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Ohhhh yea. Awesome, multi-bank situation on our hands here. Lol. patience is understandable, good things take time.
It’s a great idea and I imagine that once it’s coded it could be used in all the Ice Gear synths.
Great patches! I really like Pluck Random Drops 1, just had a lot of fun improvising some riffs with that one
Sorry to ask a second time, but I'm very curious to know which others synth can do that?
Sorry - I don't recall. Any synth that implements "release velocity" should have some semblance of that ability, though probably not with samples. I have the feeling AudioLayer has the ability to trigger samples on release, though I've never looked into it.
I don't know of any way to find out other than looking into it when using a synth. If it has some way to map key release velocity to a parameter, then support is there.
Release Velocity is the velocity that's sent as of a note-off message. Just as a note-on message carries a velocity in the third bit of the message, a note-off message can too. Most hardware and synths send zero in that bit, and most synths ignore non-zero values.
AudioLayer does allow layers to be triggered by release. I have a piano library where there is a hammer return sound that happens on note off.
I've yet to fully understand what the matrix does - is this an FM matrix, similar to Native Instruments FM8? Or is it more like a Send (because how would you frequency modulate a filter operator)? How are different signals being combined and how are they affecting each other, is really what I'm trying to get clear.
The manual doesn't really clarify things either ...
I'm sure someone's figured it out already!
Each row of the matrix determines how how much signal is passed to the operator on the far right nod the column
The bottom row determines the amplitude of the column’s oscillator that is sent to the audio output.
The dials in the matrix control how much signal is sent from the operator at the top of the column into the operator at the right of each row. What they do depends on the type of operator and the settings in the operator.
The bottom row is the amount of each operator that goes to the master out. This is powerful, but can be confusing unless you think the signal flow through. For instance, if you send an oscillator "A" into a filter "B", then turn up only the A send to Out, the filter does nothing. In order to 100% filter oscillator A, you would instead send B to the out.
If you have an FM Operator "A" and FM Operator "B". Operator A is the modulator and B is the carrier. To only hear the carrier you would dial up B to the master. But you could also dial up some of operator A to mix in with operator B in the Out row.
You have total flexibility. You can modulate operator C with A and B, or modulate operator B with A and C with B, ... or any combination. Or, forget FM altogether. Add some oscillators and dial them straight into a filter, then send the filter output to the master out for a traditional subtractive synth setup.
That's just the "Level" tab of the Matrix. If you tap Mod, you can set modulation of the amount of each send.
I hope that helps rather than muddying the water further.
Thanks for taking the time to reply so fully. That does make sense.
So I guess to get FM synthesis requires something to be fed into the FM oscillator, which would mean that if the FM oscillator was first in the chain, it would behave like a simple oscillator, except with a greater choice of waveforms?
Useful thanks!
Yep.
And feedback!
If you read the Audiobus forum, I enjoyed your short jam, good job.
Thank you! I really like to play with the texture oscillators, I'm planning to do more.
Maybe it will motivate more people to share their patches!
I'm intrigued if Nambu can stand up against the Opsix in terms of sound quality. (I have played a lot with Mersenne, and while the concept is great, I found the results underwhelming; thin and lacking depth. But It's a relatively old app.) Anyways, I'd like to hear about impressions from anyone who has spent time with both.
To join the choir, I really adore this thing. If you’re a preset surfer, I can understanding skipping for now but if you are into sound design and creating patches, or even generally just experimenting with sounds, this thing is a pure joy to work with.
Global/host sync for the sequencer,and curve control for the envelopes are the only things I am missing I think, if I’m being picky, an option to have the voice LFOs not key sync’d would be very nice. I keep meaning to drop a cheeky pretty please email but I end up getting distracted by Nambu 🔊🎛
I haven't bought Nambu yet but own Opsix.
Based on all the demos I've heard, I agree with you, not that impressed about iceworks synths sound character, just not my cup of tea.
To me Opsix is superior in terms of sound depth and quality but maybe it is just my taste. As soon as I played Opsix for the first time, I was in love and blown away by the intuitiveness and the sound character.
When Nambu was released I compared sound demos of both synths and still had a very strong preference for Opsix.
One iOS FM synth I do find incredible and worth every penny is ID700.
Nambu Challenge: Create a fat, Moogy-sounding bass. Who’s up for the challenge?
Thanks for the timely prompt; I need to dig into ID700 again. I got some pleasing results with it, but found the interface a bit obtuse.
The interface could be much better as it is not easy to navigate but in terms of sound...very few synth apps can compete imo
Just wait til you start hearing new presets from Spidericemidas… You might change your mind after someone dives deeply into this synth.
I agree there aren’t enough presets already for this synth, but even a casual glance at this synth reveals the depth and breadth of setting combinations possible. A lack of presets in this case is no indicator of the capability (or lack thereof) of the synth.
And comparing a one-man development shop to Moog and Waldorf is a bit ridiculous.
Btw, on the Nambu homepage, it explicitly says that not many presets are included.
"This product contains only basic sound presets. Please note that there are no large amount of presets. Enjoy making sounds."
I’ve only used the available presets so far and I truly love it. Can’t wa> @NeuM said:
Agreed.
Saw that too.
Exactly, it's just a matter of contacting a few youtubers or sound designers and asking, do you fancy making a few presets for my new synth? Or paying a few hundred bucks, which could easily be funded by a cheap iap, to someone who really really knows their shit. Not all devs / musicians like dealing with the marketing side of things, which I understand, but it's also a pity, as this kind of thing is pretty low effort in terms of time involved on the dev's side
Can think of plenty of smaller shops who do this aspect well. Bleass, Caelum Audio etc. My comment is well intentioned, I would like to see this synth sell a bundle of units. One very easy way to do so would be to ask youtubers, pxlhg, spider, SOI etc if they fancy throwing a few cool ones in the pot for free. Ultimately it's the dev's decision - we all have different skills and inclinations, but there's no question that such decisions impact sales.