Roger Linn Design AdrenaLinn

Not so easy to use, dinky stems for knobs.

Editing patches vexing. Signal often clips and is too dry. Delays are adequate; have yet been able to bring reverb into picture, if it is possible. Needs chorus.

No head phone jack for unit purchased, earlier model. Linn has since added headphone input--one month after purchase. Jeeeeez.
.

Using Suhr Strat and ProTools. Like the synchronized drum/guitar tempo effects.

Best artist setting is Jimmy Page sound--spot on.

Too much gain kills the desired amp mod effect.

Unable to get a decent early Eddie sound. If one is able to establish reverb with unit, it is not explained in manual.

Clippng less of a problem since upgrade, but still a problem.

A few of the patches are truly captivating.

Signal not always readily available when turning on--weird ancient runes sometime appear on display. Have to turn off--wait--turn on again. Happens too often.

Upgraded for $25--amp mod and drum signal improved. Sorely disappointed with sounds before upgrade--dry, chalky, sterile, in your face.

Linn site needs patch library.

The unit produces sounds that are distinctly exotic. I think the unit will mostly appeal to those who dig the ethereal flavors of music.

I have kept the unit to peruse the settings of favorite patches and perhaps apply to a more powerful unit like the Eventide Eclipse.

Careful when considering this piece--terrific for adding color while recording a song but not the standard workhorse most of us use on stage.

Though, the guitar mags rave over this thing it is best suited for those who are patient and like to experiment. I would not purchase another one.

Adrenalinn v1.5(need to upgrade to 1.6) This has become my dream unit in a matter of only a few days. Very useable sounds (for me) and while the editing first scared me I realize now it's really pretty easy (just had to get over the 'I don't want to learn something new' syndrome). I suppose one could argue any unit could always be easier to program, but I really think this is pretty straightforward and I have had multi effect units from Digitech, Boss and ART and this to my mind is easier to figure out than most of thoughs. Manual touches on everything but software upgrades, but that is covered at their website. Does it do everything? No. Could it replace my Boss GT-6? No (although I can now use that a $395 midi switching device!) I think this device is amazing because I find the sounds inspiring for sound writing and discovering sounds to which I am a fan. The sounds that it makes are exceptional which IMHO is a far cry better than many things rather mediorce. It has such a reach analog sound that it blows me away the modulation effects are digital.

I'm using a Strat type and Tele type guitar both of which sound fabulous through the Adrenalinn. I found the Strat useful in all pickup positions and the Tele style seems to work best with the bridge pickup. It seems to want a real crisp signal.

I read several reviews on noise to which I can only scratch my head as there is none when I play! The effects are so stinkin rich it really blows me away. The modulations sound very thick like they are analog. The stereo aspect of this unit gives the effects and amazing amount of dimension (Rotary speaker in the stereo spectrum rocks!!!) I am playing this through a SWR California Blonde which is an extremely clean amp and it works great.

I'm no longer a sound like my favorite artist kind of guy, but I think if you were trying to reproduce rich sounds this thing is killer. I would have preferred a true phaser on board, but the tweaked flanger works well.

It's built like a solid stomp box so I feel confident about it. I could not afford a back up, but if I could afford a back up by virtue of being a well paid professional musician it would be there.

These guys are quick to respond (I've used email thus far) and the web site has just about everything you would ever ask about on it including a user forum which I think is a great idea.

I like to create sounds and like sounds that inspire music and melody and this box does it for me hands down. I've been playing for over 20 years and writing songs is still the hardest thing in the world for me, but this has made it easier for me because it suits my style.
I looked at other 'groove' boxes, but this seemed to be the most complete. Again, you could alwayas ask for a pedal to do 'one more thing', but I think this does what it does very very well.

Pretty straightforward to use after you've spent 10 minutes with the manual, which is small, well written.

Sound quality is actually very good ... except ... not sure if this is just my one, but it clicks and pops like hell when I'm tweaking patches and parameters and have the thing running through an ampo or speakers. Maybe mine's broke or something?

Had a couple of issues such as the box throwing itself into bypass mode with no warning. Actually wasn't bypass mode it just cut the effect out but I could still hear the straight signal. Bizarre. It's an intermittent fault.

You're better off phoning than sending e-mails. They pick up the phone straight away (you may even get straight through to Roger) but e-mails can takes weeks to come back. They seem like nice guys and committed to this inovatice product.

I would give it a 10 because it's very innovative and extremely well built and beautifully designed. A lot of thought, attention to detail has obvioulsy gone into it but my hunch is that there are some software issues that need ironing out. I'm sure they will though.

it's easy to get some interesting sounds, but to find the sound you are looking for is quite a challenge...
the manual could be more detailed, but they have a fairly decent support site online

ino complaints about the sound quality

i've had it for a 3 months and no problems so far

never contacted them

it definitely needs an on/off switch and some more patience from my side to get to know the functions better - you'll have to invest some time, but so far i don't regret that i bought it and i've used it for 2 songs so far...

