TabMuse — a Home for Digital and Analog Music Inspiration

Tag: iOS music apps

Review: Craft Bespoke Spaces of Reverb with Stellarvox
When reviewing NoInputMixer, I noticed the app’s excellent reverb capabilities, with great sonics and a true sense of space. So, after hearing about Igor Vasiliev’s new reverb app, Stellarvox, I wanted to review it for TabMuse. The app essentially provides a reverb construction set, letting you design bespoke sonic spaces suitable for multiple music genres.

Stellarvox Features
- “Ambient Reverb Space Designer”
- Combines Convolution and Algorithmic Reverbs with a Reflective Tail Processor
- Build Immersive Sound Spaces with Control over Shape, Size, and Tonal Structure
- Intuitive yet Deep and Powerful User Interface
- Runs Standalone and Supports the AUv3 and IAA formats on iPad and iPhone
- Runs Standalone and Supports AUv3 on macOS.
- Available for $11.99 at the App Store
Stellarvox belongs in the app or plugin library of any musician or producer looking for a reverb design tool. Its ability to generate lush sonic spaces with long tail reverb algorithms especially makes sense for ambient artists. This iOS/macOS/iPadOS reverb plugin provides yet another example of a top-shelf Igor Vasiliev app. He remains one of the most unique music app developers on the scene.

Exploring the Stellarvox Reverb Construction Set

The Stellarvox user interface shares a similar look and feel with Igor’s NoInputMixer. Expect a virtual mixer design, with the reverb’s settings laid out in a channel-like form. Knobs serve as the most common control type, with push button switches and a dry/wet slider also included. A toolbar at the top of the screen supports preset management with access to other standard functionality.

Stellarvox provides an easy-to-use UI. Screenshot by author.

The Space section, at the far left, uses three unlabeled parameters to define the acoustic settings for the reverb. Interesting options provide variety, including the reverberation space, that space’s tail reflections, and the generated reflected response. In short, the expected settings for a convolution reverb. The Size, Time, Distance, and Stereo settings share similarities with most reverb tools.

Stellarvox’s tail reflection sonics are one of the most intriguing aspects of the reverb plugin. The Tail column provides knob controls for the level and decay time of the reflections. Choose from either linear or logarithmic response for the tail’s attack and decay envelopes. A final button switches between different timbral settings for the tail.

Additional columns allow tweaking of the tail’s frequency response in addition to the reverb’s modulation settings. Don’t forget the small effects section applied before the reverb. Take special note of the “2ND” column as it controls the second stage of Stellarvox’s reverb. It leverages a “Schroeder” reverb design, providing a series of diffuse delays enhancing the surrealism and length of the tail reflection.

Columns for managing the EQ and output of Stellarvox round out the reverb app’s user interface. Note that a Bypass button at the bottom of all columns – except for the output – lets you remove that section from the reverb. It’s a valuable resource when constructing reverb spaces and even learning the app’s functionality. Check out Igor’s thorough Stellarvox user manual for additional information and detail.

Crafting a Reverb with Stellarvox

If you want to craft a unique reverb for a music project, Stellarvox serves as a powerful tool. I am currently working on a new Church of Hed album, an aural travelogue down the Blue Ridge Parkway. One of the more ambient pieces in progress demanded an especially spacious reverb. Enter Stellarvox.

The UI’s similarity with Igor’s NoInputMixer made constructing a bespoke reverb for the track a breeze. In fact, after designing the verb’s long tail, go back and tweak the parameters in the Space section. This iterative approach provides a great way to quickly create different reverbs suitable for a variety of musical use-cases. In short, Stellarvox rewards the creative mind by providing an intuitive sandbox for crafting sonic environments.

The “BRP Dream 7” stem uses Moog’s excellent Animoog Z and Model D apps. The Animoog patch leverages a sample grain from a Grateful Dead sound pack provided as an IAP by Moog. What I assume is a granular sample of Jerry Garcia’s guitar gets blasted directly into space with Stellarvox. I tweaked a Model D polyphonic pad – almost sacrilegious – as the counterpoint to the Animoog Z sounds.

In the case of this stem, I used Stellarvox on the master track in Cubasis, so the reverb combined both synth parts. It especially made an impact on the Garcia’s tone, giving it a synth-like sense of space. Of course, the excellent Animoog Z and its touch control features provided great sonic material to the reverb.

A Great Tool for Crafting Ambient Space on the iPad

Stellarvox ultimately provides iOS and macOS musicians with an essential tool for creating your own reverbs. This use-case especially applies to those creating soundscapes in the ambient or dark ambient genres. With Stellarvox, crafting bespoke sonic environments becomes easy and actually quite fun. It’s another great and unique app from the mind of developer, Igor Vasiliev.
December 26, 2024
Review: FAC Punchlab helps iOS Musicians Mix and Master with Ease
Fred Anton Corvest’s iOS plugins rank among the most-used effects on our iPad music projects. Check out our review of his effects bundle from a few years ago. I primarily use Apple’s tablet computer to create beats or stems for further overdubs using Reaper on the desktop. For example, FAC Maxima remains our top plugin choice for mastering within AUM. FAC Punchlab expands this functionality and more!

Fred recently released Punchlab for iOS, a AUv3 multi-effects plugin effectively serving as a Swiss Army knife for your next music project. We decided to try it out on two stems in development for an upcoming Church of Hed album. We found FAC Punchlab to be an intuitive tool, letting you quickly dial in one or more effects for a single track, buss, or even an entire mix. Let’s check it out!

