Loopy Pro: Create music, your way.
What is Loopy Pro? — Loopy Pro is a powerful, flexible, and intuitive live looper, sampler, clip launcher and DAW for iPhone and iPad. At its core, it allows you to record and layer sounds in real-time to create complex musical arrangements. But it doesn’t stop there—Loopy Pro offers advanced tools to customize your workflow, build dynamic performance setups, and create a seamless connection between instruments, effects, and external gear.
Use it for live looping, sequencing, arranging, mixing, and much more. Whether you're a live performer, a producer, or just experimenting with sound, Loopy Pro helps you take control of your creative process.
Download on the App StoreLoopy Pro is your all-in-one musical toolkit. Try it for free today.
Comments
I bought that one used, 2 or 3 years ago and it has become my go-to instrument. Really can't recommend them enough.
What do you use to mic it?
I haven't done an awful lot of recording with it.
Have acquired a Rode NT-USB mic but even with the built-in ipad or iphone mics it has a really nice, strong tone.
Really, I've never thought of using the iPad mic. Always presumed it would be well....pants!
You mean you never heard the legendary @LostBoy85 wardrobe recordings!?
Quote-spamming ?
Yeah they do look kinda pretty
>
>
For me all this synth stuff is black magic, especially modulars but I've learned a thing or two by simply tweaking the shit out of Ios synths. Especially sunrizer which with its mostly one page interface is sooo welcoming. Best find a present you like and tentatively tweak some knobs to make it yours.
You don't have to know what you're doing as long as you use your ears to guide you.
Preach it brothas and sistas!
awesome
You still have to learn how to play it which is not dissimilar to OP's ordeal.
Oh @JohnnyGoodyear! That so perfectly describes what I went thru w/ my last project!
Okay, one more. One quick one. A quick but incomplete description of one further synthesis model, specially for easter, to get you thinking and filling in the gaps yourself.
Spectral modelling synthesis
Imagine a sound, and imagine we could split that sound signal into bass and treble. Or better, imagine we could split it into bass, mid-range and treble, like a typical mixer input channel. That could give you three separate signals (even though they came from the same one). Pretend the filters were a lot tighter and narrower than on a mixer input channel, with really sharp steep cutoffs. Just for the moment, imagine a sound that was a sweep from bottom end all the way through to top frequency. In effect, the three filtered channels will have a signal presence in the bass channel, none on the other two; then a while later, the bass channel will fade out and the mid channel has a signal; then later the high frequency channel is full of signal while the other two are empty. If we took note of the differing timing and amplitude within these channels, we’d have some parameters to play with.
Let’s go further and imagine we could break that sound down into separate frequency bands, and put separate envelope followers on each band to track each channel’s change of volume level. Lets have ten bands. No, make it twelve. No, make it about thirty. By the way, we’re half way to assembling a vocoder at this stage — a bank of filters, each about a third of an octave wide (like a graphic equaliser), each of which also has an envelope follower to derive a control signal.
(If you want the whole vocoder, which is kind of a side-note to this topic, get yourself another similar bank of filters, with each output into a VCA, each of which is controlled by the corresponding envelope follower that we had on the first (analysis) bank. Put your voice into the analysis bank, shove a harmonically rich synth sound into the second bank. There’s your vocoder. Not a particularly good one, though. We also need voiced/unvoiced detection, so that we can poke a noise generator in, to simulate fricatives and the attack portion of plosives. But that’s another story).
Let’s go crazy — not thirty bands, but a few hundred. This is very difficult in hardware, but in software not so impossible. Several hundred really tight frequency bands across the spectrum, each sensitive to incoming sound only in that particular narrow little frequency range. Now all you need to do is introduce your sound to the input, and the analysis bank will result in a sea of ‘tracks’, each of which is kind of its own frequency (if there is such a thing as a single frequency — which is like saying now is exactly 12:00:00 and zero femtoseconds — what, when I started to say it, or during? When?).
Each frequency track simply consists of amplitude information over time. Or, if you ignore the amplitude and simply pay attention to when it gets above a certain level, then the information consists of when that frequency track starts, and how long it goes on for. That’s a nice compact set of parameters. A few hundred frequency tracks, each full of start and stop times.
To re-synthesise from this analysis, simply generate a few hundred sine tones — you’ve already got the start and stop times for each frequency track. You might even have varying amplitude data within each track too, depending how it was analysed — but even if you didn’t and frequency tracks simply switched on or off, it’d still give you a reasonable reconstruction of the input.
Except that… if you monkey around with the data, for example, quadrupling the start and stop times, you get the same sound with the same qualities, same formants in the same positions, etc, but it takes four times longer to execute the sound. Time stretching! Or, keep the durations where they were, but reassign the frequencies all up, or down, a few octaves.
There’s plenty of manipulations possible to the entire spectra of data all at once, even taking one set of spectral analysis and applying it back to the presence or absence of frequency tracks from another incoming sound (rather than generate additive sines to re-synthesise from) (but then, you’re back to the vocoder idea again, but using spectral modelling synthesis to do it, better).
Are there any spectral modelling synthesisers or effects apps on iOS that you might have been already aware of?
synthmaster ftw
this is excellent!
All my normal silliness to one side, I have learned a good amount from your lectures on this thread. Would need to re-read them weekly to fully absorb, but still, the lamp is lit. Thank you.
Ta. Whilst it’d be inaccurate to say they’re accurate, I hope they at least pencil in an outline of a map, so that people can see roughly how big the territory is. Well, not so much pencil, a couple of crayons really.
Can anyone name any existing iOS apps that use Spectral modelling synthesis?
I’ll start off:
Apesoft’s Sparkle (and apeFilter, apeDelay).
Also, VirSyn’s Poseidon Synth.
Gentlemen: To the Boffinator!
Erm... That thing with the stuff Nave and Virtual ANS
Nice bits of info. Great topic! I, for now, prefer to stick to good old FM (DXi made it easy as it can be) and subtractive synths for sound design. But when I feel like to study something new, I'll surely refer to this topic. Cheers!
I'm waiting for the accompanying SunVox projects to these lectures, as you've clearly hinted at these past few weeks.
The ironing thing is, I don’t have Sunvox on the iPad, and I’ve only downloaded it and looked at it on OS X. Mostly I look at it and after a few minutes of staring, I have to go and look at something attractive or pretty or, you know, …designed.
What a bizarre comment (even ignoring the ironing). May not appeal to your particular aesthetic but that doesn't stop it having some design merits. I find it very usable and clean. Sure, there are aspects that I would change but overall it is quite an efficient interface once learned.
Hey, I wouldn't read the New York Times for years because I truly hated the font that they used.
Synthesis in a web api but general enough with good graphics to get the principals across
I will come back to it, I’ll have to, it’s a universal inevitability, it’s the undeniable terminus of entropy (penultimate but one to the heat death of the universe). It just seems frightening in that once you’re in, you don’t go back.