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
Although I agree with your sentiments, I'm not personally on board with the 'everything on one screen' thing. We already have Ableton Live and can happily run that live on a Macbook. I don't see the point in re-treading old ground that's already been done better in a more suitable ecosystem.
In my opinion (from my personal usage), the best aspect of our toolkit is that it's so immediate and intuitive to use live, and can be 'played' like a real instrument. If you stick every bell and whistle on one screen, we immediately lose this advantage.. may as well map everything by midi to some 90s control interface (complete with hours of hardware menu diving because it's still better with midi than our 2016 iPads) and rewind a decade from today back to 'checking our emails on stage' territory while we adjust the pre-delay on the snare. Ok, I've digressed from the point, so this that paragraph with a grain of salt. Here's a '2000s tech performance' memory: I used to perform with 2 (fantastic) guitarists who ran their rig through Windows Laptops!.. At least today we don't have to deal with 4x12 cabs vibrating and shaking cables loose mid song!! (they upgraded to laptops from a desktop rig.. complete with CRT display.. and clear plastic sheet in case of rain..).
For me the solution to this is Audiobus Remote, and it does literally what you suggest now that I'm in the flow with it. It puts everything on one screen.. one app at a time! These days I don't even think about it when I want to perform with some well placed touch control in the middle of a complex passage: the motion of touching the remote fast switch (zoom tool helps..) is effortless and the app I need is already on the screen when I arrive. The extra triggers provided are nice, but that one touch app switching is amazing. I don't have any evidence, but I suspect that Audiobus Remote is seriously under utilised, it doesn't seem to get the love it deserves, unless we're all secretly ABr addicts. Granted it's functionality isn't perfect (update coming) and more apps should implement it properly, but what it does provide is invaluable in a live situation. I'm experimenting with other user interface options currently in a big upcoming project, so will follow up on this topic in the future.
Of course, my usage is all in live performance. I'm not speaking about studio work right now, but if I was to comment on that I'll leave it at this: Bringing the live experience and studio experience closer together is a good thing in my opinion. I use iOS to perform because I like electronic music but I dislike having to be a 'tweak head' to make it. When iOS music devices take the digital creation process out of the box and put it at our fingertips, it makes us into performers capable of great performances (with no difference between live and studio environments). iOS Music can bring us full circle and put us right back in the heart and soul of the music, and that's always going to be superior to being the worlds most meticulous tweaker (which becomes a preparatory element that's as deep or fluid as the performer chooses).
O
You hit the nail on the head when you say that there are a tonne of unmixed and unmastered tunes coming out of iOS producers. Surely though that is inherent to a medium with a deliberately lower barrier to entry?
I would hazard a guess that the majority of casual music producers don't really know what mixdown or mastering stages are when it comes to production, and if you think about it, why would they? Hell, I know producers that release tunes that do relatively well on Trackitdown that don't REALLY know how a compressor works (they just saturate everything instead), and if that person doesn't, a person that bought an iPad Pro that came with Garageband probably has no chance.
None of that is intended as a slight, just seems like the lay of the land to me.
OTOH, and I might be a lone voice here, while I agree that there is often an expected and understandable neophyte nature to many iOS recordings, I've also heard a number of very well mixed tracks produced on iOS. I think it's perhaps more about the knowledge of what mixing entails. Yes - esp. to do with listening, using one's ears and not mixing on buds
HOWEVER, ... as has been said by a couple of folks in Internet articles recently, once one begins to know one's audio surroundings, whether it be a badly treated room or buds, compensation can occur (positively). But that takes learning, skill and bad mixes to find out first 
wasn't speaking literally Oscar, none of the examples I listed actually have every single thing on one screen, it's about the ethos for instance Samplr has several screens but it feels like one, it's so easy to flip through the modes, but even though everything is not on one screen it doesn't feel anything like trying to run through a bunch of apps or even back and forth between a few..... in my opinion that's the bar to shoot for but right now most other apps are going in the other direction. Trying to make things more difficult and out crutch one another lol, it's irritating. I really think Samplr is the best example as it's got what 7 modes i think but it all feels seamless.
agree about audiobus apps but that's exactly what I meant by savior, they exist because of the magnitude of shortcomings in the workflow of most of the other apps, and thank goodness they do.
