Audiobus: Use your music apps together.
What is Audiobus? — Audiobus is an award-winning music app for iPhone and iPad which lets you use your other music apps together. Chain effects on your favourite synth, run the output of apps or Audio Units into an app like GarageBand or Loopy, or select a different audio interface output for each app. Route MIDI between apps — drive a synth from a MIDI sequencer, or add an arpeggiator to your MIDI keyboard — or sync with your external MIDI gear. And control your entire setup from a MIDI controller.
Download on the App StoreAudiobus is the app that makes the rest of your setup better.
Comments
Check out the new remix, then you hear how amazing the source recordings were. The frequency limits were in the reproduction medium and also as a result of bouncing tracks, but definitely not what was going to tape originally. Amazing stuff.
Composers in the medieval were the best anyway
However, it´s fact that we can get tools today and have genres not possible some time ago.
But humans make music since about 40.000 years (maybe even longer ago) with flutes made out of bones.
Were they professional....in their own way for sure.
I agree with this. You only need a track to make a recording. Plenty of great music came before recording technology existed. Plus the Beatles were influenced by American blues, which was created without the aid of any tracks.
Exactly my point: remixed and remastered with more tracks and modern tools it sounds better
That's just personal opinion. Clearer, yes, better - depends.
The Beatles weren't there for the stereo mix, mono was what they worked to as stereo was seen as a novelty, a passing fad. And the latest new version has been mixed for modern ears, but it's not what they intended.
I've got all of the different versions, and I find the new one the least satisfying to listen to. It's interesting as a curiosity, but lacks the grit of previous versions, and sounds a bit demoey to me. All that space around each track and instrument weakens the whole. In my opinion. Maybe it's because I'm used to the old ones, or maybe because it's not the one they sat through and authorised.
The Beatles famously played live, squeezed together in the EMI 'cupboard' for tracks like Helter Skelter to try and recreate the sweaty, intimate, claustrophobic sound they got on stage in small venues like the Cavern - pristine clarity wasn't always the aim.
Who knows though, maybe now they'd sign-off the new one, maybe even throw in a bit of silly auto-tune on Ringo's voice, or use Komplete for George's sitar parts.
And did all their work in one track.
Exactly brother. What's often missed about the limitations that '60's studios had is that although America was about 5+ years ahead of what UK studios like Abbey Road were using, the Beatles were using Studer J-37 1 inch four track machines which are still considered to one of the best sounding professional analog recorders ever.
The Studer J-37's had 52 (!) tubes in them, and the four tracks were recorded to one inch tape. That's ¼" inch for each track, and if the tape was running at 15 inches per second the frequency response was 30Hz to 15kHz (+/-2dB)! That's why those records sound so beautiful, and yes, the new 50th anniversary Sgt. Pepper's really showcases how vibrant & warm the 1st generation session tapes were. Not to mention they were recorded in a world class live room, with Neumann U-47 mics etc.
Yes, that is a good way to describe it.
I bought the Love album, and listened with interest to all its remastering trickery. While the sheer quality cannot be argued with, everything sounded like it had been scrubbed clean with a Brillo pad. Then had its teeth whitened.
I can imagine that (never had any Fab Four record, though) as the exactly same happened with the 'Standing in the Shadows of Motown' DVD where they added tribute versions by current (celebrity) artists of the classic tracks - a live production with all modern finesse.
Pristine hi-res audio, Babbit never sounded worse on bass - and that bass was something I loved on all Motown tracks.
The background stories about the guys (just called the Funkbrothers on record liners) were great and amusing, but the music just lacked soul.
That's what's happening on a lot of contemporary tracks, too - they are focussed on audiophile details, not on the essence of the song.
Yeah I bought that, listened to it once then put it away feeling dirty.
I’m sure in ten years time there will be another batch of ‘improved’ remixes, where you can also clearly hear George Martin scratching his nose and Mal Evans stifling a fart.
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Yes, I love classic Motown, and was very keen to see that DVD. Then, when I did, I found it incredibly disappointing and disrespectful to re-record songs. 1) Those sings didn’t need re-recording. 2) Those singing were blatantly using the opportunity to push themselves.
A life in the day. I’m waiting for ‘Billy (Shears) Campbell - Will the real Macca stand up.’
I don't think anybody involved with those covers on 'Standing in the Shadows...' needed an opportunity to push - they did it fully convinced about the greatness of their job.
Sound is just perceived like that today - like gear is defined by numbers instead of sound.
Without knowing what a U47 is, it would fail due to sheer specs today with it's 15khz top end. A Telefunken V76 preamp has a much higher distortion figure than a Scarlett - and that's not because the tubes are 'driven' in any way.
Of course this gear is famous today - again a feature that's NOT related to listening
There are countless examples for this attitude and I confess guilty in many cases myself.
I've listened to a lot of 'vintage digital' recently while sorting out things to trash.
Even found a stunningly similiar Zeeon clone from 1998 that puts the latter to blush... considering almost 20 years have past.
There have always been (some) great tools around, but we're constantly chasing the next big thing, overlooking what's available right now - and forget to LISTEN.
(which they did at Abbey and in Detroit's snake pit)
For the record I was talking about the sgt pepper remix, not Love, which was intended for cirque de soleil's show (but I did enjoy it).
And yes, standing in the shadows was pretty light musically but the stories were great (and sad). I had a conversation with someone on Sunday who toured with them and even late in life they were still messed with, sad situation.
Mmhh...not really
A classical piece on paper looks complex like hell....well, it is.
But yes, the number of tracks doesn´t matter at the end.
I made tracks from 1-60, mostly beeing at 6-20 yet.
Any further questions?
Nice...but i would really like to do tracks like this on iOS...
....not possible yet. Of course i´m also lacking the talent for this kind of music but these are instruments, especially sample libraries where iOS is lightyears away.
Synths like Zeeon are indeed on par with some of the more expensive and famous desktop plug-ins.
But what i miss is the better integration in a DAW you have on mac /PC like automation of everything, unlimited amount of instances (at least until your cpu/ram breaks) and some other way to combine more easy different instruments and FX.
But i totally agree that you can do amazing stuff with iPhones and iPads and depending on genre it´s all you might ever need for it
yeah. what is the point you are trying to make?