FAC Punchlab Features
- Combines up to Nine Effects on a Track or Master Buss
- Effects Provide a Full Range of Sound Design and Control
- Includes Filters, Transient Control, Limiting, Saturation, and More
- Intuitive Dynamic UI makes Touch Control a Breeze
- Responsive UI Evolves based on iPad vs. iPhone and Parent App
- Reorder Effects with Simple Gestures
- Seamless Present Management
- Supports the AUv3 Plugin Format on iOS, iPadOS, macOS, and visionOS
- Available at the App Store for $14.99
FAC Punchlab provides mobile musicians and producers with a top-shelf effects rack with a seamless, intuitive interface. Controlling the app with touch gestures especially works great on the iPad. I now use it instead of or in tandem with FAC Maxima on the master buss in AUM or Cubasis.

FAC Punchlab has a Top-Shelf iPad User Interface

The FAC Punchlab interface features an “Advanced Responsive Design,” which means it seamlessly adjusts itself based on the host app. It provides both portrait and landscape views, easily switching between the two as necessary. I used it in both AUM and Cubasis and had no problems leveraging the intuitive interface to quickly adjust effects settings.

FAC Punchlab features an intuitive and adaptive user interface. Screenshot by author.

Punchlab includes nine separate effects; simple button taps switch each effect on or off. Taps and swipes also serve to control each effect’s unique settings, including levels, switches, and other settings. An animated graphic in the middle of each effect evolves based on the changes to the settings. Simply put, the UI makes controlling Punchlab both fun and powerful.

Meters displaying the plugin’s I/O levels as well as the output waveform lie above the nine effects. Below resides the preset manager and a button displaying the app’s information screen. Note the button on the lower right that toggles a mode for reordering Punchlab’s effects. Use intuitive drag and drop gestures to move the effects around based on your desired audio flow.

Exploring the Effects of FAC Punchlab

Punchlab’s “rack of nine” provides a full range of effects suitable for instrument, buss, or master tracks. As noted earlier, simply toggle each effect on and off to get the right processing setup for your specific needs. This flexibility pays dividends on any mobile music project.

FAC Punchlab seamlessly fits in the Cubasis UI. Screenshot by author.

Now, let’s examine the features of each of the nine effects:
- Attack: The Attack effect lets you design transients. The Punch slider controls the attack slope, while the Depth knob manages its level, no matter the slope.
- Phat: Phat serves as the saturation effect for Punchlab. Two knobs control its drive and saturation depth. The Model button provides access to five different saturation models, providing sonic flexibility.
- Boum: A cool resonant filter, Boum offers unique sonic exploration within Punchlab. Two knobs control the depth and decay. The ability to tune the note of the resonance is also cool. Finally, the Audition switch lets you only hear the effected Boum output.
- Heat: If you need the sonic clarity provided by an exciter, Heat serves in this role for Punchlab. This effect includes control over the exciter’s amount as well as its pre-gain. Use the Oxygen slider for additional coloration and character.
- Tone: The Tone effect includes a filter array: a shelf filter plus a low-pass or high-pass option. Use the dual knob and the two sliders to control the respective cutoff frequencies.
- EQ: Another filter array with two bell filters provides EQ within Punchlab. Use the dual knob to control the gain for both, while dual sliders manage the cutoff frequencies.
- Fizz: Fizz is one of the more unique effects in Punchlab. It provides audio rate modulation using six different models, plus you also control the modulation frequency with the Note slider. Experimentation and exploration become easier when playing around with Fizz (and Boum in tandem).
- Clip: The Clip effect also provides a cool source for sonic exploration within Punchlab. You gain control over the clipper’s knee curve and gain using the knob. The Shaper slider controls the effect’s harmonic profile. The Auto-gain switch compensates for any reduction in the signal.
- Mix: Finally, the Mix control serves in its traditional role, blending the dry and wet audio signals. It also includes a High Quality switch for oversampling and a final limiter switch with brickwall, hard, and off settings.
Putting Punchlab through its Paces

As noted earlier, the iPad serves as my musical tool for beatmaking and stems. Using Punchlab in Cubasis on two stems for an upcoming Church of Hed album provided a perfect test scenario. One track includes a Berlin School synth sequence on the Minimoog Model D app with the Model 15 providing aural scenery. The other piece conjures a surreal aural landscape using the Model D in tandem with Animoog Z.

In both cases, Punchlab’s array of effects provided an easily controllable chain leveraging the app’s intuitive touch-powered user interface. Toggling effects with simple taps while controlling their parameters with finger swipes makes mobile music production alluring. Fred simply knows how to craft top-shelf user experience for iPad musicians. Note that Punchlab is also available for the iOS on the iPhone and iPod Touch, as well as the macOS and visionOS platforms. However, I only tested it on my iPad Pro.

Notably, Punchlab parameters respond to automation in Cubasis, enhancing the effects app’s capabilities for sound design or more esoteric music works. A robust preset library provides additional insights on the app’s potential uses on your next project. Access present management functionality at the bottom of the plugin.