I like the unmastered stuff.
you can still hear it breathing, its not that overlimited mess that screams at you all the time ...
Interesting thread and great comments.
Not really playing live in that sense with my iOS music, my comment is mainly about recording a result.
I too think one of the main benefits with iOS music is that it is so easy to do, yet it is full of limitations. Those limitations, to me, create creative opportunities. That is just the way I work. When I have "all the tools" and "all the possibilities" I struggle to create things, as I often then can't decide where to start. On iOS it is so full of limitations I have to explore things/possibilities, and that exploration leads to me noodling tunes, which I then start to flesh out, and which turns into "proper" songs.
That is also how I used to work, back in the days when I was in bands and we wrote music/albums together as a collective and later on recorded those albums in studio, on tape at first, and later on computers which were just making an entry into the music creation world at the time (we are talking mid 90's here).
I find it amusing that people find it tedious, and "breaking the creative flow" to connect a couple of apps. Back then we had to lug big heavy equipment into vans and drive them places, spend a couple of hours connecting stuff, hoping no cables or anything else had broken in the process. The samplers we used (AKAI S900 etc) were hardly as simple to get audio in to, let alone get sound out of, as today's apps. We had no problems with creative flow. Then again, we didn't have as high output of songs either. One great riff could make that day, and we knew we'd create the bridge/chorus tomorrow or the day/week after that. Each song could take months to finish, even though we worked on roughly 3-4 songs in parallel at all times. That gave the songs time to mature and to shape into their final state.
In comparison, as the iOS platform is low barrier, and one quickly can turn out songs, I think that is also the main problem here, and as described in the OP: People rarely spend the time needed to let a song mature. To try out different things, and if failing to find those things immediately, let it rest whilst working on something else in the meantime. Also, when they have a song, they quite quickly rush it out. I can't blame them, many apps have the "share on Soundcloud" button, right there!
What they probably should do is to export it locally and listen to it on a multitude of speakers/headphones, make adjustments, rinse & repeat, before they release it online, and only release it when they are totally happy with it.
So, this simplicity also leads to some being "over-productive". Quantity over quality. This in turn creates a lot of noise, where it can be hard for someone to break through due to the sheer size of competition, which can lead to "ah, this will have to do" instead of polishing it up even further. Everything in society today is faster, and it has rubbed off on music creation, especially on iOS as "it is so easy".
Many of my favourite bands/artists have been around for many years. They release an album every 3-5 years, with mostly good songs on them. 3-4 of those albums are usually considered "classics" or "epic". In the iOS world I know creative artists who have released literally 100's of albums. I know of even more that "only" have released 10-15 albums. So many in fact, that it would be a massive challenge for the uninitiated but interested potential fan to sift out which ones you should start with, assuming that not all of them are equally awesome. Needless to say, all those albums can't all be mixed and mastered as rigorously as we did "back in the days" where every studio hour costed money and we really didn't want to blow it all on failing on the final stages. That carrot isn't there for iOS music in the same way; it is all about time (and patience, or lack thereof). The convenience of it all also turns it into its own enemy, as if more and more iOS music is released without being properly mixed/mastered, that will always be the counter-argument against it from those who likes to pick on things.
Now, I have heard lots and lots of good music made on iOS, and I continue to be impressed almost on a daily basis. I think it is more about the musicians, and their experience, than it is about the platform, which after all is just a tool, or perhaps tool box with many tools, as we have quite a lot of capabilities on the platform as such. We just need to give the songs we create the love they deserve.
hellquist.. you NAILED it.
Thanks for such a well thought out post. I don't really have a lot of discussion to follow it because I agree so comprehensively. I'm glad that you've shared this insight as it's both the other side of the coin to my own feelings on live application, and also directly relating to my past experience through working primarily as an instrumentalist. I'm going to take most of your thoughts and adopt it in my own opinions and methodology!
O
With all the limitations of IOS I often feel I need to compromise which probably puts me in st. Pepper's territory. It forces you to find a balance between the sound sources you use. Rather than using 5 synths because I can, I end up including melodica, kalimba and harmonica which makes the mix sound more organically rich. This also goes for the use of effects. Of course I'd use 3 instances of Turnado if I had a chance but I also appreciate not having that opportunity. Especially where looping is concerned the loop fatigue is absolutely a real danger and sparseness and intelligent use of silence definitely helps. It also makes live mixing a more manageable experience.
