A few months back, I was looking for a Theremin app for a song on my new Space Cadet album. (Ed — check out the making of Kev’s previous Space Cadet album here at TabMuse.) After putting a post up on Facebook, I was recommended by a keyboard playing friend to have a look at Bebot.
Bebot for the iPad Features
Theremin-like Touch Control Polyphonic Synth Fun
Easy-to-use Synth Parameter Control
Three Effects (Echo, Chorus, Overdrive)
Scale and Key System Prevents Bad Notes, if Desired
Developed by Normalware, Bebot is a Theremin synth and a whole lot more. It replaces a keyboard with an easy to play touch screen, similar to iKaossilator.
Like a Surreal Version of a Theremin for the iPad
As well as a Theremin preset, there are an impressive 25 other keyboard presets. It contains two synth engines, both with easy to use, variable controls.
Bebot offers a whimsical interface, but pro-level Theremin stylings. Screenshot by Author.
The interface also contains three variable effects. The echo, chorus and overdrive allow you tweak the synth sound to exactly what you wish.
The scaling system is similar to iKaossilator. It allows you to set any scale, any key; allowing note perfect solos.
Unlike the monophonic iKaossilator, Bebot is polyphonic. Use four or five fingers for everything from harmonies to complete madness spacerock swooping.
Audiobus Support adds to the Fun
The app is Audiobus friendly. The play screen is a smiling robot that mouths the notes as you play. Maybe the only negative point is, as a live instrument, it is less theatrical than a real Theremin or an app that utilizes the iPad movement sensor.
The reason I got the app was for a Theremin sound, and IMHO this app gives the best of any I have heard. It’s ideal for a space rocker like me, but maybe a little too spacerock for some. The friend that recommended it was playing keys for a very famous eighties new wave star, who found the whole wooshy spacerock thing of Bebot far too much to handle. Me? I love it!
If you are searching for an iPad music app that celebrates vintage drum machines, look no further than FunkBox. This app comes laden with accurate samples of classic analog and digital beat boxes — everything from the TR-808 to the Machinedrum. Creating your own beats is a good time, indeed.
FunkBox for the iPad Features
Classic Drum Machine App and Interface
Features 14 kits including the 808, 909, LinnDrum, Machinedrum and more
Create your own Drum Machines by using Samples from Other Kits
36 Modifiable Preset Drum Patterns with each Drum Machine
Export Drum Patterns as Audio or MIDI Files
Share Custom Drum Machines and Patterns between Devices or via Email
MIDI Bassline Sequencer
Support for CoreMIDI, Audiobus, and Inter App Audio
Developed by Synthetic Bits, there is no denying FunkBox brings a sense of the retro to iOS music-making. While it doesn’t have all the functionality and sound design capabilities of state of the art iPad drum apps, it is still worth checking out. FunkBox is also a universal app compatible with the iPhone, but the iPad’s larger screen real estate remains where it’s at.
Rocking the iPad with the 808
FunkBox features two major screens each with that classic 808 style. The main screen controls drum machine and pattern selection while providing a collection of pads to play along with beats in real time. There is also a small mixer section to set the levels of the drum sounds — panning would be a nice addition.
FunkBox’s main screen features an old school interface. Screenshot by Author.
The second screen hosts a typical matrix style step sequencer for beat composing and modification. The sequencer allows for 32 bars when in 4/4, and it is possible to switch between displaying either 16 or 32 bars or 4 or 8 drum sounds. In addition to switching between 3/4 and 4/4, there is a “2X” button that doubles the tempo. And don’t forget the swing control.
FunkBox’s step sequencer sports a classic style. Screenshot by Author.
One cool vintage drum machine feature within FunkBox is the ability to play more than one pattern at a time by holding down one pattern button while pressing others. It allows for some simple polyrhythms when combining patterns with 3/4 and 4/4 time signatures. Unfortunately, those are the only two time signatures supported by FunkBox — too bad Rebirth’s support for odd time signatures way back in the late 90s didn’t become the industry standard for software beat boxes.
