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Comments
It's an AUx, just load 2
, enough for your 48, and enough left for 2 x spiders to accompany you 
Instabuy for me. Already using NS1 to layer multiple sounds to create rich, evolving pads soundscapes.
+1 on the smart randomiser
If there were a documented patch format made that best fit Phasemaker, then the DX conversions could be made by others in the community that wanted to step up. Making a preset export/import would probably be it's own ball of wax, but most likely a lot more pleasant that trying to deal with what compromises need to be made by a DX converter. Perhaps multiple converters would bloom that each had their own trade offs. Regardless, if Phasemaker were to have a patch import, the format should model best what Phasemaker is.
I'll post some decent audio examples shortly!
We've got to work on iOS instrument pricing dynamics...I recently spent $400 on Keyscape and feel like I got my money's worth, I'm just as excited by Phasemaker yet I'm sure it will cost FAR less...embarrassingly so. Perhaps next years iPads will help bring some balance here.
I think it's Apple who have to step up if they want to change anything. Introducing subscription services is not the answer if they want to make iOS an attractive platform for the big guns (Native Instruments, Propellerheads, Roland, U-He, Ableton, etc). I'm not talking about myself here for a moment, but in general.
Right now the there seems to be preciously little tolerance for price-differences between serious apps that take many months of invested development time and substantial marketing/support efforts and the disposable app-snack of the week. And that mostly has to do with how Apple has (failed to) nurture the Appstore.
The introduction of the iPad Pro would have been a perfect moment to set up a Pro-Appstore with categories such as music production, photography and video editing, DJ tools, healthcare, education, illustration and graphic design, etc. Pros don't expect software to be free or dirt-cheap so it could introduce a new tier of iOS software that is safely separated from the race-to-the-bottom on the regular appstore.
This would not necessarily be bad news for consumers, because cheaper isn't always better. As I mentioned before, it could bring developers to the platform who could not even afford to be on here even if they wanted to because their working hours are simply too expensive for this to be economically viable. The big-numbers game doesn't work here, generally. Because music apps are a bit of a niche, and pro-level music apps are a niche within the niche.
@brambos
Agree. I would have liked to have seen Apple show the way with their two pro level music apps - Mainstage and Logic ProX. They should release these for the iPad Pro at full price but changed with the touch interface in mind. I believe Making these two music programs for the Pro iPads would send a strong message that iPads are serious music devices and encourage Pro level development. I believe it would bring acceptance of higher prices forwards, as they are already fantastic value.
Apple need to promote minority professional use on the iPad. Short term, it may seem a waste of resources, yet I believe the long term implications for their 'iPad as laptop replacement' strategy would be most beneficial to Apple.
Agreed.
With the A10 processor we have a true desktop class processor, Sandisk has a 1TB sdcard out now, so I'm sure future iPads could match MacBooks in storage - just need a doubling in RAM for the iPad Pro then we are pretty much at parity with the power of many MacBooks that are in use today at studios.
If Apple then released Logic iOS at $199 this could really set the stage for a proper pricing balance, perhaps they could also allow for universal apps between macOS and iOS. Then a mac purchaser could essentially get a "free" version for iOS but at a Mac price..further helping to legitimize pro value on iOS
If this thing somehow ran DX7 patches, it'd be a huge deal, since that's a strange omission from the iOS landscape. But I won't downgrade Phasemaker for something nobody else has been able to offer either! I don't have any strong understanding of FM synthesis, but in Patch Base, I've found that the randomization feature for FM programs doesn't work nearly as well as it would on, say, a subtractive synthesis model. 90% of the randomly generated patches turn out to be digitized and "bell"-like, and not very musically useful. I'm sure these could be tweaked if you know what you were doing, but again, I don't! FM just has so many variables, and even with the right setup of operators and everything, running that same program through different algorithms can result in wildly different results.
That would indeed be cool as a 'Logic Pro X' owner
For that to happen I think there needs to be a closer 'bond' between the Mac Appstore and iOS Appstore.
As far as I know there are no truly universal apps ie. same 'license' for both iOS and Mac apps yet.
There are some apps that are available for both iOS and tvOS as they are closely related but they re not the same app but rather a tvOS specific version of the same app.