The presets allow you to immediately make great sounds. This has "gee whiz" goin right out of the box. Editing the patches into user defined addresses or creating wholly new ones is daunting at first. The unit is small so it works on a matrix system to address parameters. It can be confusing. Ive had mine for three months, Im still fairly unsure of the process. The manual is just okay. Getting it to interface with the midi-out of a drum machine is harder than it would seem from the literature. The video on the Linn website is very useful. The drum machine sounds fair, but is otherwise not very useful as its not easily programed and doesnt offer much latitude in that regard

I use the linn through the PA or directly into the record inputs. Its a very hi fidelity box and sounds midrange honky through a guitar amp. I like it better with single coil guitars, and Fenders at that. It just seems to be more articulate with the single coil pickups. The Adrenilinn is fairly quiet and pretty clean. This thing is a combination groove box/amp modeler. For the most part it doesnt produce much in the way of silence, so you really dont hear much noise in addition to the program signal. It does some unique things and as such is impossible to compare with any other signal processor for the guitar.

I dont know. The early ones have a problem with the reverb and echo going intermittant. Mine did it. I dont use this thing much live. It takes too much time to get it set up for the next song. It has worked every time Ive plugged it in and Linn has fixed any problems I have. I use it as a unique color for a tune or two and people come up to the stage to figure out how I do it. I lie to them. If I didnt have to run it through the PA it would make my stage life less entangled. But when you use it, and its evident that its not a sequencer or canned, and as such, it is quite impressive.

I just said this was very dependable. But mine broke. However it was my fault. I used the wrong power supply. (hey..it was dark) Anyway, Heres the skinny. These people are TOP NOTCH. Joe and everyone else were ABSOLUTELY GREAT! to work with. Ultimately they just sent me a new one at no charge because THEY felt it had taken to long to fix. (It was like 2 weeks.) I hadnt complained. Im so impressed, I wish they made more stuff I could use. If they made a time machine, Id buy it sight unseen because I really believe Roger Linn could make one work.

I dont know how to categorize what I play. Industrial Jazz? Contrapuntal Blues, ?? But the point is the Adrenalinn allows me to get sounds I want to use that heretofore requried a sampling keyboard and a bunch of filters. Ive been playing 38 years, I have a dozen or so guitars, two TopHat amps and a Vibrolux(backup), elleventy billion pedals, a Yamaha AW4416 and related outboard recording stuff and just got some Mackie 1530s and a 1500 sub. Now I mike my amps and run em up to volume with my own PA. Keeps the stage volume down and lets me get the most out of extended range pedals, like this one. I would definitely get another if this one were stolen. I didnt realize how much I liked it until I fried it and was without for a few weeks. Heres what it needs, a headphone out, a drum machine input or a more complete and programable drum unit. Marry this thing to an Akai 2000XL. I know it'd sound great but Id probably never figure out how to use it. It does give me ideas. Listen to Roger Linns demo on his web site. Theres nothing around like this thing.

Easy on many levels, can get deep if you want to program the sequencer and drums. Fun right out of the box. Getting a feel for the controls and sound parameters takes time but as a synth player it was pretty straighforward. Many routing possibilities with the modulation etc. For a complicated box it is very well layed out.

Well here's the kicker. What a muffled piece of dung this thing is. It does lots of cool things but the sound makes it useless. I tried all manner of EQ, amp, direct settings and still there is a serious lack of high end and presence. Bummer.
I don't say this casually, I tried it through several different tube amps I own as well as direct. Single coils and humbuckers.

Probably last for a while.

Rumored to be very good.

I feel bad for Roger, it must have cost a fortune to R&D the Adrennalinn. It is very close but I can't recommend it due to the tone problem. It is cool as a practice amp, fun to jam with. I liked it better on keyboards than guitar, but most modern keyboards have many of the Adrenalinns tricks covered.
I have to say that I love new effects and as a guitarist am always searching for great cool tones. Long story short, I sold the Addrenalinn and am back to my Lexicon Vortex for now. Sorry Roger, keep up the good work.

Easy to dial up presets, logical but somehwat time-consuming to create your own. Seems to kind of have an identity crisis- "Am I an effects unit or a stompbox?" It is not exactly a "fire and forget" stompbox. Not at all, I would say. I took it off my pedalboard because after a little while I felt stupid as I realized it's not really a stompbox. It is more appropriately implemented as an effects unit that is controllable via MIDI. Also, it's flaws became extremely irritating. MIDI clock syncing is an excellent concept and should continue to be implemented in many guitar effects units in the future.

