Roger Linn Design AdrenaLinn III Tips & Tricks

AdrenaLinn III Tips & Tricks
Adjust the Swing Timing of Drumbeats or Filter Sequences
Did you know that you can change any 1/16 note drumbeat from straight time to swing or halfway
in-between? To do this, use the Timebase setting, located in the Drums row, 4th column. There
are 5 options, but here are the ones to use:
16n (Straight 1/16 notes)
16H (Halfway between straight 1/16 notes and swing timing, a loose swing feel)
16S (Swing timing)
For example, try beat 89 with each of these 3 settings and listen to the difference a little swing
makes. Also, any filter, arpeggiator or tremolo sequence that plays at the same time will use this
selected swing setting. This is how we programmed preset 142, a Tremolo Sequence that
imposes a Reggae rhythm on your guitar sound. See page 56 of the Users Manual for details.
Try Different Filter Types
Most of AdrenaLinn III's filter presets (73-85, 100-111, 125-139, and 160-167) use either the
Lowpass or Bandpass filter types, but the Hipass and Notch filter types--while less commonly
used--have their own interesting characters. If you're looking for a new sound, select one of the
filter presets, then change the filter type:
1) Select the Filter Type parameter. (Select row 2, column 3, then select Details mode by briefly
tapping both arrow keys simultaneously.)
2) Turn knob 3 to select one of the 5 filter types:
LP2 (Oberheim-style lowpass filter)
LP4 (Moog-style lowpass filter),
bnP (bandpass filter, like wah pedal),
not (notch filter, which blocks a narrow range of middle frequencies) or
HiP (hipass filter, which only passes higher frequencies).
See page 21 of the Users Manual for details. Also, you'll discover tremendous tone variation by
tweaking the Frequency, Resonance, Depth and FX-Dry settings, all described on pages 16-19
of the manual.
The Post Treble setting
The Post Treble setting is an often-overlooked but very useful setting, located in row 4, column 4,
Details layer of the front panel. It's a lowpass filter that appears directly after the amp models in
the signal path, and can be very useful when you want to reduce high frequencies of distortion
sounds in a way that's more useful that an ordinary treble control. See page 34 of the Users
Manual for details.
Beat-Synced Time-Slice and Reassembly