Professional music production app for iPad
The normal price for iMPC Pro is $19.99, but for a limited time, iMPC Pro will be available for $12.99, as a way for us to give iMPC users the opportunity to purchase iMPC Pro and retain the value of the investment made in iMPC.
Developed in partnership with Retronyms — www.retronyms.com
iMPC Pro is a 64-track music production powerhouse for your iPad. With built-in sampling functionality, a massive sound library, effects, and over 30 performance-driven features, iMPC Pro brings the functionality of Akai Professional’s coveted Music Production Center to your iPad. Developed in partnership with Retronyms, the developers of the original iMPC app, iMPC Pro comes with pro-grade tools for intuitive beat creation whenever inspiration strikes. It combines multiple sampling methods, producer-tested MPC features, a custom sample library from Richard Devine, and an intuitive gestural editor for the most powerful, creative and fun iPad music production experience yet.
*Creating sample-based music on your iPad with renowned MPC functionality
*Sample audio from the iPad microphone, your own tracks using resampling, other apps using InterApp Audio, or your music library
*64 tracks for flexible multi-track music production including gain fader, 3-band EQ, mute, solo, panning and FX sends on each track
*All-new chop-shop provides intuitive multi-touch editing, trimming, auditioning, splicing, splicing and processing samples
*All-new Timeline View opens a multi-touch gestural editor for sequencing, recording, and editing
*All-new Flux mode lets you warp and glitch beats in real-time or with automation
*All-new Precision Knobs and Faders expand on command for precisely dialing in parameters
*All-new 3D-performance mode lets you perform with the iPad’s accelerometer
*All-new Turbo Duck effect fattens up tracks with sidechain compression
*Exclusive sound library featuring 1,400+ samples from sound designer Richard Devine with hundreds of Akai Pro exclusive samples
*Improved sampling workflow with re-sampling, drag n’ drop kit assembly and sample library organization
*16 Levels mode with attack, velocity, length, and tuning settings for quickly creating variations of sounds
*Note Variation slider lets you adjust attack, velocity, length, and tuning as you play
*Onboard effects include delay, bit crusher, and master compressor/limiter
*Live Sequence queuing for real-time performance and playback
*Time correct: 1/8 note – 1/32T with variable swing
*MPC Note Repeat featuring 1/8 note – 1/32T timing with latch
*Supports Inter-App Audio in iOS7 for sampling and FX routing from other music apps
*AudioCopy and AudioPaste for copying/pasting sequences from compatible apps
*Works with MPC Element via the Apple iPad Camera Connection Kit (sold separately)
*Community sharing built-in: directly upload to SoundCloud, Facebook, Twitter, Tumblr, or export to your computer
*iOS support for simple drag-and-drop, plucking, and multi-touch music gestures
*Interactive gesture control for automation, mixing, and effects
*Automation lets you record pad and track mute changes to sequences
*Tabletop ready – use iMPC Pro inside the acclaimed Tabletop App to combine it with dozens of synths, sequencers, FX and more
*Tuning, Panning, Level, Lo-Pass and Hi-Pass available for each sound
*Easy cloning of sequences via multitouch capabilities
*Classic “Next-Sequence” lets you juggle sequences to experiment with different compositions or for dynamic live performance
*Mute and poly pad groups for authentic percussion performances
*Pad effects include custom-designed envelope filters, 4-mode distortion and ring mod
*Supports InterApp Audio mode. Record the outputs directly into other apps like GarageBand and Cubasis
*Over 20 demo projects to manipulate, shape and learn with
*Extensive Undo History lets you roll back projects to any state
*Export tracks as an audio file
Cotracks is a collaborative music studio for teamwork on a single iPad. With Cotracks you can create multiple layers of loops and phrases using multiple instruments. Cotracks is designed to maintain your creative flow and is always ready to capture your ideas, regardless whether you are flying solo or collaborating with others.
It’s like playing with a band, but this time you can record and play back your own parts, in perfect sync with others, and create the constituents for a great track at the same time. With Cotracks the whole is greater than the sum of its parts.
