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
Give it a couple of years you won't tell the difference.
+1000
Definitely. I also googled this but didn't mention it in the vids 😉
I think we're approaching "needs a spinoff thread" territory here, y'all.
True! I'm enjoying the banter here though and it is all vaguely related.
I'd like to make some clever comment tangentially relating the work of Yukawa, Heisenbergs uncertainty principle and Russian technology but the British education system wasn't that good.
B+ for effort 👍@spartanclowntide
Too kind 🤣
More of the cause than the solution.
Good to see Icegear branching out with an fx unit. 👍
😂😂😂😂 I'm laughing but it's so true it isn't even funny really 😑
Well spotted Msr Tide ... it's not just the maths - it's the physics of sound ... a different "temperament"... it's "where they're coming from" - what they're listening for ... how they approach problems and solutions ... and it is built on independent traditions going back centuries actually.
The Russian stuff on iOS I find intriguing ... like the way Soundscaper starts with what was the last bit of Audio polishing - placing sounds on a stage or a venue... breaks so many of our rules and traditions. Alien technology.
Icegear's synths (and now effects) strike me as very much the same ... reflecting a different sonic history and culture ... diversity makes the world go round. Not just Icegear's geographically named presets that speak of Japan.
It's particularly interesting when a serious set of Western ears like Spider's Or Gavin's delves into this different soundscape and bends it to our ears ... wonderful fusion.
Yes, and ideas get pinged around the world, pass through the filter of a peoples collective experience, pinged back around. A bit like this Yukawa delay fx indeed.
Haha. I like that analogy. There's something mystical about delay as an effect, for sure. Same same but different, just like us...
By the way, can Drambo do this kind of delay with timing variations between steps?
Didn’t jacoB indicate that the “sequencer” is really a highly customizable multi-tap delay?
[edited after reading about multi tap delays]
Sure, it should be possible to use multiple feedback sends so emulate a multi tap delay. It may not be exactly correct and will never be as efficient and it will never be as easy or fun to use.
Sure it's just a customizable multi-tap delay rather than an actual sequencer, no dispute there. If Drambo can do this, I'm sure @rs2000 is probably knocking something together as we speak, if he hasn't already.
Here’s a very quick example https://patchstorage.com/delay-2/
The one thing it cannot do is easily advance a tempo-syncd delay like Yukawa can. I think you could make it work by shortening the delay send and compensate with another delay in the receiver’s path. Doable but not simple or nearly as enjoyable as Yukawa.
I did start trying to replicate this in Drambo, it's feasible, to some extent. The stereo delay part is no sweat. The sequencer delay is a bit more involved. You line up a rack of delay modules though the maximum tempo sync delay is one beat, so every beat you'd have to make section with an extra delay module at the start to bump up the delay time.
All the delay module take their input from the main audio in, (or the static delay modules that just make up time) rather than each other. You could do it that way but any timing variation would get passed down the line, maybe interesting, certainly confusing.
Initially it seemed most efficient to mix all the outputs and pass them into a single filter with parameters controlled by a CV sequencer, the problem is matching any tweaks to the timing. Once you step off grid it's not possible to pass that information on. I tried using a transient detector to drive the sequencer directly from the delay lines but it only sort of works with very simple material. So you end up with a separate filter, amp and pan after every delay module.
I'm not entirely sure about multi tap and buffers, I just run everything from the 'play head', might look into that. Routing is very flexible so no issues there. The filter section is straightforward.
The control surface, here's the rub. You can get pretty close to the functionality but you'd never match a purpose designed interface. Yukawa is brilliant design, it communicates well, it's a pleasure to look at it. Everything is polished and optimised for the job it does.
So I ended up buying it. No regrets.
Interesting analysis! Yes, I think that a lot of people will always prefer a beautiful custom interface. I know I do. At iOS prices it's affordable enough anyway.
It's not just aesthetics either. The ease you have in interacting with it adds a huge part of the value it gives as a musical tool. I deeply love Drambo but this idea that it renders everything else obsolete or at least unnecessary is nonsense.
Coming back to the Drambo build, persevering out of curiosity, getting the feedback element to work as well as it does in Yukawa is proving to be a challenge (OK I'm not having much luck at all). I thought passing the feedback through a 1pole(?) filter might be gentle enough to provide the damping but even that's too much. Maybe it's doable but controlling feedback is like living life on a knife edge. Too much goes crazy, not enough it's gone, like a fusion reactor but my Tokamak went rusty where it's sat too long in the shed.
I heard a story (I don't know whether is true or not) that back in the communist era students at Russian universities learnt computer programming languages without computer and developer environment because of the technology embargo (https://en.wikipedia.org/wiki/Coordinating_Committee_for_Multilateral_Export_Controls)
So they wrote the code on paper without the opportunity for debugging it on a computer...
After all the videos and hype, I didn’t know what to expect. Well, damn I picked it up last night and started going in to old projects and slapping this on some of the subtle instrument sounds and it instantly brought life to them.
Yeah! @Weareroses it's obviously great on pluck type sounds but is also a great way to add texture. I'd expect this to make a lot of people's top apps of 2020 lists....
I love this story. Sounds likely, to be honest
@Weareroses another really cool thing is to put it in a drone and then play around with the timings of the stereo delays. Trippy as hell.
You mean the noises that erupt from moving the delay settings in real time? Can get similar weirdness from just quickly scrolling through presets.
Also true.
One little oddity, the delay sequencer is layed out like standard. Except these taps are obviously a 16th behind. If you play a beat off a sequencer on the first 16th step, the repeat you hear on the first step of the delay sequencer is in fact on the second 16th step of the bar. If you want to see the delay sequencer line up with the bar you need to advance the input by that 16th note.
Not complaining, I can't think of a better way, adjusting the dotted lines marking every beat so that the first is a block of 3, then 4,4,4 followed by an odd 1 at the end (the actual start of bar), no one's going to like that.