AudioKit Pro brings us FM Player, a free iPad Synth, and now ROM Player, Open Source Instrument Code

If classic FM Synths are your thing, then prepare for a treat. Those lovely people at AudioKit Pro have created a completely free & open-source multi-sampled iPad instrument inspired by classic 80’s FM Synthesizers. This has been a true labor of love for this team. The team got their hands on a DX7 II and fell in love with the sound, and I have to say, why wouldn’t you? They’ve spent months lovingly crafting and sampling the sounds, and it’s a great app. Now it’s finally available in the app store, and what’s more it’s for FREE.

Here’s a bit more detail:

  • Classic presets, faithfully recorded from the original retro 80s Synthesizers (which may have been used by someone very famous:
  • DX7, DX7II, TX81z sounds
  • Over 50+ presets included, completely free!
  • FX: Reverb, Ping-pong dealy, Auto Pan, Bit Crush, Stereo Fatten, and more!
  • MIDI in (Play with a MIDI Keyboard or AudioBus 3)
  • Filter: Low-pass Cutoff, Rez, and Filter LFO
  • AudioBus 3 & Inter-App Audio (IAA) integration.
  • Use these amazing sounds w/ AUM, BeatMaker 3, GarageBand, and other apps
  • All knobs have MIDI Learn

FM Player is available for iPad and is free on the app store now:

If that wasn’t enough AudioKit Pro have released AudioKit ROM Player. This is a completely free and full-featured professional sample playback instrument example. The AudioKit ROM Player code can be modified to play EXS24, Wave, or Sound Fonts. replace the included sounds and graphics with your own creations and upload your own app to the app store! You’re free to use this code however you’d like. It’s free and open-source! Meaning, you don’t have to pay AudioKit anything at all.

This is kind of huge. There have been lots of different ways to create iOS apps without writing code, but now you can actually make an iOS app using samples of your own and deliver it. It’s big, really big, in my opinion, and I’m going to be very interested to see what does get produced with it.

If you use the code, please let us know what you’ve made, we’d love to hear from you! So, go check it out …

You can find more details at the AudioKit site, and you can get the code at GitHub.

The post AudioKit Pro brings us FM Player, a free iPad Synth, and now ROM Player, Open Source Instrument Code appeared first on CDM Create Digital Music.

Positive Grid’s AI Drum app expands its library, speeds up analysis, adds kits and grooves and more

Positive Grid’s X Drummer: Songwriting Tool arrived back in March this year as a new artificial intelligence drum for your iPad. It’s had a few incremental updates since then, but nothing as big as its 1.5 release today. Positive Grid have outdone themselves by making X Drummer even better for its users, and far more enticing for anyone who needs an AI for their iOS production workflow.

Here’s what’s new:


Completely redesigned user interface for better workflow – new Song Editor, transport controls, Browser, Play to Find, and more.

  • The groove library has been expanded to 380+ realistic drum performances.
  • New drum kit preset management lets users quickly save and recall custom drum kits.
  • Improved Play to Find engine for more accurate and faster analysis.
  • New filter options allow quicker navigation within the MIDI groove library.
  • Recorder feature allows users to overdub guitar riffs on top of the backing drum track.
  • 5 new drum kits (80s Rock, Modern FX, Jazz, Progressive Metal and Indie Rock) available as in-app purchases.
  • 3 MIDI groove packs (80s Pop, Classic Rock and Heavy Metal) available via in-app purchases.
  • Inter-App Audio and Audiobus support (full integration with BIAS FX, BIAS Amp, BIAS Pedal, and JamUp).
  • Export audio and drum tracks via Email or Dropbox.


X Drummer: Songwriting Tool is currently half price at $9.99:

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How BeatMaker caught the iOS music trend before it even started

It was one of the first apps to define what mobile music making on iOS could be. We talk to its creators to understand the story behind Intua BeatMaker.

CDM’s mobile editor Ashley Elsdon has always been ahead of the curve in understanding the potential of mobile music making. The clue is right in the name of his ground-breaking block “Palm Sounds” – started back when Palm devices were state of the art and iOS didn’t even exist yet. Those Palm gadgets included some all-in-one production tools, but BeatMaker took advantage of Apple’s generational boost in power and multi-touch interface. And that journey starts even before Apple had an App Store, let alone an iPad and a cadre of music making tools running on desktop-class architectures. No one has really told that story until now – and Ashley is the person to investigate. -PK

Before even the introduction of the iPad or even the App Store, BeatMaker 1 helped define the iPhone as mobile music platform. From there, it’s grown continuously in feature set and community, with BeatMaker 2 and now BeatMaker 3 each representing not just incremental, but ground-up new apps and radical landmarks in functionality. Ed.: You might look at those older releases if you’ve got a ‘vintage’ device running an earlier OS.

Following BeatMaker 3’s release, I wanted to understand direct from the developers how that journey took place. I was curious what had driven them and how they’d made decisions about what to keep and what to throw away. Hopefully you’ll find Intua’s responses as interesting as I have. Intua developer and co-founder Mathieu Garcia responds.

Ashley: What was it that first made you think about developing BM1, and how did you go about making it happen in a pre-App Store world?

Mathieu: Back in 2006, I was an IT consultant and was sent for a mission in London. The company was looking to create a “proof-of-concept” app that would allow VoIP calls on the iPhone. At the time, months before the launch of the App Store, you had to go through all kind of homemade toolchains and rough documentation. It was pretty interesting project, and one of my tasks was to reverse-engineer the audio layer of iOS 1.x. By the end of the project, they gifted me the development iPhone. During the flight back home, I looked at this futuristic phone and thought it would be pretty nice to write a small drum machine on it, just for the sake of it.

