Maybe of interest to anyone wanting to know more about SPL monitoring (for free) –
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
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!
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.
iConvolver is an app for conveniently utilizing convolution reverb on an iOS device.
Convolution is an effect that adds sampled reverberative properties to a sound to recreate the original properties of that sound. The data of these reverberative properties are called the Impulse Response(IR), and can record the properties of not only acoustic space but also from such things as hardware and speakers. By recording the properties of reverberation from acoustic spaces such as halls and studios, high grade hardware reverb, spring reverb, speaker cabinets and microphones, etc. to Impulse Response files, they can be reproduced in iConvolver.
As iConvolver comes with several Impulse Response files included, you can immediately test out those sounds.
+ Equipped with an original convolution engine.
+ Actualization of zero latency.
+ Compatible with external Impulse Response files(WAV/AIFF formats(1ch,2ch,4ch)). Open In is compatible with Zip files, and can extract Zip files as well. (Not compatible with password-protected Zip files)
+ Equipped with low pass and high pass filters for adjusting reverb sound.
+ Can be used in combination with other apps compatible with Audiobus and Inter-App Audio. Standalone operation also possible.
+ A universal app that can be used with both iPhone/iPad.
+ Comes with several original IR files(over 100) included.
Chord Rotator is a harmony generator or rotator instrument. It creates harmony from a single note in a rotating mode. Previously, this technology was only available for MIDI instruments. Now, it is available for single-note acoustic instruments!
One voice follows the input pitch at a fixed interval and the other voice “rotates” through the pitch shift settings. This produces three output notes: the original voice, a pitch-shifted voice at a fixed interval and a third voice that changes.
The “follow” pitch shifter follows your input voice at a fixed interval. The three “rotating” pitch shifters will rotate – that is, a new input pitch will advance to the next rotating pitch shifter. Set the mix balance to blend original input and effected signals. Analyzer speed adjusts the sensitivity of the signal processing.
What’s New in Version 1.1
In this update, we added the ability to record your performance! Just switch on the recorder and make some music. You can listen back to your performance. You can also export it to other apps on your device or send it via SMS or e-mail.
Shoom is an expressive XY pad synthesizer. Or, more precisely, three identical synthesizers in one app. It is capable of playing any pitch in the audible range and doesn’t necessarily limit you to a particular scale. Nevertheless, if you do want to use scales, Shoom can deliver anything from common 12-tone equal tempered to xenharmonic and microtonal.
• Three independent synthesizers
• 20–20,000 Hz pitch range
• Slide freely or snap notes to scale with adjustable glide rate
• Set notes to infinite hold using a dedicated toggle
• Microtonal and non-octave repeating scales support
• MIDI CC control and clock sync (MIDI note input coming in a later update)
• Inter-App Audio, Audiobus 2 support
• 60+ bundled presets
• Import and export of presets and CC maps
Synthesizer engine features:
• Adjustable polyphony, up to 30 voices
• Two oscillators with 4 waveforms and PWM, and one noise generator
• Oscillator FM cross-modulation
• 4 pole (24 dB/octave) resonant low pass filter with overdrive and pitch tracking
• 2 variable slope ADSR envelopes for amplitude and filter cutoff
• 2 LFOs with 9 waveforms, up to 3 out of 12 simultaneously assignable parameters, trigger and global running modes, fade-in and phase controls
• Y axis position as modulation source with up to 3 of 15 simultaneously assignable parameters
• Note pan randomizer
• Built-in stereo delay and reverb effects
Melody Composer Squared is a unique editor for creating, analyzing and editing melodies using their conversions to images. The app uses the Diagram, which graphically discovers messages and puzzles, hidden in music.
Melody Composer Squared will be interested for children as an educational tool and for adults who would like to understand principles of a melody creation.
– the app contents no ads;
– has all functionality for the creation of gorgeous melodies;
– a library with examples of simple forms and famous melodies;
– an intuitive interface;
– the small size of the app.
– Pencil tool: build a melody note by note;
– Eraser tool: double tap clears all frame;
– One-touch tool: create a melody just with one move.
What’s New in Version 1.1
Compatible with iPhone 6 plus/6s plus added (if you’ve installed the 1.0 version on 6 plus/6s plus, please uninstall the app and then install the 1.1 version), and also minor bug fixed.
F-16 Filter is a flexible multi-mode filter with frequency response display. It features sixteen modes, frequency and resonance controls, saturation for analog-style soft clipping, and wet/dry mix. The 4 pole lowpass mode provides the frequency response of classic the Moog ladder filter. The other modes provide all of the choices available in the famous Oberheim Matrix 12 and Xpander synthesizers. At the heart of F-16 is a Zero Delay Feedback algorithm, the latest in DSP filtering technology. F-16 Filter gives you a wide variety of filtering options with pristine fidelity.
F-16 Filter is an Audio Unit Extension that works inside host apps. Just open up your favorite host that supports Audio Units and add it as an effect. Compatible with Cubasis, MTS, AUM, and Ferrite Recording Studio. Audio Units are not compatible with iPad 2.
Blamsoft brings their experience creating top notch plug-ins for the desktop to iOS. The same filter modes are found in the popular Rack Extension for Propellerhead Reason. You get a desktop quality plug-in at an iOS friendly price.
In addition to controlling the filter through the knobs and sliders, you can use the frequency response display to control cutoff frequency and resonance simultaneously.
The sixteen filter modes available are:
1, 2, 3, and 4 Pole Lowpass
1, 2, 3, and 4, Pole Highpass
2 and 4 Pole Bandpass
2 Pole Notch
3 Pole Phase
2 Pole Highpass + 1 Pole Lowpass
3 Pole Highpass + 1 Pole Lowpass
2 Pole Notch + 1 Pole Lowpass
3 Pole Phase + 1 Pole Lowpass
Two separate (stereo) delay lines allow for a wide range of effects ranging from basic slapback and ping-ping type echos to complex modulations and soundscapes.
– Digital Stereo Delay with High- and Lowpass filters, Stereo spread and Looping
– Separate modulation Delay for Chorus, Vibrato, Flanger and Panning effects
– Both sections can be bypassed individually
– Mod section can be routed pre or post delay
– Delay Times from 10ms to 2000ms (or 1/32 to 2bars)
– Tempo Sync via AudioUnit Host or Ableton Link
– Tap Temp and Manual Tempo
– Normal, Dotted and Triplet
– Stereo Spread
– Simple 1-Button Looping