• up to 12 instrument tracks
• beat synchronized playback and recording
• comfortable access for multiple users
• dedicated interface modes for single user, two users and four users
• switch between interface modes with a single tap
• independent playback control constantly available for each instrument
• repeater lets you play and record complex beat synced rhythmic textures
• XY-modulation control
• nondestructive quantize and transpose
• change the playback scale of recorded sequences
• drag and drop copying of sequences between instruments
• polyphonic synthesizer with dozens of high quality instrument presets
• monophonic bass/lead synthesizer with dozens of high quality instrument presets
• sample player with a library of professional quality samples from Inspire Audio
• programmable XY-modulation
• band-limited oscillators to ensure professional grade sound quality
• stereo delay
• stereo phaser
• 2 equalizer units
• dedicated units for each track
• Audiobus support
• AudioCopy support
• export each instrument to separate audio clip
• export all in one audio mixdown clip
• export and import sessions via iTunes in XML format for backup and sharing
• on-screen help and tips
• online support integrated in app
• video tutorials
For more details- http://futucraft.com/cotracks
Earhoof is a futuristic virtual instrument which turns your iPad into a rhythmic gradient of sound.
A sophisticated instrument creation tool, it allows you to layer multiple audio files and combine them with high quality digital signal processing. By continuously changing the sound parameters along the length of your device, Earhoof allows you to create highly expressive playable surfaces.
Its innovative internal rhythm engine allows you to easily play this surface, switching seamlessly between complex rhythms while remaining in complete control of the generated sounds. The result is a playing experience unlike any other, blurring the line between sequencer and instrument.
* Includes over 80 carefully crafted presets, each one a unique multi-sample instrument
* Intuitively draw curves to modulate DSP parameters for Gain, Pitch, Pan, Filters, Delay and more
* Easily import your own WAV and AIFF files with iTunes File Sharing, AudioPaste, and AudioShare
* Record or manually create your own rhythms
* Audiobus and Inter-App Audio support allows Earhoof to interact with other music apps
* Record your performances as audio files without ever leaving the app
* In-app help manual will help you quickly learn the ins and outs of the program
More details - http://www.psicada.com/
I’ve been lucky enough to have been on the beta testing team for this excellent iPad app over the past moth or so, and really enjoyed watching it take final shape. I’ll aim to do a review in the next few days, but for now here’s the official word from it’s maker, Positive Grid -
Positive Grid, leading innovator in music technology and maker of #1 selling mobile apps BIAS and JamUp, proudly announce the release of Final Touch – Complete Mastering System for iPad, a professional mastering suite that combines nuanced techniques of mastering with Positive Grid’s expertise on mobile design, offering the highest mastering control, precision and flexibility possible on an iPad.
“Final Touch allows musicians, producers and engineers to master audio recording with the industry’s standards: maximizer, pre and post equalizer, multiband dynamics, stereo imaging, reverb and dithering controls are all just one finger tap away”, says Positive Grid Marketing Manager Jaime Ruchman. “And now they will be able to continue their mastering sessions literally anywhere, with the same sound quality as a top notch professional mastering studio, enhancing productivity to its maximum.”
Final Touch combines seven essential mastering tools into one integrated system, the Pre and Post linear phase EQ modules consist of eight independent bands, each providing a choice of five different types of parametric filters: Hi-Pass, Low-Shelf, Peak, Hi-Shelf and Low-Pass. The Dynamics module offer highly flexible stereo/mid-side multiband compressor/limiter. The Stereo Imaging module adjusts the width of your mix, corrects L/R channel imbalances and checks mono compatibility. The Reverb module offers flattering room, hall and plate algorithms to sweeten overly dry mixes, providing continuously variable controls for independently adjusting Pre-Delay, Decay Time, Early Reflections and Room Size. The Maximizer module limits peaks and raises the average level of your mix, thereby increasing loudness. Comprehensive dither and noise-shaping options are also provided in this module.
Once your master is perfectly dialed, a couple taps are all it takes to share it via email, Dropbox, iTunes and SoundCloud.
“A great mastering app” - Rafa Sardina, 12-time GRAMMY award winning producer and engineer, whose credits include Lady Gaga, Michael Jackson, Beyonce, and more.
“Solid, accurate and accessible.”- German Villacorta, mastering engineer and owner of Dynamic Wave Studios, whose credits include Ozzy Osbourne, The Rolling Stones, Rage Against The Machine, and more.
“Finally the professional mastering app for iPad I have been waiting for! With a clear and intuitive interface, streamlined workflow, powerful effects, and full cloud support this app makes professional mobile mastering a reality!” - Andrea Pejrolo, Assistant Chair of the Production Department at Berklee College of Music.