Before I included Samplr in my set up I used to turn the iPad face down so I could use my ears more and I found it very liberating. That's of course a strange idea having such a tactile app as Samplr so now I try and limit myself to only having that on the screen. Not sure if I would like all stuff on one screen, that indeed would seem like someone's checking their email. In fact an iPad with a host of midi controllers can take the focus away from the screen and this is what really the audience wants. For them most of the time seeing is as important as hearing otherwise they'd be listening to the radio instead of going to gigs.
Edit: There is a reason why people who loop live favour simplicity in their set up. There's already enough to think when recording, processing and mixing stuff on the spot. Muscle memory plays considerable part in all this.
Derek is right here; for all the incremental changes and adaptations that iOS music production could benefit from, there remains a few basic truths.
Like a great guitarist who can make a $150 Korean Strat sound like a $3500 Custom Shop Strat, one's talent, knowledge and technique can overcome any inherent difficulties with technology.
Yes, I've heard terrible mixes and mastering from basement laptops for years. Before that, eight tracks and four tracks, etc. You either have the craft or you don't.
And speaking of craft, @supadom nails it on the live use of iOS. I've been playing live for nearly thirty years (showing my age but I started young!) and iOS has invigorated and clarified my approach to playing live. I love both the possibilities and the challenge...
One last observation: many disagreements arise in these forums between folks who use iOS for playing live vs recording. I use it for both and I suspect a fair number here do as well. The tools needed for each job are different. Not a news flash, but I observe people (even devs) talk past each other because they overlook the primary use case.
MIDI setups on iOS work only if you know what you're doing
(You couldn't power the iPad and an audio interface or midi thing until recently at the same time, now there is a new camera connection kit)
Hubs setup were ugly cable and adopter nonsense
Now Bluetooth midi controllers are rolling out big time
So things are getting more convenient and less "my cool little nerd setup"
It really got a lot better with link
It's a lot of small steps
But things are coming together now.
And with new generation iPads you can run higher sampling rates easily.
IMHO: If it is mastered correctly you shouldn't be thinking about it, at all. It would be breathing (and have room to do so), spaced well and have clarity, where all the elements are audible, and you'd only be thinking about how good the music sounds. If they have mastered and failed that they haven't done a good job, and that is as bad as not mastering at all.
One thing not many people do is to have someone else (i.e. not themselves) mix and/or master for them. Again, this could be due to time constraints and the perceived rush of things, but I think there is a reason why those are actual full-time professions in themselves. Also, most musicians are often "too close" to their own song/contribution to have "subjective ears", and it can be wise to have neutral ears doing that final part of the job.
So what you mean.. is that you don't like BADLY mastered tracks
I'm ok with the unmastered stuff though, partly because with synth based things it's a lot less necessary than a rock group, for example (although unmixed stuff can be nasty). It's also an interesting thing to get to see inside peoples creative processes with such regularity. I don't think that these unmixed/unmastered things floating around are a bad thing at all, its just a clear distinction between amateur and professional level work that we need to be aware of in how we choose to present ourselves.
O
What's going on in electronic music isn't funny anymore
Try to listen to peaches or something
It's so loud it blasts your eardrums out
And then ppl think your tracks aren't professional because it's not as loud, lol
All the compression and limiting was made for mono radio and vinyl ... And not to blast the shit out of the digital stuff
Also if I want to have it mastered later, I need to know that already when I'm mixing I need to mix dryer - otherwise the fx are to loud after mastering ...
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Oh there weren't any aux in the live setups, it used to be insert only, so that's kind of new too
I remember accidentally listening to a Pendulum song with the tops turned off a few years ago. Something changed in me that day.
O
workflow matters.