Make your own Vintage Drum Machine
In addition to FunkBox’s 14 drum machines, you can make your own by combining samples from each included beat box. The LinnDrum kick with the TR-909 snare — you can do that. It’s also possible to share your own creations — as well as patterns — with your friends.
Creating your own drum machine in FunkBox. Screenshot by Author.
While the ability to record and export live audio from live FunkBox performance would be nice, you can export audio from individual drum patterns. An effect or two — especially a BPM synced delay — would be another nice addition. Well that’s why they made Audiobus, and FunkBox supports both Audiobus and Inter App Audio, as well as CoreMIDI. The latter comes in handy when using the MIDI bass sequencer functionality to add a bass line to your beat using an external app or synth.
Anyone reminiscing for those analog drum machines of yore needs to check out FunkBox. It is a great-sounding app and fun to use, allowing you create classic old school beats.
If you are new to this intriguing world of synthesis and beatmaking, there are not many better apps on the iOS platform offering a better introduction than Oscilab. The app is essentially a groovebox with a unique touchscreen-enhanced interface that makes creating and modifying beats a breeze. It leverages a combination of samples — drums and melodic sources — and a virtual analog synth to create a modern sound engine suitable for electronica projects.
Oscilab for the iPad Features
Six Channels — Four Synth and Two Drums
Two Oscillator Virtual Analog Synth
Full Wave-based, Touchscreen Control of Frequency, Filter, Panning, Amp
Screen with Six X-Y Pads for Live Tweaking
Two FX Channels
Record and Upload Mixes to SoundCloud, Dropbox, and more
Developed by 2beat, Oscilab brings a unique take to the tablet beatmaking scene. It enables anyone to embrace the joy of music creation no matter their ability level. Also, a free version exists if you want to try out the workflow and sound quality before coughing up the cash.
Creating Music is Enlightening with Oscilab
Oscilab’s main screen essentially serves as a mixer featuring six horizontal channel strips. The top four channels are used for melodic sounds, while the bottom two channels handle the drum beats. A channel contains the typical buttons to solo or mute an individual track.
Oscilab’s main screen also serves as a mixer. Screenshot by Author.
Each channel also sports a graphical display wherein the heart of Oscilab lies. A click reveals access to a screen that allows real-time graphical tweaking of most of your typical synthesizer or mixing parameters — panning, filters, frequency, and amplitude envelopes. A menu bar on the right of the main screen switches between these parameters or between “scenes” which is Oscilab nomenclature for patterns.
You can use typical LFO waveforms to make tweaking an easier process — an innovative design feature that helps those new to synthesis visualize how envelopes and LFOs are able to modify the sound. This workflow also applies to melodic content, as you use a mini keyboard to give the arpeggiator its notes, while the envelopes control how they are played — a concept easier to see in action compared to me trying to clearly explain it!
A typical step sequencer interface in Oscilab is leveraged on the two drum channels. There is also a tempo control, and the number of bars per scene can be set to a power of two. Unfortunately, 4/4 is Oscilab’s only time signature – a major oversight. Two separate effects channels add to the sonic proceedings.
A Virtual Analog Synth and Samples
The sound engine in Oscilab uses either samples or a virtual analog synth. The two oscillator synth allows for a variety of configurations, including ring modulation. Once again, the interface makes it easy to dive right into experimentation with both visual and audible indicators of your tweaking.
Oscilab’s X-Y screen allows for beat tweaking in a live performance environment. Screenshot by Author.
A good variety of samples rounds out the sound options for the melodic side of Oscilab, and the parameters can be manipulated in a similar manner as with the virtual analog synth. 15 different sampled drum kits can be used with the two drum tracks. Most of the kits trend towards standard electronic drum sounds, but there are a few acoustic sample sets.
