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.
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Comments
Stainless saddles came as standard on the Rev, but I plan to swap in brass ones for a little more warmth. Those EMGs are noiseless, but SO bright!
Lovely, can’t beat a nice bit of Lake Placid Blue!
Bummer, I already updated.
Good tip! The new presets make a big difference.
@DaveB ok... wow! Every single one of your improvements and bug fixes is a success. I spent over an hour having fun with FH-2 and the hot bridge Mojotone...
I first opened the app in standalone. Immediately I noticed that even though latency was already good in the last beta, it’s improved in this version. Not sure what you did in the standalone but the latency is now excellent.
The initial preset that loads when you open the app is absolutely gorgeous, it’s like an instant “holy shit this app sounds good” preset. But it’s not clear what the preset actually is since the window is blank and no preset has been chosen. It doesn’t seem to belong to either preset group. So you should call it “default” or “init.” or “welcome”, whatever. As @espiegel123 said it would be nice to have the preset name remain in the window, it disappears after you adjust a knob, and so this would apply to the initial preset as well, unless aesthetically you want to leave that one blank but always display the other ones.
The new presets do make a big difference. While I would still use some of the humbucker presets even with a single coil for some punchyness, overall the single coil presets worked extremely well with the hot bridge pickup. Less harsh for sure, really really good. Perhaps the Warm Jazz SC preset is just a little too dark or has too much tone rolled off, on chords anyway. In both preset banks the Big Stack preset was overpowering and I had loud feedback in my headphones, Turning down the iPad volume got rid of it. I see that you mention this in the manual, turning down the headphones. However, weirdly enough with this preset and the apogee jam plus the noise gate doesn’t kick in but with the Motu M4 it does. So I need to explore that preset again and why it feedbacks, it’s the only one. Maybe it’s because the jam has no headphone volume and the input gain runs too hot, and the motu has both a better gain knob and a headphone volume knob.
With the gain, comp, drive, and master cranked, I hear kind of a weird trail or release in the sound, like a springy feedback robot or something. But then again, you’d have to be crazy to crank all of those knobs together.
It’s interesting to me that you have the limiter on the master volume at -.5db, I could see that in AUM. Really nice touch, so it’s actually an always on brick wall. What’s interesting about it and also mysterious is that I’m able to turn the master volume all the way to max on most of the presets, and it doesn’t distort or clip, but it opens up some tonal possibilities with the gain and compressor and drive. It’s good to differentiate the gain knob from that master volume knob, because I also felt that maxing out the master gave some saturation. Is it just a regular limiter or is it a frequency band limiter? In a way this makes the master volume knob slightly arbitrary, unless it’s interacting dynamically with the gain and drive and comp, then it’s genius! Do you have any suggestions for how to use cranking the master volume for tonal possibilities, rather than just limiting which it’s doing perfectly. I see the manual mentions this.
Do you have any suggestions for how to use the gain, compressor, drive, and master knobs to achieve a really dynamic tube amp response that can react or respond to one’s picking dynamics. I think this is the hardest thing for amp sims to capture. The tone is definitely there and it all feels and sounds pretty real with many sims, but what’s often missing is that spongy digging in quality and a larger dynamic spread. I want to pick lightly and then harshly in the same sentence and have a larger dynamic spread, where it’s kind of clean soft but growls crunchy when played harder. I think you can achieve this somehow.... maybe with how the app instantly processes the output level and gives more ebb and flow to the attack and release while also saturating or compressing. I don’t know, I’m making this up.
It looks like on the main page you can press both of the preset arrows at the same time. I would make use of that function, maybe that’s how you can switch preset banks. Or add a third arrow (up or down) that cycles through banks. Of course we can go to the menu and cycle through banks, but once I start making presets and many banks it may be nice to be able to bank up or down on the main page. Or make some other use of the dual arrow press. Perhaps long press on both arrows saves your awesome preset you just made on the spot. I would also consider putting those arrows slightly further apart so they can be cleanly dual pressed, or adding a dash in the middle that saves what you made. Maybe that’s just dumb.
In AUM it now sounds fantastic at all sample rates.
Perhaps the white text under the first row knobs could be a little sharper.
Can you have a double tap function for the knobs? Maybe a double tap will place the knob in its original preset setting, in case you’ve really screwed it up during tweaking, so faster fix than reloading the preset again.
I’m just fishing here Dave. You’ve done a fantastic job. I’m sure I’ll find something else stupid to say tomorrow. Cheers!
That's OK - just uninstall 1.0.5, then install it again. That will force the new presets to appear.
I really like the sound of the app. It’s really easy to dial the tone on both my strat and hollow body with p90’s.
One thing I miss and hope you could add eventually would be a low pass filter on the delay. You could just call it vintage or tape delay and add a single switch to engage since there’s plenty of space on that module. @DaveB
I wasn’t sure at first but FH-2 is really growing on me, especially with this latest update. As much I dig TH-U and Nembrini, I appreciate how quick and easy it is to get going in FH-2. As always, props to @JoyceRoadStudios for being our most OCD afflicted lab rat.