An Essential iOS and iPadOS Effects Plugin

Punchlab quickly became one of my most essential options for different utility and creative use-cases for iPad music projects. The ease of use and intuitive interface makes learning it a breeze functionality. You need to explore adding FAC Punchlab to your effects arsenal. Fred Corvest made another great mobile music effect, or actually nine great effects in one!
October 10, 2024
Review: Effectrix Brings Sequenced Effects to the iPad
The iPad’s maturation as a music creation platform continues due to the AUv3 plugin format. Being able to run AUv3 synths, effects, etc. seamlessly within a container app like AUM is frankly a gamechanger. The iOS platform is finally coming closer to emulating a desktop
- Effectrix in action within AUM. Image by author.
A sequenced effects app like Effectrix thrives in this creative environment. Powered by a flexible step sequencer, it mangles your beats or gives your trippy synth pads a sense of groove or motion. Developed by Sugar Bytes, purveyors of excellent music plugins for the iOS, Mac, and Windows platforms, it’s the perfect utility app for the modern iOS musician.

Effectrix For The iPad Features
- 14 High-Quality Effects in Series Across a Sequencer Matrix
- Each Effect Features Deep Editing of Parameters and Modulation
- A Full Range of Sonic Mangling Limited Only by Your Imagination
- External Sync With iOS Host Apps
- 32-Step Sequencer Supports Strange Timings and Other Chicanery
- 230 Presets Including Global and Individual Effects
- Support For AUv3, MIDI Learn, and Ableton Link
- Available at The App Store For $17.99
Simply put, Effectrix belongs in the arsenal of any iOS musician. Its high-quality effects sound great. The ability to sequence and modulate up to 14 effects at one time simply opens a Pandora’s Box of sonic possibilities. Let’s dive into the details.

The Effectrix UI Takes Full Advantage of the iPad

In addition to iOS, Effectrix is also available on both the Mac and Windows platforms. In fact, those platforms actually received the first release of the plugin. However, the touchscreen interface of the iPad takes the Effectrix UI to another level.

I primarily use Effectrix within AUM. The interface is slightly smaller when residing inside that host app, but controlling the app’s functionality remains intuitive. Of course, the UI takes full advantage of finger taps, swipes, and other gestures to edit sequences.

The sequencer matrix features a separate row for each effect. The fourteen effects run in series, from the three looping effects all the way to the reverb. The sequencer supports up to 32 steps; simply drag the arrows on either side to loop a specific range of steps. The tempo control lets you set the resolution of the sequencer which runs at the same BPM as the host app.

A parameter section for the selected effect resides below the matrix. Two modulators for each effect also allow for additional control of parameters. Use the Assign menu to connect the modulators and parameters. It’s also possible to record parameter knob movements as part of the sequence. Once again, the sonic possibilities are limitless.

Preset management and other utilities (level, swing, mix, etc.) lie at the top of the Effectrix interface. Thankfully, the app includes over 230 presets providing some insight as to what’s sonically possible with the app. Still, it’s more fun to simply dive right in and conjure up fresh sounds. The intuitive user interface makes this process of exploration simple.

Effectrix Provides a Cornucopia of Sonic Possibilities

So how does Effectrix sound? Considering Sugar Bytes earned its bones as a top provider of effects plugins for the PC and Mac, it’s not a surprise the 14 effects within the app all sound great. Useful parameters and modulation options only add to the sonic mayhem.

To put the app through its paces, I built a drone using Bram Bos’s new Mononoke synth (we’ve got a review of that app in our pipeline). Using AUM, I ran that drone through Effectrix and conjured up a 30-step sequence that turned the drone into an otherworldly funky-ass beat. Experimentation and exploration remain the order of the day, but Effectrix is especially suited to adding a sense of motion and rhythm to synths and other keyboard sounds.

As noted earlier, the 14 effects run in sequence, with three different looping effects at the top and traditional delay and reverb at the bottom. A simple tap on a button next to the effect name switches it on or off. Of course, the individual steps and bars on the sequencer matrix or the modulation sequencers ultimately exert more control on the effect’s performance.

A Host of Useful Effect Presets Helps You Get Started

Note that each effect also includes its own collection of presets. So Effectrix provides both global and individual effect presets. Once again, be sure to peruse these presets for a better informed idea on the sonic range of the app. Additionally, use iCloud integration to share presets between iOS and desktop versions of Effectrix.

Another neat feature is the ability to store sequencer patterns to keys able to be recalled live using a MIDI keyboard. MIDI Learn is also supported, so you can use controller knobs to control effect parameters. In effect (pun intended?), this makes Effectrix great as a live performance app.

As far as the actual effects, they run the gamut from loopers to delays to filters to bitcrushers and most everything in between. The Tonal Delay, the powerful Filter, and rich and creamy Phaser deserve special mention. Use the Tonal Delay on your beats for some freaky melodic action. In short, Effectrix is a must for any serious iOS music producer. Superior sound quality and an intuitive user interface highlight this top notch effects app. Highly recommended.
February 28, 2020
Review: BLEASS Purveys Quality iOS Effects Apps and More

BLEASS is a French iOS music app maker. Their line mostly features effects that support the AUv3 plugin format. The company also offers BLEASS groovebox, a fun drum machine app worth checking out. Their wares support iPad, iPod Touch, and the iPhone provided you are running iOS 9.0 or later.

We recently spent some time diving into BLEASS delay and BLEASS reverb, as well as groovebox. The company also released BLEASS filter in the last few weeks, so expect a review of that app in the future. Here’s a look at what these iOS music apps bring to the table.