There’s no doubt Oscilab provides an interesting and unique workflow for producing electronic music. Being able to visually — and audibly — observe parameter and envelope manipulation helps those new to synthesis gain a better understanding of what’s happening. As such, the app serves as a great introduction to both beatmaking and analog synthesis.
In the past two weeks, three of the leading iOS music apps received vital updates that significantly enhance their functionality. If you want to learn more about Korg Gadget, Stroke Machine, and Thor, check out our previous articles here at TabMuse. Read on further to get the latest news about these updates.
Korg Gadget adds Landscape Mode, Ableton Live Support, Two New Gadgets
Two new gadgets highlight the recent update to Korg’s Gadget beatmaker app. Unfortunately, Abu Dhabi and Bilbao are only available through in-app purchase, and are priced a bit too high at $9.99 each. For an app — already including 15 gadgets — that normally costs $40, $4.99 makes much more sense as a price point for an individual gadget.
Korg Gadget is a natural in landscape mode, one of the nice changes in its latest update. Screenshot by Author.
The new gadgets are suitable for anyone using samples in their music. Abu Dhabi is a cool looking beat slicer, and Bilbao is sample player that follows the same mapping as Gadget’s London drum machine, making it easy to swap out one for the other in a project. Surprisingly, Bilbao has no capabilities to use a mic to record samples on the fly — an oversight by Korg. Both gadgets allow the importing of your own samples.
Support for landscape mode is a great addition. Considering my affinity for Korg’s iPolysix and iMS-20 apps, the original portrait-only orientation of Gadget never felt quite right. It’s easy to switch between the two using the accelerometer.
Other enhancements in this Gadget update include upgraded support for external MIDI controllers — something I can’t wait to check out once I get a new iPad. (The 30-pin connector in my iPad 2 only works for charging these days.) Korg also added integration with Ableton Live, making it easy to port projects from Gadget to Live. Native 64-bit audio support rounds out the new features.
Stroke Machine wears the iOS Drum Machine Mantle
Wolfram Franke has been burning the midnight oil and the result is version 2.0 of his incredibly deep iOS drum machine app, Stroke Machine. The ability to compose beats in any time signature known to beast is the big selling point of this update to me — not that I use them all. A pad screen allows you to play beats with a noticeable lack of latency sure to make Android owners extremely jealous.
Stroke Machine’s stability is also greatly improved; I regularly write beats with nary a glitch or crash. Still, this is a professional-level music app that gets the most out of the resource-constrained environment of the iPad, so iPad Air owners can expect to enjoy the best performance.
Audiobus 2.1 support allows the saving of kits and patterns within an AB patch. Fresh support for MIDI CC learn enhances the app’s use with external MIDI controllers. Additionally, each sound/voice can now use its own MIDI channel. Boom!
Thor also adds Audiobus 2.1 Support
The excellent iOS version of Thor, Propellerheads’ synth originally introduced as part of Reason, also received a fresh update recently. The most notable changes involve support for Inter App Audio and Audiobus 2.1. Now, like with Stroke Machine, Thor’s patch details can be stored as part of an Audiobus project. Other bug fixes and performance improvements come along for the ride.
So there you have it, three important updates sure to make music creation on an iPad more fun and rewarding. After watching a video of someone using Gadget’s Abu Dhabi beat slicer, I am inspired to check it out. When I do, expect a more detailed review here at TabMuse.
If you are looking for a quick and easy drum synth on the iOS platform, add SeekBeats to your docket. This is an app capable of both classic and homespun drum machine sounds, and its unique real-time performance capabilities allow for a host of beat tweaking possibilities.
SeekBeats for the iPad Features
Eight Drum Voices with Traditional Synth Controls
Graphical Envelopes can be Tweaked in Real Time
Randomizer and Snapshot Features give Performances Life
Step Sequencer with Odd Time Signature Capabilities
Supports Audiobus, Inter App Audio, and MIDI Sync
Universal App supports iPad, iPhone, and iPod Touch
While it’s not Stroke Machine, SeekBeats doesn’t aspire to be. Its ease-of-use and real time tweakability give it a well-deserved home amongst many other iOS beatmaking apps. Electronic musicians need this app in their collection.
