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 Store

Audiobus is the app that makes the rest of your setup better.

Continua by Audiodamage (iOS)

1356713

Comments

  • @craftycurate said:

    @oat_phipps said:
    After some more time with it, I will say that I like Quanta’s mod matrix much much more than the double click to mod. It’s easier to see what’s already mapped to what, and more friendly for a touch screen. And visually, Quanta had a little bit more color poppin going on, which I always appreciate. Love the AD UIs, feel like this one could use a dash of more color.

    Interesting ... it is harder to get an overview of all modulations as a whole compared to Quanta, but in exchange I find Continua's mod mapping method much more immediate and requires fewer steps than Quanta, which for me means it's easier to get into a creative flow.

    I like the approach of Shockwave which has both direct mod mapping support and a mod matrix

  • @jipumarino said:

    @craftycurate said:

    @oat_phipps said:
    After some more time with it, I will say that I like Quanta’s mod matrix much much more than the double click to mod. It’s easier to see what’s already mapped to what, and more friendly for a touch screen. And visually, Quanta had a little bit more color poppin going on, which I always appreciate. Love the AD UIs, feel like this one could use a dash of more color.

    Interesting ... it is harder to get an overview of all modulations as a whole compared to Quanta, but in exchange I find Continua's mod mapping method much more immediate and requires fewer steps than Quanta, which for me means it's easier to get into a creative flow.

    I like the approach of Shockwave which has both direct mod mapping support and a mod matrix

    Can you do some Shockwave-like sounds with Continua too? If you go wold with wave shaping etc?

  • @rs2000 said:

    @jipumarino said:

    @craftycurate said:

    @oat_phipps said:
    After some more time with it, I will say that I like Quanta’s mod matrix much much more than the double click to mod. It’s easier to see what’s already mapped to what, and more friendly for a touch screen. And visually, Quanta had a little bit more color poppin going on, which I always appreciate. Love the AD UIs, feel like this one could use a dash of more color.

    Interesting ... it is harder to get an overview of all modulations as a whole compared to Quanta, but in exchange I find Continua's mod mapping method much more immediate and requires fewer steps than Quanta, which for me means it's easier to get into a creative flow.

    I like the approach of Shockwave which has both direct mod mapping support and a mod matrix

    Can you do some Shockwave-like sounds with Continua too? If you go wold with wave shaping etc?

    Oh, I have no idea, I've yet to go back home, debate with myself about spending $8 in yet another synth, eventually give up, buy it, and then try it out :tongue:. I was just pointing out the UI aspect; I like being able to create modulations easily in SW but also having a mod matrix with everything on it.

  • edited January 2020

    hm, after some deeper tweaking i'm a bit disappointed... there is something wrong with this synth engine...

    i made simple patch - saw, square, square, 2 pole filter with max resonance, and LFO applied to cutoff - and i started hear noticeable random "crackles" in sound at the end of lfo cycles..

    it may sound trivial, but when such basic modulation is not 100% reliable then with more complex and extreme modulations it will break apart..

    here for example Continua vs. Obsidian, same sound, first Continua, then short silence, then Obsidian..

    https://www.dropbox.com/s/hb0niytjmx597pm/continua_vs_obsidian.wav?dl=0
    (use headphones, you will most probably don't hear it on ipad build in speakers ;))

    alternative - almost same sound just 3x saw wave
    https://www.dropbox.com/s/la111ar407tgp2i/continua_vs_obsidian2.wav?dl=0

    i wondered what it means, so i made mixdown and i looked at waveform - and it was immediately clear - there are visible obvious "dc offsets" at the end of cycle - those are causing those crackles (i highlighted few of them with red circle)

    maybe it is part of synth engine, to introduce some form of randomness, but to me it sounds like negative artifacts.. with more extreme modulations they are more obvious...

    here for comparision second sound is made with obsidian:

  • @dendy said:
    hm, after some deeper tweaking i'm a bit disappointed... there is something wrong with this synth engine...

    i made simple patch - saw, square, square, 2 pole filter with max resonance, and LFO applied to cutoff - and i started hear noticeable random "crackles" in sound at the end of lfo cycles..

    it may sound trivial, but when such basic modulation is not 100% reliable then with more complex and extreme modulations it will break apart..

    here for example Continua vs. Obsidian, same sound, first Continua, then short silence, then Obsidian..

    https://www.dropbox.com/s/hb0niytjmx597pm/continua_vs_obsidian.wav?dl=0
    (use headphones, you will most probably don't hear it on ipad build in speakers ;))

    i wondered what it means, so i made mixdown and i looked at waveform - and it was immediately clear - there sre visible parts which are like "dc offset" - which are causing those crackles (i highlighted few of them with red circle)

    here for comparision second sound from obsidian:

    Wow...nice find. Can you email them this finding so they can fix it.