BLEASS delay is the Antidote for Anger

No one can own too many delays. This time-honored rule applies to both hardware devices and software-based plugins. BLEASS delay provides the iOS musician with an easy-to-use effect suitable for AUM, GarageBand, or any other host app supporting the AUv3 format.

BLEASS delay features an easy-to-use interface. Screenshot by author.

BLEASS delay syncs to the host BPM if desired. It also provides a cool ping-pong feature for those who love those trippy stereo imaging effects – I do. The overall sound is great and musical. I typically use it in AUM with one of Bram Bos’s Rozeta rhythm plugins; it’s an approach inline with my typical iOS use-case as a beatmaker for studio synth productions.

The interface is extremely straightforward; essentially as easy to use as a simple stomp box delay. Everything is arranged in an obvious manner. You simply need to add delay to your project and start using it.

This delay offers a host of features that go beyond a simple echo. Two resonant filters serve to add a measure of tweaking to your sound. The delay’s feedback stage includes a pitch shifter which serves quite nicely for mangling electronic drum sounds. Use the LFO with stereo phase for an additional sense of motion to your tracks.

Check the included presets for an idea of delay’s possibilities. Of course, you can save your own presets as well. BLEASS Delay is available at the App Store for $4.99. Git ya some!

Take Your Tracks into Space with BLEASS reverb

BLEASS reverb pairs nicely with its delay brother. In fact, I wish AUM had a “macro” feature so I can load both effects with one action, or even a way to model effect racks similar to the desktop DAW world. Well, enough of my dreaming.

BLEASS reverb goes beyond the standard verb functionality. Screenshot by author.

Another straightforward BLEASS effect, using reverb is a breeze, especially when familiar with the concepts of reverberation. The interface is clear and user friendly.

The effect’s architecture includes three stages. A first stage includes a pre-delay and a gain control to tailor the input signal. The HP/LP filter also helps in this regard. You manipulate the room size and HF damping in the second stage – essentially the reverb itself. A cool mini X-Y pad provides a frequency shifter and waveshaper for additional real-time sonic manipulation. It’s fun!

Finally, the third stage provides a simple sidechain compressor to add an extra mindfreak to drum parts. A dry/wet control rounds out BLEASS reverb’s control scheme. Once again, peruse the presets for an idea of this plugin’s capabilities.

Considering its user-friendly price – only $2.99 at the App Store – BLEASS reverb belongs in the app library of any iOS musician. It provides a top quality reverb, and one that also works as a standalone app.

Beat Crafting with BLEASS groovebox

BLEASS groovebox is a fun drum machine app – with benefits – available for free, but with a host of professional features available as an in-app purchase. Surprisingly, groovebox doesn’t support the AUv3 format, but it does work with Audiobus, Ableton Link, and Inter-App Audio. In fact, a recent update lets you route each track into AUM or other hosts using IAA, provided you purchased the pro version.

In addition to crafting beats, groovebox also sports a monosynth for melodies and the ability to generate chords, adding to its functionality. Both synths include the usual array of filters, envelopes, and LFOs to tailor your sounds, which also are savable as presets. The app’s low CPU usage lets you layer multiple synth instances per track, limited by the horsepower of your iOS device.

The drum machine section lets you load up to six samples per track, with filters and a bitcrusher serving as the sonic mangler. You are able to load samples from iCloud or the iOS Files app. Neat!

Sadly, groovebox doesn’t support odd time signatures. Its 16-step sequencer needs to be truly variable, or even support polyrhythms. Understand that my musical tastes trend towards the weird and esoteric, so this might not be a problem for you. Check out the free version and see what you think.

The sequencer section does provide some cool groove manipulation functionality. Two effects sends and both Live and Song mode add to its flexibility. BLEASS groovebox features the same clean user interface concepts as its AUv3 effects family, and you can’t beat the price if you just want to put the sequencer through its paces.

I just hope for AUv3 support and the ability to use different time signatures in a future update. Needless to say, iOS musicians need to check out the full line of BLEASS music apps. Stay tuned for our upcoming review of BLEASS filter!

July 8, 2019
Review: This Fred Anton Corvest iOS Effects App Bundle is a Must

As more iOS music apps support the AUv3 plugin standard, I find myself turning again to the mobile platform for my beatmaking needs. Fred Anton Corvest is an indie app developer with a small family of effects apps supporting AUv3. They are a must-get for anyone doing serious music production on their iPad.

Each effect within Frederic’s collection works great on its own, but buying all four as a bundle just makes more sense. Let’s check them out!

FAC Chorus

FAC Chorus provides the functionality of a straightforward chorus pedal on your iPhone or iPad. In fact, the iPhone’s UI is oriented like an effects pedal, while the iPad version uses more of rackmount design. This same form factor applies to Fred’s other three effect apps.

FAC Chorus in action tweaking your beats. Screenshot by author.

The effect uses two separate internal delay lines with simulated BBD circuitry, giving it extra warmth suitable for guitars, synths, or beats. Since I primarily use my iPad as a beatmaker, it definitely works nicely in that regard. In the hardware realm, I typically pair my Arturia DrumBrute with a Hotone Skyline Chorus pedal, so it’s great having something similar on iOS.

