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.
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Hmm, if this is truly the case, then it is indeed disappointing... I was on the edge yesterday just before bed and thought, it's late and the deal is until 1st july so let's do it tomorrow morning. This morning I wanted to pull the trigger, but saw the price increase. I will wait out to see if it is a bug. If not, I might pass as well.
Thanks @wim for the explanation. I didn't know about bundles dynamics. This could explain some discrepancies.
Here’s one reason developers may not necessarily want huge sales. It’s a theory, and I can’t speak for anyone else. (And I’m not talking about anyone in thread.)
Aggrieved iOS music enthusiasts might indeed be less vocally critical if this app were at a slightly lower or even much lower price.
But then the dev would have to deal with considerably more support requests from the type of customer who (not always, but certainly sometimes) has a degree of entitlement that imo goes beyond reasonable expectations.
I read a post in another forum someone who admitted returning a 4 dollar app within days of its release because the developer didn’t seem to belistening to their suggestions about desired changes.
It would seem hardly worth it to anyone to sell five times as many apps, or even 25% more, in a market that seems to have an appreciable of buyers who feel so entitled to determine the value of an app and its future development for the price of a lunch. There may be a few of them, so this is just a theory I could be entirely out to lunch.
I guess I should feel lucky having gotten both at the initial bundle price. The original always felt too expensive for what it was - but then that is what happens with media coverage and increased demand. I think the new one is also pricey, by iOS standards, but it feels so much more capable than many other apps - especially with the built in modulate anything functionality - that it’s a much easier purchase.
There are still flaws though, like no undo, fiddly scroll selection, fiddly note selections and worst of all - no custom scales. What if I want a nice Iwato song? Not possible without extremely laborious automation editing or routing through a midi quantizer. I hope that gets added.
That is a very weird place and a somewhat strange icon for undo. The file system is weird too, I reverted to an early stage when I thought I'd saved but you have to jump through menu after menu for a simple save (or I'm missing something (highly likely))
I would've bought it for $30 maybe. $20 I'd be sold. I still use Fugue Machine often enough. Looks deep (maybe TOO deep a learning curve) and happy accidents could occur. I only want it for the iPad, so why not make an iPad only version... Not all of us work on desktops. My 2¢. Not my $59.99.
I spent some real time with the Rubato demo this weekend. Here are my thoughts.
It’s a very powerful sequencer. The parameter automation is extremely deep. It’s very easy to get great sequences out of a few notes.
The playhead controls and MIDI routing is well designed. It’s quick to get things going in a host like Drambo.
The arpeggiator is a highlight. You can create very complex but musical arpeggios. Add in the ability to shift note pitch according to a variety of timings and tempos and you get amazing stuff.
Although the manual is incomplete, the in-app help is pretty useful, albeit unfinished.
Overall, it’s pretty intuitive and well laid out. However…
Some elements of the interface are frustrating. The piano roll, on the one hand, is big and beautiful and easy to use. But many things are the opposite. The curves are extremely small and hard to make out. Selecting one out of the numerous available is difficult. Numbers and icons in the parameter window are tiny.
Needing to slide parts of the interface around is a bit annoying. Much of the UI seems small and ‘minimalist’ for aesthetic reasons, not practical reasons.
The contrast and colour makes it hard to see. I found myself turning my screen brightness all the way up to make it more useable.
Some UX conveniences like double-tapping to reset a parameter are absent. I shouldn’t need to hold down a shift button, tap an element and press reset!
Having a parameter set, opening the automation window and starting its playhead shouldn’t reset the parameter to the default. A minor annoyance, but one compounded by the difficulty in selecting some of the settings. Pop-up menus would be preferred to the hold-and-drag (which is finicky when working within an AU window).
This one is probably my lack of imagination (and experience), but a lot of the sequences coming out of Rubato felt rather similar. As if it tends toward a certain kind of sound. Okay, it produces fugues, but it’s more than that. But I don’t think that’s really a limitation of the app, it’s likely just how I was using it.
Overall, I think it’s a great app, but one that isn’t quite ready for iOS and ipad touch screens. And the more time I spent with it, the more I became convinced that it isn’t all that original. I’ve been working on my Drambo patch over here, and I think it’s possible to duplicate a lot of Rubato’s capabilities in Drambo, and likely in other modular sequencers.
If it was more polished and usable, I would seriously consider it, despite the $80 (CAD) price tag. Even as a straightforward single-playhead sequencer it has fantastic capabilities and could become my go-to. I don’t care about the price that much, if I thought I’d get enough enjoyment from it, I’d buy it. But I don’t imagine any significant changes to the UI are coming, and there are too many little frustrating things that keep me from feeling confident in my purchase.
Once again, kudos to @Alexandernaut for providing a generous demo, and indeed for creating a very creative and magical app. I hope improvements can be made and I’m certainly open to revisiting it in the future.
That looks like a really great analysis from what little I've seen so far, Tim, thanks for taking the time. I do wish that intervals were easier to see when there are no notes drawn in. The fact they aren't makes it hard to perform live using this in the same way you'd perform Xynthesizr. As great as the feature set is (despite some omissions there too, like inability to record midi in), the UI definitely seems to prioritize aesthetics over practicality and easy visibility, especially on an iPad-sized screen.
