Dub Delay by Asrodot is an AUv3 compatible audio effect for iPad, to be used in your favorite DAW ( AUM, Cubasis, Garageband etc ), or standalone.
It emulates an analog tape delay unit with various options to filter and saturate the output signal before it is fed back into the delay unit.
Features:
– Analog style tape delay with tempo sync option. Delay time can be fine-tuned, even when using tempo sync.
– Two filters with adjustable cutoff frequency and resonance. Filters can be set low-pass, high-pass, band-pass or band-reject.
– Tube-like distortion unit.
– LFO allows modulation of filter cutoff frequencies and/or saturation amount. 7 different waveforms selectable.
– Parameters are freely assignable to 3 xyz controller pads.
– Supports AUv3, Audiobus, Inter-App audio and MIDI. Supports cross-DAW user patches.
Thick basses, buttery leads, feathery pads — Trooper is a total synth explosion that crams it all and more in a neat little package. It sounds HUGE, yet tweaks easy. It’s coated in analog “fat,” yet bursts with tonal surprises nestled across its controls. Get ready for an all-out sonic assault, because Trooper is here and it’s our meanest, beastliest, user-friendliest synth yet!
Many of Trooper’s parameters are meant to interact and meld together in novel ways. For example, the oscillator volumes —beyond just acting as mere blend knobs— vary the characteristics of the basic signal depending on how far they are “pushed”. The emphasis is on providing warm and round basic tones with lots of variable harmonic content.
The primary oscillators are backed by an audible LFO that is both a sound source and a wide frequency range modulator. This lets FM-based sounds to combine with traditional waveforms. A pink/white noise generator helps out pads and percussions, and insidiously changes tonality when added in small amounts.
A new filter implementation complements the pugnacity of the signal generators. In its middish settings, the resonance can be characterized as “throaty.” The filter is capable of self-oscillating, and can be controlled via the keyboard. The mated ADSR envelope is shaped to provide tonal ‘immediacy’ and smooth frequency shifts. The amount knob has a wide range that changes the feel and shape of the envelope, especially when pushed above the mid-level.
The output stage features a virtual VCA that imparts tones colloquially termed as “fat”. Extra modulation is provided by a non-audible LFO and a dedicated envelope. The LFO offers numerous wave shapes, BPM syncing, and key tracking. Its output is controllable via the mod wheel, velocity, or aftertouch.
The Esprit parameter helps deploy some of the Trooper “special sauce.” Highly interactive with the stages preceding it, Esprit is known to be handy in tightening up bass tones, and in adding the “je nais se quois” to presets at large. The Get6 parameter is a one-touch ticket to big, mix-filling synth sounds. So whenever you’re lost in an empty mix…it’s got your six.
The arpeggiator inspires rhythms with five algorithms, variable note value, octave range, and gate. The “Texturizer” purveys a wide range of modulation effects that include chorus, flanging, variable comb, resonant delay, and stereo imaging. The BPM-syncable two-tap delay has time and feedback controls per channel, and is tuned a little darker than our usual offerings. Trooper can run in monophonic or polyphonic mode, the latter providing up to 12 voices. Legato is available in either mode.
Watch Doug Woods demo Trooper!
The robust MIDI implementation also includes MPE support, and the synth is able to I/O MIDI performance data. The “MagTouch” virtual controller lets you to play and record (in AUv3 hosts so enabled) over the MPE protocol. MIDI learn is made easy via a visual interface, and users can save, patch-link, and share MIDI CC maps. Bluetooth MIDI input is also supported.
The AUv3 implementation lets you to run multiple instances of Trooper in DAWs. Trooper’s fluid UI accommodates a wide variety of screen sizes and view configurations. Feature navigation is designed to be nonintrusive so that parameters can be accessed easily. The iPad implementation supports portrait layout, so that pretty much all is on one screen.
Included are over 250 presets that range from deep basses to weird so-and-so’s, stopping by many other sounds along the way. The powerful YPAT2 system helps you save, catalog, and share presets with ease.
The standalone app provides a “Tapedeck” to record, save, and share your ideas on the quick. It features a built-in looper, and a metronome with configurable time signature. The standalone also features tap tempo, and MIDI clock syncing. DSP is in high resolution 64-bit, with native processing at up to 96kHz.