Ultimately, if you are familiar with the functionality and controls of a hardware chorus pedal, the FAC version makes you feel right at home. There are a host of presets to help get you started, and a simple long button press on the preset name lets you save your changes to a new patch, as with the other FAC apps. It’s a simple virtual chorus pedal with great sound, and it supports the AUv3 plugin format. So there.

FAC Maxima

If you need a mastering plugin for your iPad musical project, FAC Maxima needs to be on your shortlist. This AUv3 plugin works well as either a compressor or limiter, while providing a useful real-time display of the audio waveform, providing valuable feedback on the impact of the effect. It’s also easy to use, especially if you are familiar with mastering processors.

Pounding your brain with FAC Maxima. Screenshot by author.

Maxima is perfect for my iPad use-case of beatmaking. It gets added as the last effect on the master channel, in a similar manner as the venerable TC Electronic Finalizer in our studio. It gives those stereo beats power and heft before overdubs are added in a desktop DAW.

The plugin also works well when used on individual tracks. Frederic even recommends it for keeping vocal levels under control in DJ or spoken work applications. Check out the included presets for inspiration.

FAC Transient

FAC Transient is one of the more esoteric effects in the Corvestian bundle. At its heart, it’s another dynamics processor, but one giving you an extra level of control over the attack and sustain portions of an envelope. When tweaked in the right fashion, it offers a unique, almost tonal effect when used with a drum beat.

FAC Transient is a useful beat-tweaking AUv3 plugin and more. Screenshot by author.

The plugin uses three envelopes, one each for the input, attack, and sustain circuits. You also gain control over the length of each phase. Ultimately, you are able to use an instance on each track in your mix for a superior level of sonic sculpting power.

While there are a copious number of presets to give you a better idea of Transient’s possibilities, frankly it’s better just to jump right in and start tweaking. At least, I’ve found it to be a rewarding approach during my beatmaking applications. Those of you who use iOS for full studio productions benefit from the added mixing control made possible by Transient. In short, you need this plugin.

FAC Envolver

Unique among Frederic Corvest’s plugins is FAC Envolver. Able to function as both an audio and/or a MIDI effect, this plugin provides many uses within any iOS music project. On the MIDI side, an envelope follower generates data (Notes, CC, etc.) based on the input signal. It also includes a noise gate and “trance” gate to effect the incoming audio signal.

FAC Envolver is a powerful and unique AUv3 plugin. Screenshot by author.

A somewhat complex user interface – at least compared to the other FAC plugins – remains easy to tweak. You are able set the generated MIDI note or CC data based on the input, with various parameters also influencing the result. A convenient stereo waveform display provides feedback in a similar manner as Maxima. As a stereo effect, Envolver includes two separate parameter sets – one for each mono channel.

When used in tandem with the audio gates, it’s possible to get a trance-like feel to your project. Beware, young intrepid traveler, as sometimes stray generated MIDI notes will play on your synth plugins. Well, this happened to me in Beatmaker 3, and it took me around 15 minutes to figure out the source. Oops!

Ultimately, understanding how the parameters work together is essential to get the most out of Envolver. Once again, the included presets provide enough to get you started, but get in there and tweak away to create some wild mixes and even generative compositions. I expect to dive even deeper into Envolver in the future.

If you are serious about producing music on your iOS device, the FAC bundle belongs in your collection. It offers everything from a great chorus and mastering processor, to the otherworldly possibilities of Envolver and Transient. All four effects are easy to use, support AUv3, sound great, and are simply fun. What’s not to like?

April 3, 2019
Review: Ruismaker Noir Breaks New Ground in iOS Beatmaking
Bram Bos has done it again. Known for an ever expanding line of iOS music apps, his latest joint, Ruismaker Noir, takes iOS beatmaking in a new direction. An intuitive and innovative user interface combines with great sonics to reward experimentation, all while giving your beats a modern sheen.

Ruismaker Noir Features
- A Hybrid of a Drum Synth and Bass Synth
- Deep Monophonic Synth Engine Designed for Rhythms
- An Intuitive User Interface and Great Sound
- Flexible Sequencer
- AUv3 Support and Standalone Version
- Universal App Compatible with iOS 10+
- Small CPU Footprint
- Available at the iTunes App Store
Ruismaker Noir belongs in the app collection of every forward-looking iOS musician. Its AUv3 support makes it easy to add effects to mindfreak your rhythmic creations. It’s definitely one of the best iOS music apps of 2018.

22^nd Century Beatmaking on Your iPad or iPhone

Noir is truly a groundbreaking beatmaker. Like the rest of Bram Bos’s app collection, the user interface is striking. Sure, familiar elements, like a sequencer and synthesizer dominate, but the dark color scheme definitely fits the style of the app’s sound.

Ruismaker Noir in action in a bouncy 9/8. Screenshot by author.

A few strategic finger swipes are all that’s necessary to begin a beat. An intuitive interface makes this process rewarding – the vertical axis controls pitch while the horizontal one controls velocity. Embrace trial and error with an empirical mindset, yo.

The way the monophonic synth blends the tonal bass notes with the more percussive ones makes you think there are separate drum and bass synths. This architectural approach gives the rhythms created in Ruismaker Noir a unique flavor. Of course, the sequencer provides enough flexibility for odd time signatures and other interesting polyrhythmic patterns.

Note that its low CPU footprint makes it easy to spawn multiple instances within one container app, like Beatmaker 3. Using one instance for bass and another for percussion is only one obvious use-case.