I’m unable to get any MIDI output to work in AUM other than the first output. I can route that to an instrument but any other outputs don’t work. Starting the other play heads only seems to output from the first slot into whatever instrument is receiving from output 1. Don’t know if I explained that well.
Other than AUM, would this be a good app to learn alongside and inside of Drambo? I’m not super acquainted with Drambo.
Hi!
If you slide the hamburger to the left you will see the MIDI channels for each sequencer, which corresponds with the Fugue Robato multi output channels in AUM. I hope this helps🙏 oh and remember to press play for each sequencer
@FizzyLizzy27 to elaborate on what @Stuntman_mike has explained, please check the manual. The MIDI out channels are explained with a screenshot showing the related settings.
And to answer your second question; if you’re just learning Drambo, I wouldn’t go adding another layer of complexity to it until you feel comfortable.
From the manual @FizzyLizzy27
Btw guys, it looks like @Alexandernaut has added some bits to the manual!
Drambo contains a very powerful sequencer of its own, as well as an arpeggiator and many other MIDI modules. If you used FMR as a sequencer in Drambo, you could still modulate the MIDI output, and use the synthesis and effect side of Drambo to make sound. But for me, Drambo is my favourite sequencer and doesn't really need a 3rd party sequencer. FMR is probably better suited to AUM.
I had a hard time finding that in the manual for whatever reason. I stumbled onto that “Settings” window from your last post and had that set, but not the dot graph. I did get it working though, so I appreciate the help.
I find the manual tells you how to do things, but not exactly what they do. I’ll need to look over the updated version.
This is a lot of fun to use with strng and Steel Guitar Pro.
I wish it also had per note probability and per play head probability. Right now I hack it by routing through midigates, but it’s not as flexible or elegant.
Yeah, this is the main thing holding me back, not just the price. Every note sounding all the time is overkill.
Here’s a little mozaic script that only lets every nth note per channel pass and you can dial in what n is per channel
——————————
@OnLoad
FillArray noteCounter, 0, 16
ShowLayout 4
for knobnum = 0 to 4
SetKnobValue knobnum, 0
LabelKnob knobnum, {ch} ,(knobnum+1)
endfor
@End
@OnMidiNoteOn
ceiling = (GetKnobValue (MIDIChannel)) / 12.7
//Log MIDIChannel , { : }, noteCounter[MIDIChannel ], { }, ceiling
LabelKnob MIDIChannel , MIDIChannel+1 , { : },RoundUp ceiling
Inc noteCounter[MIDIChannel]
if noteCounter[MIDIChannel] > ceiling
SendMIDIThruOnCh 1
//SendMIDINoteOn MIDIChannel, MIDINote , MIDIVelocity
noteCounter[MIDIChannel] = 0
endif
@End
@OnMidiNoteOff
//note = activenotes[MIDINote] // retrieve the correct midi note
SendMIDINoteOff MIDIChannel, MIDINote , MIDIVelocity
SendMIDIThruOnCh 1
@End
@Description
nur jede nth note pro channel
@End
You guys know you can automate each note’s properties, including it’s on/off state, velocity, pitch, time, gate, X position and more right?
“Per play head probability” though, hmmm you got me thinking now…
Totally agree. Being able to create space is a big deal for me, when considering buying a sequencer. Let’s hope this feature will arrive in an update…..
Maybe you didn’t see my post above; you can “create space” and/or automate note on, off, velocity, x/y position, and many other note properties with the elaborate built in automation system. The cool thing is the speed of the automation tools can be bent independently from the playhead’s attributes.
Want that particular note’s probability to be maybe once every 3 or 4 passes of the playhead? Slow the automation head for it down to a divided or dotted number. Each note on the grid has its very own automation system. Setting a note’s probability or “creating space” is only the beginning of what can be done.
Again, the Automation Play head’s speed/time bending can be adjusted independently from the actual play head.
You know that took me a while to get my head around: that you have to start a separate playhead for every automation-lane you use. It's both brilliant and totally bonkers 😆 (this is the worst app affair I can't decide on - my moon in Libra really comes alive (joking people joking))
@Edward_Alexander I got it, once you mentioned it earlier and messed around a bit. The benefit to doing like this, over “real” probability, is that it’s deterministic, so all happy accidents are reproducible.
However, I still miss custom scale setup.
Also, I still haven’t tested if FMR can take midi input and nudge the internal midi accordingly. Same goes for externally controlling the on/off of the playheads.
@Darkstring I think he said custom scales are coming.
External midi control for the playheads would be amazing I agree. I don’t think there’s any kind of midi input at the moment.
@Pxlhg took me a good minute as well.
anybody know what these do?
Ok. I am literally gobsmacked by this things capabilities and feature set. I have gone through every preset to try and understand how they work, and by and large I have been successful, but there are still a couple of ‘how is that happening’ sections of a couple presets.
The trouble is, now that I have wrapped by head around it, I’m not sure I can go back to the old static way of thinking. It has clicked, and that leads to all sorts of what-ifs and creative ideas. This is like deep stuff, like first discovering trackers deep.