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
Yes there is absolutely no doubt about that. I think it's both a benefit and a flaw.
Instruments by their very nature impose themselves on the music created with them. There is no sound that is remotely like a strummed guitar for example, and if strummed guitar is a major feature of a song, only a guitar can provide that. But of course that is also a limitation, especially as the guitar was so dominant in popular music for so long, so it's very hard to avoid cliché when writing with the guitar.
Also I think the way the instruments are laid out also influences the writing and improvising. With melodies for example, guitars encourage shorter intervals, whereas the piano is more likely to encourage wider intervals. I think the artist needs to be aware of this and either use it or guard against it.
So there is a danger in being led by the instrument, but the instrument also offers something that can be leveraged to the benefit of the music. It really depends on how wide a palette an artist wants to use.
@Fruitbat1919
Making music without knowing theory is like trying to navigate a city without a map: you might eventually find your way, discover new secret passages that are known by few, but it’s actually often a much slower, more meandering process. Music theory is just a set of principles that musicians have discovered and refined over centuries. It’s a toolkit that explains why certain combinations of notes, rhythms, and harmonies sound pleasing or evoke specific emotions. Because you know some of it doesn't mean you are a slave of it. There are rules, and you're free to break them as much as you want. There is no Music Theory Police (beside a few fundamentalists that you won't meet here).
When you create music without theory you’re essentially rediscovering these "rules" by yourself through trial and error.
Examples: you might find a really nice chord progression only to later learn it’s the perfect cadence I-IV-V-I progression. Or you might find that certain notes work well together while others clash, inadvertently re-discovering consonance and dissonance. Or when experimenting with scales that might lead you to recreate a major or minor scale, or even modes, without realizing they’ve been extensively mapped out already.
The process isn’t bad in nature: it can be fun, intuitive, organic, and super personal, but without theory you’re relying only on experimentation, which means you might miss efficient pathways or creative opportunities that the theory could unlock.
Yeah I know what you are saying and pretty much agree, but I kind of took the slow road of learning a bit here and there many moons ago and have pretty much stuck to it. Not saying I've chosen the best path, just that I've filled my time between pain with so much, I barely have time to keep up lol. Besides I don't think it's the music police that make the majority lean towards rather safe and standardised music, I think it's their own desires to be successful in the bigger music making machine that pretty much ignores anything new these days - which doesn't happen so much here, probably because most of us are too old to make it big if we haven't already lol (yep sure that comment will ruffle a few feathers lol)
I don’t believe that safe and standardized music is a direct result of musicians knowing too much theory either.
The reality is that “Big Music” doesn’t dismiss innovation or experimentation for the sake of resisting change: they are driven by a bottom-line mentality. If something doesn’t promise a significant return on investment, it’s unlikely to get the spotlight. This approach naturally favors formulaic and proven strategies that appeal to the widest possible audience.
And they are right to do so: consider the modern listening environment where the average attention span is under 3.67sec: a 40-minute album that demands focused, immersive listening is a hard sell. Most of the audience can’t appreciate such work anymore, don't like it and don't have the time. They just want some background musical CONTENT (emphasizing also CONTENT) that they CONSUME (emphasizing CONSUME) easily for instant gratification.
As a result, most of the music world is following big music:
Songs are optimized for streaming platforms, designed engineered to grab attention within the first few seconds and keep listeners engaged just long enough to avoid skipping. This doesn’t leave much room for the kind of nuanced, exploratory music that thrives on patience and attention to detail.
I love reading about other folks processes, cos honestly mines is a little messed up.
A daw is crucial to how I write, largely due to my ND brain & lack of executive function. But maybe because of that, I don’t see it as recording with it, I see it as mapping, an idea palette, me getting the things out my head and it being the place to see if they work. Without it I forget very very easily. I can play a phone recording back the next day and think, damn I can’t remember…
If I sit down with a guitar, bass or hardware synth and find something I like I reach for a daw.
If I’m using a daw and hit some drums, a nice sample, it can spring from there.
If I write some words I can sing them and develop a melody. Then I reach for a daw, my phone etc. BUT i struggle to write a melody with more than very limited elements because I can’t break from it. Guitar, violin, then become my melodic writing tool and I then try that part with vocal.
The singing is crucial maybe to my thinking on recording/composition.
I rewrite words, my initial words may have a good line, idea etc, but i have obvious filler words, I hate waffling. So I edit a lot. Record, listen, edit, re-record. Listen edit.
I do the same with everything. Is the acoustic guitar adding to this, could the electric violin just stay on that D or could I add a supporting pizz par?. Should I use a the regular violin?
There’s a lot of jamming.
Daws allow me to map, but I’m never married to anything in it. I go through each part mute it and see if it’s needed.
There’s times the guitar or keys or drums started the thing but get largely cut or cut entirely because as it’s evolved, they become redundant.
Yep we each find our own way. I too like to see how others do things so I can learn from them if I try something and it works for me. Besides I think many of us here like discussing ideas as we are mostly hobby geeks here or so I think lol
I read a post once from a guy who loved music but the more he learned the less he enjoyed others music. He couldn’t handle the curtain being pulled back. I’m like that with film. But with music I’m obsessed and sometimes knowing how it was done makes me love it more. (Portishead, printing their own breaks/parts to vinyl and then kicking them around to scratch them up…then sampling that for example.)
I like the simplicity and minimalism of this one. Slowly unfolding and very calming.
Another consistently good track. Slow, meditative and calming, as always
Merry Christmas guys.. Here is my contribution for the last month of 2024?.. Its just been released worldwide in all stores.. Enjoy..
I think you're right. Some of them are more background and meditative. And some are more foreground with almost a narrative structure in place. Just seems to be the way they come out.
@richardyot
The vocals are especially strong with one. Excellent guitar work, as well. Has a straightforward quality that’s gently overlayed with a feel for the ethereal.
@Fruitbat1919
Richly sad and musically intriguing. Has an other-worldly tone that helps hold it all together. The visuals work well to reinforce the mood and drift of the music.
@klownshed
Feels like a scene from a horror movie where the title-character is wandering deep into the forest. The scene is still full of wonder and possibilities, but with the threat of an unknown force. Nicely conceived and performed.
@unlink
Dynamic opening with lots of energy. Then shifts to something grander. Then back to dynamic, but musically different from the opening. Love the changeovers that create a sense of anticipation and expectation. Keeps the forward momentum going throughout.
@deadpoetlive
Love the Tibetan-Buddhist-type growly tones combined with what sounds like Whale-birthing sounds. The song is able to evoke mystical and down-to-earth themes simultaneously. Bravo!
@studs1966
Terrific song with smooth vocals and an infectious tune. Reminiscent of the late-1960’s-era songs from Motown and Stax. Amazingly good.