Okay, a lot of the sounds are great, super trippy, super tweakable, very cool. Yea. BUT and this is a big BUT, I want to go off for a second. There is no True Bypass. This is a no-duh for any guitar stompbox. Even Line6 uses True Bypass. Your signal *always* goes through the AD process inside the unit. This sucks. And since it has one mono in only and stereo outs, it's very hard to integrate it into your own bypass switching scheme. Also, the pickups on my guitar, hot humbucker, overload the input of the unit on any setting. This sucks. Why? I don't get it. Maybe it wasn't tested thoroughly enough before release. I give it an 8 because the effects are cool.

Um, it tweaks on me a lot when I start it up, both before and after I got the ROM upgrade from Roger Linn design. Shows weird characters, reverts to old settings. Strange. The box itself is solid, but there's something about it that just does not inspire confidence. Treat it like a child.

They were very nice and helpful, sent me a ROM upgrade. Of course, I did not whine about what is wrong with the unit.

This has definitely inspired me and helped me make some really cool sounds. My initial impressions were fantastic before I started to realize its limitations. Unfortunately, it will never be a part of my live setup because of its input clip issues, lack of true bypass, and lack of stereo in. Do not underestimate these shortcomings. It is cool to use in the studio and in a controlled practice environment, but you have to ask yourself what you are buying it for. Do you have the time to sit around and tweak a box, perfect really cool sounds, and then NOT be able to use them live? Uh, I don't. Personally, I'd rather spend more time playing guitar than racking my brain for a way to create weird bypass switching schemes that should be unnecessary in the first place. Roger Linn is definitely an innovator and I give him mad props for making such a fun afforable box, but it seems that there are a couple of serious design flaws that could have been easily avoided with just a bit more attention to detail.

Not that easy to use without looking at the manual. I had to actually spend some time figuring out the lay out, which slightly pissed me off. Manual could have been better.

When I first turned it on, it was only playing out of one channel..then as i flipped through presets it started in stereo. It did this EVERYTIME i first turned it on.. A bug perhaps? Not noisey, but also not a whole lot of gain or sustain. The effects sound ok, but for the most part I have heard these on a Digitech floor effects unit. The effects are really overrated!

It seems well made.

nope, no need to talk to Roger Dodger Winning a Linn Man!!

I play Techno Rock, so I thought this would do wonders for my music. I was wrong. I could have used a few sounds, but I also own a Korg Triton--rather go with the Tritons. IF it were stolen I would hunt down the guy and say.."thanks for not stealing my korg triton dude..."

It's got a lot of stuff going on. Compared to the menus on my Lexicon unit, it's simplicity itself, but any box I have to check the manual for some of the details isn't going to get a 10. That said, editing and saving is very simple, there's no AB to check changes though.

It has some hiss near the end of delays, which disappoints me, I thought that went out with the 12 bit/32 kHz processors (you can hear it just before the gate cuts off the sound when you use a long delay). Otherwise it sounds great. It'd be nice to have a phaser and a true chorus (not just Flange with a long delay) since they would add very little to the ROM needed. Bank up/down footswitches would be cool, but you can use a midi pedal for this.

Legs fell off, paint chips, but the unit itself looks solid.

Never tried.

Very cool, nothing like it and especially nothing this small and cheap (Lexicon MPX and Eventide H3000D/SX have similar modulation matrices but are obviously far more expensive and complicated). Well done Roger!

This unit is very easy to use right from the get-go for the novice user, and surface-level editing to the 100 included excellent presets will be as far as most users take it, I imagine. That said, the editable parameters of this box go very deep, and are greatly enhanced (and more efficiently managed) if you learn to use the SoundDiver editor (undoubtedly the best synth patch managing software in existence.) Those who take the time to thoroughly learn the range of this processor WILL be rewarded with better sounds, more interesting filtered sequences, etc. The manual is good in comparison to the cross-referencing broken English of most Yamaha, Roland, etc style manuals, but could use better indexing.