MIDI Layers is an AUv3 MIDI plugin designed to allow sophisticated routing of MIDI data in hosts such as AUM or Cubasis.
Have you ever wanted to play multiple instruments from a single master keyboard during a live performance? Would you like to be able to set up keyboard splits, crossfade layers or create an ensemble of layered instruments? If you answered yes to either of those questions, then MIDI Layers may be your solution.
Layers allows you to create up to 12 scenes, each with up to 127 layers, spanning your entire master keyboard. These scenes allow you to seamlessly switch between various layer mappings at any time during a performance.
Each layer controls the MIDI output, which can be routed to one of MIDI Layers 16 output ports and 16 channels. So if you have 5 layers in your scene, each layer is able to divert MIDI key input to 5 destinations, allowing you to control 5 instruments from one master keyboard.
Layers can overlap, meaning you can create an ensemble of two or more instruments. Layers can also have cross fades so that you can fade from one instrument to another across a specified range. You can also control the velocity curves of a layer if you need to emphasize note velocity at a certain set of octaves.
Each layer can also be remapped so that you can target a different key range on the destination instrument. This allows you to have several single note layers that can target specific drum machine samples for instance.
You can assign a song per scene, or have several scenes containing parts of the same song. Switching scenes is simple, using the on screen scene buttons, via AU parameters, or you can even add a special control layer to a scene which can then be triggered via your master keyboard.
It is also possible to assign a Program Changes to a layer. When you switch scenes, each layer can fire off its own program change to your destination instruments.
Each scene can be assigned its own scale, which enables you to play using only the white notes so say goodbye to wrong notes.
Finally, layers can be assigned to mute groups, allowing you to quickly turn on/off groups of layers with a single key or button press.
Features:
○ Up to 127 layers per scene.
○ 12 scenes per preset.
○ Supports 16 output ports and 16 channels.
○ Remote switching of scenes using MIDI or AU.
○ Supports layer mutes and mute groups.
○ Named scenes with large scene selection mode.
○ Supports scales per scene which can be played using white notes only.
○ Each layer can define a Program Change that is sent when scenes are switched.
○ Supports per layer velocity curve.
○ Supports per layer remapping of notes on output.
○ Each layer can have a cross fade settings assigned.
○ Definable Master Keyboard size (6, 7, 8 or 10 octave).
○ Scene and mute control layers.
○ Provides default custom layouts.
Please Note: This product will not work with GarageBand since it cannot load AUv3 MIDI plugins.
Moog has announced Animoog Z today! Designed by Moog Music, the world’s first synth company, Animoog Z is an inspiring 16-voice polyphonic synthesizer that invites you to explore new concepts of multidimensional sound design and performance.
Powered by Moog’s Anisotropic Synth Engine (ASE), Animoog Z empowers you to visually traverse new sonic universes and even create your own! ASE utilizes a novel orbit system to expand the concepts of wavetable and vector synthesis, allowing you to navigate dynamically through the X, Y, and Z axes of sound. Spontaneous sound design with Animoog Z is easy—simply select and drag the orbit path to explore endless sonic configurations.
Animoog Z captures the immediate and intuitive experience of Moog synthesizers and applies it to the modern digital paradigm, enabling you to quickly sculpt incredibly fluid sounds that live, breathe, and evolve as you play. Use Animoog Z’s built-in keyboard to control pitch and pressure per voice (or send MIDI out), or connect your favorite MPE controller and explore Animoog Z’s MPE-compliant sound engine.
Animoog’s diverse library of timbres includes digital tones and spectral sources alongside analog waveforms recorded from classic Moog circuits. If you ever run out of sounds, you can use the built-in Timbre Editor to record and edit your own timbres!
Visually captivating and sonically immersive, Animoog Z brings music production to the next level. Whether you are new to synthesis or a professional musician, Animoog’s unique user interface gives you the power to easily create a visually vibrant and sonically rich universe.
Key Features:
• Multiplatform Experience: Share presets, timbres, and in-app purchases across your compatible Apple devices.
