2018
04/19
LayR Synth Now Audio Unit
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LayR is a massively polyphonic, multi-timbral synthesizer for iPad and iPhone, optimized for modern 64 bit devices delivering up to 256 voices of rich, multi-layered and textured sounds.

LayR’s primary sounds are called Performances: A Performance is a set of Instruments where each instrument is a set of Layers and each Layer is a complete synthesizer. A performance can consist of over 100 instruments each with it’s own MIDI channel and crossfading keyboard span. Voices are assigned to each layer in each instrument until the audio engine runs out of available voices. This means that with normal playing technique it is possible to create extremely complex texture on each note or even to have a single insane monophonic instrument equivalent to 100 synths all playing at once!

Every Layer has a dual oscillator which can morph with modulation between two shapes and phase states, two rich and warm state variable filters and a mixer to blend the oscillator with filters in any serial/parallel combination. For modulation (Frequency, Amplitude and Phase) there are two aux oscillators ranging from DC to audio frequency switchable to optionally follow keyboard pitch and restart phase when a note is started. 2 loopable ADSR envelopes ranging from fractions of a millisecond to 100 seconds, a volume level ADSR and a random level generator with a smoothing filter. With stereo delay, reverb and EQ on the output section LayR excels at not only emulating normal analog synth sounds but also at creating ambient textures with extremely long evolution cycles.

LayR version 1.2 update (available Friday April 20th 2018) :

Audio Unit: LayR now includes a fully functional audio unit version with a dynamic user interface that adapts to the available screen space.

Ableton Link for built in sequencer.

PDF Manual: The old help system is replaced by a comprehensive manual which can be read in-app or exported to your preferred PDF reader.

Improved User Interface: The entire UI has been given a modern facelift including pinch to zoom, double tap to zoom and fully labelled controls in the Layer Editor.

Instrument Mixer Drag & Drop: Instrument and Layer strips can now be re-arranged in the Instrument Mixer. Layers can be converted to new Instruments or copied between instruments with drag and drop.

MIDI Controller Mixer: A new panel that sports optional sliders for Channel Volumes and every MIDI cc that’s been assigned to the current performance. Allows users to perform live MIDI controller mixing in-app. Can also be used to query which parameters have been assigned to MIDI and in which Instrument/Layer they are located.

Arpeggio Sequencer: The arpeggiator gets a more descriptive name and some cool additions including new eventtypes, new playback modes and the ability to set mode, speed and length per track.

Modulation Matrix: Modulation sources in the Layer Editor can now be routed to any destination.

Improved Oscillator: The oscillator gets Coarse/Fine tuning and “Fixed Mode” which decouples the oscillator from the MIDI keyboard. Also FM has been greatly improved with a new mode allowing modulation over the full audio range.

LFO Sync Mode: Keeps LFOs in all playing voices synced to the same phase as each other.

Wave Folder Pitch Adjust: The amount of folding is now reduced as notes get higher, this helps reduce aliasing artifacts that may be introduced by the folder when processing high frequency content.

Legacy Mode: A experimental option that keeps LayR’s engine to a fixed lower CPU usage, this will hopefully extend LayR’s lifetime for users with older, lower powered iOS devices.

Light Colour Scheme: An optional lighter colour scheme for use in bright daylight conditions.

2nd MIDI Input Port: For stand-alone app: A port which listens on all channels for MIDI Bank Select/Program messages, this port can be used to select Performance presets while allowing the other input port to use all 16 channels for multi-timbral use.

New Presets: A whole new bank of 36 presets by Sky Runner and another new bank dedicated to individual user presets.

and the list goes on…

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2018
04/15
Moog Model D App Update
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The Minimoog Model D App is a mobile transmutation of the world’s first portable synthesizer, the Minimoog Model D®. Optimized for use on all 64-bit iOS devices, anyone can jump in and play with over 160 included presets or lay fingers to the controls and begin exploring vast magical realms of creative potential.

Taking full advantage of the iOS platform, the Minimoog Model D App incorporates a number of inspiring sound creation tools and capabilities not present on its analog antecedent. New functions include the ability to play chords with up to four-note polyphony, an easy-to-use arpeggiator for rhythmic pattern creation, a real time looping recorder with unlimited overdubbing capacity, a tempo-synchronizable stereo ping pong delay module, and the Bender — a wide-range stereo time modulation effect module.

What’s New

1.1.0
• Added Velocity and Aftertouch modulation options to Settings menu.
• Added ModWheel range control to settings.
• Added feature that always stores CC Maps in presets when saved.
• Added option to load CC Maps when opening a Preset.
• Added support for being a drag & drop destination for Preset, Bank, CC Map and .WAV files on iOS 11.
• Improved voice selection in Polyphonic mode.
• Improvements to Save process when no Bank or Preset is selected.
• Improvements to the Preset Browser.
• Consolidated Synth and Modulation parameters into Advanced Settings panel.
• Updated application manual with new features.
• Added Tap Tempo button to iPhone5/6/X configuration panel.
• Added Volume control to iPhone AUv3 settings.
• Added sample rate option to the Model D iOS preferences.

