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Also true......Roland and some of the other brands might rethink their market.....until it´s too late.
But iOS was never build for these tasks....there is mac for it.
I find often (even if i miss a few things here and there) that iOS is more complicated to use for me than the latest macOS. It feels more and more bloated and with all the fancy new things it become the next do it all but don´t do it well OS for a multi touch device.
And of course there seems to be not much money in the market.
Like i said Apple updating their pro line like Logic often and it´s mostly huge and they gave us IDAM, core audio and whatever. But i think also macs are not what they could be.
That whole thinner, lighter and form before function thing is going to get worse.
Give me a heavy pro device with endless power...that´s it.
Same thing has happened in the web design world. 20 years ago when early developers were building the first ecommerce and content management systems, contributing to its overall development via open source, we could make a decent living and at the same time put something back in.
Then companies like W*x turned up, took all the good ideas and hoovered up the customers. They have closed systems and contribute nothing to the community.
As a result everyone can now have a cheap, shitty website, and there’s been minimal development for nearly ten years.
I tried the new behringer stuff @superbooth and was amazed by the pro one and odyssey.
Other companies have also clones in here product catalog and the young generation need inexpensive gear! I’m thinking of the emerging markets. Go Behringer go!
Also some independent developers which want to do their own hardware emulations could afford it now rather than having to buy synths for a few grands and or find someone to borrow it from.
Think about someone buy all the Behringer synths and combine them in one emulation (like a Diva 2.0) and the latest tech in analog modeling plus of course all the fancy things like midi and polyphony, MPE etc.
Why emulating the original if a cheap one does mainly the same.
A good example is my favorite synth of all time P900.
It got mainly the Moog flavor (oh yes it does so well) but it´s a mixture out of a modeled Minimoog from 1973 (if i remember it right), modules from Mos-lab which are itself hardware emulation of hardware from Moog, some own creations, a great BBD and the best plate reverb i heard yet in software land which was build from a white paper from a Lexicon algorithm plus own ideas added.
Now if i think some more independent developers could do this kind of genius work for a cheaper entree if they want it´s a win-win for me.
I wonder if they all have midi out via usb as well. When i see the next Omnisphere update with hardware integration such a hardware would have double benefits for me now (since they already added a Behringer synth and plan to add to support more).
A good product costs good money and if you can’t afford it, you go without and do something else instead.
When I were a lad I really wanted an Arp 2600, Korg Mono/Poly, Roland synths, the usual for someone with no money at all in the late ’70s. Same with wanting decent medium format cameras. There’s always some prized bit of gear that a teenager or early-20s wannabe lusts after.
As I built my career in electronic publishing during the 80s and 90s I was able to afford pretty much whatever I want so that I could do what I want with no resistance, and I bought a Mamiya C330 and accumulated about 5 lenses for it (all secondhand actually) and to replace my old Olympus OM-1 pair of bodies and three prime lenses, I bought a Nikon F4 and bunch of zooms (not a very well-chosen set it turned out, apart from my 55mm-micro).
Same happened in synths – bought a Yamaha SY77 and then Emu Proteous and Alesis HR16b and MMT8 and four track tape and sync and lots of guitar to midi things. I even replaced my cheap shit left-handed white strat copy with a proper left-handed Hohner G3T. Then in the following years I proceeded to buy vintage synths, getting almost each and every one of those that I lusted after when I were a lad. Things were good, and I was productive.
The moral of this story is that these days, cheap chinese guitars are actually quite good, and Gibson don’t make guitars because they don’t exist any more.
Or maybe, the moral is: cheap dSLRs have killed professional photography, and goodness knows why people think an SLR form factor equates with ‘good camera’, the whole idea of a single-lens reflex camera is a laughable hack, with more mechanics involved in letting you see what you’re shooting through an over-complex visual arrangement, then swinging a reflective mirror (hence ‘reflex’ - reflective) out of the way in the split second a shot is taken, while pumping the aperture down to the set point and then springing it back out to wide open again. SLRs killed the professional rangefinder market, so now if you want a good rangefinder you’re up for a couple of thousand. Oh, except for Cosina, which were the original makers of a lot of the camera industry’s own cameras, then in the late 90s early 2000s came out as a manufacture themselves, undercutting a lot of existing manufacturers with much cheaper Cosina gear (pretty much the Behringer of the camera world).
Or, the moral is: if you can’t afford a Mac, then do something about it so that you can.
Yes....but if the cheaper product is about as good as the one that costs 10 times more i don´t have to afford the original anymore.
And if famous brands think they can melk a cow for decades without innovation they might wake up one day and see that new generations don´t care about a brand anymore.