An iPad Drum Synth with a Simple User Interface
Upon starting SeekBeats, its stark, utilitarian interface stands out. Anyone familiar with software-based beat creation can easily show that “they’ve still got the love for the streets.” A button below the sequencer matrix allows for odd time signature beat creation.
SeekBeats’ sequencer screen reveals its utilitarian interface. Screenshot by Author.
Other slider controls manage the tempo, swing, master volume, and the chorus effect. A collection of buttons on the top left of the screen serves as a menu offering access to SeekBeats additional functionality.
Numeric buttons at the top right of the screen allow you to program the eight drum voices and their two oscillators. This easy to follow screen also provides overdrive and filter “circuitry” providing additional grit to the sounds.
The SeekBeats Sound screen allows for a host of programming options. Screenshot by Author.
The separate screen for envelope control is very blue, and worthy of particular attention. It is possible to modify the envelopes for the pitch, in addition to the main and noise amps. Simple double-taps add or delete points, which makes creating complex envelopes a breeze. Great stuff!
Randomizing your Performances
SeekBeats’ “Rand” screen offers you the chance to randomly tweak a collection of parameters in real time for all or any subset of your drum voices. This allows for a wild collection of sonic possibilities. The developer Rodrigo Yanez explains this feature nicely in a video shown below.
Using randomization combined with the ability to take and restore snapshots while the beat plays helps to manage the insanity should the sonic mayhem get too intense. Is that even possible? A separate “Perf” screen lets you access the Randomizer, switch patterns, manage Snapshots, and more all in one spot.
SeekBeats’ powerful envelope screen is blue, very blue. Screenshot by Author.
Another screen provides a sound library to manage the factory and user-created sounds. You also use this screen to assign sounds to one of the eight voice slots. Again, the simple interface makes things a breeze.
I wish SeekBeats provided a one-stop screen for mixing, the ability to arrange patterns into songs, and a delay effect; although the chorus partially works in the latter case. Other than those minor requests, there is no doubting the app’s quality for composing and tweaking electronica beats. SeekBeats is recommended for electronic beatmakers looking for a unique take on this creative process.
iOS musicians interested in exploring modular synthesis on their iPad or iPhone need to check out the excellent app, Audulus. Featuring a clean, state-of-the-art user interface and great sound, Audulus does a nice job of scratching that sound design itch when a desktop or laptop computer running Reaktor isn’t available. A Mac OS X version lurks as well; someday I hope to check it out.
Audulus for the iPad Features
Universal App Supports iPad and iPhone
Excellent User Interface leveraging Vector Graphics and the Retina Display
Many Modules, including Oscillators, Envelopes, Math, Filters, Effects, and More
Monophonic and Polyphonic Support
Build your Own Modules with an In-App Purchase
iCloud Patch Sync between iOS and Mac Versions
Support for MIDI, Virtual MIDI, and Audiobus (Input and Effect)
Audulus allows users a host of options for modular sound design framed in an easy to use interface that works nicely on the iPad. Interested synth tweakers take note.
Audulus shines on the Touchscreen
While the Audulus “paper” documentation is limited, there are a host of sample patches worthy of exploration. Developer Taylor Holiday also provides excellent tutorial videos that explain many of the app’s interface and module concepts. The included patch browser is easy to navigate.
Audulus sports a convenient virtual keyboard overlay. Screenshot by Author.
Audulus nicely leverages iOS touchscreen gestures for app navigation. A press on the screen brings up circular styled context menus as needed. Zooming in and out works as expected.
Adding new modules and “wiring” them together is generally a breeze. A special connection mode makes wiring an easier process, especially when dealing with modules with tons of connections, like the 16-step sequencer.
