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 this for iOS and it’s really nice.
On desktop, I use PSP Infinstrip and it has one really nice feature it would be good to see in MixBox. When you switch between compressors, the settings stay the same so you can genuinely hear the different quality that each compressor has. This is extremely useful. Any chance of getting this feature, @ikmultimedia ?
http://www.pspaudioware.com/plugins/dynamic_processors/psp_infinistrip/
Same with the McDSP strips. Would love this feature.
Would a love this too. The compressor example is spot on.
@McD now in the app store it says the introductory offer of $40 is 50% off, so it’s on the way to being an $80 app. I wonder if the frenzied popularity caused the higher valuation, but either way they got me. My first IK purchase besides the micro monitors!
I won’t have time to play in depth with this until next week, but I did have time to go to the site and read about every module they’re offering. At first as I read through each one I thought “well I already have one for that, and I already have one for that, and I just bought two for that last week.” But then I went through a stretch of “wow I really want that, damn those are some desirable emulations, ok I have to have this.” Such is the game of collecting apps, but by all accounts this seems like high quality stuff, so can’t wait to dive in. Yes there’s NuRack and iFX, but this suite is offering some really killer emulations. If one reads through all 70 I don’t see how they wouldn’t click buy. This is still not gonna replace the TH-U collection for guitar for me, but for mixing and creative fx this could the one!
@tahiche I’m just not worried about market over-saturation or having 7 compressors. At these prices we can have and try them all and pick our favorites to use. Perhaps some niche apps we love get abandoned here and there, but they often do anyway and not necessarily because of competition. I’d love to see MixBox get developed and expanded beyond bug fixes (IR loading anyone? Gate Xpander? Harmonizer/Octaver), but it’s not gonna surpass the desktop version so I would expect it to exist as it is. That’s the thing with the bigger dogs, new features and fixes don’t come in a day. I feel bad for some apps I barely scratched, but this thing looks hot shit so whatever.
Thanks to everyone who took the initial plunge and reported positively. Go iOS!
@ikmultimedia reporting bugs here is effective or should I report elsewhere?
I notice that the ConvoRoom type drop-down does not appear (pop-up) in AUv3, as it does in standalone. Repro in apeMatrix and AUM.
Update: This appears to be another instance of the bug that @BCKeys reported wrt Preamp type.
Let’s get a little indulgent here and enjoy reading up on some of the classics. Learning the history of these audio engineering gems is a big part of the fun of this collection.
The 1081 was another step in the evolution of mic preamps found in vintage Neve consoles. Previous models were the 1066, 1067, and 1073. The 1081 mic pre/EQ was one of the flagship products of the Neve company, and whether found in the original consoles or racked separately for project studios, vintage Neve 1081’s are still in service in every corner of the globe. To this day the 1081 (and its cousins the 1073 and 1084) are still manufactured by AMS Neve according to the original specs. It remains one of the best sounding and most versatile mic pre/EQs ever made. The reason is obvious, no other gear has that “Neve sound,” and there is no substitute for the real thing.
https://vintageking.com/neve-1081-mic-pre-eq
The Universal Audio 1176 Compressor/Limiter was first introduced in 1968, created by Bill Putnam Sr. as the solid state successor to his tube-based 176 limiting amplifier. The 1176 uses a Field Effect Transistor, or FET, as a voltage divider to accomplish the task of compression, in conjunction with I/O transformers and a Class A line level amplifier. The 1176 was meant to be a "true peak limiter" with a very fast attack of up to 20 microseconds, and lots of gain for a compressor: up to 45 dB!
https://vintageking.com/urei-universal-audio-1176ln-compressor-limiter
The SSL Stereo Bus Compressor delivers the incomparable sound of the legendary SSL G Series bus compressor in a compact 500-series package. Make your mixes sound bigger, fatter and punchier than ever with this classic bus compressor.
CLASSIC DESIGN
The SSL Stereo Bus Compressor module from the center section of the SL 4000 G Series console has been used on countless hit records over the years since it was first released in the 1980s.
https://vintageking.com/ssl-stereo-bus-compressor-500-series
The Fairchild 670 is the grandaddy of all tube-based compressors, and has joined the ranks of the Immortals due to its rarity, price, sophistication, and, above all, sound. Estimates vary as to how many were ever produced – somewhere between five hundred and a thousand – but regardless of original numbers, very few survive today. The remaining Fairchilds that that do live on command an enormous price tag, making them probably the single most expensive piece of mass-produced audio gear. And it all started in someone’s basement.
https://vintageking.com/fairchild-660-670-compressor-limiter
One of the most iconic compressor/limiters of all time is the Teletronix LA-2A. The unique warmth of its compression, especially on the human voice, has made it one of the most popular designs ever made. The complex physics of how it compresses an audio signal is matched only by the complexity of all the revisions it has undergone since its creation.
