And so, for several months now, R2R has refused to release the cracked version. Respect to them for sharing my POV on this case
For your information, here is the complete list of changes that you get for the outrageous price of... €20 (the latest v3.0.1 is free):

Spoiler: Spolier

v3.0.1

• Fix - MIDI Map learning selector now correctly selects either Extra2 or Cabasa (previously selected both).
• Fix - Nasty crash with minimum size EPROMs (512 Bytes) that caused invalid waveform rendering upon loading.
• Change - Inverted the default MIDI map notes for Claps (33 - 39 instead of 39 - 33) and Rimshot for better logical consistency.
• New - "Open Library" button, providing quick and easy access to the EPROM library through your system's file explorer.
• New - Closed Hat Accent parameter, velocity influenced decay (Nice for DMX...)
• Fix - few typo corrections and GUI tweaks here and there.
• Fix - Better rights management for Installers.

​

v3.0.0

• New Mac VST3 & AU Support – Now fully compatible with Apple Silicon (M1/M2+), offering native performance. Built as a "Universal 2" plugin, meaning both VST3 and AU work seamlessly on Intel x86-64 and ARM64 Macs.
• Built-in WAV Resampler & EPROM Burner – Convert, preview, and load samples effortlessly.
• Import any WAV file and resample it (or keep it as-is) at ~27kHz with input stage emulation and µLaw 8-bit compression—just like the original hardware. Generates fully compatible .bin EPROM images.
• Custom EPROM Manager – Advanced visualization, file handling, internal browser, and improved organization for easier workflow.
• Real-Time µLaw DAC Curve Response Control – Fine-tune how your samples are decompressed for precise sound shaping.
• The AM6070 DAC chips used a built-in µLaw transfer function to decode and replay sound data. Now, you can subtly match real-world DAC chip variations—or push the transfer function further for creative sound design. This feature acts like a hybrid transient designer & distortion unit when dialed in aggressively.
• Enhanced Mixer – Greater flexibility with multi-output routing and improved equal-power panning.
• Choose from three routing modes:
• Single - Main Mix : All voices are processed through the internal mixer (with volume, pan, etc.) and sent to the **Main Stereo Output**. Dedicated outputs are disabled.
• Multi Post-Mixer : All voices still pass through the internal mixer, but instead of going to the Main Stereo Output, they are routed to their own dedicated stereo outputs. The Main Stereo Output is disabled in this mode.
• Multi Pre-Mixer: A hybrid mode where voices are sent **both** to the Main Stereo Output (post-mixer) and their dedicated outputs (pre-mixer, direct signal). This allows external processing while keeping a full internal mix or a quick sub mix.
• Revamped GUI & Skins – New LM1, DMX, and Linndrum skins with HD graphics, vector knobs, full EPROM Kit View, and an enhanced CEM filters view. GUI now adapts to different DPI sizes for sharper visuals and UI scaling.
• New 48 PPQN Internal Clock – Recreates the subtle groove and timing feel of vintage drum machines.
• Unlike modern clocks (~960 PPQN), this emulation locks trigger events to a true vintage-style clock pulse synced to your DAW. The effect is subtle but noticeable, especially on swung or loose beats.
• Real-Time Clock Drift – Adds organic, human-like timing imperfections.
• Recreates the natural clock drift found in vintage drum machines, where internal clocks were never perfectly stable. Unlike the subtle effect of the 48 PPQN clock, this feature introduces a more noticeable, organic timing shift, mimicking the imperfections of classic hardware. With a tweakable drift range from 1ms to 40ms, you can achieve anything from a realistic analog-style drift to a more exaggerated laid-back groove, similar to a drummer playing with extreme looseness and feel.
• Expanded Voice Card Features – New DMX-based controls for Bass, Congas, Toms, Ext1, and Ext2.
• CEM filters now offer full control over envelope response and decay, along with newly introduced VCA settings. "Expert Mode" unlocks advanced sound tweaking, while "Legacy Mode" preserves the simpler v2.0 pulse control. The optional VCA envelope introduced in VPROM 3.0 is crucial for accurately reproducing certain DMX sounds, especially the Bass Drum.
• Advanced EPROM Playback Controls – Real-time control over EPROM reading, including sample start, length, and loop modes.
• You might be familiar with the LM1 hi-hat, which constantly loops and is shaped by a VCA. In VPROM 3.0, this behavior can now be applied to other voices. You can also modify loop behavior to either start in sync with triggers or run continuously, even for the hi-hat. By setting a short length (around 123 samples) and moving the start point, you can achieve a wavetable-like effect. While start and length modulation is possible, it does not operate at audio rate.
• New Drum Voice: "Ext2" – Expands the total drum kit to 14 sounds.
• New Master Controls – Master tuning & volume knobs for greater global control.
• New Velocity Mode: "Original 2" – An alternative to the classic "Original" mode with a different approach to velocity handling.
• Similar to the "Original" mode, where velocity determines whether a sound plays at full or half volume. However, in "Original 2," the volume change is controlled by the trigger number itself. Each trigger has two assigned MIDI notes—one plays at full volume, and the other at half volume.
• Enhanced Oversampling – New "X16 ALL" mode processes all 14 EPROM outputs at 16x oversampling.
• Previously, only high-frequency voices were processed at X16, but now all voices can benefit from this setting for greater flexibility when using custom EPROM.
• Compatibility with VPROM v2.0 Presets – Load your existing .fxb presets, including ones with custom EPROMs, directly into VPROM 3.0.
• New "EPROM Kit" Format – A new way to save and recall full drum kits independently of plugin presets.
• A .VpromKit file allows you to store and reload a complete custom EPROM drum set without saving a full plugin preset. This lightweight format only stores EPROM file paths and their assignation, CEM config and hihat loop state, no other settings are saved, making it easy to organize and reuse drum kits across projects without changing your current tuning or mix.
• Additional Sound Tweaks – Fine-tune open hi-hat decay and enable dynamic hi-hat tuning. Dynamic tuning is also available for Toms, Congas, Ext1 & Ext2.
• Bug Fixes – The infamous VST3 bug is now gone, no more reset or crashes.
• Removed: VST2 & 32-bit Support – VPROM 3.0 is now **64-bit only** (VST3/AU).
• Does NOT Replace VPROM v2.0 – VPROM 3.0 installs alongside v2.0 with its own plugin ID, ensuring backward compatibility with existing projects

