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.

OT: Visconti explaining the backstory to recording Heroes

Comments

  • edited February 2016

    Encroyable. Thank you so much for posting. I hope we get a lot more of this kind of stuff.

  • @Redo1 said:
    Encroyable. Thank you so much for posting. I hope we get a lot more of this kind of stuff.

    You're very welcome. I'm told it was an extended cut from a recent BBC trilogy comprised of/titled 1.Moneymakers 2. Melodymakers 3. Mythmakers. Probably worth looking out for...

  • Visconti - tony or luchino? ;)

  • Great find @JohnnyGoodyear Have always thought committing to decisions earlier was a better way to build a track but it's great to hear Visconti describe it as a way of building the vibe.

    Got to feel for poor Erin's neck though!

  • Thanks for posting; this is great!
    Being a Mr Jones fanboy, I was familiar with some of this, but any additional information is always welcome.
    The funny thing is that Robert Fripp is one of my favorite guitarplayers, but only when he is punching the clock for someone else such as Bowie, Eno, Blondie, Roches, Darryl Hall, etc.
    Now, if Visconti would only give a detailed analysis of The Idiot sessions, I would be a very happy man.

  • I loved the lesson of beating on the empty film reel rather than waiting for a cowbell. We imagine that iconic work is somehow magically perfect, whereas actually it's real people in a particular moment coming up with the perfectly magical.

  • edited February 2016

    Whew, that was enlightening! So much going on in that track. Also I got all emotional by the end of the vid.

  • @JohnnyGoodyear said:
    I loved the lesson of beating on the empty film reel rather than waiting for a cowbell. We imagine that iconic work is somehow magically perfect, whereas actually it's real people in a particular moment coming up with the perfectly magical.

    Excellent find - thanks for sharing. There's a lot to absorb - the blatant bleed through on the drum mikes, the mix coming through on David's lead vocal via his headphones, the 2 hour experimental EnoFripp, and the cheesy Chamberlain brass and even cheesier strings (bought that app and love my M3000 - vindication!), making the most with only one track left for the lead vocal, etc.

    So much lo-fi, and so many studio no-no's by todays standards. Too often we musicians tend to obsess about the perfect EQ and tone (metal guitarists are the worst) - when a good vibe, solid playing and imagination are what really takes what could have been unremarkable and literally turns it into gold.

    Or to paraphrase Geddy Lee "It's great to be able to play all those notes and get a certain sound, but at the end of the day, it's all about the feel."

  • @Jocphone said:
    Great find @JohnnyGoodyear Have always thought committing to decisions earlier was a better way to build a track but it's great to hear Visconti describe it as a way of building the vibe.

    Got to feel for poor Erin's neck though!

    Agreed. He should use a daw controller on an iPad instead of yelling at Erin!

    Thanks for the video Johnny! I really appreciate it!

  • Always wondered about that vocal treatment as he began singing louder. I'd like to hear it with the extra tracks available, as it always sounded like they were trying to fix it in post but it grew on me. I suppose it wouldn't have the same visceral punch otherwise.

  • I couldn't get the BBC link to play without constant buffering. Here's another that might work better for some...

  • edited February 2016

    @eustressor said:

    @JohnnyGoodyear said:
    I loved the lesson of beating on the empty film reel rather than waiting for a cowbell. We imagine that iconic work is somehow magically perfect, whereas actually it's real people in a particular moment coming up with the perfectly magical.

    Or to paraphrase Geddy Lee "It's great to be able to play all those notes and get a certain sound, but at the end of the day, it's all about the feel."

    Yes it is. The better I slowly get at the other pieces, the more I end up back at this...

  • Good stuff, thanks for posting

  • The whole is definitely greater than the sum of the parts

  • Hearing the vocals in isolation was very interesting, as was Eno's and Frip's parts. Thanks for posting @JohnnyGoodyear.

  • edited February 2016

    @lala said:

    Just look at that guy! I could watch him speak for days. Thank the stars and moon we have video cameras. Got to get one of those sweaters too.

  • Great find and some fascinating details - Visconti is a legend!

  • Really interesting reconstruction. Visconti's urge to remix is totally understandable.
    I had goosebumps when Bowie's soloed vox came in.
    After watching this and then finding the following article, I feel like I've time travelled back to what was then : the future.
    As Visconti said to Bowie about the Eventide Harmoniser used in this and the Low sessions: ' It fxxks with the fabric of time '...

    http://www.soundonsound.com/sos/Oct04/articles/classictracks.htm

  • @Jes said:
    Really interesting reconstruction. Visconti's urge to remix is totally understandable.
    I had goosebumps when Bowie's soloed vox came in.
    After watching this and then finding the following article, I feel like I've time travelled back to what was then : the future.
    As Visconti said to Bowie about the Eventide Harmoniser used in this and the Low sessions: ' It fxxks with the fabric of time '...

    http://www.soundonsound.com/sos/Oct04/articles/classictracks.htm

    That has always been one of my favorite quotes. It is the type of technical jargon that speaks to me.

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