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.


Ravenscroft275, Digitalism2000 EPiano, BASSalicious, BeatHawk Total Bass, Jazz Drummer.


  • This is fantastically entertaining. I LOVE the off-kilter loungey-ness of it all. 80's jazz bar in a Mel Brooks movie.


  • That’s a great review @Daveypoo! Thx so much, bro. 🙏

  • @LinearLineman said:
    That’s a great review @Daveypoo! Thx so much, bro. 🙏


  • If someone told me this was a long lost Charlie Parker bebop tune I'd buy it.

    I could see that this is a 1:50 improve repeated with different instruments on the second pass. I know we're used this approach a lot to vary the instrumentation in your work.

    This one has some great lines worth re-working into longer compositions for anyone seeking interesting melodic inventions. In the schools they make students transcribe such improvisations to really understand the details. Some of your rhythms would be interesting to detangle into notation. I wonder what a MIDI import into a Notation program might reveal... that's usually only helpful if the clock precision of the playing is sort on. This one seems pretty close. Did you record using a slower BPM and then crank it up for a production run. That's perfectly legal in my book of IOS production techniques... it's imperative for me to get anything close to your technical skill level. This one is riddled with quintuplets, sextuplets and other integral groupings. Microscopic viewings might detect even more complex smaller sub-divided groups but pretty soon we learn not to care about writing it out but more about learning to do it without the need for paper or pencils.

  • @McD, yes, I increased the bpm by about 50%.

    Thanks for the Parker comparison. I don’t really hear that myself except in the opening phrases. This is certainty a stream of consciousness collection of musical expressions. Repeating the sequence gives a lot more form to the tracks I use the technique with. It’s a diversion from the head-then-improv-then-head structure that dominate forms like bebop. In this case the “head” repeats at midpoint with the piano taking over for the EP. Why not?

    Thanks for the love @Edward_Alexander 😘🙏

  • 10/10. Actually, that head-improv-head thing is a big part of what I don’t like about a lot of jazz, especially when the head is a good one. Your hear this cool melody, played once, and then to sit there for ten minutes of not-that-melody-not-even-close-not-even-a-quote. Of course, I am philistine.

    In this piece I instead get a good hook, developed and varied throughout. Much better!

  • Thank you @JudasZimmerman. It is strange that so much jazz got corralled into a particular structure in the 50’s and 60’s. I guess it went along with bongos and berets. Glad this worked for you.

  • McDMcD
    edited January 23

    @JudasZimmerman said:
    10/10. Actually, that head-improv-head thing is a big part of what I don’t like about a lot of jazz

    I think the main driver of this jazz tradition was the economics of the jazz club. It's basically a bar that must live from the drink and food revenue using musicians as a draw. To this day a small club gig would generate around $100 per musician.

    Specialty venues emerged that would contract with named touring artists that could sell tickets in the $10-25 range and provide a better income for the musicians tho' they had to tour to get this money unless they could "own" a venue and avoid travel like Les Paul did in his later years.

    Touring artists needed to appear locally to help support the sales of the recordings and they also would hit the major Jazz Festivals along with these
    Jazz Performance venues. Most of the jazz innovation came from these touring/recording artists: Weather Report, Chick Corea, Pat Matheny, Herbie Hancock, etc.

    Now, the real book tradition allowed musicians that were called for a job to show up and play for 3-4 hours and never need a rehearsal. They could just call tunes from the list of standards in standard keys with a know head and fill in the time with a series of solos between group statements of the head. Every gets their $100 and books 3-5 gigs a week and supplements their income with studio work or teaching. Scraping by on $15-25K... many became real estate agents so they could still work the late night venues.

    This economic model froze jazz in a steady state almost to this day with College Professor teaching Jazz Education becoming the most desired job to live a life of a jazz musician.
    Teaching jazz has become pretty much the end state for most young jazz inspired musicians. Not unlike the visual arts where most artists seek a residency at some university to live a decent life the the exception of the hottest talent du jour.

    Economics is really key to understanding most human behaviors which might seem incredibly stupid but is in fact entirely rational.

  • I find that interesting as I'm an enormous fan of head-based song structure. I think the success of that particular song form depends on the players and their choices than the form itself. The head form puts the emphasis on performance over composition, so it's all about the delivery. That being said, as with any genre, there are a lot of terrible players out there. The good ones really elevate the tune, and the bad ones drag it down.

    My recent tunes have largely been head-based and the challenge there is having cool changes/an interesting groove and a solid theme to get things rolling. I have been bogged down with overthinking composition in the past so this lightens that load a bit.

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