guessing an original manual in a cool shade of Chevy Chase pool blue 80s folder! It will be shipped in a SKB 24x24 case built like a tank.
I've held onto this machine for 25 years and had Bruce tweak it along the way. Now it's time for me to purchase a vehicle so I hope someone else can love it as much as I have. I had Bruce to add the exact signature Prince clap sound as heard on the Purple Rain album. I can also give the winner Bruce's contact information as he is a tremendous resource."
"Let's dive into the magic of Linn LM-1 Hi Hat. Will look on how it was created and make our own bank for Luma-mu. This continues a tutorial series of Luma-mu Eurorack module.
"This unit was originally owned by Skyline Studios, New York, NY and featured on dozens of records during the 80's and 90's.
Included is the original owners manual, original DATA Cassette tape, a copy of the cassette on CD, the Forat MIDI manual, and brand new wood end cheeks should you choose to install them for a beautiful Rosewood look (like the Yamaha DX1 Rosewood).
The LinnDrum is a digital drum machine designed by Roger Linn in the early 1980s, known for its realistic sampled drum sounds and its impact on 1980's pop music. It was a successor to the Linn LM-1, and was one of the first drum machines to use samples of real acoustic drums, rather than synthesized sounds.
Design and Functionality: The LinnDrum was designed to be a more affordable and widely available alternative to the LM-1. It featured a library of 8-bit digital samples of real drum sounds and allowed musicians to create and store their own drum patterns.
Key Features:
Sample-based sound generation: Unlike earlier drum machines that used synthesized sounds, the LinnDrum utilized samples of real acoustic drums, creating a more realistic and natural drum sound.
Sound sample changeability: The LinnDrum uses samples of real acoustic drums stored on eprom chips, these eprom chips are replaceable inside the unit giving the user the ability to buy or even make thier own and install thier own sounds/samples in the unit. Many are widely available on Reverb and elsewhere plus there are also people offering their services to custom make them for you.
Programmability: Musicians could program their own rhythms and sequences, rather than relying on pre-set patterns.
Individual outputs: Each drum sound could be routed to a separate output for further processing and mixing.
MIDI integration: Later versions and modifications of the LinnDrum included MIDI capabilities, allowing for greater control and integration with other instruments and recording equipment.
Impact on Music: The LinnDrum became a staple in 1980s pop music, appearing on countless hit records. Its realistic drum sounds and programmable features revolutionized the way music was produced and played. It's considered a landmark instrument in the history of electronic music and drum machines.
Successor to the LM-1: While the LinnDrum is sometimes mistakenly referred to as the LM-2, it was actually the successor to the Linn LM-1. The LM-1 was the first drum machine to use sampled sounds, but the LinnDrum was a more refined and better version."
"This is fairly CMI Eproms I programmed inside of a sequential circus Drum track. I programmed them to hit harder. This is the best set I ever designed. I made more drums too. I made most of the CMI drums. When I designed the Fairlight CMI for originally for Bon Jovi’s guitar player John Shanks. He wanted the exact tears for Fears sound. Doing my research. All I kept on seeing was Fairlight CMi. I downloaded all the original sounds for the fairlight. I used a Oberheim prommer to design the binary files, I made them hit really hard. These have to be the best drums I ever designed.
IG program_1700 if you want any sounds or email me