    Cheers

  • @dendy Just by listening, in the first example the bass amount seems to go up and down with every chord played.
    I can't say that I hear any negative effect from the DC offsets though.

  • edited January 2020

    Thought I’d be grabbing this the second it hit the store, but the sound it makes is keeping me on the fence. It’s good, big range, deep bass etc., but it’s grating with me for some reason. Weird, need to hear more demos.

  • edited January 2020

    i don't know - maybe it is not bug, maybe it is result of some other things, maybe it is introduced there intentionally to make it sound more "unstable", like analog synth... hard to say...

    maybe i'm just nitpicking and this detail isn't problem for anybody other than me :)))

  • edited January 2020

    @rs2000 said:
    @dendy Just by listening, in the first example the bass amount seems to go up and down with every chord played.

    yes - i noticed this too, but this is strange - after i reopened project it was ok again.. here is same render without changing anything in synth settings - bass spectrum is ok here :open_mouth:

    https://www.dropbox.com/s/38w5swdxqnv1xa9/continua2.wav?dl=0

  • @dendy said:

    @rs2000 said:
    @dendy Just by listening, in the first example the bass amount seems to go up and down with every chord played.

    yes - i noticed this too, but this is strange - after i reopened project it was ok again.. here is same render without changing anything in synth settings - bass spectrum is ok here :open_mouth:

    https://www.dropbox.com/s/38w5swdxqnv1xa9/continua2.wav?dl=0

    Interesting. Well, I'm going to wait and see ;)

  • @jipumarino said:
    I like the approach of Shockwave which has both direct mod mapping support and a mod matrix

    On a couple of occasions I've wanted to know what LFO1 was modulating, for example, in order to determine whether it was free to use for some new modulation without making unintended changes to some existing modulation, and realised I didn't know if was possible to do that.

  • edited January 2020

    @rs2000 said:
    @dendy Just by listening, in the first example the bass amount seems to go up and down with every chord played.
    I can't say that I hear any negative effect from the DC offsets though.

    There is some subtle weird shit going on with the polyphonic voicings/polyphonic modulations for me. I’m no tech expert, but I’ve noticed some wonky behavior so far. I’m thinking this may be the culprit:

    From the manual:

    Modulation Downsampling
    To reduce Continua’s overall CPU load, its modulators operate more slowly than the rest of the signal processing, doing the math to generate and route the modulation signals less often than every audio sample. This reduction in the number-crunching load means a slight reduction in the smoothness of the modulation, which can sometimes affect the audio signal. The three buttons labeled 8, 16, and 32 let you choose how often modulation is updated, with the number representing how many audio samples are calculated before the next modulation calculation happens. In other words, clicking the 16 button means that Continua’s modulators will be updated every 16 samples. Usually this setting won’t have much effect and you can leave it at 32, which provides the lowest CPU load. Try the other settings and let your ears be your guide. You may hear a difference in bass sounds with their relatively slow audio waveforms, or if you’re using one modulator to affect another or itself.

    Or it could be another one of those things you just have to chalk up to “that’s Audio Damage!”, like the clicking in Quanta, which was claimed as intentional at first but then fixed later on. Either way, I still love em.

    Edited to add @dendy ...seems to be the expert investigator!

  • Audio Damage is a friend of the IOS User community IMHO. They help maintain the marketplace for users to enjoy the better tools. It keeps the pressure on Korg, FabFilter, Propellerheads, IK Multimedia to hit an expected price point. They figure out how to maintain a business and serve us as well by coding to PC/Mac and IOS with every product
    release and price according to user expectations. @Brambos also is a master of this approach to making a profit.

    At this rate of development Drambo is going to cost $30, right?

    I'm going to apply my "entertainment" rule. I typically can see movies for about $6 for 2 hours of entertainment. Will this synth amuse me for 2 hours and 40 minutes ($8) and what's my entertainment budget for January?

    Some of us use the "Coffee" rule and that makes everything on IOS look like a bargain.

    Using an Amazon Credit card and applying the "free points" to buy iTunes Emailed Gift Cards helps too. It does feel like money laundering but you're buying stuff all the time like toilet paper, etc.

