2016
12/20
Faster Charger For Your iPad Pro 12 inch
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Faster charging for those power users out there. Great for music producers who are using their iPad Pro 12.9 for extensive amounts of time.

The Apple 29W USB-C Power Adapter offers fast, efficient charging at home, in the office, or on the go.

This adapter is compatible with MacBook computers featuring a USB-C port and requires a USB-C Charge Cable (sold separately).

ORDER FROM AMAZON Apple Apple 29W USB-C Power Adapter (MJ262LL/A)

Use the cable with an Apple 29W USB-C Power Adapter to take advantage of the fast charging feature on the 12.9-inch iPad Pro.

Two meters in length
Genuine Apple product

ORDER FROM AMAZON Apple MKQ42AM/A USB-C to Lightning Cable (2M)

2016
12/19
VCS3 Synthesizer For iPad and iPhone
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The VCS3 was created in 1969 by Peter Zinovieff’s EMS company. The electronics were largely designed by David Cockerell and the machine’s distinctive visual appearance was the work of electronic composer Tristram Cary. The VCS3 was more or less the first portable commercially available synthesizer—portable in the sense that the VCS 3 was housed entirely in a small, wooden case.

The VCS3 was quite popular among progressive rock bands and was used on recordings by The Alan Parsons Project, Jean Michel Jarre, Hawkwind, Brian Eno (with Roxy Music), King Crimson, The Who, Gong, and Pink Floyd, among many others. Well-known examples of its use are on The Who track “Won’t Get Fooled Again” (as an external sound processor, in this case with Pete Townshend running the signal of a Lowrey Organ through the VCS3’s filter and low frequency oscillators) on Who’s Next. Pink Floyd’s “On the Run” (from The Dark Side of the Moon) made use of its oscillators, filter and noise generator, as well as the sequencer. Their song Welcome to the Machine also used the VCS3. The bassy throb at the beginning of the recording formed the foundation of the song, with the other parts being recorded in response. The VCS3 was also a staple at the BBC’s Radiophonic Workshop, and was a regular (and most frightening) sound generator for the Dr Who TV series. Many fo the monsters and atmoshere;s created for the show came directly from the VCS3.

What’s New in Version 2
+ Support for iPhone/iPod Touch
+ Support for AudioUnit V3, separate modules: VCO, VCF, SPRING, ENV, VCA, NOISE
+ New Input/Mic/Sampler Envelope Follower
+ New Sequencer Reset/Randomize Functions
+ New AudioShare support
+ AudioCopy SDK 3.4
+ Midibus 1.38 SDK
+ New Bluetooth A2DP High Quality
+ New Presets Manager Search Bar
+ New Control Manager Search Bar
+ New Samples Manager Search Bar
+ New ‘Save Preset As… in’ function permits you to chose a Bank where save it
+ New ‘Create Random Sound’ can modulate the random percentage and bypassing some critical parameters
+ Receive remote MIDI Clock, bug fixed
+ Audiobus Sequencer Play/Stop fixed with Ableton Link
+ Envelope Signal scale fixed
+ Mute switches are now Smoothed
+ Two SEQUENCER Parameters have been added to Control Manager
+ SpectralScope Amp/Time fixed
+ Startup crash fixed with no Internet connection
+ The Oscilloscope input is always an audio despite the Voltometer setting
+ IAA ZOMBIE bug fixed
+ iOS 10 SDK

Description

The VCS3 has three oscillators (in reality, the first 2 oscillators are normal oscillators and the 3rd an LFO or Low Frequency Oscillator), a noise generator, two input amplifiers, a ring modulator, a 18dB/octave (pre-1974) or 24dB/octave (after 1974) voltage controlled low pass filter (VCF), a trapezoid envelope generator, joy-stick controller, voltage controlled spring reverb unit and 2 stereo output amplifiers. Unlike most modular synthesizer systems which use cables to link components together, the VCS3 uses a distinctive patch board matrix into which pins are inserted in order to connect its components together.
Keyboards controller

DK1 keyboard controller

Although the VCS3 is often used for generating sound effects due to lack of built-in keyboard, there were external keyboard controllers for melodic play. The DK1 in 1969 was an early velocity sensitive monophonic keyboard for VCS3 with an extra VCO and VCA. Later it was extended for duophonic play, as DK2, in 1972. Also in 1972, Synthi AKS was released, and its digital sequencer with a touch-sensitive flat keyboard, KS sequencer, and its mechanical keyboard version, DKS, were also released.

Get iVCS3

2016
12/16
Pads Pad Synth Audio Unit For iOS and MAC
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Pads is basically a wavetable synthesizer with a noise/grain generator and a high cut filter. With a carefully developed ”wobbler” that detunes the waveforms and makes small inconsistencies to several internal parameters and a nice sounding chorus, this synthesizer is able to create some really interesting and non-statical pad sounds.

Noteworthy features:

• AUv3, works with AUv3 compatible hosts like GarageBand, Cubasis, Auria, AUM etc.

