Turn your iPad into an instrument of the violin family and play just like on a real instrument !
FingerFiddle introduces a new and highly sensitive musical experience with your IOS device. Your actions on the screen are turned naturally into an exceptionally realistic and responsive sound, whatever you do. Place your fingers on the fingerboard to change notes. Move your other hand on the screen to rub the strings with the bow and shape the sound continuously in real-time. Pluck the screen to play pizzicato. FingerFiddle responds accurately to your movements and lets you play with the full palette of violin expression, just like with a real instrument.
FingerFiddle is a musical instrument that you can bring with you everywhere to play, practice, have fun and perform with others. It includes a full collection of fine-tuned instruments from the violin family (violin, viola, cello and double bass). The basic version comes with a cello, and other instruments are available to try and purchase. Wherever you are, at any time, pick one of the instruments and play music for real with FingerFiddle.
Who is it for?
Anyone interested in music playing can find something in FingerFiddle:
– For the beginner, FingerFiddle is an affordable way to experience and enjoy fiddle playing, alone or in group. Play, practice to improve your playing, try different instruments and maybe, eventually, buy a real instrument…
– For advanced players, FingerFiddle is a new instrument to discover and have fun with. Use it in your musical productions and live performances, when jamming with others, or just to sketch ideas.
– In all cases, FingerFiddle is a musical instrument that is always right at your fingertips, whenever you feel the need to play music.
– Natural mapping between movement and sound: your finger is the bow !
– Outstanding sound rendering for a realistic output
– Pitch is controlled with a fingerboard on the screen to allow fiddle-specific playing techniques (vibrato, glissando, chords)
– The fingerboard is customizable: set its width and the space between notes for a comfortable playing
– A specific area is dedicated to pizzicato playing
– Inter-App Audio / Audiobus support (generator)
– Very low memory requirement: no samples library is used
– Inter App Audio and Audiobus support
– The basic version includes the Cello from the Classic Collection. Other instruments are available as In App purchases (Violin, Viola, Double Bass, normal or with mutes)
Find more details here – http://www.fingerfiddleapp.com/
Audio Spectrum – dB (decibel) Meter and Real Time Sound Frequency Analyzer is a powerful real-time audio analysis app. Ideal for room tuning or speaker tuning, this app provides precision audio measurement and visualization that fits in your pocket!
Spectrum Analyzer has many advanced features which are normally only found in much more expensive sound analysis software. It offers fast and accurate spectrum analysis suitable for both amateur hi-fi enthusiasts and professional A/V engineers.
● Octave Band Real-Time Analyzer
● FFT Plot
● Smooth HD Graphics
● Multispectral Harmonic Analyzer
● Integrated Sound Level Meter
Developer: Elena Polyanskaya
VoxSyn turns your voice into the most flexible vocal sound generator ever. Instantly following even subtle modulations of pitch and spectral changes of your voice VoxSyn creates signature vocal sounds far beyond traditional vocoding.
Talk or sing into the microphone and you’ll trigger various synthesizer sounds following your voice pitch or the notes touched on the hexagonal keyboard / external MIDI Keyboard. The basic sounds are selected from a vast pool of predefined sounds from the famous TERA synthesis engine which can be further expanded by its unique random sound generator.
The harmonic table note layout visualizes your voices pitch in realtime and also let you play notes for more traditional vocoder effects.
VoxSyn is Audiobus compatible and can be used in the Input, Filter and Output slots in the Audiobus signal chain.
The output can be recorded to an audio file which you
can use with other Apps and programs for further processing.
– Voice control of pitch and timbre
– 22-channel Vocoder
– Integrated preset synthesizer engine
– Hundreds of presets included
– Hi-end Reverb and Chorus/Delay/Distortion/Phaser effects
– Share/Export of audio recordings
– CoreMIDI / Virtual MIDI and Background audio
– Inter App Audio compatible
– Audiobus 2 support (Input/Filter/Output) with state saving
Envelope Audio Unit Reverb by DDMF
Envelope is a high class reverb audio unit for use as a standalone app or (preferably) in AUv3 hosts like Cubasis. Its true stereo reverberation algorithm creates ultra-realistic acoustic spaces. Eight basic room models are contained in this unit, all of which can be tweaked in size, predelay, depth, low- and high frequency content as well as stereo width. A dry-wet-control is also included, plus a carefully designed set of presets to get you started.
Envelope has already found its way into many recording studios around the world as a desktop plugin, and is now the first effect by the renowned plugin manufactory DDMF to be released for the iOS platform.