​

As Aly James explained, v2.0.4 update was supposed to be free — just like the previous ones — but it ended up costing €10 because of v2.0.3 cracked release...
List of changes:

Spoiler: Spoiler

v2.0.4

• Color change, closer to the original LM-1 hardware, darker and lighter orange
• New feature to change the mixer volume slider's response between Linear (original VST behavior) or Log tappers (closer to hardware)
• Hihat curve, timing and range updated, closer to hardware
• Fixed the NoDelay SNARE default Extra voice EPROM, previous one had some noise at the end
• New CHOKE feature to instantly stop the playing of the Extra voice at any point, useful for choking cymbals and other creative ideas..
• Optional x16 powerful and efficient oversampling processing to get rid of any unwanted high frequency artifacts on TAMB, CAB, HIHAT and EXTRA voices
• CPU usage reduced: Mainly code optimization
• Voice names are now kept marked on top of the GUI panel when not in Mixer view
• Tune/Pan selection is now done in one click ala toggle switch: faster, better

​

Finally, since you admit that you've paid “for GUI updates essentially” which doesn't worth the asking price, you remove any doubt as to whether Aly James or you is the bigger “butthole.”

Before falling down on me like a ballistic missile, please reread my post: I give the example of a small independent developer who creates emulations that are incomparably better and cheaper than those of big companies. Taking food out of his mouth has nothing to do with providing keys from UAD, ProTools, VSL, Spitfire...
Dig it?

 

Last edited: Nov 11, 2025 at 12:58 PM

so this giancarlo attitude should be taught a new lesson.

Developers, big or small, need to realize that “lost revenue” is mostly a myth. Nothing will make anyone buy their product except the desire to thank them for their solid work. Most people who use cracked versions still wouldn’t buy even a $20 product anyway They’d just find an alternative if your product isn’t offering something truly unique. And honestly, Aly James isn’t doing anything special.

 

I guess this year gong was lilgongi

 

If loss of revenue is a myth, then tell us why companies like U-he and Xfer Records devote so much effort to developing ultra-complicated protection systems, and why others go so far as to pay to take the iLok way. Why don't they just offer their products on a "pay what you want" basis?

