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.

Keyboard wizard Lyle Mays (Solo, Joni Mitchell, David Bowie, Pat Metheny)

I'm very sad to report that the lovely Lyle Mays is no longer with us.
He died at 66 yesterday after fighting with a long illness.

He was one of the greatest composers and piano players I know.


  • Oh boy. Sad to hear this.

  • RIP

    What a talent this guy was. 😢

  • edited February 11



  • Songs to aging children come
    Aging children, I am one

  • @zilld2017 said:
    Songs to aging children come
    Aging children, I am one

    Alternative link for everybody who can't watch the Youtube vid
    Joni Mitchell – electric guitar, vocals
    Pat Metheny – lead guitar
    Jaco Pastorius – fretless bass (Fender Jazz)
    Don Alias – drums, percussion
    Lyle Mays – electric piano (Rhodes), synthesizer (Oberheim FVS-1)
    Michael Brecker – saxophones
    The Persuasions – backing vocals on "Why Do Fools Fall in Love" and "Shadows and Light"
    Toller Cranston – skates

  • Oh it’s so sad!
    What a fantastic musician he was!

  • That’s such sad news..
    Lyle was an absolute joy to listen to.. always exploring paths not taken.. the notes, sound choices + dynamic performances.. those melodies that would stick in your head for days..
    Lyle + Pat were meant to make music together.. they brought out the very best of each other..
    Lucky for us, he left us with a wealth of recorded performances that we can lean on when we need that inspiration -OR- to simply hangout with Lyle.. and feel all the beautiful moods that would manifest themselves through the music..

    an incomparable talent that’s been taken far too early..
    you will be missed my friend..

  • I meet Lyle last year in the parking lot where I was grocery shopping. I thanked him for "making my ears smile". He said I made his day. I will always remember that. RIP...

  • Pretty much my idol .. bummer .. 66 too young.

  • @kenzak said:
    I meet Lyle last year in the parking lot where I was grocery shopping. I thanked him for "making my ears smile". He said I made his day. I will always remember that. RIP...

    What a fine guy he was 😢

  • JM: How does the collaboration with you and Lyle actually work?

    PM: Generally speaking, there have been no rules about how anything has ever developed or been generated. I would say that Lyle and I share a common quality of being very concerned about details, form, effectiveness, drama and sound itself. In many ways, when we work on something, whether as players or as co-writers or arrangers or whatever, it is rarely about us – it is always more about “it”. What does “it” seem to want to be? Does “it” need to be longer, shorter, louder, softer, more linear, more contrapuntal, thicker, thinner – that sort of thing – in order to achieve whatever it is that the basic musical idea at hand seems to be asking for. I think that we both push things as far as we can to get the most out of whatever ideas are being explored. I would say that our areas of interest and expertise overlap and intersect way more than they differ. There is rarely disagreement about what needs to happen next in the process. We usually know when something is done, or messed up and needs to get reworked, or whatever.

    JM: And then “What would the Pat Metheny Group be like without Lyle?”

    How would the group have evolved had Lyle never been there? Or if he left after a few years? Many things would be different, but also many things would be the same. The original conception of music and the kind of band I wanted to have and the kind of sounds and chords and solos and instrumentation and forms that I wanted to explore were already pretty fully formed by the time I heard Lyle for the first time. By then, I was already recording on my own and touring around the world with Gary Burton and already pretty active on the international scene. When I heard Lyle at a jazz festival in Wichita in 1976, he immediately and totally knocked me out. I had a feeling that we would play great together, and it was just exciting for me to hear someone more or less my own age who had a sense of the music that was that advanced and the ability to improvise at that level. It has turned out that it was one of the best things that could have ever happened for both of us, us hooking up. Lyle brings things to every musical situation that he is involved in that are extremely sophisticated and really beautiful, and I always welcome the chance to get on the bandstand with him or work on a new piece or a new record. We really enjoy working together and seem to have more and more fun each project, even after all these years. For me, I could never in a million years have hoped to have found such a fantastic piano player who would stick with me for all these years where we could both continue to grow and develop our things together. I feel very lucky that we still are going strong and still have so much to talk about – on and off the bandstand. He is simply one of the best musicians in the world.

    • Part of a Pat Metheny interview from the Jazz Composer’s Companion book by Gil Goldstein (1981)
      There's also an interview with Lyle himself.. only a 2 page glimpse of his genius BUT still an excellent read..
      Could probably do a screenshot if anyone is interested..

    When I started working with Lyle Mays, this really changed everything for me in terms of composition. Lyle’s approach to writing music is very different from mine. Usually I’ll sit down with a little idea and write it down. If something comes of it that’s great. But, after five minutes if I don’t get something happening I’ll just say it was a dead end. What Lyle does is take my little dead ends and mixes them up with his stuff to make them into something. He’s a fantastic organizer.

  • He really was a Genius, with a capital G. Aside from music, he also pursued interests in architecture and software development. Here he provides timestamp-to-timestamp commentary on his own TedX performance.

    "The first notes you hear are chosen by one of my apps that mapped the calculus equations that describe the motion of the double pendulum to an accompaniment part played by synths. I wanted to use nonlinear dynamics as a starting point to illustrate the deep connections between math and music and to make a point about what we call organic."

  • RIP
    A truly brilliant player

  • @royor Thanks, I haven't seen this one yet.

  • edited February 13

    Lyle doing some Spectrasonics advertisement, great and unique piano style as always.

  • @rs2000 said:
    @royor Thanks, I haven't seen this one yet.

    I believe that's from the We Live Here DVD (95) which I actually do own but don't recall seeing this.. it's been ages since I watched it.. off to seek it out now..

  • A few more words from Pat Metheny who worked with Lyle for the most part of his life:

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