For meow details – http://ddmf.eu/envelope
Developer: Christian Siedschlag
Maybe of interest to anyone wanting to know more about SPL monitoring (for free) –
Smart Sound Meter
Sound Meter (SPL – sound pressure level) is an app which can measure the actual sound level meter with decibels (dB). Sound meter is also known as sound level meter, decibel meter (dB meter), noise meter, sound pressure level meter (spl meter).
It uses your built-in microphone and shows a reference. We had calibrated many android devices with the actual sound level meter with dB.
You have to know that the built-in microphones were aligned to human voice (300-3400Hz, 40-60dB). Therefore the maximum values are limited by the hardware limitation, and very loud sound (100+ db) cannot be recognized.
Remember that it’s only a device for fun and please use it as an auxiliary tool.
Levels of Noise In decibels (dB) according to American Academy of audiology:
140 dB – gun shots, fireworks
130 dB – jackhammers, ambulance
120 dB – jet planes taking off
110 dB – concerts, car horns
100 dB – snowmobiles
90 dB – power tools
80 dB – Alarm clocks
70 dB – traffic, vacuums
60 dB – normal conversation
50 dB – moderate rainfall
40 dB – quiet library
30 dB – whisper
20 dB – leaves rusting
10 dB – breathing
Developer: NETIGEN KLUZOWICZ SPOLKA JAWNA
Eera is a monophonic synth, designed for everyday in-studio and on-the-stage situations, when you need space effects, rich and deep basses and unusual or classical leads.
Thanks to X/Y control at the heart and the X/Y bindings, people compare expressiveness of Eera with singing.
While it has modulations for each of the key parameters, it’s simple to use. In fact, for getting different timbre characteristics there is only one slider! Which in turn possible thanks to the unusual parabolic oscillator with width modulation.
And you can be sure that Eera does not prevent you to get your own, your personal sounds.
Eera was created with professional production in mind. The synth has the high quality tube amplifier on the out and supports sample rate up to 96 kHz.
– no need for external MIDI controllers – Eera is an expressive instrument out of the box;
– unusual parabolic oscillator with width modulation;
– vintage reverb;
– tube-saturated amplifier (with overdrive possibility);
– state-variable filter;
– LFO modulations as well as parameters dependence on keyboard’s X/Y;
– sample rate up to 96 kHz;
– factory presets designed for your inspiration;
– Audiobus and Inter-App Audio ready.
Eera is equally good for a wide range of musical genres: from techno, IDM and house to rock, classical, microtonal and experimental music.
Dedicated monophonic synth bass synthesizer featuring the NEW iOS AudioUnit Version 3 plugin architecture.
– 21 VA Wavetable Waveforms with PWM
– 4 Oscillators
– AMP with 4 Modulators
– Circuit Modeled Filter Section with Velocity
– LFO with Aftertouch
BASSalicious is a dedicated monophonic synth bass plugin with a single focus on sound. All of the synthesis and filters are custom tweaked with our own personality and our urban ear. When we first set out to produce BASSalicious, it came from a need we had. All of our plugins come from a musical need first. We noticed that there were a ton of synth bass libraries out there that focused solely on dubstep and wobble bass sounds, but not that much out there for the urban community and that pure synth bass classic sound. Sure there are the sample based ones, but you run into problems with samples when trying to produce a realistic glide effect that is so essential to urban synth bass music. The other thing we were dissatisfied with were the oscillators themselves. You see, in order to reduce aliasing, most wavetable synths reduce the bandwidth and filter out frequencies so it doesn’t alias. The problem with this is that you filter out the good stuff along with it. We figured out a unique compromise, where we can give you the full band of the wavetable, while at the same time reducing aliasing. Our method is very unorthodox, but it works, because the technology will always take a back seat to the sound, and not the other way around: “If it sounds good, then it is good.”
Furthermore, we used an analog modeled filter that was approximated using real circuit designs. The complete topology was modeled with all of the aspects of the electronic components involved, and then converted over to source code. The result is a very organic sounding synth bass plugin, which has no hint of that cold digital wavetable sound. This is what we mean when we say it has an “organic sound.” This is what you hear in urban music. Each key piece has it’s own sound, color, and character to it. It’s not trying to be something else. It’s it’s own individual and we achieved this with BASSalicious. Remember the first time you heard Neo-Soul Keys® and your ears were suddenly opened to the sound you always wished you had, but could never achieve.
The first oscillator is free. You will have access to all of the synth functions. After you purchase, you will get access to the other 3 oscillators as well as the 63 high quality custom synth bass presets.
SoundFont Pro is now available for iPhone. With all the functionality and features of the iPad version, SoundFont Pro for iPhone brings you even greater mobility in a compact form. With a slide-in and slide-out keyboard, the screen real estate is used in an optimal fashion to give you the greatest flexibility.