The Minimoog Model D App also supports AUv3 Audio Unit extensions, which allows multiple instances of this powerful instrument to be used simultaneously within compatible iOS apps like Apple’s GarageBand®.

A BRIEF HISTORY
Introduced by Moog in 1970, the Minimoog Model D served as the archetype for all electronic keyboards that followed. It gave users the ability to design their own sounds, translating imagination into reality. The Minimoog’s portability, affordability and accessibility made it the go-to instrument for musicians looking to expand beyond the traditional sounds of the time. Bernie Worrell used the Minimoog Model D to establish Parliament Funkadelic’s futuristic funk sound. Kraftwerk employed the Minimoog Model D on the successful concept album Autobahn, sparking an entirely new genre. Gary Numan replaced his live band’s guitars with Minimoog Model Ds, creating the prototype for industrial music. The classic sound of the Minimoog Model D can be heard on Bob Marley’s Catch A Fire, Michael Jackson’s Thriller and Dr. Dre’s The Chronic; Detailed in the mini-doc series “A Brief History Of The Minimoog”.

FEATURES
• Ships with over 160 presets (Hundreds more available in the Minimoog Model D App Store)
• Up to 4-notes of polyphony
• Easily share presets and audio recordings with friends
• Arpeggiator module with note-hold capability
• Stereo ping-pong delay effect
• Bender time modulation effect
• Real-time looping recorder with overdub and immediate sharing
• Selectable envelope shapes and triggering behavior
• Effortless MIDI CC mapping
• Seamlessly backup presets to iCloud
• Play mode for easier panel and keyboard interaction
• A new take on the classic feedback/overload path

SUPPORTS
• All 64-bit iOS devices
• AUv3 Audio Unit Extensions (Including GarageBand)
• Note-per-channel MIDI controllers (MPE)
• Ableton Link
• Inter-App Audio and Audiobus
• 7 and 14-Bit MIDI
• MIDI Program Changes
• Bluetooth LE MIDI controllers
• Share over AirDrop, Mail or other iOS applications

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2018
04/12
iVCS3 Adds Audiobus 3 MIDI input
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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:

+ Audiobus 3 New MIDI Receiver Port
+ New Slider/Knobs resizable range for the LFO/MIDI/Accel etc…
+ New Quick View for the Presets Manager, simplify the Presets navigation while playing the Keyboard
+ Fixed: Samples re-trigger when playing via MIDI Keyboard
+ Fixed: Samplers Speed Scanning when the SR is changing
+ Fixed: MIDI Program Change (presets selection) will not affect the incoming MIDI note on/off
+ New implementation for LFO which improve performance when you put app in background or switch app etc..
+ Flanger/Echo Toggles removed clicks
+ MAIN Start/Stop audio fade
+ AUv3: LFO Start/Stop bug fixed for multiple instances
+ Midibus 1.39 SDK
+ Audiobus 3.0.3 SDK
+ Ableton LINK 2.1.2 SDK
+ New Send/Receive jitter-free MIDI clock
+ Disable Auto-Lock Screen
+ iPhone X compatibility
+ MIDI Channel for note on/off/pg, fixed
+ Joystick MIDI Range, fixed
+ Some minor iPhone UI bugs, fixed

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.

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2018
03/29
Kai Aras Volt iPad Synth
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VOLT is a virtual analog synthesizer designed to create classic synth sounds while emphasising expressive play. With full support for multidimensional polyphonic expression (MPE) – VOLT is a great companion to any Seaboard player.

Overview:
– Virtual Analog Synth Voice with up to 8 voices of polyphony, unison and mono mode
– Continuously variable wave oscillator, flexible sub osc and noise source
– SEM style multimode filter
– Dual ADSR & LFO per voice
– Per voice distortion
– Built-in stereo effects (3x)
– Arpeggiator
– Expressive onscreen keyboard
– Standalone, AUv3, IAA, AB support
– 100+ carefully crafted factory presets

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2018
03/28
AAS Objeq Synthesizer
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AAS Objeq transforms incoming sounds into realistic percussion instruments using a resonator type synthesizer. With the help of your device’s microphone and a pair of headphones, you’ll get tones reminiscent of congas, bongos, djembes, or any other resonant thing. AAS Objeq offers beam, drumhead, and plate resonator types which you can customize via pitch, material, decay, and tone controls. Mix in your original signal and tweak until you hear something you like—slide dots, experiment, and have fun! If you’re addicted to tapping your hands everywhere, Objeq will become your new rhythm companion! AAS Objeq will also show up as a plug-in in any AUv3 (Audio Unit v3) compatible DAW such as GarageBand, Cubasis, Auria, and AudioBus 3. It also makes a good Impaktor as AU type set up if you’re familiar with Impaktor.

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  • 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 Retronyms AudioCopy, LP-5, iPRO.DJSAMPLER, Looptastic, and Audio Elements. My work is published by Magix 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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