I bought the AdrenaLinn when it first came out in the hopes that it would replace the more complex setup I was using to produce the same type of FX (filtered sequences, mainly). My setup at the time consisted of a hardware sequencer which I had programmed with rhythmic sequences containing Controller #s that controlled the Frequency, Resonance, Filter type, LFO etc of an Electrix FilterFactory while simultaneously sending MIDI clock to the FilterFactory for Tempo-synced LFO modulation, etc. The sequencer was triggered by start/stop message from my MIDI footcontroller unit that also switched presets for my Triaxis, G-major, etc. While the AdrenaLinn DOES sound great and in theory could have replaced this setup, some major drawbacks in its design prevents it from being a viable tool for live use in this context.
The most serious of this unit's shortcomings lie in the fact that Drumbeats are not selectable via MIDI Program Change and the Tempo is not stored independently with Presets. This means that you are effectively limited to ONE TEMPO for all your presets for a live show unless you want to change the tempo manually (by spinning the dial in between songs!) or using the ridiculous idea of tap-tempo (who wants to think about holding down a button for an EXACT four beats in the middle of a set?) Furthermore, the fact that this box sends MIDI Clock makes it a great candidate in an advanced electronic-music setup to sync other Tempo-based effects to, which is further reason why Tempo should be Preset-specific. Unacceptable, especially considering the simplicity of programming this into the code and the ability of most Tempo-based processors that the AdrenaLinn is "competing" with.
Secondly, the lack of True Bypass implementation (the signal goes through the ADA conversion even when bypassed) makes this box a real "tonesucker" for those tube-tone purists among us. The included amp models are good for bedroom level practicing and idea scratch pads, but like the POD (and most digital modelers) they become very thin and exhibit a brittle top end when cranked to concert levels (not to mention the lack of dynamic response, harmonic feedback, etc). The solution to this, however, (for all those in previous reviews who complain of the Bypass function not being at Unity gain and not being True Bypass) is to use the AdrenaLinn in conjunction with a Loop switcher (like the Axxess GRX-4, which I highly recommend for sound quality/purity and build quality) and have it only switched in to the signal path when you're using it. You could also, as some have tried, put it in the FX loop of your amp, assuming your amp's FX Loop is switchable, but this solution is far less effective due to the limited input range of the AdrenaLinn (it has an extremely difficult time handling line level signals without clipping, and most FX loops are line level). Also, filtered effects are most effective (pardon the pun) when placed BEFORE the preamp distortion stage (and most FX loops come after the preamp). A simple example of this would be the classic placement of the Wah (a BP filter) BEFORE the distortion pedal as opposed to after (although this CAN produce some interesting sounds as well). So in essence, the ideal placement of this unit is BEFORE your preamp, fx, etc in a loop switch to ensure it doesn't thin your direct guitar-to-amp tone when not engaged.
All that being said, the sequenced filter and flanger FX in this box are excellently implemented and highly customizable, and most importantly, they sound great. The Envelope Generator and Envelope Follower FX that this box is capable of are fantastic, and give you a degree of control over attack, decay times, modulation amounts, base frequency, etc beyond any other box I've ever used. With these two modulators alone the same guitar input can range from a fast whipped Wah sound, to a slow vocal Wow, or an instant percussive blip transient to a LP filtered Synth Bass Bwomp

I've had it for over 6 months now and it's worked flawlessly, but due to previously mentioned shortcomings it hasn't been exposed to the rigors and abuse of a live show so I can't attest to how it would hold up. I would note, however, that the stomp switches are the "cheap" variety used in most digital gear (think Line 6 stompboxes) as opposed to the heavier Carling type "analog" switches (used by most custom and higher-end manufacturers) which are more suited to the stress of repeated stomping. I keep all my pedals in my rack and just activate them through a loop switcher anyway to reduce floor clutter and simplify complex switching, so cheap switches aren't really an issue for me.

Excellent response via email, these guys are quick and well-informed about the product.

I have been playing guitar for over 12 years, and producing/engineering/programming "electronica-type" music and artists for the last 7. I have owned a phenomenal amount of guitar preamps, rack fx, synths, filters, sequencers, drum machines, computer software, etc etc. Let me start by saying that the concept this box represents has been a long time coming and the AdrenaLinn is the first (and most successful) to address this growing trend. I'm currently involved in an electronic-rock project that makes heavy use of filters, samples, and tempo-based effects and this unit in theory is a perfect match for sounds I was already creating live that required 2 separate pieces of hardware and much more complex programming. The only other consumer-level box in its price range with the same intended audience that I can think of is the Line 6 FilterPro and FM-4 stompbox, and the AdrenaLinn is definitely a HUGE step beyond those in terms of TEMPO-based control and manipulation of rhythmic filtered sounds, as well as the quality of its filters. Without a doubt, the AdrenaLinn makes some unique sounds that nothing else currently on the market for guitarists can reproduce, and it does it with a very logical layout and compact, simplified editing procedures (no paging through LCD menus here!) However, there are some very important features that were definitely overlooked in its purported design as a "stompbox" in a live setting, and these shortcomings really limit its effective implementation in a non-studio setting. With these missing features addressed (lack of Tempo setting stored with Presets; and lack of True Bypass) this box would make the top of my Short List for guitarists interested in getting unique, modern electronica-oriented sounds out of an otherwise conventional guitar rig and in general for ANY guitarist looking to explore some original sonic territory. As it stands now I would rate it a very enjoyable studio toy with the understanding that there are many other hardware and software tools in the studio-domain that accomplish these types of filtered effects more elegantly, effectively, and accurately.