• Anisotropic Synth Engine (ASE): An exciting Moog technology that allows you to move through the X, Y, and Z axes of unique timbres to create an expressive and constantly evolving soundscape. Sonic modulations are visualized in real time, providing a multisensory feedback mechanism for sound creation.
• Polyphonic Modulation and Pitch Shifting: Control Animoog Z’s advanced touch surface keyboard with configurable scales, key distances, pitch correction, and glide. Simply slide your fingers to control multiple per-voice parameters in Animoog Z right from the keys.
• Timbre Editor: Go beyond simple sample playback and build unique sounds that evolve in multi-dimensional space. Select from a wide variety of built-in timbres or customize your sound by recording your own timbres (or import your own WAV files).• ENV/LFO Page: Articulate your dynamics with 3 independent six-stage DAHDSR envelopes for Amp, Filter, and Mod, each with loop and sync functionality. Give motion to your sound with 3 independent LFOs featuring continuously variable wave shapes, phase offset, delayed start, sync, and support for 1-8 repeats.
• MOD Page: Highly flexible modulation matrix with 10 lanes and a multitude of sources, controllers, and destinations—including global destinations like Delay and Thick. Use the Solo and Enable controls to explore complex modulations layer by layer.
• Effects Page: A collection of dynamic sound-altering and sound-augmenting effects with Delay, Chorus, Bitcrush, Filter, Arpeggiator, and Looper. Oscilloscope-style views display the output and impact of your effects.
• MIDI: Use your favorite MIDI controller to control Animoog Z (with full support for MPE input) or go MIDI out to use Animoog Z’s highly expressive keyboard to control your favorite instruments. Go even deeper with Animoog Z’s exhaustive MIDI CC mapping system featuring MIDI Learn, multiple destinations for a single CC, and detailed control of which presets are loaded with program change.
• Additional Features: Backwards compatibility with presets and timbres from the original Animoog, AUv3 support, 440Hz base frequency offset (+/- 10Hz), preset tagging, preset sharing, Global BPM, Tap Tempo, Ableton Link, keyboard typing and shortcuts, random presets, and undo/redo.
BLEASS Shimmer is an AUv3 compatible studio quality Shimmer Reverb Effect that brings stunning harmonic tails to any sound or instrument with very low CPU usage.
While giving users an innovative and clear interface to enhance musical creativity as well as live performance usability, the BLEASS Shimmer brings highly versatile sonic possibilities thanks to its countless combinations of parameters. From angelic sheens, ambient washes to otherworldly chimes, let BLEASS Shimmer make your guitars, strings, pads, vocals, drums shine! BLEASS Shimmer comprises 6 customizable stages which reveal themselves via 30+ presets.
These stages include:
INPUT STAGE:
• Touch control filter with two filter types: Low-Shelf and High-Pass
• Input gain
• Reverb pre-delay
2 PITCH SHIFTER STAGES:
– Two different pitch shifters each offer 3 pitch-shifting modes:
• PRE (signal is pitch shifted and sent directly into the reverb stage)
• POST (reverberated signal is pitch-shifted)
• FEEDBACK (reverberated signal is pitch-shifted and fed back again into the reverb stage)
– Each Pitch Shifter can be tuned with
• Pitch control [-24st; +24st]
• Fine control [-0,5st; +0,5st]
• Delay Time control
• Amount slider
REVERB STAGE:
• Room size control
• Color parameter (control the reverb’s high frequencies)
• Reverb Room Size modulation (amount and rate)
• Length control (200ms – 30s)
DUCKER STAGE:
• The ducker compresses the output signal using the dry signal as sidechain to bring more clarity
• Compressor parameters: Threshold, Attack and Release.
• Visual Input Sidechain Meter
MIX STAGE:
• Dry/Wet Mix
Tutorial:
In this example I used Shimmer on the main arpeggiated synth:
iPad Loops is an iOS music production blog dedicated to exposing the best iPad apps 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 sounds are Synth One, EG Segments, Hammerhead, Retronyms AudioCopy, Audio Evolution Mobile, LP-5, iPRO.DJSAMPLER, Looptastic. My work is published by Roland, Antares, Magix, Soundtrack Loops, Sample Logic, Acoustica, Loopmasters and many more. Subscribe to our RSS feed below to get updated when new apps are posted.
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