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.
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Sorry man, couldn't resist....
Don't drink dont smoke - what do you do?
Don't drink dont smoke - what do you do?
Subtle innuends follow
There must be something inside hes hiding
Me, pretty much the same..... I do buy some Wine and that amounts to 10 bucks every few weeks......
I confessed in this thread how much I spent......I haven't bought an app since.....Holding out for AB3 and prob. Bias Pedals Mod at some point.
https://forum.audiob.us/discussion/16625/ive-spent-this-on-apps-since-2010-click-you-know-you-want-to#latest
I have purchased a lot of apps the past 2 months just because I was doing other stuff for a year and missed a lot.
Bought: Poseidon, Elsa, shapesynth, Redshrike, Laplace, Mersenne, KRFT, Refraktions, ClawTar, Chordup, Shoom, MidiLFOs, TBMidiStuff, SoftDrummer, YouCompose, Fugue Machine.
I also learned my lesson after realizing all the non AU apps i bought (most of them) crashing in the background after a while and only gave me issues.
Also bought a lot of AU's the past 2 months:
Isem, Addictive Pro, Ns1, Reslice, Baervaag, Pads, Jussi, Tines, Oriental Strings, Sensual sax, Mani, AudioEffx, Frekvens.
AUs are the best purchases I did so far.
No more crashes or presets gone.
I made one simple rule for my next purchases:
Only AU's or it must be something very special.
Whatever the amount, it's nothing compared to what I used to spend on Lps and CDs. For many years I was a record shop addict and went almost daily. I have about 4000 albums in my collection ... still modest compared to some though. There were a few years when I easily spent 300 dollars a month on music.
I have spent a few hundred quid, I have everything I NEED, so my app buying has ceased...I will keep it this way until something comes along that I feel I really need or have to have, but it will have to be something pretty special for that to happen.
I'm a music nut but I'm new to making sounds and to making sounds on iOS so I was buying like crazy (thanks to this forum...). Then I realised I needed to watch it. The one thing I haven't got yet is an iOS DAW so I'm holding out until I get a new iPad when the new range comes out. I'm really hoping BM3 will do what I need with the added effects, mixing and mastering apps I've got. I'm kind of avoiding Auria Pro as I don't want to purchase the effects apps all over again through IAPs... (Thanks @Tarekith for your mastering advice in these pages). Hip hop, electronica, acid, dub, etc. are the pools I am enjoying paddling in. BM3 sounds right up my street. Beginning to realise I could probably do it all in Caustic too...
No cigarettes, no cocaine, no bourbon, no heroin, no champagne, no grass, no port, no sherry, no Thunderbird wine, no Thai sticks, no vodka, no opium, no brandy....and so no real worries about appaholia, except, as mentioned, the issue of making use of the many, many tools...
For me there is a saturation now and while i bought an app per week, it is now more like one app in 1-2 months at best since there is not much "really" new anymore. I also miss a really forward thinking iOS and iOS devices which are really "pro".
But also the lack of demo, reall deep reviews and/or tutorials of iOS apps. The searching engine in the app store isn't a great help too.
I still wait for the one iOS DAW with midi FX, a great synth, good FX and a sampler engine.
Maybe NanoStudio 2 will get it?
Getting very close to that point. Particularly overwhelmed by the number of different patches/presets in apps like Sunrizer, Thor*, **Animoog, iWavestation, etc. even before thinking about tweaking those sounds to make something more useful. Compounded the problem on macOS by purchasing MainStage, which has way too many affordances in the Alchemy synth alone.
But it’s not yet preventing me from musicking. Been focusing on one “thing” at a time (preset, app, method, modulation), noodling with it for an hour or two, and recording something to remind me of the fun had during that moment. Would then move on to another thing, maybe completely disconnected from the first one. Have yet to “connect the dots” and one might say that my dabbling ways are unlikely to produce a cohesive piece of music anytime soon. But the exploration is more than plain fun. It gets me to learn a whole lot of neat things.
A few years ago, Loopy allowed me to gain insight into sampling practices. Samvada helped train my ear to raga-based improvization. And iReal Pro unlocked much Jazz improv for my thick brain which always had a hard time really grasping it.
More recently, got to understand substractive analog synthesis through Syntorial, Sunrizer. and NLogSynth Pro. Had used some virtual analog synth sounds in the past, but it’s only through tweaking a few things that these sounds started to make sense to me. The Sonic Pi desktop app also helped a lot, as did my reading of academic texts about the Moog and other early synths.
As simplistic as it sounds, playing with a lowpass filter’s resonance and cutoff frequency using some kind of gesture is a real ear-opener. It’s easy to then apply the same method to some other parameters, in most apps, and that’s a neat way to explore sounds. From a simple preset, you can gain such a variety that it dispels the idea that you need more synths. With complex presets, you gain a lot of insight by understanding how they were put together.
Then, what has made my learning even more fun has been to connect apps to one another, through Bluetooth or Virtual MIDI, through Audiobus or Inter-App Audio, or through exports. Trying a simple thing on one device or in one app and transforming it elsewhere is such a simple way to explore, but it prevents me from getting the “blank page” syndrome.
Going back and forth between iOS and desktop apps is a big part of it. Haven’t heard much about AB3 but will surely try to integrate it in a broader setup including some desktop apps.
That's been a bit of a turn around for me. For decades I've been staunchly avoiding preset synths when I collected analogue vintage synths, only owning one (well, three of the same model) preset analogue synth - three Oberheim Matrix 1000 synths, which are generally a hexaphonic analogue box of 1000 Obie presets, but delicious ones.
