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Why are there no AUv3s from the BIG developers?
Waldorf Nave, Propellerheads Thor, Korg (all), Roland SoundCanvas etc. etc.
Why don't they make their Apps AUv3 compatible?
BTW: i am aware of the Korg neverending story article from synthanatomy and the discussion here.
Comments
Because there’s not enough money in it to rework old products
Apple take 30 percent of the profit, if you have a successful business and brand its a tough pill to swallow. Also the pricing of the ios app may damage sales from the PC/mac versions.
Because it will be more lucrative to port these into hardware than just make them AU/VST...
https://forum.audiob.us/discussion/35520/elk-audio-os-goes-open-source-raspberry-pi-dev-kits-coming
Apple is playing a risky game as wallet garden (and let's see how ARM migration goes) so it seems not so much options outside iOS/iPadOS for musicians (well to be fair there are some emerging in android or even multiplatform) but at the same time Apple doesn't take care about those musicians anymore... (they could transform the iPod in embed system for music/video applications and cut their revenue in favour to devs... but it's not going to happen never, Apple Arcade is way more lucrative and less complex...)
So,
the moment Apple realise they have the biggest asset (iOS/macOS) and how are they dropping it in the wc (from indie devs POV) and the big boys just get ported their apps into hardware (cheaper than iPod with better stability)... oh wait! it's just happening even without open sourced projects like ELK but with their own mainboards (like Roli, like Korg, like Yamaha...) and open source also has some alternatives (like Axoloti, like...
https://forum.audiob.us/discussion/31931/finally-some-open-source-serious-embed-platoform-is-emerging
Apple needs to improve their tools if they want to make those brands jump faster because these brands usually has lot of bureaucracy and technology evolves faster being this moment of time (commercial war and 4.0 technology revolution with 5G) a very inestable market (with brands struggling and having big problems to schedule roadmaps to even 6 months in future and I'm talking about brands like Wolkswagen/SEAT and from first hand source so go figure brands like NI, Roland or Korg audio divisions...)
The happy part? Well, users had and will have more and more to say in this wallet war and consume war with ecological real world redlines and so.
Worth it or not worth it that's the question...
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As you can see with Eventide, they also port from hardware
(afaik current Eventide products use ARM chips as their DSP cores)
BTT AU is vastly overestimated by a relatively small group of audio enthusiast that do kind of studio production.
If someone just wants to use an iMS20 or iElectribe he or she taps the icon doesn't care about architecture and 'possibilities'. Sound comes from headphones or speakers, can be recorded and that's about it - for the vast amount of customers.
I agree that the user group is comparably small - but nonetheless, if a developer decides to release new FX then chances for selling them are quite limited if they don't support the AUv3 format.
Toneboosters, Eventide, FabFilter etc. do show that they're interested, and FabFilter have certainly taken profit out of being the first providing very high quality FX on the platform, years before people were even talking about AUv3.
Because Korg is working hard since September on their iOS keyboards BT issues ... I hope🤞
So they have their hardware division in first place and then release things on AU for spread the brand... just what I'm saying. These make their money on hardware not on peanuts where they made brand (advertising).
I'm agree about architecture and 'possibilities' from amateur (prosumer if you prefer) segment but not so agree with professional segment (those who make money on tools, not necessary big studios or whatever) since most of these prefer stability (and some furniture) over comfortability (but is welcomed as extra) so in the end iOS can make a differentiation point but only when you have the basic covered.
In the opposite you have struggling indie devs without options to increase revenue (aside subscription which everyone know it could work for netflix but not so well for tools almost you are a pro Adobe model so again we have a gap since these vast amount of costumers will not pay a subscription for a tool like pros do with Adobe... solution?
Porting these amazing apps to standalone hardware but it's clear we need some kind of affordable receptor aside iPhone/iPads to make the devs jump into it. I think this is what ELK is trying to do.