Make high quality music on the road with your favourite soundfonts. SoundFont Pro is the next generation soundfont player with a host of features that make your existing soundfonts sound like you have never heard them before. Record your music as well as vocals and share them from anywhere you are. You can overdub repeatedly in a non-destructive manner and build your composition over time.
SoundFont Pro is equally suitable for studio use as well as for live gigs.
SoundFont Pro is multi-timbral, multi-layered, and multi-zonal. This means that you can take an ordinary MIDI keyboard and assign key-ranges on the keyboard to different presets from different soundfonts and play the resulting arrangement much as you would play an arranger keyboard! Or set up different zones and assign input MIDI channels to receive MIDI from an external controller or from another MIDI app to specific zones.
The app comes with a selection of soundfonts. In addition to these, you can add user soundfonts from thousands of freely available soundfonts on the web as well.
• A 4-mode frequency filter including Low Pass, High Pass, Band Pass and Band Reject Filters
• Reverb Filter
• Delay Filter
• Volume Envelope
• Voice Recording with filtering
• Import Audio from your iPad library and overdub with your own music and vocals
• Live Effects with the Modulation Grid. The effects include Pitch Shifter, Bit Crusher, Phasor, Flanger, Tremolo, Stereo Chorus, and Auto Pan.
• Freely modulate while playing/recording to get some amazing sounds and effects.
• All the Live Effects are available while you are recording your voice as well!
• Inter-App Audio Compatible
• Audiobus compatible
• AudioCopy2 compatible
• Fully MIDI compatible
M/S Proc is a tool for M/S Processing that enables Mid/Side level adjustments and EQ.
***What is M/S Processing?***
While standard audio processing is done through the Left and Right(L、R) channels, M/S processing divides elements into those at the center(Mid) and those on the left or right(Side). For example, it allows you to adjust the effect of the centrally located vocals or make nuanced changes to the width of the mix.
In addition, tracks with sound pressure levels raised to the maximum in stereo processing can often be found to have additional headroom in the Sides when separated into M/S elements. This means you can increase the sound pressure just by enhancing the Sides.
M/S Proc allows individual level adjustment and EQ processing for Mid and Side channels.
+ Mid/Side level adjustment.
+ Mid/Side EQ control with three bands (High, Mid, Low). The Mid is a parametric equalizer.
+ In addition to standalone usage, compatible with Audiobus and Inter-App Audio. Can be combined with other apps.
+ Can adjust sounds brought in from external devices and apps. Also works with WAV and AIFF formats.
If applying to files, you can export your processed tracks as a WAV file.
Exported files can be exported to other apps using the “Open In” function.
+ Also lets you import files from other apps (“Open In” function)
+ You can also import tracks from your Music Library.
+ Presets allow you to save your parameter settings in the file.
+ A universal app that can be used with both iPhone/iPad.
Although M/S processing is most often used for mastering, in principle by lowering the Mid you can apply a “center cancel.” In this way you can prepare tracks for karaoke or “learning by ear.”
We also recommend sending your file to mimiCopy, our “learning by ear” music player app.
San Diego-based purveyor of pioneering music software and hardware, Positive Grid, has released a fresh suite of effects plug-ins, which are built on the company’s revolutionary analog sound modelling tech smarts and component level customisation.
Following on from the release of its Pro Series Studio Compressor plug-ins earlier this year (and reviewed here), Positive Grid has just launched a follow-up collection of professional sounding effects, this time focusing on EQ plug-ins designed to work with all major DAW software, and available in VST, RTAS, and AAX native formats.
The new trio of EQ plug-ins provide a similar palate of tonal themes as the suite of compressors, in that there is a Tube EQ, Digital EQ, and Passive EQ plug-in.
Harnessing the same technology already found in Pro Series Studio Compressor plug-ins, not to mention its BIAS amp modelling software, Positive Grid’s new Pro Series Studio EQ suite is designed to deliver the unique sonic differences between tube, digital and passive EQ, through the use of analog filters to replicate the familiar frequency response of hardware based EQ counter parts in the real world. The company claims this ‘EQ Match’ process is made possible by analysing both the input track and side chain signals, and by detecting the difference between the two, it automatically adjusts the EQ parameters to match the different curves. So it will be interesting to see if we see some updates in the future that are ‘sound-a-likes’ of famous brand EQ products, since it sounds like it possible to replicate almost any audio source.
Another of Positive Grid’s unique additions is component level customisation of the EQs. This feature is not nearly as extensive here as found on the compressor plug-ins, but there are still switchable pre-amp tubes on two of the EQ plug-ins, which is not something you can expect to find on most EQ plug-ins.