Thanks to several changes in ownership, the LA-2A has seen a large volume of refinements in its basic design. This has made it extremely difficult to know the differences between the various versions that have been released over the years.
https://vintageking.com/teletronix-la-2a-optical-compressor-limiter
After five years of experimentation, Mike Battle (an electronics technician) and Don Dixon (a guitarist) came out with their original tube Echoplex in 1961. They took it to Market Electronics, who bought their patent and began manufacturing the Echoplex on a large scale in 1962. Market distributed the Echoplex via Chicago Musical Instruments under the Maestro brand. Battle and Dixon were retained as the design team on the product. Between 1962 and the early 1970s there were three tube models of Echoplex and some cosmetic changes along the way. Towards the end of the 1960s, Market Electronics saw the way of the future and set Battle and Dixon to designing the solid state version. The result was dubbed the EP-3 and made its debut right after Norlin bought out CMI. The EP-3 carried over the control philosophy of the last edition of the EP-2 but added a few more convenience features. Except for the short-run, multichannel EM-1 Groupmaster, the EP-3 was the last model involving Battle.
http://www.in2guitar.com/echoplex.html
During the ’80s and the two decades which followed, the SSL console was used on thousands of hit albums, including the likes of David Bowie, Nirvana, The Rolling Stones, Madonna, Nine Inch Nails, and many more. In 1996, Billboard magazine described the console as the Rolls-Royce of the studio industry, reporting that it was used on 83% of number 1 hit singles produced that year.
https://happymag.tv/ssl-consoles-the-secret-weapon-of-80s-pop/
The API 560 was created to fit all applications for the professional engineer. For most of the 70s and 80s, every remote recording console that API manufactured used this versatile graphic EQ. It is also ideal for studio and live sound applications, where a professional result is required. This re-issue design has been taken from the original blueprints and spec control drawings from the API archives.
The large number of available EQ bands makes the 560 an ideal companion to parametric EQ, as well as ideal for signal sweetening and room tuning. Not lacking in features, the 560 makes use of API's unique "Proportional Q" design introduced by API in the 60s, intuitively widening the filter bandwidth at lower boost/cut levels and narrowing it at higher settings. In addition, boost and cut characteristics are identical, so previous actions can be undone.
https://vintageking.com/api-560
It's crazy to think that a piece of equipment with such simple controls could change the face of the recording industry. 60 years on and Pultec designed gear is still being used by many of today’s top recording and mixing engineers, whether it be original, reproduction or of the plug-in variety.
The History Of Pultec
It all started in 1951 with the EQP-1, which was the first passive program equalizer on the market. This was a game changer in recording studios, as you now had the ability to manipulate the sound even farther than before, bring it closer to the front of the mix and make it feel as if you’re in the room with the performer.
https://vintageking.com/blog/2017/11/pultec-eqp-1-equalizer-history/
There’s also some classic synth filter emulations but that’s for another post.
I'm never going to pay $80. If I wait now I'll just sit and wait for another sale and loose a whole year of experimenting
with a bunch of modeled classic hardware devices. I'm in... Now. I just wish they didn't drop the app right after I spent
so much on Black Friday sales.
Nice! I'll be reading through that more carefully later for sure
@gusgranite having worked many times with pretty much every piece of gear that you just posted, (and owning a couple currently), ive gotta say, that the mixbox emulations are pretty great.. the 1176 is very comparable, as well as the ssl and neve eq. The SSL comp is a little mehhh in my opinion tho, doesnt feel the same. The only one i dont have real life experience with is the fairchild.
This is great to hear, thanks man.
More time spent with this...
It's really really good sound wise.
The issue of the MIDI CC being cumbersome to set up is still there, as is no MIDI CC for dry/wet and no overall dry/wet...
But the quantity of the modules and the quality of that quantity overshadows that significantly. Good stuff.
I exposed my worries because I really, really like the iOS music community, with all the small devs, the interaction, the prices, this forum... but it’s a fragile ecosystem. But one thing is certain, MixBox Is great, if it takes a “bigger company” to do it, so be it. So my conclusion is that small devs probably don’t have the resources to make a great LA2A emulation, and they shouldn’t. The upside is these devs will maybe focus more on doing device-specific and “new” stuff. That’s the spirit of Loopy, SAMPLR, Bram Bros and all those great and unique apps and tools. There’s still a lot of room for improvement in iOS music and I believe these devoted devs, being also “power users” and very in touch with the rest of us mortals, are best at figuring out what’s needed. That’s how AudioBus came along, or AUM, defining the way we use our iPads for music. For example audio editing in iOS, in general it really sucks, now it might be “we got a shitload of compressors already I’m gonna work on a proper AUV3 clip launcher with good time stretching”.