They have! They’re hybrid Synths now
But the thing is that most of the pedals behringer copied were also copied by dozens of other companies. Look how many clones and versions of ts-9 there have been on the market since 2000. I bet its easily 30+, not counting people selling diy clones ofc.
The basic structure of mixers have also been the same since forever. Mostly its just small changes have been made to the schematics.
Sure sometimes behringer takes it a bit too far in my opinion as well, but mostly the hate is just because behringer is more upfront about it than others. For example most clones or slightly modified versions of maxon ts-9 that have been made doesent advertise being ts9 clones, but just refer themselves as some tube drivers etc, and maxxon(and later ibanez when they bought the rights for the pedal) had other tube drivers as well, which have also been copied like hell.
Most guitar amps are also mostly more or less copies of each others with small adjustments made here or there.
Even when it comes to synths, moogs ladder filter, sem filter etc have also been cloned and sold for a long time. Nearly everything eurorack is just clones of synth parts.
Lets not even start to talk about synth/fx software emulations.
I think that the odyssey clone took it a bit too far, since a certified clone is being sold currently in reasonably good price.
So yeah, lets not bash the whole company or Uli. Cloning, copying and sometimes modifying a bit is what everyone does more or less. Your favourite daw wouldnt be as good if the devs hadnt ripped off features from other daws
Everyone who has ever had a professional career in any high-tech industry (I have 20+ years in various major innovation&design departments., not counting my iOS adventure) will tell you the same story: as soon as serious price-undercutting starts, commoditization will set in. Frontrunning companies are forced (by shareholders) to strangle their innovation budget in order to safeguard their bottomline. Breakaway innovation grinds to a halt, replaced by slow incremental innovations and gimmickry posing as innovation (curved screens, anyone?).
It's logical that this is mostly invisible to the consumer, they just compare price-tags. That doesn't make it any less true, however.
There are no free lunches
Endlessly cloning old synths...
Endlessly
Cloning
Old
Synths
(And drum machine of course)
It’s the most conservative thing ever.
Ironically in a scene where the artistical output should be (theoretically) tended towards the future...
Instead we’re always looking behind.
Cheap clones of old instruments.
For conservative electronic musicians that all want the same old sound.
Now let’s praise the magnificent tribe of Uli and his benevolent leadership.
There is a lot innovative stuff happens in Eurorack i think (f.e. the first U-he module looks really nice).
They all build more or less on old ideas maybe but you don‘t need to reinvate the wheel always.
If only this was true, humans not racing, contemplating the 'fruits' of their labour, nothing wrong with aspirations, but only if it leads to contentment.
And again if companies like Roland sleep to long they will die out like dinosaurs.
And i also forgot the Behringer vocoder.....they really got wild on Superbooth 2018.
A lot great hardware and software as well indeed there this year....now where is the iOS stuff there?
Ironically they're on top of things. By refusing to join the cheap-analog-revival and sticking to their full-on-digital guns they're in my opinion much better prepared for the future than Korg are. There's only so much you can do with basic Volca and Prologue tech, and Roland now have more digital synthesis knowhow than any other big-name hardware manufacturer.
And again most people might can‘t afford their stuff and others starts to fill the gap.
They might do well but maybe not. No clue.
I just know i won‘t be a Roland customer anytime soon even if i must have spend a new car on music tools
well, that didn't work out in IOS at all... or rather resulted in the reverse: they missed about any feature I consider essential on desktop.
You can use a library function to display audio segments, but there's no blueprint for the data management part. You have to do that on your own.
Obviously the majority of developers has few ideas about this domain, as indicated by endless lists of 'available apps' for channel insert processing, no hierarchy in input data pools and missing 'region management'.
Imho the latter made Pro Tools survive so long, as it's crucial for it's productivity features.
The data management is held in check by Apple surely.
True Roland have worked hard at Digital and VA technologies, but it's a lot of competition they are up against, yourself @brambos naming one.
You leave it in a wicker basket by a tree.
Let’s have a ball before Chinese start hiking up prices.
But you know after 40 years you take it again and it will have THAT vintage sound impossible to be emulated by any other
Like a good red wine it needs time to be abandoned and get that vibe....
I guess Behringer is making enough money by other means. Besides how high should the margins be for synth builders?
Absolutely. If the innovators can no longer afford to innovate, then at some point the commodifiers will have to shell out development cash to provide consumers with new shiny things. Or in web world, fix things that start breaking.
Or they move on to asset strip a new sector, and the cycle begins again.
A company that’s fine with breaking-even? I smell bs from miles away. The shareholders would have Uli’s head on a platter before the next meeting was over.