@rs2000 Yes, there's no doubt about releasing current FX apps in AU format, but the topic's question is about synths not 'ported'
Which essentially means an almost full rewrite of the device... (sound processing and algorithms are about 20% of the code, while interface and GUI make up the major 80% (estimated).
These aren't boolean choices for them as I stated before, just segments.
For indie developers, until Apple decides to change revenues, it's a common discussion here at AB forum time to time...
Yep, I admit I related to the headline more than to what @Pummelfee wrote
When I listen to developers, porting a synth to AUv3 on iOS to me seems more like 10% DSP code, 40% UI and 60% learning about the obscure secrets of developing a rock-solid AUv3 that works with all common hosts.
@TheDubbyLabby Apple provides a great developement system for free, so anyone can try with no risks if 'developement' is his/her cup of tea.
There is a reasonable annual charge of $100 (iirc) for those who decide to go commercial.
If this charge wouldn't exist, the shop system would be flooded by nonsense.
Taking 30% from revenues is very affordable for world-wide product coverage plus handling of financial transactions, imho.
I expect from anyone who goes public with software that the product has 'something to offer' on it's own and is not the 7th replica of whatever.
Seems like a special kind of 'Me-Too' in IOS in recent years... and I see no reason to support this in any way.
Yes, but imho it has been this way forever - only today expectations about project timeframes seem to have shrunk to impossibly short levels.
...and developer teams are usually small. Even at KORG, I doubt they have more than three dedicated developers working on iOS apps.
And the one-man company devs usually have "a real job" to make a living from.
The Eventide, Ruismaker and Toneboosters collection is already more than enough to do pretty much everything you could possibly want to do with an AU
I’m leaving out tons of great stuff here, don’t have time to type a giant list of quality AU apps
This is an interesting question. And not one that I’ve ever seen a definitive, reliable answer to. If any devs are reading, maybe you could help answer this: If an old IAA synth app, say like Thor or Nave, were to be converted to AUv3, would this require a full rewrite of the code?
Well I would not call it a free no risk price of entry. You have to buy a Mac for making iOS app? Idon’t have one and that is my barrier. I am a .Net programmer by day. So yeah I have PCs. Nothing against Mac but I don’t wanna spend that kinda money on a Mac that will be used only to make iOS app.
Over the apple-tax (aka iDevices). Now with Catalyst these will open to desktops but prices seem be insufficient to make most of them a living. Could be me too IDK the numbers but I bring a solution which is a win win for them and users since Apple priorices phone task over music (the 48Khz bug, the termal throttling...) and it's fair since is its model... but musicians need more compromise to invest such amount money (iDevices + apps // subscriptions...)
ELK has the same approach about open source or commercial (even less since you can develop on Raspberry Pi with the open source) but the point is target. Obviously ELK target are musicians and music things developers, not smart apps developers suitable for smartphones... we can say thanks Apple about core audio/midi on iOS (from OSX) but it seems a collateral damage even Garageband, even LogicX... most as legacy than the focus they had back in the day.
Back on topic about AU, again the Appstore IAP model and the lack of updating (devs releasing new versions to add features and charging some to get revenue) points the same direction... in the end as time goes Apple is losing its position in my eyes. My next phone is going to be something just for phone calls and my music gear is going to be wifi-free... I only need something like Garageband/Ableton inside a box... but we aren't still there (Akai Force, MpcLive or similar aren't enough) xD
I believe there is a real fear with iOS ports cannabalizing their desktop counterparts from some big devs. I think it’s evident when one of the only waves plugin we have access to is around 20 years old vs being the latest and greatest (L1 in Cubasis) I have no doubt that they could port the mercury bundle if they felt the market was there at desktop prices. $30 is a very very expensive app on iOS. $300 is a mid point on desktop. Waves also likely couldn’t apply their waves update program WUP on iOS in order to control who gets updates when and monetize it. For those unfamiliar WUP is basically an update subscription to waves plug in/bundle updates, sometimes they add products into bundles and sometimes they update the plug Ins themselves. WUP gives u access to both.