“I’m really digging the open top end of the EQ section and how the Maximizer is glueing this mix together. This is a flexible, very cool audio app for modern musicians on the go.” - Enrique Gonzalez Muller, GRAMMY award winning producer and engineer, whose credits include Nine Inch Nails, Dave Matthews Band, Tina Turner, and more.
• Complete professional mastering system powered by Positive Grid’s high-end signal-processing algorithms
• Linear Phase Pre and Post Equalizers, each offering eight bands and five filter types
• Multiband Dynamics with four independent bands of compression/limiting
• Stereo Imager adjusts the width and balance of your mix’s soundstage
• Reverb provides state-of-the-art Room, Hall and Plate algorithms
• Maximizer transparently limits peaks to make your mix louder
• Dithering and Noise-Shaping preserves your mix’s depth and nuance
• Stereo and mid-side processing
• High-resolution, multi-colored metering with accurate readouts
• Each module can be independently bypassed
• Bypass switches for individual EQ bands
• Left, right, mid and side channels can be independently soloed or bypassed
• Waveform overview of your mix, with draggable playback cursor
• 100 factory presets and unlimited user presets
• Global and module-based presets
• Drag and drop modules to rearrange their order in the signal path
• Pristine, high-resolution sound (double-precision, 64-bit calculation)
• Unmatched audio-data integrity: no rounding or truncation except when calculations are performed
• Share via Email, Dropbox, iTunes, SoundCloud and FTP
• Streamlined project management: browse multiple projects with one simple tap
• Workflow optimized for mobile and desktop data transfers
• Supports Inter App Audio and Audiobus routing system (works with many other audio apps)
• Supports iPad 2, iPad mini and newer iPad devices
• Designed for iOS 7
Final Touch retails for $19.99 and is immediately available for download at the iTunes App Store. Designed for iOS7, the app requires an iPad 2 or newer to operate.
AC-7 Core Solo is the perfect hand-held wireless remote controller for your DAW based music recording system. It was expressly designed to be used comfortably with one hand, so there’s no need to put down your guitar/mic/drink while setting up the next take.
It has been tested and optimised for use with Apple’s Logic Pro X, but most of its functions will work equally well with any DAW which supports the MCU protocol. These include Reaper, Cubase, Digital Performer, Adobe Audition and many more.
(Avid’s ProTools is NOT supported in this release. We’re working on a separate dedicated ProTools controller app, which should be available soon)
How to set up on a Mac:
Make sure the computer is connected to the same wifi network, then navigate to Finder -> Go -> Utilities -> and open “Audio MIDI Setup”
Double click the Network icon in the MIDI window, then add a new session in “My Sessions” and enable it by clicking the checkbox.
Make sure “Anyone” is selected in the “Who can connect to me” section, then open the AC-7 Core Solo app on your device.
Your iOS device’s name will now appear in the Directory area, so click the name then click the “Connect” button.
Now simply open Logic Pro X, and the AC-7 Core Solo will be automatically detected and configured.
Working beautifully with any audio content… melodic, rhythmic, noise, or otherwise, Sliver is well suited for a broad range of project types including:
Sound Design / Sound Effects
Unique Sonic Textures
Cinematic Sound Elements
Creating a playable instrument from any sound.
The core of Sliver is the 4 real-time resizable clips (slivers) that can be moved around the waveform. Each sliver has it’s own channel with independent volume, pan, filter, and sliver size. These controls can be set in motion with Sliver’s automation engine. Sliver uses a real-time automation system to movement in your textures. This system also allows for override to be able to shape the ongoing captured performance. The filters and size windows are controlled by XY pads, giving Sliver a natural playability, creating a new type of instrument.
Touching along the waveform places, moves, and sizes the slivers, allowing you to intuitively scrub the waveform with a variable loop size.
A chain of effects assigned to XY Control pads allows you to shape and mangle the sounds produced by the slivers.
You can Automate every control.
Sliver uses Apples UIKit Dynamics to create physics on the XY Pads, allowing customized settings for the controls to shape the sound randomly with physics.
Sliver supports Audiobus, sitting in an input slot.
You can import samples via AudioShare import or Audiocopy.
You can resample, record your own samples via the Mic, or do both at once.
This app uses Background Audio and Records from the Mic. You will see a red bar when placing the app in the background.