Now, even though most who know me on here know I know my stuff when it comes to synthesis, I'm finding that (and if I were much younger, this would be so uncomfortable that I'd deny it or run away from it) it might well behove me to start using presets now. After all - I know full well how to make my own patches, but by now have learned not to give a fuck what other people think, which permits me to use presets if I want to without other people thinking I need to.
Another reason is that there are so many presets around - lots of people have been putting a lot of effort into making a lot of them. Lots. They can't all be rubbish. On the contrary, a lot of them are quite thought provoking and innovative (and yes, some of the rest are rubbish) and it seems a shame to exclude them, ignore them, and not even be aware of some of the good work in there. So yes, I have a new interest in presets, not approaching it from the same direction as a newbie, who (lets admit, everyone was new once) actually needs presets or they get nothing. I'm kind of 'post-synthesis' interested in presets, now. As I say, only a few years ago I wouldn't have considered touching a preset, how dare I, I can make my own.
Another important thing I totally missed about presets is the potential for a kind of 'preset culture', in which you and he and her and she over there all know of or are at least basically familiar with a set or subset of 'it came with' presets, and this can become a kind of interchangeable vocabulary of identification of sound types, or synth capabilities, or contemporary splashes of flavour that mean something with commonality. I say, potential - and I think the one downside of presets is their arbitrary 'artistic' naming and lack of any metadata that tells us what it actually is or is for.
Thanks for explaining this! Though it’s not obvious from my posts so far, my path is somewhat similar. First approached electronic music through the MIDI studio at my music school, back in 1989. The first steps were to program some patches on the DX-7, and most of us were scoffing at the presets. That attitude was at the back of my mind over the years. And, while it may sound strange to many people now, my understanding of FM synthesis, however basic it was, made me prefer such methods over analog synths, for quite a while. Did eventually get a Poly-800 and created some simple patches without really understanding what was going on. But my ear was trained to listen to other types of sounds than the “fat bass” and “supersaws” which are often discussed in some circles.
In the meantime, got interested in other methods, including granular synthesis and physical modelling. These go pretty far to satisfy my academic curiosity.
So, my more recent experiments with softsynth presets were conditioned by a fairly specific background. And, chances are, my own experiments wouldn’t have led me to create some of the sounds we found in these apps. In other words, checking out some of these presets has been a way to get in the heads of other musickers, especially those who are closer to something of a mainstream in recent musical history. All of these “EDM” sounds are both familiar enough to me from my understanding of synthesis and sampling methods and exotic in terms of favouring an æsthetic pretty far from my own inclinations.
Another part of my approach to presets is in using them with my Wind Controller. Any sound could do, in some sense, but using presets similar to the ones other musickers have used gives me something of a connection. For instance, some of the very brassy sounds common to most softsynths work particularly well when we add the “Michael Brecker Effect” (rotating chords played underneath the input notes). Very obvious in retrospect, but not something my background had led me to explore.
Will probably use this in an academic paper, if you don’t mind. Part of my current interest is into this identification, this vocabulary, these shared references. It was originally a side point in my research, based on the observation that people kept identifying certain sounds in regular ways (“fat”, “cold”, etc.) and classifying them in such categories as “lead”, “pad”, and “cinematic”. Sounds extremely obvious to people now and it’s quite possible that all of these terms were used thirty years ago. But they form kind of a strange taxonomy as the branches meet in unintuitive ways.
So, your description of a kind of “preset metadiscourse” goes right in line with my own thinking, though it comes from another direction.
Though many people may dismiss preset, people have been buying synths over the years based on those sounds they recognize. Bought a TX81Z, twenty-odd years ago, in part because wind controller folks were recommending it. Didn’t realize that it was especially known for its Lately Bass preset. Chances are, it was already trivial to create a very similar patch on another synth. But it’s obvious that some people bought this specific synth because they knew that it was used to produce this well-known sound.
So, playing with presets is a way to take part in a cultural context. Fun!
Otherwise, my point was mainly that focusing on a given app and just playing with diverse patches and presets can be stimulating, even when you know what’s going on behind them. This is especially true when you’re playing with some neat controllers like ThumbJam, TouchOSC, or AC Sabre.
I definitely had the '¡NEVER USE PRESETS!' henna tatoo for years but once I came to realize that a piano or a tuba is sonically a preset, I stopped giving a shit. I still like to cook up my own sounda but if inspiration strikes with a preset I'm thankful for them both.
Exactly.
This is every app I have as of December 2016. There's a few more I've picked up this year, but this is the bulk that took since early 2015 to accumulate.
I've long stopped partying, almost 10 years now, so the Appaholism is to me a healthy addiction. It's been an incredibly satisfying journey musically, a lot of money spent yes (it's over $700 easy), but for all the great synths, the guitar amp sims, the FabFilter plugins priced 75% less than their exact copy VST versions, the incredible drum machines, etc...whatever spent on iOS music production software was a bargain.
I don't begrudge any of my purchases, even the ones that I don't use I've had a few hours of pleasure with, and I don't really buy anything else. Apple has tempered my spending though - price increases and fewer intro deals mean the '£5-10 couple of beers punt' is now '£20-30 three-course meal out', so I've put padding on the fence, so I can spend more time making sure I'm buying something more than a few hours of pleasure.
I am below 100 Euro total now. Maybe 70 or 80 Euro. I never thought i could have so much fun with Caustic, Patterning, Blocs Wave, Troublemaker, Final Touch, BitWiz, DM2, BM2, ZMors Modular and some of the free things that are available.
(and i am waiting for BM3 and a special for Korg Gadget - maybe additionally KRFT)
I think that i still have to learn soooo much to get the best results from my apps i still have.