Even Steinberg keep having sales of Cubasis. Mind you I imagine that extra sales of Cubasis do feed back into at least a few extra sales of fuller versions on desk/laptop.
It seems to me that IPad apps are also held back by people that want a universal version of everything, when the iPad 1st came out it seemed to be the common practice for there to be a phone version then an HD version with better graphics and maybe a couple of extra features but now we're back being constrained by the size of the smaller screen.
I don't see Apple really wanting the iPad to be a laptop replacement they want to sell you an iphone and an iPad and a Mac ( oh and wouldn't it be nice if you had Apple TV and an Apple Watch too)
I'm by no means an 'FM Expert' and my first 'real' FM synth was(and still is) the Yamaha TX81Z.
I found that the best way for me to 'learn' FM is to start with 2 operators(one carrier and one modulator) and see how they interact with each other and learn to create different types of sounds(Bass, Bell, Flute, String etc.).
Easiest way was to use the carrier envelope to shape the over all volume of the sound.
After that 'play around' with output volume and frequency of the modulator.
And when the sound was somewhat in the right direction use the modulator envelope to control the amount of modulation over time. The envelope only goes to the maximum volume of the operator.
Adding 'velocity' control to the modulating operators volume could create some pretty expressive sounds
The Verge posted an interesting article a few days ago discussing the A10 chip and the possibility of Apple bringing it to their Mac range. This would require a rewrite of macOS (which seems unlikely) or a move to iOS.
You can read the article here.
@Samu said:
This is excellent advice. FM is in a way the opposite of subtractive (analog) synthesis.
In analog synthesis you start with a raw sound and use the filter to take a away frequencies until you're left with a minimal sinewave-like tone. You typically use a filter envelope to do this for you... start with minimal sound, open the filter and then close it again. Result: a "wwwooooowww" sound.
You can do something very similar in FM, except you start with the sine wave and use a modulator to add frequencies rather than filtering them away. In the case of a 2-operator algorithm (one carrier, which produces the sound, and one modulator, which only modifies the sound) the modulator's behaviour is sort of similar to the lowpass filter in subtractive synthesis. Apply an envelope to the modulator and you also get a "wwwwooooooowww" sound.
In this setup, the "level" of the modulator determines how bright your sound gets. The frequency (or ratio) of the modulator determines the overtones that are created. And this is where FM gets much more interesting than analog synthesis. Because by playing with the frequency/ratios of your modulators you can create those rich timbres that resemble glass or wood or metal or wind instruments.
And 6 parallel operators are amazing for 'organs' using the feedback on one of the operators to add the percussive 'click'
Porting macOS to run on ARM is probably fairly doable for Apple. They already switched architectures once from PowerPC to x86 (You could point out the switch from m68k, but that was a rewrite).
Apple may not be promoting 'pro' apps but they do exist:
https://forum.audiob.us/discussion/comment/269877/#Comment_269877
Thanks @BiancaNeve for pointing that out!
My guess is the app store market will mature with time. Apple probably isn't motivated to point it out. The frog must be brought to boil slowly
Indeed they do. Apple could stick a firecracker in the engine and take us into overdrive though
I'm super keen to see how much fanfare Apple make when they (finally/hopefully) update the Mac range.
Given that iPhones & iPads now outsell Macs by quite a margin, I wonder if Apple are slowly fading them out?
Also, Phasemaker looks fantastic! = )
Until one can write iOS software on an iOS device macOS is not going away. I do think Apple are keen to make Macs more like iDevices, in that you plug in your Apple ID and there's all your stuff. They can't close down macOS beyond the need to use it as dev tool for mac/i/tvOS software. Whether they will try to close out other things remains to be seen. My gut says they won't, but the tactician in me says it's a valid move.
+1
And big fat phasing supersaws. But those weren't in vogue yet in the days of superstars with big hair and spandex pants
Some of them lurking here.
Hehe, I wonder why no one has done a 'SuperSaw EDM Remix' of Van Halens Jump yet
I might do that as a demotrack for Phasemaker
Take my money!
Sweet...
I've just heard one underground 'happy hardcore' version of Van Halens Jump but I don't remember who made it
>
Or not. Now, if you fancied trying 'Carry on Wayward Son - Kansas.' So much more
So pretty. Mesa wants it!