A Dark and Gritty Synthesizer Engine

Remember, the app is called Ruismaker Noir. Thus, it makes perfect sense for the app’s synth engine to bring a gritty feel to the proceedings. Well, Noir’s VCF does include a grit knob. Tweak it, grasshopper. The same rule applies to the bit driver knob; it’s a combination of a bit crusher and overdrive.

Simple control of the envelope slope for the three oscillators (2 VCOs and noise) facilitates the creation of drum sounds. The Drop knob serves as a pitch envelope in a similar manner. Ring modulation, cross-ring modulation, and FM are all part of this unique synth engine.

The bipolar pitch and velocity modulators are an essential part of Noir’s synth engine. It responds to data from either the internal sequencer or an external one. This effect is obvious when creating beats using the Noir sequencer.

Drop, FM, Noise, Cutoff, VCO balance, and the overall level are all controllable in this fashion. Note that all of Noir’s parameters are controllable using an external source when used as a plugin.

Ruismaker Noir Preset Management

The app includes a host of presets to give you a better idea of what’s possible with Noir. Of course, it’s better simply to dive in and experiment. Exporting and managing both user and factory presets is simple.

What’s left? In addition to its intuitive feel, the Noir sequencer also includes Bram’s typical mangling functionality. Shuffle, Random, and Mutate are all in there. I prefer the subtle randomness of the Mutate function. The sequencer also sends MIDI output data when used as an AUv3 plugin.

Bram’s gone and done it again. Ruismaker Noir ranks at the pinnacle of iOS beatmaking apps. Its ease of use and simplicity mask the depth of the internal synth engine.

I am currently working on orchestrating the next Church of Hed album, but Noir is inspiring enough to distract me into beatmaking work. This is one reason we give it our highest recommendation.
December 12, 2018
Review: SynthMaster One iOS gives your iPad Desktop Synth Power
The folks at KV331 did it again. This time out, they successfully ported their desktop synth plugin – SynthMaster One – to the iOS platform. Any sonic differences between the two are barely noticeable, if at all. iPad synth aficionados need to add SynthMaster One iOS to their shortlist.

SynthMaster One iOS Features
- Semi-Modular Architecture with 2 OSC, 2 Subs, 2 Filters, 4 Envelopes and More
- Wavetable Synthesis with Large Wavetable Library and User Import
- 16-Step Sequencer/Arpeggiator supports those Weirdo Time Signatures
- Synth Presets are Compatible with Desktop Version
- 11 Different Effect Types
- 500 Factory Presets by Leading Sound Designers
- Support for Microtuning
- Robust Modulation Matrix
- Support for AUv3, IAA, Audiobus
- Share Presets using AirDrop, Mail, etc.
- Available for $19.99 at the iTunes App Store
On release, SynthMaster One establishes itself as one of the top synths on the iOS platform. The desktop version is an award-winner, thus it is reasonable to expect a similar reception from iPad musicians. Read on to find out more about this top notch synth app.

SynthMaster One iOS is Essentially Identical to the Desktop Version

The fact SynthMaster One iOS sports an identical feature set as its desktop older brother reveals the quality of this app. Any differences are only minor. The mobile version supports 16 voices compared to 32 on the desktop. There are also 300 fewer presets on the iOS app. That’s it!

SynthMaster One sports an intuitive interface. Screenshot by author.

I had difficulty finding any audio differences between the two apps in my studio. We give much kudos to the team at KV331 for a great job porting SynthMaster One to the resource-constrained environment of the iPad. Other synth (and effect) plugin developers need to look at the iOS platform to port their wares. As always, revenue is the prime driver when making that decision.

An Intuitive iOS Synth App Interface

Just like the desktop version, SynthMaster One iOS features an easy to use interface. Anyone familiar with subtractive synthesis simply needs to dive right in. In a similar manner as SynthMaster One Desktop, the iPad app fits everything onto one screen.

SynthMaster One iOS with the modulation matrix and sequencer displayed. Screenshot by author.

Patch management and other utility functions lurk at the top of the screen. The meat of the synth architecture is housed below in an array of tabbed windows. Everything is clearly laid out and easy to follow. Oscillators, filters, envelopes, LFOs, routing, effects, sequencer, a modulation matrix, and the expandable virtual keyboard are all easily managed.

When tweaking many of the synthesizer controls, a graphical indication of the setting – in real time – magically appears in the center of interface. It returns to normal when complete. This provides another example of the usability of SynthMaster One.

Sliders, buttons, and switches are clearly displayed. If you are new to synthesis, the manual helps to explain some of the more esoteric concepts. Additionally, check out the iOS tutorial videos for additional insights into SynthMaster One’s functionality.

A Top Notch Synth Engine

If you read our review of the desktop version of SynthMaster One, you understand the care KV331 took in giving the app many of the same characteristics of a hardware synthesizer. For example, support for free oscillators and drift simulate some of the unique behavior of a vintage piece of gear. Each oscillator also gets its own suboscillator, making it easy to create those synth patches of doom.

Support for both wavetables and waveshaping algorithms is another welcome feature of SynthMaster One iOS. Waldorf Nave is one other iOS synth featuring wavetable architecture. This functionality, including the ability to import your own wavetables, also greatly adds to the sonic scope of the instrument.

The arpeggiator/sequencer is easy to use and supports odd time signatures. 11 different effect types add to the fun. Each synth patch has five effect slots. They are perfect for finishing off the perfect sounding preset.