    It will take a lot of time just auditioning the presets. The real question is "will I be inspired to
    create new sounds" or will I just grab it with favored presets to justify the effort.

    @Dendy got his money's worth doing the puzzle solving and wrestling with why he should ever buy another Oscillator-based Synth after Obsidian. I hope he dosn't ask for a refund because he just took a dozen of us off the fence to wait. That's a service of the forum of course but it it's not broken we should support the developers that consistently keep prices low.

    Audio Damage has given me a lot of value. Rough Rider is still free for anyone needing a Limiter.

    I just saw the Star Wars movie and needed that big screen experience to finish the saga that lasted over 40 years for me on big screens.

    I wouldn't buy the Mac instance for $79 so I should support these IOS prices or watch them go up past $10 to compensate for a saturated market.

    I know people with restricted budgets hate these types of comments but it's true. The folks that buy everything help keep the IOS market working and providing low cost options. Maybe this belongs on their Black Friday shopping list. I know Cubasis 3 is on my "watch for sales" list at $50.

  • Why do they cripple their iOS apps?

    That’s like SugarBytes selling you the ap without the arillo.

  • @oat_phipps said:

    @rs2000 said:
    @dendy Just by listening, in the first example the bass amount seems to go up and down with every chord played.
    I can't say that I hear any negative effect from the DC offsets though.

    There is some subtle weird shit going on with the polyphonic voicings/polyphonic modulations for me. I’m no tech expert, but I’ve noticed some wonky behavior so far. I’m thinking this may be the culprit:

    From the manual:

    Modulation Downsampling
    To reduce Continua’s overall CPU load, its modulators operate more slowly than the rest of the signal processing, doing the math to generate and route the modulation signals less often than every audio sample. This reduction in the number-crunching load means a slight reduction in the smoothness of the modulation, which can sometimes affect the audio signal. The three buttons labeled 8, 16, and 32 let you choose how often modulation is updated, with the number representing how many audio samples are calculated before the next modulation calculation happens. In other words, clicking the 16 button means that Continua’s modulators will be updated every 16 samples. Usually this setting won’t have much effect and you can leave it at 32, which provides the lowest CPU load. Try the other settings and let your ears be your guide. You may hear a difference in bass sounds with their relatively slow audio waveforms, or if you’re using one modulator to affect another or itself.

    Almost every synth does that, be it hardware or software, except real analog or modular synths.
    A modulation rate of 1500, 3000 or 6000Hz (at 48k sample rate) is actually remarkably high, so I suppose the problem must be something else in the synth's code.

  • @Xsyst said:
    Why do they cripple their iOS apps?

    That’s like SugarBytes selling you the ap without the arillo.

    What makes you think that?

  • Using this synth with the Linnstrument and it seems the after touch isn't working. Also the mod wheel (cc74) isn't doing much with most of the presets. Anyone know how to activate it? The description of the synth made it seem like after touch would be built in to every preset

  • @Xsyst said:
    Why do they cripple their iOS apps?

    That’s like SugarBytes selling you the ap without the arillo.

    Do you mean the voice limit? That's more like they preventing iOS users from pushing the devices beyond what they can actually do

  • @McD
    I hope he dosn't ask for a refund

    For sure not...i was curious (i'm still waiting for something in Serum quality to arrive on iOS:)), i paid $8 for my curiosity, i'm ok with that :) No reason for refunding...

    At the end, this is still good synth, definitely ! Just from respect to dev, i see lot of work made on this one... Lot of goodness there... and lot of interesting patches, so for many people who are just occasional tweakers, it's worth to buy for that price doe sure !

  • @sclurbs said:
    Using this synth with the Linnstrument and it seems the after touch isn't working. Also the mod wheel (cc74) isn't doing much with most of the presets. Anyone know how to activate it? The description of the synth made it seem like after touch would be built in to every preset

    Yes, use it as a modulation source.
    Read the fine manual:

    Continua maps several MIDI messages to modulation sources: velocity, aftertouch, pitch bend, modulation (Continuous Controller #1), and Continuous Controller #74. The last is commonly used by MPE controllers for timbral control. Continua can operate either as an MPE-aware synthesizer, treating MIDI controller data polyphonically, or as a legacy receiver in which MIDI controller messages affect all voices simultaneously.

  • @slicetwo said:
    Made this today using all Continua.

    followed!

  • Soundwise it reminds me a bit of good old Photophore - with more variations and modulations. Which isn't necessarily a bad thing, but not quite what I expected from hearing some demo videos.