As for whether Aly James' plugins are doing something unique or not, take the time to read its VProm user manual, and then show me which other LM-1 emulation goes into such details and perfectionism. Please don't mention Iconic Instruments' Levine's Drum Machine which is a simple rompler with FXs, but without the possibility to import your own samples (big LOL) and whose sequencer (not set at 48PPQN as the original machine nor VProm) is totally useless since you can't export MIDI patterns (mega LOL).

 

Last edited: Nov 11, 2025 at 4:14 PM

Because they can. You forgot Sonic Charge. If Microtonic was 20$ a lot more people would be using it. This guy's plugin? Doesn't seem to be the case.

 

I'm familiar quite well with the plugin and its capabilities, and I admire developers attention to details. But his plugin is still a rompler, despite the marketing lingo. Everything you listed isn't anything special for those who understand it - it's completely basic and simple: "unique µLaw" decoding which he advertises so pompously - old well known simple DSP code available online. Reading ROMs of Linndrum's prehistoric technology is trivial; even possible by free Audacity.
But to the truth people don't really need all those features It’s easier to just grab LinnDrum samples from a pack or download them online and drop them into a DAW timeline. Besides, the developer isn’t exactly a professional — the first version was simply compiled in SynthEdit, and as far as I remember, some of his other plugins are still SynthEdit builds. And where’s the Fairlight emulation he’s been promising for the past five years? He’s probably found the task too complicated, because, frankly, he’s not a professional.

It’s simply a matter of basic human psychology: when something is free, we tend to perceive it as lower quality, less worthy of our attention — and assume the developer or manufacturer didn’t put enough effort into making it valuable. On the other hand, a more expensive product often feels better to us by default.
This is exactly why some developers avoid running sales on principle. But, even U-He seems to have relaxed to on that front over the past couple of years apparently life forced him. Still, both developers create genuinely captivating products the kind that make you want to buy them — and that’s exactly why they’re so popular. As for iLok, developers still use it as a tribute to tradition and to signal that the software is “professional” since it cares so much about safety

 

...had a modern screen sized GUI he would sell some for sure, at least to me .

 

check the left upper corner menu there is a Zoom line, but not all skins work well with zoom

 

Maybe instead of pissing here, YOU should merge the two - Levines & VPROM since you seem to have it all together . Merged, they form the basic starting point of what the ORIGINAL LINN machine actually was all about. Apart, just like a 100 other VST clones (and even some modern hardware), they are just pieces of the original which don't really amount to much. A VST that actually does what the original LINN did instead of using marketing hype and deception to make a product appear to be something that it is not, would actually be worth something. But instead we get the levine VST as well as the VPROM (any version) as well as the countless other sample packs and even modern hardware that markets themselves as being < IT > when the product doesn't even come close to scratching the surface. I would venture to say that probably 90-95% of the stuff released these days are just cookie cutter products made with strung together algo pool code snippets. This allows for less overhead while setting a higher price which makes the capitalist profiteering much more successful.

It was said somewhere that the reasoning behind the fact that no one will re-create the full LINN experience in one VST or hardware piece is because of patent violations or some such... Well, then explain the thousands of "patented" products that are constantly flowing out of china/taiwan each year that are direct (for the most part) copies of older and existing products? Of course they all have simple superficial design changes to make it appear just that slight amount needed to be different enough to not be a direct rip off of the original. All for 1/2 the price of the original product and sometimes even less...

 

Last edited: Nov 11, 2025 at 9:49 PM

@OP: There's really no point in complaining about it. As they say, once something is on the internet.. It's already cracked and what is done is done. Telling people not to use it, or pay to; in a nearing 70 page long thread is already too late. This is starting to get like AP Mastering part 2.

It sounds to me like either it is your plugin, or you paid for it and now do not want other people using something you paid for. Fair enough but that doesn't change anything. Suggesting that it is OK to use NI,Waves, and other such "big companies"; but not this drum machine plugin; so just as long as it is OK with you first? That doesn't really stir up a lot of sympathy, and there isn't a lot of grey area. To pay, or not to pay; or in the words of a better writer, No Such Thing as Halfway Crooks.