Browse the 500 factory presets to get a feel for the possibilities with SynthMaster One. The patch browser uses an attribute-based identification system, making it easy to find something suitable for exploration. Some of the top sound designers in the business built patches for the instrument. Remember, your desktop patches are compatible with the iOS version!

Thankfully, SynthMaster One iOS supports the AUv3 plugin format. The app also handles Audiobus and Inter-App Audio, making it easy to use the synth in your current and future mobile music projects.

Since hitting the App Store, SynthMaster One iOS quickly rose to the top of the list of iOS synth apps. Its compatibility with the desktop version makes it easy to swap patches between the two platforms. If you are in the market for a top shelf iPad synth app, put it on your shortlist. KV331’s first mobile synth app is that good!
July 31, 2018
Review: AudioKit Synth One revolutionizes the iOS Synthesizer World
The open source movement revolutionized the technology world by changing how software gets written. A stunning amount of today’s tech products boast at least a partial open source background. Its community-driven focus attracts talented developers wanting to learn, contribute, and be a part of something bigger than simply schlepping code for some faceless corporation.

AudioKit is an open source audio framework for the iOS platform. The team behind AudioKit recently introduced Synth One, an open source synthesizer making waves throughout the iOS musician community. Let us dive into the details to see how this free synth just might be one of the best music apps available for Apple’s mobile platform.

AudioKit Synth One Features
- Virtual Analog/FM Polysynth
- Five Oscillators (DCOx2, FM, Sub, Noise)
- Two LFOs with a Ton of Routing Options
- 16-Step Sequencer and Arpeggiator
- ADSR Envelopes for Amp and Filter
- 4-Pole Lowpass Filter
- Highpass and Bandpass Filters
- Reverb, Delay, and More
- Over 300 Presets from Top Sound Designers
- Bluetooth MIDI and MIDI Learn
- Audiobus, IAA Support
- AUv3 and MPE Support Soon!
- Available for Free at the iTunes App Store
Simply put, Synth One belongs in the library of any iOS musician. The same rule applies even if the app cost $10-20! It truly is one of the best synth apps on the iPad or iPhone. Find out why.

An Intuitive Interface makes Synth Programming Easy!

Synth One sports a clean and intuitive interface. A small row at the top handles patch management as well as some “housekeeping” functionality. The meat of the interface lies within two larger windows with a pair of buttons at the right used to navigate between different pages. A resizable keyboard lies at the bottom of the screen.

Synth One in action. Check out the cool virtual oscilloscope. Screenshot by author.

One cool perk of the two-window interface lets you keep the main screen in the top window, while navigating the rest of the pages in the bottom window. This concept also works with other pages, and is especially useful when using the Kaoss-inspired X-Y Pad screen. It’s the kind of UI flexibility one expects from an engaged developer community.

Other pages handle the envelopes, effects, master tuning (with over 100 alternate tunings), and the 16-step sequencer. Don’t worry; those prog-friendly odd time signatures are supported! The interface buttons and switches are large; providing a smooth and easy operating experience.

Great Sonics highlight this Free iOS Synth App

Simply put, Synth One offers stunning sound quality for the iOS platform. The synth app easily produces everything from spacey pads to searing analog leads to freaky FM bells with hardly a sweat. The embedded Costello reverb and multi-tap delay definitely help in this regard.

The synth architecture follows a standard subtractive model. The two DCOs let you gradually vary between the different waveforms, like the Moog Sub 37 and other hardware synths. It beats simply switching between waves like most synths. An FM oscillator, suboscillator, and a noise circuit round out the five oscillator setup.

You use the knobs for controlling the ADSR settings on both envelopes. Even cooler is simply drawing the envelopes with the touchscreen. The two LFOs offer four different waveforms as well as a host of routing options. A phaser combines with the previously mentioned reverb and delay in the effects section. Use the bitcrusher to mangle the sound even more; making it an LFO destination gives your patch some motion.

A bouncy 12/8 in the old school way. Screenshot by author.

The intuitive 16-step old school sequencer works perfectly. Two X-Y pads mentioned earlier also add to the fun. The tuning and pitch screen lets you switch between the over 100 alternate tunings. A colored pitch indicator provides some visual candy, especially when performing a sequence.

An Open Source Revolution for iOS Music Apps

Obviously as the product of a robust open source community, Synth One enjoys regular updates. The team is currently working on AUv3 support. Any delay in its release is related to programming things the right way so other interested iOS music app developers are able to use the same source code for their own apps.

That last point perfectly speaks to the positive impact made by open source software throughout the tech world. It appears iOS musicians – and developers – are now able to reap these same benefits. A thousand thanks to the team at AudioKit! Join up if so inclined!

If you haven’t yet downloaded AudioKit Synth One – get to it! It will likely become an indispensable part of your mobile music production workflow. By the way, AudioKit’s FM Player synth is also worth a free download.
July 24, 2018
Review: Perforator adds Rhythm to your iOS Synths
Bram Bos continues to worm his way into the workflows of iOS musicians across the world. We previously covered a host of cool iPad music apps from Bram, including Troublemaker, Ripplemaker, Kosmonaut, and the essential Rozeta Sequencer Suite. His latest app, Perforator, serves as a rhythmic gate effect for iOS.