  • edited January 2020

    @rs2000 said:

    @oat_phipps said:

    @rs2000 said:
    @dendy Just by listening, in the first example the bass amount seems to go up and down with every chord played.
    I can't say that I hear any negative effect from the DC offsets though.

    There is some subtle weird shit going on with the polyphonic voicings/polyphonic modulations for me. I’m no tech expert, but I’ve noticed some wonky behavior so far. I’m thinking this may be the culprit:

    From the manual:

    Modulation Downsampling
    To reduce Continua’s overall CPU load, its modulators operate more slowly than the rest of the signal processing, doing the math to generate and route the modulation signals less often than every audio sample. This reduction in the number-crunching load means a slight reduction in the smoothness of the modulation, which can sometimes affect the audio signal. The three buttons labeled 8, 16, and 32 let you choose how often modulation is updated, with the number representing how many audio samples are calculated before the next modulation calculation happens. In other words, clicking the 16 button means that Continua’s modulators will be updated every 16 samples. Usually this setting won’t have much effect and you can leave it at 32, which provides the lowest CPU load. Try the other settings and let your ears be your guide. You may hear a difference in bass sounds with their relatively slow audio waveforms, or if you’re using one modulator to affect another or itself.

    Almost every synth does that, be it hardware or software, except real analog or modular synths.
    A modulation rate of 1500, 3000 or 6000Hz (at 48k sample rate) is actually remarkably high, so I suppose the problem must be something else in the synth's code.

    Cool, I had just never seen a note of it before in a softsynth manual or anything like that.

    My original layman’s assessment still stands...something wonky’s goin’ on

  • I have to support this, been a fan of Chris Randall since the Sister Machine Gun beginning.

  • @jipumarino said:

    @Xsyst said:
    Why do they cripple their iOS apps?

    That’s like SugarBytes selling you the ap without the arillo.

    Do you mean the voice limit? That's more like they preventing iOS users from pushing the devices beyond what they can actually do

    I love trying to push my devices to the limits. Limiting its performance as such is like putting a governor on an engine.
    It probably has more to do with a price point and incentive to buy the big boy... which I will.

  • @Xsyst said:

    @jipumarino said:

    @Xsyst said:
    Why do they cripple their iOS apps?

    That’s like SugarBytes selling you the ap without the arillo.

    Do you mean the voice limit? That's more like they preventing iOS users from pushing the devices beyond what they can actually do

    I love trying to push my devices to the limits. Limiting its performance as such is like putting a governor on an engine.
    It probably has more to do with a price point and incentive to buy the big boy... which I will.

    I understand that, but I also understand Chris not wanting to deal with support (or app store feedback) from users dealing with cracklefests or outright crashes. It seems that it still happened with Enso though, even with the imposed limits, so I dunno really.

  • Yeah I think it's maybe more to do with keeping all the ipad range successfully able to use the app and not just the Pro ipads, if only the faster ipads could unlock more voices, don't think Apple have a facility for this type of feature. Still we can use multiple instances if we need more voices at least. :)

  • edited January 2020

    woopsie!

  • edited January 2020

    @rs2000 said:

    @sclurbs said:
    Using this synth with the Linnstrument and it seems the after touch isn't working. Also the mod wheel (cc74) isn't doing much with most of the presets. Anyone know how to activate it? The description of the synth made it seem like after touch would be built in to every preset

    Yes, use it as a modulation source.
    Read the fine manual:

    Continua maps several MIDI messages to modulation sources: velocity, aftertouch, pitch bend, modulation (Continuous Controller #1), and Continuous Controller #74. The last is commonly used by MPE controllers for timbral control. Continua can operate either as an MPE-aware synthesizer, treating MIDI controller data polyphonically, or as a legacy receiver in which MIDI controller messages affect all voices simultaneously.

    I double click the parameters and map it to cc74 and it's not doing anything. It's not my keyboard because it works for model 15. In fact any modulation I put in seems to not do anything. And the 2 xy pads dont do anything for most of the presets. Feel like I'm taking crazy pills. Is there just some mystery button I hadn't pressed?

  • edited January 2020

    @hibjshop said:
    The Sugarbytes blessings continue!
    Im still learning Factory, discovering new sounds, enjoying its MASSIVE depth and they drop yet another synth.
    Total Gratitude🤙🏼

    ? I can't tell if this is a joke..

    this synth is by Audio Damage

Sign In or Register to comment.