Did you say OCD? Well I do love the Fulltone OCD v2 and the OCD germanium pedals 😂
Wiseacre. (I too love the OCDv2.)
The humbucker presets are great! Gorgeous tones as soon as you open the app.
Thanks Dave, i did that and all is good, very good..
Thanks, was just about to mention that. So sweet for mildly overdriven sounds. Neck pickup is sublime.
Same. I'll get it soon but habit and expectation are hard to kick.
@DaveB I was able to spend some time doing more surgical type work with the app. This time with a Les Paul, and concentrating more on dialing in sounds and the fx. The humbucker presets are great, but I also found myself using the single coil presets with the humbucker in the bridge, sounded great as well. I know the presets are just a reference point. Certainly the single coil guitars are better with the SC presets, but many of the SC presets work with both types of pickups. In 2-3 instances I actually preferred the opposite, will let you know which.
I mentioned in my previous comment a weird springy robot sound when gain/drive/comp are cranked, but that has to do with the reverb and ambiance reacting to the cacophony, so it’s a non-issue.
I love the Chorus and Delay, and of course the Compressor. I like the Tremolo and Phaser. I spent a long while trying to see if the Gate even did anything. You can really only tell the Gate is working if the reverb and ambience are turned off. Otherwise you can’t even tell it’s on, and it is on in many of the presets. Perhaps my guitar isn’t noisy, but how certain are you that you need the Gate? I found that when maxed it would occasionally help with killing the feedback on a really loud and heavy set-up but it was inconsistent. And then at the very end of a chord it would maybe reduce the noise floor just a little bit. I personally probably won’t use it. Have you considered making it a Gate Expander? Could be more interesting and widen the dynamic range.
We need to talk about the Drive. First of all, it sounds amazing. It is one of the best soft-mid sweet overdrives I’ve heard in a sim. But the tone knob is a problem. For example, let’s take the initial preset when you open the app. If you turn on the drive, it is default set with level at 9 o’clock and tone at noon. When I play a chord and it trails away, there’s an obviously ugly fizzing sound that almost seems outside of the tone stack. It’s really prominent and not integrated into the sound. After a lot of tweaking, it seems to me that the tone knob should never be set higher than the level knob. If the level knob is higher then it’s able to obscure that fizz. The tone knob only has a sweet spot of about 9 o’clock to 3 o’clock. I don’t see any reason or need for how it sounds below or above that. For example you can make up the rest of the tone knob by turning up the presence. The level knob is the absolute star. Tweaking the level around and also adding and lowering the gain knob produces amazing singing overdrive and distortion (compressor on too.) But the tone knob always has to trail the level knob by at least 3 notches. The tone knob is problematic. I have a suggestion that maybe could work and still preserve the awesomeness you created. Could you possibly merge the level and tone knob together, limit the scope of the tone knob to 10-3, so that way as you turn the drive up and down, the “level” aspect of it tags along to create the perfect overdrive level/tone mix that’s in your mind? Otherwise I think you should limit the scope of the tone knob, it really is a fizz that’s totally separate from the actual sound. You will hear it in every instance where the tone is set higher than the level. I went into some of my fave guitar apps and heard what they sound like when the tone is high or maxed but not the drive/level. What happens is you get that harsh fizz on a chord but it instantly dissipates and dissolves into the overall texture of the guitar tone. With FH-2 I hear it persisting in the background like a digital fizz almost as if there’s a second signal coming out of somewhere. As I mentioned you can make up the last 3 notches of the tone knob with the presence knob except it sounds much better, but you always need the level knob to be higher. This is the meat of what I wanted to tell you today. I also want to add that if you do merge the knob or make some screen space in another way, you really should consider a good Fuzz, perhaps as an alternate distortion effect. For the styles of music FH-2 is great for, a Fuzz would be ideal. I’m talking a real bassy hairy sweet fuzz, not a harsh one. I actually put the Nembrini Fuzz in front of FH-2 to check it out and it sounded amazing, especially with your compressor and gain knob involved. I know I’m dreaming big, but consider making Drive/tone into one knob column and making a Fuzz/tone as another one knob column, or maybe just expanding the Drive to include a Fuzz. Cheers!
I made a song using the FH-2, thats the way I can see if/how it works for tracking and mixing.
Tracking: it’s a blast for tracking. When tracking you just want something quick but with possibilities. The included effects in FH-2 make it great for this. I added some tremolo and compression and it really inspired the playing. Increasing the gain gives it a nice and very responsive crunch. No need to search for plugins, switch them around... to the point..
Mixing: this is where you can really tell if it’s “good enough”. I added no external processing to the CGB track with FH-2 and it blended right in. The room knob makes a realistic space without the need for reverb.
Here’s a link to the song. The main (and only) guitar panned right is only FH-2. Left channel is a send with Alteza and Dubstation.
https://forum.audiob.us/discussion/43941/cover-of-breaker-by-low-whatyouthink
Note: I do miss the “sync” feature for the tremolo
PS: @JoyceRoadStudios what a precise and helpful dissection!. +10000 on the Fuzz!. It would really add up to FH-2.
The “width” knob on the Delay is a great touch!