• 30 handcrafted presets created by professional musicians

• Filter, Attack and volume can be modulated by velocity

• Controllable grit/grain level, sampled from a real hammond organ with a broken tone wheel

• Controllable wobble factor that adds analogue unpredictability

Important: Pads in stand-alone mode does not support IAA, Audiobus or MIDI. You can try it out using the keyboard at the bottom, but that’s it. We recommend using Pads with AUv3 compatible hosts.

iPhone 6 or later is recommended.
iPad Air 1 or later is recommended.

Get Pads

2016
12/14
App For Making Music Videos
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Music is as much about the eyes as it is the ears. Our goal with VIDIAL is to give you the tools you need for creating great music videos, in both sight and sound, anytime anywhere.

VIDIAL is designed to make you look at sound better. With little to no technical ability, VIDIAL turns your smart device into a powerful audio/video production studio, letting you capture, trim, add filters and more to produce more creative and visually compelling videos.


(take on me effect)

Capture performances within the app, so you never miss that awe-inspiring moment – or import, export and save to your camera roll to edit later. With VIDIAL’s elegant and ultra easy-to-use design, you can share it on your favorite social channel with just a few touches and swipes.

But, it doesn’t end there…VIDIAL brings with it built-in music video playlists for sharing your VIDIALS with the people that matter to you. Our exclusive music video playlists allows you to see what music videos are trending, and share your videos with an audience hungry for one thing – new music.

As artists, and on behalf of artists everywhere around the world, VIDIAL has been created for you, and for people from all corners of the world who may have not otherwise known of you to share in your journey.

Get Vidial

2016
12/01
Virsyn AudioEffX Multi-effects Audio Unit
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audioeffx

Multieffect Audioprocessor for iOS. Seven studio quality effect modules for live usage and to enrich your iTunes music library.

### Introductory offer 30% off ###

All effect modules can be used together chained in any order you like.

The Chorus effect is a modulation effect used used to create a richer, thicker sound and add subtle movement. The effect roughly simulates the slight variations in pitch and timing that occur when multiple performers sing or play the same part.

The Delay effect provides you with two different types of delay effects using two delay lines. With Sync mode the delay times can be set by note lengths and are then relative to the currently set tempo. The delayed signal can be feed back to the input for echo effects. You can select between a stereo delay and a ping-pong delay where the echoes bounces across the stereo field.

The Drive effect provides you with different types of distortion from hard clipping to soft distortion simulating analog tube amplifiers and tape machines. The sound balance can be adjusted using a combined High/Lowpass filter.
The distortion algorithm uses oversampling to reduce aliasing artefacts.

The ParaEQ effect is a parametric equalizer with optional graphic editing of Lowpass/Highpass and Bandpass equalizer stage.

The Flanger is composed of two independent delay lines with feedback for the left and the right channel respectively.
The delay time of both delays is modulated by one LFO with adjustable frequency.
For typical flanging effects the delay time should be below 5 milliseconds.

The Phaser is built from an 8-pole allpass filter, which gives you a very short and frequency dependent
delay time. This delay time is modulated by an LFO.

The Reverb effect is used to simulate the sound reflections off walls in different kind of rooms. This reflections
disperse the sound, enriching it by overlapping the sound with its reflection.
This reverb parameter are accessible by the user:
• Tail delay – Sets the amount of time that elapses between the direct sound and the reverberation tail. This time correlates
with the perceived size of the simulated room. The adjustable range is from 0 ms to 300 ms.
• Reverb time – The time the reverb takes to die away by 60dB after the end of the initial sound. This parameter correlates
with the perceived size of the simulated room. The adjustable range is from 50 ms to 100 seconds.
• Room size – The room size parameter sets the average distance between the reflecting walls.
• Diffusion – The Diffusion parameter controls the echo density of the resulting reverberant sound. A higher value
corresponds to a higher echo density which is in most cases more natural sounding.
• Absorption – The Absorption parameter simulates the surface and air absorption of high frequencies. Due to absorption the reverberation time is shorter for high frequencies than for low frequencies. With higher absorption high frequencies will decay much faster.
• Tail stereo – Adjusts the stereo image width of the reverberation tail.
• Tail cutoff / tone – Lowpass and Highpass filter for the reverb tail.

audioeffx

Summary of features:

• Seven studio quality audio effects
• AudioUnit for AUv3 compatible hosts.
• Inter-app audio compatible effect.
• Audiobus 2 compatible with state saving.
• Apply multi effect to any song in your iTunes library.
• Low latency live usage with mic and headphones.
• Audio recorder
• Ableton Link compatible.

Get AudioEffX

  • iPad Loops is a music app blog dedicated to exposing the best iPad apps for iOS musicians, producers, and Djs. This is not a database of every app. It is, however, one of useful recommendations from someone with many years in music production. I try to update it on a daily basis (ok sometimes every two days) and I do my best to post useful apps only. My name is Jason Donnelly (Dj Puzzle). You might know me from my royalty free loop packs and sound design. Some of the apps that contain my loops are LP-5, iPRO.DJSAMPLER, Looptastic, and Audio Elements. My work is published by Sony Creative, Soundtrack Loops, Sample Logic, Pakotec, Loopmasters, Acoustica, Xmix, Sound Trends, and many more. Subscribe to our RSS feed below to get updated when new apps are posted.
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