Sliver supports MIDI learn and is fully controllable from Virtual, Network, and MIDI hardware.
Make some noises, mangle some sounds, create your own soundscape.
4 Real-time Manipulation Slivers
4 Independent Audio Channels
Full Automation Control
Apple UIKit Dynamics Physics Controls
8 X/Y Pad control
Low Pass Filter
Temp Sync’ed Delay
Realtime Pitch-shifting without effecting Time Domain (TimeStretch)
Email Import/Export (Sounds and Presets)
Playable Virtual Keyboard
MIDI (Virtual, Network, or Hardware)
40+ Factory Samples
60 Factory Presets
The VCS3 was created in 1969 by Peter Zinovieff’s EMS company. The electronics were largely designed by David Cockerell and the machine’s distinctive visual appearance was the work of electronic composer Tristram Cary. The VCS3 was more or less the first portable commercially available synthesizer—portable in the sense that the VCS 3 was housed entirely in a small, wooden case.
The VCS3 was quite popular among progressive rock bands and was used on recordings by The Alan Parsons Project, Jean Michel Jarre, Hawkwind, Brian Eno (with Roxy Music), King Crimson, The Who, Gong, and Pink Floyd, among many others. Well-known examples of its use are on The Who track “Won’t Get Fooled Again” (as an external sound processor, in this case with Pete Townshend running the signal of a Lowrey Organ through the VCS3′s filter and low frequency oscillators) on Who’s Next. Pink Floyd’s “On the Run” (from The Dark Side of the Moon) made use of its oscillators, filter and noise generator, as well as the sequencer. Their song Welcome to the Machine also used the VCS3. The bassy throb at the beginning of the recording formed the foundation of the song, with the other parts being recorded in response. The VCS3 was also a staple at the BBC’s Radiophonic Workshop, and was a regular (and most frightening) sound generator for the Dr Who TV series. Many fo the monsters and atmoshere;s created for the show came directly from the VCS3.
The VCS3 has three oscillators (in reality, the first 2 oscillators are normal oscillators and the 3rd an LFO or Low Frequency Oscillator), a noise generator, two input amplifiers, a ring modulator, a 18dB/octave (pre-1974) or 24dB/octave (after 1974) voltage controlled low pass filter (VCF), a trapezoid envelope generator, joy-stick controller, voltage controlled spring reverb unit and 2 stereo output amplifiers. Unlike most modular synthesizer systems which use cables to link components together, the VCS3 uses a distinctive patch board matrix into which pins are inserted in order to connect its components together.
DK1 keyboard controller
Although the VCS3 is often used for generating sound effects due to lack of built-in keyboard, there were external keyboard controllers for melodic play. The DK1 in 1969 was an early velocity sensitive monophonic keyboard for VCS3 with an extra VCO and VCA. Later it was extended for duophonic play, as DK2, in 1972. Also in 1972, Synthi AKS was released, and its digital sequencer with a touch-sensitive flat keyboard, KS sequencer, and its mechanical keyboard version, DKS, were also released.
Waveshaping Synthesis is a type of distortion synthesis that can create dynamic spectra in a controlled way. In waveshaping, it is possible to change the spectrum with the amplitude of the sound. A simple example of this method is the clipping caused by overdriving an audio amplifier.
These simple method creates an astonishing variety of sounds which are very unique and can’t be reproduced by any other contemporary synth!
microTERA gives you also a method of getting randomly generated sound patches in a way you never experienced before: roll the dice! Every single try gives you a new unique sound patch, really every try, promised…
• Wavehaper with user programmable shape
• Spectral shape specification
• Three sine oscillators
• Feedback input for noise components
• 4 Low frequency oscillators
• 4 Envelopes with tempo sync
• 64 time/level segments per envelope
• Monophonic or polyphonic with 16 voices.
• Over 150 factory sounds
• Uses programmable sequences with up to 32 steps.
• Can trigger single notes and chords.
• Unique randomizer generates Arpeggios with 100% usability.
• 32 Arpeggios included, unlimited useer arpeggios possible.
• For each step you can program tie, accent, transposition and note order
• Distortion (Tape/Tube/…)
• Audiobus compatible (Input slot)
• Inter App Audio compatible.
• CoreMIDI / Virtual MIDI
• Audio recorder with Metronome.
• Upload to SoundCloud and File Export.
• Audio pasteboard.