Perforator for iOS Features
- Gate Effect used to create Rhythms out of Sustained Sounds
- Manipulate both Amp and Filter Gates
- Varying Number of Steps for you Prog Weirdos
- Independent Left and Right Channels
- AU Format!
- All AU Parameters Automatable within Host App
- Support for AU MIDI
- Massive amount of Presets
- Available at the iTunes App Store for $3.99
If your iOS music explores the world of rhythm, Perforator provides an easy way to enhance the groove in your tracks. Like the rest of Bram’s apps, it’s intuitive and musically useful. Put Perforator on your app purchase short list. Let’s find out why.

Perforator features a Typical Bram Bos User Interface

Like any other Bram Bos app, Perforator’s interface feels like an old friend. The two step channels dominate the interface. It is a breeze setting each step level with a mere finger swipe. A toggle keeps the two channels in sync or lets you manage each by itself.

Bram Bos Perforator in action. Screen shot by author.

Knobs to the right of the step channels control the filter vs. amp gate level as well as the overall gain and wet/dry setting. Knobs to the left serve as an envelope and for controlling the shuffle. Check out the Utils button to access a variety of pattern mods as well as the AU MIDI out settings.

Speaking of AU, Perforator works as both an audio effect and a MIDI effect within a compatible host. Thankfully, this plugin format is rapidly becoming an iOS standard. It positions Apple’s mobile platform as one for true professional music-making.

Studio Fun with Perforator

To give Perforator a test run, I used it as an audio effect within Beatmaker 3. VirSyn’s venerable microTera – which also supports AU – provided the sound. I quickly conjured up a 12 step gate pattern to give the cool microTera patch a sense of waltz-like motion.

Changing things up to effect the amp, filter, or a mixture of the two is simple. The envelope controls as well as the shuffle knob provided some subtle variants to the rhythm. If you need some inspiration to get started, check out the copious amount of factory presets.

Since the gate pattern syncs to the tempo of the DAW, it’s possible to easily create huge rhythms using percussion as well as synth pads and other sustained notes. Most importantly, I had a blast using it. As is typical with Bram’s apps, the intuitive user interface never gets in the way.

Just like the rest of the Bram Bos app collection, Perforator belongs in the library of any serious iOS musician. While a rhythmic gate is a pretty esoteric function, it helps to get new life out of your current iOS synths. Build the full and funky rhythms of your dreams!
June 12, 2018
Review: AAS Objeq is a Unique Effect worthy of the iOS Musician
We love Objeq Delay on the desktop; it’s perfect for otherworldly beatmaking and sound design. Now AAS brings a version of the effect to the iOS platform. Enter AAS Objeq – providing the same unique physical modeled resonator effects as its big brother, but this time without the delay.

AAS Objeq Features
- Three Physical-Modeled Resonators (Plate, Beam, Drumhead)
- Sonic Mangling of Beats recorded in a DAW or Live through the iPad/iPhone Mic
- AU Compatible Plugin
- Intuitive User Interface
- Full Control of Pitch, Tone, Decay, Position, and Mix
- Available at the iTunes App Store for $3.99
AAS Objeq offers iOS musicians the ability to add some sonic flavor to their beats. It easily fits right into your DAW’s effect chain – provided it supports the AU plugin format. Objeq gives you pro-level results at a nice price typical of an iOS music app.

An Easy Way to mangle your iOS Beats

The promo verbiage for Objeq focuses on using it to effect live beat creation, by playing with your hands on a surface near the iPad or iPhone mic. This is a similar manner as an older iOS app, Impaktor. I prefer to use Objeq as an effect in Beatmaker 3. It also works with any DAW compatible with the AU plugin format.

AAS Objeq in action on the iPad. Screenshot by author.

Objeq’s user interface is straightforward, especially if you are familiar with Objeq Delay, which we reviewed last year. Naturally, the iOS version sports simpler functionality, with an intuitive touchscreen friendly interface to match. Essentially you get to select the material for the resonator (Plate, Beam, or Drumhead), while controlling a variety of parameters for each, including pitch, tone, decay, position, and mix.

If you ever get confused, a help screen provides a quick overview of the functionality of each parameter. Objeq is really simple to use, so it warrants experimentation to discover which settings work best for your beatmaking or sound design scenario. Taps and finger slides are pretty much all you need to use the app.

Putting AAS Objeq to work in the iPad Studio

As mentioned earlier, the desktop Objeq Delay effect works great for beat mangling, so this approach made sense for the iOS version of Objeq. I fired up Bram Bos’s Ruismaker as a drum machine using Rozeta Rhythm the Euclidean drum sequencer from Bram’s highly regarded, Rozeta Sequencer Suite plugin collection reviewed here. Indeed, the beatmaking went well.

Copious coolness is achieved through the real-time tweaking of Objeq’s pitch parameter. This is the case with all three resonant materials. Dial-in the specific sound you need with the decay and position parameters. As noted earlier, experimentation definitely pays off.

While some of the additional functionality of the full desktop version of Objeq Delay is missed, Objeq’s support for the AU plugin format lessens that impact. For example, simply add a different delay app to the effects chain for a similar effect as the original.

The bottom line remains simple. If you want to take your iOS beatmaking to another level, AAS Objeq belongs on your music app shortlist. Its full range of physically modeled sonics definitely adds some life to iPad beats, sounds, and more. We give it our full recommendation.

Related articles across the web
April 30, 2018