Yes, yes and yes. I would add fuzz pedal emulations to the list.
I asked in a previous comment but no one answered. About how to integrate MixBox with Nembrini amps and Ir loaders (Thafknar, Impulsation...), which I like better than MixBox amps. You’d need 2 instances of MixBox one before amp (preamp, distorsion pedals, modulation, compression...) and post-amp (compression, eq, reverb, delay...). I wonder if that’s more cpu taxing. I tried to measure in AUM but I just can’t get reliable measurements... So one instance of MixBox with 6 modules vs 2 instances with 3 modules each... I imagine the latter consumes more but it’d be nice to know.
PD: “go iOS” is right! 🤘 (wish it wasn’t 🍏, though 😀)
Did the question of when the intro price runs out get an answer? Looking to get this but would prefer to confirm some income expectations I have first 😁
Not yet! Maybe Peter can comment @ikmultimedia
I'm liking MixBox. I wish they'd released this before I invested in the whole Amplitube enchilada.
Quality, as judged by ratings, is one challenge for IK Multimedia. Most of their apps in the store are rated in the 3's or less. I hope MixBox is the start of a new trend.
Scarcity anxiety kicking in anyone? 🤔😬
Cheers @BCKeys
Don't miss out on the discounted pricing... this will go way up. It's $299 on the desktop.
I'm shocked at how many FX I can use in a MixBox and still have a lot of CPU resource left for synths and other
FX apps in AUM.
And don't forget the chance to win one of 3 free copies. Winners will be announced within the next 12 hours, details in the pinned youtube comment as usual. This is the biggest giveaway in terms of app price the channel has done so far. Sorry to spam but this is such a good opportunity.
Is this definitely going up to 80 bucks instead of 60, as someone mentioned, btw? Can't find the post about that.
Yes in the AppStore the 33% off was changed to 50% off last night, randomly happened to notice, think that was a tip off.
Hmmm, weird way to do things. Thanks @JoyceRoadStudios
Great tutorial btw! This app is causing a frenzy and has been #2 on the music app charts for days. But, most of us already have so so so so so so so so many fx apps. Is this really going to unseat our Saturns and PSAs and FACs. What’s the appeal of one big box if you have to run several instances anyway? Looks like in standalone (if you have an audio interface with many ins/outs) MixBox having the 8 different assignable in/out routes on top of up to 8 fx slots per route seems like a game changer.
Well I hope I can get this on sale cos I can’t swing $80 for this on my budget
It's now down to half price here in the U.K.
At half price and if you need an all in one box?
It would be worth it.
My personal preference is for the independent dev's.
It's not going to replace Saturn, or MagicDeathEye, or FAC Chorus. But it has plenty to offer nonetheless, and is a great complement to existing effects.
For example you can create complex effects chains using just one FX slot in your DAW, and save these as presets. This is useful in Auria as I mentioned earlier in the thread, because it allows you to re-order effects (which you can't do in Auria natively)
It's also useful in Cubasis, because it lets you get around the lack of a proper send channel (the send slots only support one effect at a time), so if you want to have a low and high cut EQ after your reverb this is one way to achieve it in CB3. Same goes if you want to modulate or stack a reverb.
Having an automatable Wah pedal is great for guitarists. Having an LA2 simulation is also handy, not to mention all the other modelled units.
It's a great sounding and very flexible suite IMO.
I think this may be my fav app of the year. It has filled a gap for me because I usually take my ios productions onto desktop for mixing and mastering buy can now do it all on my ipad pro. Thats huge for me
Also the ability to build fx chains and save them creating custom fx I can recall.
Lastly is the ui and how they follow existing hardware. I love how ios offers new and innovative uis and its a big draw for me but I've also realised there is space for traditional apps that emulate hardware with great sound and no bells and whistles.
The results from using these apps on some of my old tracks is worth the cost already. They work out about 55p an app which is amazing
Very true in regards to a familiar ui.
Not everyone wants or needs an innovative ui.
Having something familiar to draw upon does have it's uses.
That's a good way of putting it.
From a financial stand point that's a win, win.
Considering it costs half price at the moment
that's a great deal over years of usage.
When I was using desktops, I used to use the Waves plugins.
After a year in usage, I had discovered I tended to
ignore almost all of the plugins except the SSL-E.
For some reason I didn't get on with the SSL-G.
So my next question is this.
Does MixBox have an SSL-E in this combo?
as I personally have everything else covered.
Ik do make a ssl emulation but not in mixbox sadly. Not sure if they plan to offer add ons to the current package but their ssl would be a great addition