As a linnstrument owner, I would suggest you get a cello or re up on guitar instead. The linnstrument is great, and there are tons of great synthesizers, but there’s still a big disconnect between the two. With an acoustic instrument like a cello (or anything else really) every nuance of your movement, from what part of your finger pad is touching the string to how hard the bow is pressing, everything effects everything. Most sound producing gestures have no limits on their dynamic range except for your limit to play very softly or very powerfully. You can bow as fast or as slow as you can and it will produce some kind of sound. These factors and a variety of other forces make acoustic instruments very complex, and it is that complexity which rewards dedicated study.
It’s been my experience with the linnstrument that at least half of my time with it is spent cultivating synth configurations. There’s no where near as much complexity built into the design of most synthesizers, and the kinds of mapping strategies emphasized by the synthesizers I have access to are fairly limited. There are 5 degrees of freedom on the linnstrument if you include velocity and release velocity. Most synthesizers will connect those each to a single parameter, if you’re lucky enough to have a synthesizer that understands release velocity. Even the model 15 app (which is tremendous) limits you in terms of how many multiples and VCAs you have.
I guess my point is, the linnstrument is great, but you should be aware that a lot of your dedicated study will be spent programming synthesizers instead of playing music. That is, if you’re anything like me it will. Maybe that’s what you want, but I find it a bit frustrating at times.