I also think some part of it is lack of size and demand of the market overall from their POV. iOS music making simply isn’t mainstream yet. It’s viewed almost like a digital mixer or 4track. Useful to those who must make it useful but not really pro to those who have access to the big tools.
Anyways, that’s my theory on it, but I think as we get more interfaces that immediately qualify iOS compatibility (motu m2-m4 come to mind) and consumers realize that their phone or iPad is sufficient for audio work instead of desktop/laptop the demand will hopefully go up and the big guys will respond. I’m personally grateful for their delay as I believe it’s created a healthy opening for new and mid tier devs to really shine and the healthy competition has lead to some really creative stuff.
All that said, Korg needs to get off the fence and get us some AUv3 ports. Yamaha too.
I think we are a little unfair here...
I think a synth as Synthmaster One as AUv3 is powerful enough for many of us, and, maybe more of the powerful Fabfilter different will show up soon (we already have Q & R already as AUv3)...
Next year we will certainly see The big Synthmaster arrive on the iOS/iPadOS scene, not just the player version...
The quality we can attchieve already is stunning, so, I don’t see the problem here...
Hopefully nobody from 🌊 s is reading this.
I would be obliged to perform 4 separate exorcisms before burning all my iOS devices and sending the vacuum sealed ashes into deep space if they were to appear on the AppStore
Wait, what? 😂 why? You gotta explain this after giving us that visual lol
wups
I was just about to delete that comment to protect my physical, mental and spiritual health @ipadbeatmaking
Oh you don’t like paying $240 in perpetuity for your waves? 😂 let me ask you this, if it took all your desktop purchases that you made prior and made them available on iOS (like adobe creative cloud, zen beats, etc) how would you feel about them then?
So many trigger words...
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no problem - Waves is an urban legend, who had their share about 20 years ago... and sellout regularly on desktop. Every couple of month there's another 'sale' not far from app prices.
But that stuff was outdated ages ago.
When I got my Pro Tools TDM (2nd hand bargain) with the full portfolio included, not 1 single plugin wasn't superceeded by some competitor. I trashed the whole bunch...
Very good points overall. Especially with respect to the ‘sales’
Sure I think there’s superior competitors for certain products they make. Especially their mastering sections, and reverbs. There’s also definitely some long outdated stuff in their collection, that should be given away at this point. but aside from UAD, which requires a hardware dongle, I don’t think many are touching their analog emulations featured in studio classics collection (API, Ssl, Neve), abbey road, and CLA compressors (1076, LA2A, LA3A)
I’m no waves apologist but there’s also been a lot of updates since the TDM era, so take that for what it’s worth.
Yes, TDM is quite underrated due to it's age... that's why got a full Mix24 plus 8 channel converter for 200 bucks.
The original idea was: it will run an Access Virus (1:1 same code) that I can control via TC-Data, which also applies to the green Line 6 Echo pedal, 2 birds by 1 stone, no risk.
But I really was surprised by the audio quality, and sticked with BombFactory's 1176 and LA2A and the Drawmer Dynamics, TC Eq and Reverb, Kind of Loud Realverb (UAD), the much dissed Lexiverb and Wavemechanic's (later Soundtoys) SoundBlender suite (related to the Eventide 4000).
That's essentially what I use in TDM and I prefer it over most VST.
My main DSP system has always been a Creamware Scope, so TDM critically auditioned.
In fact I consider it a complement for VST and Scope in the 1st place, but I could use it as my only DAW (if needed to).
Of course time didn't stand still in VST land and I have all Valhalla FX, Scuffham's S-Gear, and use the Zynaptiq Zap bundle for 'spectral editing' (Izotope has similiar offerings) and may get some Relab reverbs one day.
Btw I'm not an update believer without proof by ear...
(and so I have to agree to your bottomline until I install those most recent versions)
How many big developers produce tracks on a 12 inch MacBook? Not very many I suppose. that’s about all the iPad can offer them, minus a few things like a keyboard, full featured hosts and...customers