I definitely recommend watching Taylor’s introductory video that walks you through creating a synth patch that utilizes a sample and hold module powered by a random number generator to give the sound a sense of motion. This becomes a great starting point for your own patches.
Also be sure to take advantage of Audulus’s meter modules to get a feel for what is happening in your patch. The tutorial videos do a nice job of explaining how these work and where they are useful.
Audiobus Effect Support Intrigues
In addition to synth patches, you can use Audulus to create effects for processing external audio. The app supports Audiobus, working as both an input and an effect, so audio from other iOS Audiobus compatible apps can be tweaked as well. This definitely improves the utility factor of the app.
Audulus’s sequencer module looks like one half of a millipede. Screenshot by Author.
Support for external MIDI keyboards and Virtual MIDI lets you control Audulus and its modules from alternate sources.
As mentioned earlier, Audulus’s non-video documentation, while helpful, serves more of a reference role. Additional written tutorials would be helpful. Having said that, this is an app where simply diving in and experimenting will be rewarded. The Audulus forums are a good place for help if you get stuck.
Special note must be given to Jody Golick’s four included patches that reveal the level of art possible with Audulus. The sounds and music they generate definitely inspire, but I wish the app’s labeling functionality was used to explain some of the patch design decisions. Maybe a tutorial wrapped around Golick’s work would be a nice addition?
This Audulus setup adds a sense of motion to a patch by controlling the cutoff frequency on a filter. Screenshot by Author.
Taylor Holiday continues to support Audulus with patch presets and sample audio support on the docket. Personally, I’d love a more fleshed-out sequencer module with a varying number of steps and support for direct note, key, and chord entry, as opposed to the current frequency entry. In the interim, the following frequency to note conversion website is a godsend.
There’s no denying that Audulus is a special achievement in the world of iOS music apps. A stunning user interface makes modular sound design a blast. I recommend this app for any iOS musician interested in exploring modular synthesis.
(Editor’s note: Kev Ellis cohabitates the same worldwide Space Rock scene as myself. He’s played with Bubbledubble, Kev and Trev, and Spirits Burning among others. In fact, I think we are on the same Spirits Burning track from their Alien Injection album. SB being an Internet-based music outfit, we’ve never met in person. I knew he was using an iPad for recording, so I asked him to pen an article for us. He also has some app reviews coming down the pike here at TabMuse.)
Kev Ellis’s cat serves as his studio manager. Photo by Kev Ellis.
Space Cadet is my first solo CD release after over 20 years of playing in space rock and blues rock bands. In March 2013, I received an iPad 2 for my birthday, and set about writing — without a band — the space rock album I heard in my head.
Equipment Used During the Recording of Space Cadet
External devices were recorded on the iPad by connecting the mini jack, via the line out on the Mackie desk, to the Griffin iMic, which was connected to the USB port of the CCK, which was in turn connected to the iPad port. Apps were recorded via Audiobus, or externally from the iPhone, if no Audiobus support.
Kev’s intrepid connectors for his iPad-powered recording studio. Photo by Kev Ellis.
A Track by Track Rundown of Recording Space Cadet
1. Guiding Light
I spent an enjoyable afternoon recording wave sounds at Langstone Harbour edge. This track features great guitar from Grunty McNaughton, His guitar sound comes from a clean stack on GarageBand combined with distortion and a Boss Space Echo pedal.
2. Celebrate The Day
The drones and bubbles come from Alchemy and Monotone. I recorded acoustic guitar clean as a line-in vocal track, then pasted it onto a distorted GarageBand guitar amp preset, which seems to eliminate a lot of gain noise.
3. Resting Heart
The dawn chorus was recorded on the iPad from my back door — blackbirds sing in C#! Crowd noises recorded on iPad at Gatwick Airport departure lounge.