@JoyceRoadStudios, thanks very much, great feedback. I've eliminated the unpleasant fizz on the drive pedal, and am now thinking about how to integrate fuzz into the existing UI.
Currently (and I have yet to explain this in the manual) the drive pedal is 3 effects behind one knob:
My thinking at the moment is that with drive/level higher than 75% you could increase drive/tone to morph smoothly into a fat fuzz. This would add fuzz without changing the UI (which for obvious reasons I would like to avoid at this stage of development)
I will also look at the range of the drive/tone control, and shave it down to a more useful range.
Just gave the new presets a spin on my humbucker-equipped guitar and my ancient (very noisy) strat. The new version sounds great. The distortion is much improved, and I am getting some nice tones dialed in quickly. I agree with @JoyceRoadStudios that some refinement of Drive/Tone controls would help keep things in the sweet spot.
Very nice job!
An important note, especially for anyone wishing to discussing the amp outside of this thread.
FH-2 will NOT be the final released product name.
While FH-2 is the project name for beta testing, I want to avoid any confusion with Expert Sleepers FH-2 Eurorack module, so there will be a last minute name change!
Another quick note. We're nearing the end of the beta phase, but if anyone here would still like to try FH-2, just drop me a PM with your email address, and I'll hook you up.
(To the best of my knowledge I've responded to everyone who contacted me, but if I haven't please let me know!)
Your suggestion is possibly brilliant. Thanks for considering it. Of course keeping the UI intact is a smart choice. I think as you say making the Drive module a bit more sophisticated could be the move. I understand why you’d want to keep the level knob as is, because it’s really good. It sounds like you are able to split one knob into different params? Rather than just one continuous param? The tone knob really seems to want a more limited scope, say 9 to 3, or minimum to 3, and if you finish off the tone knob with a fat fuzz morph that could be absolutely brilliant. Instead of finishing it off with a really high gain harsh distortion. I understand that you want to please the metalheads, but you need to squeeze every ounce of usability that you can, and that really high fizz with a lowered level knob just won’t be useful.
Regarding the fuzz, there’s something counter intuitive to it, because a good cranked fuzz is really like a wooly compressor, bassy sweet almost like an octaver, rather than a harsh distortion. So I think you can achieve this on either side of the tone knob if you want, or in the gain/comp knobs as well. But you know better than me! I would suggest a listen to the Nembrini fuzz, that’s the good kind.
Might I suggest Flying Haggis 2 ?
It has a rather nice ring to it I think!
https://www.dailymail.co.uk/sciencetech/article-9172809/Haggis-launched-20-miles-Earth-edge-SPACE-celebrate-Burns-Night.html
I mean.... Rocket Haggis? Mars Bar Haggis Combo Amplifier? Space Haggis Custom Amplifier? Considering your secret weapon is the ambience and IRs. Mars Haggis? this is above my pay grade🤩
I want to buy this yesterday, but this is probably > @JoyceRoadStudios said:
Great post JoyceRoadStudios! You put a lot of my thoughts into words. Except I like and use the Gate, my system my be a little noisier than others.
Regarding the name change, please pick something the reminds of the original. If it still had Haggis in the name that would be sweet. Naming it something totally different (Puffy Rhombus Taco Sauce, Angry Bards or Biased2...etc) would throw off the Mojo. I realize this is irrelevant but this is also going to be likely the only iOS guitar amp I’m going to use, so I thought I’d throw that in, no pressure.
Porridge Drive
That's right. Some dials actually orchestrate multiple attributes behind the scenes.
My idea is to crossfade from the overdrive into a separate fuzz algorithm in the upper 30% of the level dial. When you're in the "fuzz" zone, the tone dial will control the fuzz algorithm, I'm imagining it being bass heavy and growly at the lower end of the tone dial.
Oh, quite the opposite. The high-gain market is already fabulously served by Nembrini et al, I have absolutely no illusions about cracking that audience. I'm very happy to focus on my own comfort zone, which is most definitely pristine cleans & classic rock/blues.
Thanks, fortunately I already have a few proprietary fuzz algorithms in the db audioware toybox, just need to dust one off and bring it up to date
Well, this is getting awkward.
Flying Haggis PRO. LOL
Fantastic! You’re the man! And yes nobody needs more metal amps, they are rarely a bastion of quality guitar tone anyway (with a few exceptions). I really appreciate all the secret sauce you can put into your app, that with a good manual will pay off huge. If you have any more tricks up your sleeve for multiple attributes, do not hesitate. Cheers!
A few random name possibilities:
Haggis Jazz
Haggis Pro
Haggis Deluxe
Haggis Master
Blue Haggis
Haggis Flying Club (my current favorite)
Haggis Second Edition
Haggis Mark II
Haggis Super Combo (reference to the cab IRs)
Flying Haggis Brown Classic (Brown is Ivy League, like Princeton)
Dave's Best Haggis
Please feel free to adapt, improve, etc. I really like the idea of keeping the "Haggis" legacy, no matter how random it seems. It's no more random than "Z Wreck" or "Vypyr VIP", picked from Sweetwater catalog.
iHagg Custom Stack, final offer