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
Hmmmmmm.
Leslie Nielsen
That sublime movie sets a high bar…
Apparently VirSyn is releasing the space kraken.
Forbidden Planet's unusual soundtrack may offer some clues as to what VirSyn is up to.
What follows is quoted from the Wikipedia page for Bebe and Louis Barron (https://en.wikipedia.org/wiki/Bebe_and_Louis_Barron):
It was the first mainstream film to have the music performed entirely by electronic instruments. The soundtrack for Forbidden Planet (1956) is today recognized as the first entirely electronic score for a film. Eerie and sinister, the soundtrack was unlike anything that audiences had heard before. Music historians have often noted how groundbreaking the soundtrack was in the development of electronic music.
On the album sleeve notes of the Forbidden Planet soundtrack, Louis and Bebe explain:
We design and construct electronic circuits [that] function electronically in a manner remarkably similar to the way that lower life-forms function psychologically. [. . .]. In scoring Forbidden Planet – as in all of our work – we created individual cybernetics circuits for particular themes and leit motifs, rather than using standard sound generators. Actually, each circuit has a characteristic activity pattern as well as a "voice". [. . .]. We were delighted to hear people tell us that the tonalities in Forbidden Planet remind them of what their dreams sound like.
The producers of the film had originally wanted to hire Harry Partch to do the music score. The Barrons were brought in to do only about twenty minutes of sound effects. After the producers heard the initial sample score, the Barrons were assigned an hour and ten minutes of the rest of the film. The studio wanted to move the couple to Hollywood where most of the film scores were produced at the time. But the couple would not budge, and took the work back to their New York studio.
The music and the sound effects stunned the audience. During the preview of the movie when the sounds of the spaceship landing on Altair IV filled the theater, the audience broke out in spontaneous applause. Later, the Barrons turned over their audio creation to GNP Crescendo records for distribution. GNP had previously demonstrated its expertise in producing and marketing science fiction film soundtracks and executive album producer Neil Norman had proclaimed the film (and the soundtrack) his favorites.
Not everyone was happy with the score. Louis and Bebe did not belong to the Musicians' Union. The original screen credit for the film, which was supposed to read "Electronic Music by Louis and Bebe Barron", was changed at the last moment by a contract lawyer from the American Federation of Musicians. In order to not upset the union, the association with the word music had to be removed. The Barrons were credited with "Electronic Tonalities". Because of their non-membership in the union, the film was not considered for an Oscar in the soundtrack category.
The Barrons did not know what to call their creations; it was John Cage, working with the Barrons in their studio for his earliest electronic work, who convinced them that it was "music".