4. Super Cosmic Space Age Baby
This was recorded in two segments, with section 2 a semitone up; then edited together. Harps in two keys and live handclaps in the second section — One Two Three Four!
5. Emerald Eye
I’m really pleased with the harp sound on this. It was recorded clean, through the Mackie, line in to iPad GarageBand, as a vocal track, and then pasted onto an effected guitar preset.
6. Sunrise Pagan Bop
This was an attempt to write a tune like one of those great seventies spacey singles. It has a nice chunky rhythm guitar sound — on an acoustic that cost less than twenty UK pounds — recorded clean then pasted onto a GarageBand guitar amp preset.
7. Time Reflection
This one has layers of iKaossilator. It’s a nice app, but just a damn shame it hasn’t got the sounds of the original Kaossilator box.
8. Ancient Flight
I bring an eighties Hawkwind feel on this one. I used the Dub Siren app for the audio generator noises and added some nice iKaossilator action along with harp solos.
9. Morning Raga
This track drifts off to the end of the trip. There are lots of layered Kaossilator along with some nice tabla and gong samples.
Space Cadet was originally sold as 100 off numbered run of CDs and a free download. The CDs just about gone, bar a few I held back for the summer festivals. (ed- Kev regularly plays Glastonbury as well as other space rock festivals in England) The last few copies are on sale from Amazon UK.
The cover of Kev Ellis’s recent album — Space Cadet.
All in all, recording Space Cadet was a totally engrossing fun process and an album of which I am proud.
The EMS VCS3 — with other models known as the Synthi or Putney — is a legendary analog synthesizer from the Golden Age. Pink Floyd’s “On the Run” from Dark Side of the Moon famously uses the VCS3, and that same synth arpeggiation now serves as the “Hello World” application for many current analog beatboxes, like the Korg Monotribe.
The iVCS3 app, developed by apeSoft, is the official EMS VCS emulator for the iPad, and frankly, this rich and detailed app raises the bar for analog synthesizer emulation. So there.
The iVCS3 for the iPad Features
Three Oscillators (Two Main, One LFO)
Noise Generator
Two Amps, One Envelope, One VCF
Virtual Patch Board Matrix, Joystick, and Keyboard
Like the hardware original, the iVCS3 is perfect for sound effects and processing external audio. It does function nicely as an Audiobus Effect, so the same use-case works on the iPad. The dead-on simulation of the VCS3’s unique hardware interface and wonderful sound make the app a must have for iPad synth aficionados.
A Richly Detailed iPad Synth App
Thankfully, the iVCS3 app comes with hundreds of patch presets, as the synth’s rich synthesizer architecture makes it a bit difficult to dive right in. The app includes copies of the original VCS3 synthesizer manual as well as the iOS version. Be prepared to spend some enjoyable time reading the original manual as well as perusing the collection of patches, which include some of Delia Derbyshire’s work for Doctor Who.
The iVCS3 is a dead-on simulation of the classic hardware original. Screenshot by Author.
The VCS3’s peculiar interface with its pin board patch matrix and joystick are nearly perfectly emulated on the iPad. As you navigate between the app’s three main screens (two for the synth and one for the sequencer and other functions), it is possible to bring the joystick along for some real-time patch tweaking. The virtual keyboard is similarly “portable.”
While deep, the architecture should be somewhat familiar to anybody who knows subtractive synthesis; the names of some of the parameters may have changed, but they work the same. The touchscreen operation of the knobs, switches, joystick, and patch matrix are all top notch; I wish all the knobs on iOS synth apps worked as well.
A Classic Emulation of Analog Sound
The sound of this app is stunning, hearkening back to the classic albums and science fiction TV shows of the early 70s. The VCS3 earned a reputation as a top notch synth for sound design instead of prog-like keyboard wizardry, and the iVCS3 is no exception. It is possible to lose hours playing around with the preset patches.