The first in the suite that I fired up was the Digital EQ, which its creator describe as ‘the most clear and transparent digital EQ sound ever in a plug-in’. The overall sound is definitely pure in quality, with and interface much akin to a 5-band parametric EQ. The plug-in displays a left and right side of dials, and each of the sweepable bands of EQ has individual gain and Q curve control dials. There also independent high pass and low pass control, plus main input, output, and balance controls. You can also unlink the left and right sides if one of the sides need independent EQing. The top of the interface displays a live frequency display of the input signal, along with an EQ curve showing the adjustments you’ve made to the sound. This is a great feature that can be found on all three plug-ins. Overall this the more straightforward and honest sounding EQs of the three, which worked well on the vocal, and acoustic guitar tracks I tested it on.
The next plug-in I looked at was the Passive EQ. Positive Grid say this is your go-to EQ if you’re after ‘an authentic analog sounding EQ for a more musical mix’. There is definitely plenty of control here to add extra colour to your sound. This three-band EQ offers 4 preset frequencies per band, ranging from 32Hz to 58kHz. The Q curve dial works in a similar way, offering three bell curves from wide to narrow, plus a high and low shelf setting. Where the additional colour can be applied, is though the tube pre-amp section, which features the classic 6L6GB and EL34 vacuum tubes. By adjusting both the input and output gains, you can drive the tubes hard or soft to get the desired sound you like. As with this tube emulation feature on Positive Grid’s other software, it’s great how these glow brighter and pulse in time with the audio signal, the harder they are working. I found this EQ sounded great on drum mixes, bass guitar, and backing vocals, but I certainly wouldn’t limit its uses for just these.
The last in the trio, and my personal favourite, is the Tube EQ. Not only do I really like the sound of it, but the overall functionality, as well as the great vintage style visual design. Positive Grid claim this EQ ‘captures the essence of analog EQ found in the best professional studios in the world, giving you the ultimate solution to add color and warmth’. I can attest that of the 3 plug-ins, this offers the more interesting EQ parameters by far. Unlike the previous 2 EQs in the suite, the Tube EQ is split across two main areas that you switch between, the Hi/Lo and Mid EQ controls. The concept and controls are not unlike that found on the legendary Pultec EQs, where you have a boost and attenuation dial for these main bands of EQ. And it’s this unique ability to merge and mangle both the bump and dips in the EQ that makes this plug-in fun to play with. The low band offers preset frequencies to cut or boost from 20Hz to 220Hz, while the high band frequencies start at 3KHz and go right up to 160KHz. There’s also independent low and high cut dials, with sweepable frequency ranges. Flipping over to the mid EQ controls, you’re presented with three customisable bands for the mid-range. Each band has individual balance control, a bandwidth control to adjust the shape of the Q curve, and then a preset dial of frequencies, starting at 220Hz up to 48KHz, spread across the three bands. The interesting way they work is, the dials on the left are designed to boost frequencies between 220Hz to 1KHz, and the dials on the right picks up at 1.2KHz through to 48KHz, while the dials in the middle attenuates frequencies from 360Hz to 100KHz. I’m sure it’s possible to replicate the same crazy EQ patterns made here on the other plug-ins in the suite, but for me it’s just more enjoyable operating this one. The final important feature is the inclusion of three different pre-amp tubes, that emulate the popular 12AU7, 12AT7, 12AX7, which can be used to give the EQ settings some extra colour and warmth. Unlike the Passive EQ, though there is no input or output control on this pre-amp stage. One other small thing to note about the Tube EQ is, it’s the only one of the three that doesn’t allow independent EQ control of the left and right signals. This isn’t a major issue besides, the majority of EQ plug-ins don’t offer this anyway.
As I’ve said the Tube EQ actual design is great, but the other two look good two, and they’ve all been designed to look photo realistic, like real world hardware.
As with the suite of compressors, the Pro Series Studio EQ plug-ins come with a pretty disappointing list of just three factory presets per plug-in, and of course the ability to save your own presets. Though as with the compressor suite, Positive Grid says we can expect a growing list of downloadable EQ profiles created by music industry professionals to be available, but The Pro Series EQ Plug-Ins are now available for download on the Positive Grid store for $99. the is no word on when this might be.
While it’s fair to question, does the music world really need another suite of EQ plug-ins, when there are literally dozens and dozens already out there that do a great job. I will say, Positive Grid has at least come at it from a fresh angle, with their EQ Match technology, and added pre-amp tubes for extra control. As with all plug-ins and software in general, it comes down to personal choice. So if you like the way any product sounds, functions, and looks, and it gets the job done, then it’s the right product for you.
The Pro Series EQ Plug-Ins are now available for download on the Positive Grid store for $99.