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.
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Yeah, I stopped worrying about hitting them marks long ago. I realized that my sound design choices and poor monitoring environment sucked. TB Morphit has helped me lots. I get better results with Morphit and an old pair of AKG K77 cans than I did when I had $1,100 Mackie monitors.
As far as sound design is concerned, I’ve swallowed my pride and have become a preset user. I simply turn off the preset’s FX, adjust the filter to work better for the current arrangement, and use AUs for spatial FX. I also adjust the velocity sensitivity on my synths and drums so that the dynamics are tamed more by the recorded MIDI than the audio track compressors Other than the master, I only limit the drum buss.
Currently I’m working with revisiting arrangement and theory/ear training. It took me years to realize just cause I have the ability to easily record and publish, doesn’t mean I should.
I should have clarified that I do like dance music, but I liked it before we knew it as EDM. Think electro, many house duo artists, the “French touch” style of house music, jungle, uk garage, grime and the pre-pop dubstep flavors.
I stopped listening to the newer stuff (EDM) not out of arrogance or purist ideology, but cause as I’ve grown older I’m more easily agitated and startled, so I enjoy the soothing noise from the faux tape hiss and the warm blanket feel I get from warbled rainy Monday feelings from the (puke), lo-fi movement. Yes, that is my guilty pleasure. Rymdigare has become my best friend, lol.
Hey Jim, great production, buddy! Been reading through this thread and little discussion. Honestly, if it sounds good for you, you're the champ and just keep going. Slap it on Distrokid, it's not expensive at all (1y around 27 bucks) and you're a frequent producer so give it some thought. Oh btw: you can submit 8-9 LUFS if your track needs that range, no worries.
I love that you always explain your workflow in detail, many thanks for that!! We all learn and we all take things in differently. There are some basic rules for mixing and mastering for sure, but even the pro's have different opinions about a specific approach or aspect they intend to achieve.
Most producers use reference tracks for example and it it really helps. I believe that's one of the reasons in regards to EDM that the copy of a copy over time becomes more polished or in the worst case it can simply go to hell like using a paper printer to copy the older copies and we get frustrated not being able to match things.
Well then, each track is different, I hate using ref tracks, it's also very hard to do within IOS, me as a Cubasis user, not being able to exclude the effects on the master channel for the ref track. I do use effect slots both on my track as on the master channel.
Hey, you mentioned using sidechain on closed hats instead of kicks. You're talking about the off beat hats? What's your deal here? I've been using flux to generate some similar sidechain movement on some of my instruments and it's interesting.
Morphit is an A-Tier godsend for most (if not all) headphones! However my ears are so used to how things sound on my Beats headphones that I trust my ears enough to not overdo a mix. It's when I used to use cheaper Koss headphones that I'd make so many mixing mistakes. Beats have an unparalleled clarity in my personal experience, although a LOT of bass. (Then again, I'm all about that bass, 'bout that bass, no treble, lol. 🤣)
That's really cool mate! 😃 Then again, I usually just program my notes rather playing in live and don't often adjust velocity. Nothing wrong with using presets either. Me, I use presets if a certain sound catches my ear, but often when it comes to purely synthesised sounds, I build mine from scratch. Then again, I have so many years of trial and error experience. Academic knowledge only gets a person so far, but without practice, that academic knowledge is useless. 😅
I have a lot of experience with ear training and theory, but I have been toying with the idea of getting Scaler 2 to come up with more unique chord progressions. I know a lot, but admittedly don't know everything. 😃
I think it'd be wise for me to revisit arrangement as well to be honest. I know how to make an 8-bar loop, but sometimes I get stuck in laying it out on the timeline. I may want to revisit theory as well. One never knows what new things they can glean let alone what things they may have forgotten over time.
AH, the 90s/00s. Those were the years of some of the greatest most influential EDM records ever before it was called EDM and back when EDM was pressed to vinyl before it started being burned onto CDs before it started being pressed onto vinyl once again. 😂 One of the most personally influential albums of that era so happens to be Sash!'s "S4! Sash!" album. It's just so brilliant mate! IN FACT, "Sakura" has a couple nods to Sash!'s single "Ganbareh" and was inspired by that track.
Faux tape hiss is one of my favourite tools to use on Ambient, with Klevgrand DAW Cassette being my go-to tape emulator. It's one reason I'm obsessed with earlier Ambient works. Much like John Cage created 4'33" as a statement saying that "all sound is musical", tape hiss is part of the music itself rather than just an effect to emulate old recordings.
My guilty pleasure when producing EDM is autotuning the hell out of my voice as an effect rather than a necessity. Sure I can sing live pretty well, and sometimes my voice needs some subtle tuning when recorded, but I prefer that "Eiffel 65/Cher/T-Pain/whatever you want to call it" effect.
In fact, here's a dirty little secret of mine. 😅 When I know I'll be autotuning my voice to kingdom come, I "speak sing" the words in order to concentrate on getting the pronunciations and subtle vocal inflections down rather than have to worry about concentrating on pitch as well.
Rymdigare is my best friend too. 🥹 OMG, the Ambient I produced with that plugin is so wild and fun!
Cheers mate.
Wait, that's all Distrokid costs? I thought it was prohibitively expensive, not 27 quid/year. That's very reasonable, and I'll consider it.
Nice!
BUT, for streaming purposes, yeah not to sound hypocritical or contrarian, but I would prefer my tracks to breathe just a little bit more, lol.
Exactly! Well, the number one golden rule of mixing is "don't put reverb on the sub bass!"...which I've been guilty of during my early days of producing. 🫣
Exactly! Using a reference track is just more trouble than it's worth.
The way I go about mixing is I wait for morning, have my brekky, then listen to a couple of tracks in the genre I plan to mix in prior to mixing. Then I mix into a limiter. Yes it sounds like oversquashed rubbish, but it can really bring out the flaws in a mix like an aural magnifying glass. I even mix into a limiter when producing Ambient (but never use a limiter on the final master when it comes to Ambient).
Ah, I don't use sidechain on the hats or kicks. I use an inaudible closed hihat as the trigger for the sidechain signal in NS2 and Gadget when I'm producing EDM. No sidechain when producing Ambient.