I was able to get cool results running some beats from DM1 into the iVCS3 with Audiobus, using the iVCS3’s filter and ring modulator circuitry. Once again, the preset patches were a godsend as far as getting things running. I’d recommend starting with a preset to make your own patches; wide varieties exist for most usage scenarios.
The iVCS3 app in action as an effect in an Audiobus session with DM1 providing the input. Screenshot by Author.
Speaking of presets, let’s talk about the data architecture around patches. The iVCS3 contains any number of banks which hold individual patches, called snapshots. It is possible to load 4 snapshots in each bank to the SnapPad, an X-Y controller that allows for real-time morphing between the snapshots — ala the Animoog.
The iVCS3 loves its Computing Power
Like many recent iOS music apps, the iVCS3 requires a fair amount of computing horsepower. It behaved mostly well on my iPad 2 with the latency set to 512 samples. Occasionally there were audio stutters, especially when switching between the synth and the sequencer. Apps like Korg Gadget, Stroke Machine, and iVCS3 have put an iPad Air in my future sooner than later.
The iVCS3 is a rich synth app with incredible sound and a stunning emulation of the unique hardware interface of an analog synth classic. Any musicians interested in vintage synths and edgy sound design need to head over to the App Store for a downloading session.
Wolfsburg offers a Distant Mirror to 80s Polyphony
Wolfsburg is essentially a mini Rompler filled with sampled waveforms from a variety of classic analog synths. The sounds seem more 80s oriented than related to the 70s, with classic Oberheim and one can assume the Korg Polysix and Poly 61 well represented. Its main difference with Phoenix is being sample-based versus the latter’s virtual analog emulation.
Wolfsburg provides Gadget classic analog samples from the 80s. Screenshot by Author.
Two oscillators operate in either monophonic or polyphonic modes. Noise can also be mixed into the equation. A standard array of subtractive synthesis controls (including a filter), a useful modulation matrix, and two separate effects round out Wolfsburg.
Brussels spouting Today’s Monophonic Anthems
A unique monophonic Gadget with a host of modern musical applications, Brussels serves well as either a lead or bass instrument. The “Anthem” moniker definitely applies. Brussels sports a modern, sleek interface with a collection of interesting synth controls organized within three sections: Generator, Performer, and Output.
Brussels is a Gadget suitable for state of the art bass and lead sounds. Screenshot by Author.
The Performer section’s pump and repeat controls appear to influence a patch’s delay and envelope settings — more or less. The interface lends itself to experimentation, especially the Generator section which offers unique tweaking of the filter, glide, and low-end controls. The Output section includes a reverb as Brussels’ only true effect.
Kiev resides in Outer Space
When a track needs a bit of ambience to finish it off, or if you are creating a music piece squarely in the realm of outer space — Kiev is the Gadget of choice. An “Advanced Spatial Digital Synthesizer,” Kiev is slightly reminiscent of Animoog. It uses four waveform oscillators, leveraging an x-y pad to mix the four in real time.
Korg Gadget’s Kiev is squarely in outer space. Screenshot by Author.
A second screen provides access to a filter, envelopes for the amp and filter, and a singular multi-effect. This is a fun, spacey Gadget suitable for real-time tweaking. Hopefully some additional waveforms get added in a future update (or the ability to load your own), but there are currently enough to satisfy most musical scenarios.
Chiang Mai for Take Out
Chiang Mai is a Gadget sporting a variable phase modulation architecture. This makes it suitable for bells, organs, or even a decent lead. Some of the factory presets cover basses and even sound effects pads — it’s a pretty versatile gadget with a DX-like sound.
The first screen offers access to the oscillators and filter; be sure to tweak the harmonics control on both oscillators to get a feel for the sonic possibilities. The two envelopes as well as chorus and delay effects reside on the second screen. If you want to channel those crystal clear sounds of Yamaha in the 80s — Chiang Mai is your Gadget.