Well, since Auria Pro, I think I OS production tools are pretty much there. Hardware is what must improve. As much as prefer a one window solution, this may be a little impractical on an iPad because of its tiny screen.
okay. I'm officially disendowing my earlier 'single screen comment'
Interesting thread! I will admit to being (initially) disappointed, having gone from a Mini 1 to an Air 2 thinking it would make production easier...I wouldn't say that's been the case haha. The biggest problem for me is just dealing with all the different standards and methods different devs use to send/receive data. I mean there's some degree of standardisation with IAA and now AB but it still feels a bit muddled especially with some things saving states and some things not. And of course a lot of it is also to do with iOS itself. Multi-tasking still feels clunky. And while I appreciate how apps have to work on tablets to ensure you don't lose work, having apps open with bits of different sessions is just...bleugh.
However...where the iPad excels is in the immediacy of single apps. It's like a shape shifter. Sometimes it's a drum machine, sometimes it's a synth, sometimes it's an outboard processor. And they're all really fun and fast to use. The best results I've had by far have been using StudioMux and using my iPad like a piece of external gear.
I'm looking forward to getting the itrack dock so I can get more out of my apps but my impression atm is that trying to replicate how I work on my laptop in any way is only gonna lead to frustration.
@kobamoto so much awesome in one package.
I should add quickly that I just finished a job that was almost entirely created on iPad (edited and compiled/mixed in Cubase 8.5). So I'm by no means rubbishinf the platform! I'm still kind of in awe of what can be done. But also frustrated with the little things that can't. At the moment,
couldn't of said it better... to me iOS in general is like beat maker 2... it's full of wonderful capabilities but the workflow is mildly atrocious haha. I just think all of the hoops we jump through make their mark on the final output but then what process doesn't?
I cringed at the thought of just making (not mixing) music on the iPad speaker, or even earbuds. If you're just having a good old time, sure, but otherwise a pair of Sony MDR-7506s is affordable and will do you wonders.
+1
The great thing is, the simple fact of the super responsive touch screen affords developers virtually limitless opportunities to come up with new interfaces. personally I would prefer a general lean towards interfaces that allow for "live arrangement". We'll get there eventually.
Live composition and arrangement. Totally on the fly.
I'm really hoping that Hermutt Lobby lead the way on this once they allow us to import our own samples!
You already can have a Playgrounds approach with HL Beatsurfing, which is the midi controller counterpart to PG(but it really needs an update, not the easiest thing to route)
Great thread
I have loads of fun jamming with my iPad.
I have a little less fun creating actual tracks.
Why? I use Auria Pro, which is pretty good and does have the tools to do a decent job.
Then I think back to what was different when I had a hardware based studio. I can think of the following points that were different. No particular order. Some favour now, some favour then.
Then:
1) all my synths, sampler, guitar, mic, drum machine were all plugged into their own channels on the mixer and ready to play.
2) early computer audio interfaces, soft synths and latency were pretty grim.
3) switching everything on was a pain and so was finding That mains hum, faulty cable dodgy midi problem and fixing the computer.
4) having a desk and physical faders helped me feel in touch with the music.
5) I always had well placed studio monitors with a half decent sounding environment to listen and mix in.
6) ideas were often more considered due to the time it took - finding, loading and arranging samples could take weeks to get right.
7) the hardware and computer hated that I smoked and the room could get awfully hot in the summer.
8) cables and bits of coloured tape will haunt my dreams.
9) the cost of ownership was not just financial.
10) quality mastering hardware and fx were way too expensive. The software was clunky and prone to crashing.
Now:
1) so fast to switch on and get something going. Can take anywhere.
2) so fast to use, my considered approach to ideas has got lazy.
3) easy to come up with ideas from dabbling with different apps, harder to focus.
4) too easy to whip out iPad and create, only to find it sounds shit when hooked up to my monitors later.
5) running multiple hardware midi interfaces looks like a pain with my iPads one connector. I need some eventually, missing those hands on physical controls.
6) iPad as an instrument is fun and creative.
7) iOS as an instrument changing multi apps sucks live.
8) believe it or not, my iPad apps run way more reliably than my old computer software did back then.
9) cost of ownership is way less. Cost of running is way less.
10) easier to share, but iOS makes things awkward without a computer sometimes.
Thinking about the above, I can see that I can do what I used to do, if I just add some midi hardware into my setup. The rest is just down to my self control I.e. Buy and use less apps. Only mix and program sounds with monitors or decent headphones. Stay off Audiobus forums etc
The advantages of being able to take my iPad anywhere though are HUGH