Taking our Talents to Miami
Looking for a modern sounding low-end? Check out Miami. This unique monophonic gadget offers an interesting architecture not unlike Brussels with the Wobble knob — a form of BPM synced LFO — taking center stage. Miami is also suitable for some badass lead sounds as well.
Miami’s filter has a resonance control called “Crush” suitable for an extra edge compared to other filters. The carrier and “X-Mod” dual oscillator setup is capable of some complex waveforms. I’d like a delay (wouldn’t we all) but the Wobble function almost serves that role.
Helsinki brings Scandinavian Ambience to Gadget
Another Gadget suitable for ambience, Helsinki rounds out Korg’s collection of virtual sound modules. The interface even hints at an icy Scandinavian winter and the sounds come pretty close as well. Many useful drones or mellow leads lurk within.
The Helsinki architecture utilizes a generator that combines an oscillator with an EQ; noise can also be mixed in. The LoFi frequency control is great for real-time tweaking. A filter, envelope, and a reverb finish off Helsinki.
There you have it — twelve great Gadgets and an environment for electronic music creation provided by Korg all within one app. Gadget is simply a must download for iPad musicians. Hopefully future updates with add to the mayhem — especially a new drum module or three!
At the time of our review of Audiobus 2, I hadn’t yet picked up its multi-routing feature available through in-app purchase. Intrigued by the possibilities of chaining effects — even on my resource-constrained iPad 2 — I bit the bullet, and here’s what was discovered.
Audiobus 2 Multi-Routing on the iPad 2
As I am more focused on the iPad for creating loops, beats, and its array of innovative synth apps, I don’t have much need to run 6 separate tracks into Garage Band or any other iOS DAW simultaneously. I figured a smaller Audiobus setup would be musically useful and still be able to run smoothly on the old iPad.
First off, using my standard 512 frames buffer setting with Audiobus, I tried a two route preset with one route having DM1 running through the iVCS3 used as an effect. The second route used iMini through the Moog Filtatron and Echo Pad in series. Both routes were sent to Garage Band for recording.
Despite this pretty picture, I couldn’t get this Audiobus 2 preset to work properly on my old iPad 2. I had more success by simplifying things. Screenshot by Author.
I simply couldn’t get this setup to work. Apps were consistently going to sleep two or three at a time; garbled sound was coming out of the DM1 route, with clock running much slower than the expected 120 bpm. No sound came out of the iMini route.
I simplified things somewhat, replacing the iVCS3 with JamUp Pro XT and getting rid of the Filtatron. This became a bit more useful. I was able to play my DM1 loop, running it through JamUp with nary an issue. Adding an arpeggiation on iMini through Echo Pad led to occasionally garbled sound, but I wondered what actually got recorded in Garage Band.
As I suspected, non-garbled audio successfully ended up in Garage Band as an audio track. Now I’ve got an experimental distorted drum loop — a waltz even — with a delayed synth line on top. Nice. Raising the buffer to 1024 samples helped the recording performance even more.
I also enjoyed success running the iSEM on a single route through an effects chain made up of JamUp Pro XT and the Moog Filtatron. No audio hiccups nor app crashes impacted the session.
Since I really enjoy the experimental aspect of music creation, Audiobus 2’s limitations on my older iPad 2 aren’t a showstopper, but nonetheless I smell a tablet upgrade coming.
The Bottom Line is an Upgrade to a newer iPad is coming
Recent apps like Korg Gadget, Stroke Machine, and now Audiobus 2’s multi-routing feature really put a processor pinch on older iPads. I’d still recommend springing for the Audiobus 2 in-app purchase to get multi-routing functionality; the developers deserve the scratch anyway for the state-saving and preset management features.
Expect iOS 8 to be incompatible with the iPad 2 (iOS 9 for sure), so its days as a relevant part of Apple’s tablet lineup are numbered. It looks like I’ll be happily picking a newer iPad sooner than later. Not having to deal with the iPad’s crappy 30-pin connector — Apple’s worst invention — simply adds to the joy.