Luckily I had a couple of free days ahead and basically spent them reverse-engineering, designing and coding this modest drum-machine called “BeatPhone”. I would be sleeping only a couple of hours a day and barely eating. It was a really creative “rush.” I connected with a very nice IRC community of hackers / devs; George Hotz was one of them.

At the time, third-party apps were distributed on a platform called “Cydia,” that was installed automatically after jail-breaking. Ed.: For those not familiar with this process, basically you’d hack an exploit in the phone, allowing custom, non-authorized open source software to run its own application installer on the device. Apple was routinely patching these holes, with hackers rushing to stay one step ahead.

Every day, new apps would be made available. I can imagine that a lot of now-established iOS developers started during this period, too. So I uploaded “BeatPhone” in there. It looked pretty horrible, to be honest, and was barely usable at first. I had a blog, too, with install instructions, dev updates, etc. People would reach out, sending encouragement emails, asking for new features, etc.

Before the iPhone was even announced, some close friends organized a meetup in Barcelona to brainstorm around a touch-screen based device for music production. It was tricky, since we were not living in the same place, but we kept exchanging for a couple of months. Work and budget came in the way as well. Two of them, Colin and Vincent, who would later become co-founders of INTUA, were part of the project. We attended the same engineering school back in Paris, and we knew each other pretty well.

Anyway, a couple of months later, I decided to show them the app “BeatPhone”. During that time, it was evolving quickly. The interest for music creation apps was growing steadily. In a couple of weeks, this turned from a complete hobby side-project to my daily activity. I think I reached somewhere around one million hits on the blog. Vincent and Colin came over in Geneva, I introduced them to the unofficial SDK/toolchain, and naturally, we started brainstorming and designing a new app. UIKit wasn’t even a “thing” at the time, but we had a good friend working on a cross-platform OpenGL widget library for a few years now. We ported it to iOS, and still today, we use this framework.

We also wrote an audio engine from scratch, we made blueprints — it was so creative. A few months later, in March 2007, I think, Apple made the big announcement: the App Store was launching in July – perfect timing. We quickly set up a company, got the official SDK, and started adapting the existing code. We were immensely productive and BeatMaker 1 was made available two days after the initial App Store launch. We thought, oh well, at least if we can cover just the basic cost of a modest lifestyle, that’d be great! We had no idea about sales, and I think 15 days later, someone from Apple gave us a call, congratulating us and giving us the first numbers. It was very unexpected. It was becoming real! That was it, we were now convinced we could really continue working on BeatMaker. We quickly went back on the whiteboard and start planning features ahead. INTUA was now a real mobile app company.

What was the reaction to BM1?

Amazing, really, at least from people who had bought the app. We would get daily encouragements, some super nice fellows reached out, and we naturally started working on artists kits, sound packs, etc. New opportunities would open almost every week, press would reach out, etc. That said, it was still very “niche.” Most artists and producers wouldn’t even consider sketching out a few beats on the iPhone. It made no sense to them, and honestly we could understand why, knowing the limitations of the devices. At the same time, people started sharing their tracks, or even full albums with us, entirely made on iOS. It was taking off; it was clear it would take time for the platform to be really considered as “viable.” The community involved was very supportive, and that really drove us in the right direction.

After BM1, what was it that helped you to form the ideas around BM2?

Basically, we thought BM1 was focusing too much on the drum aspect and had no real track/instrument paradigm. Limitations are good, but you really had only 16 pads for your track. We looked at what was available on iOS and started scratching our heads, brainstorming a lot. This was maybe only a few months after the initial BM1 launch. We looked at desktop software, too, and decided it made sense to follow the multitrack path, while also focusing on the sampling aspect. It came pretty naturally to improve the existing BM1 drum sampler layout, and complement it with a keyboard sampler. Adding a more advanced sequencer, people would be able to compose full tracks. Originally BM2 had no audio tracks and was designed for iPhones. The iPad came out and gave us even more room for improvements while also focusing on bringing meaningful features.

What did you want to achieve with BM2?

Trying to bring a solid new app on the iOS world. For us, innovation is paramount. The feature set had to be powerful and [not something users had] seen elsewhere. We knew big names from the industry had a growing interest in developing for iOS, so we absolutely needed to be one step ahead. BM2 was feature-rich, sometimes maybe even too much. The learning curve was a bit steep but after a while, people started finding crazy (genius) workarounds, tricks, and ways to compose. Basically, you got to invent your own workflow to materialize your idea in the app.

Keyboard Sampler Interface v3

BM3 was a big step from BM2. How did those ideas come about, and how much did user input help you to make decisions?

It was really important for us to address all the workflow issues and discrepancies BM2 suffered from. The idea was to bring something new not only in terms of features, but also on the UX [user experience design]. Again, we like to start fresh while improving concepts that have proven to work well. It was clear BM2‘s strongest points were the sampling and chopping capabilities. This time, we decided to look a bit further than the software world and see what modern gear had to offer. After all, the iPad is a controller, too. Before even hitting the whiteboard once more, we went on our own forums, collected all the feedback (positive & negative), and printed it. We would constantly read and get back to this huge pile of paper — a goldmine, really. The more we were reading it, the more we would grasp what people expected: a concept that would blur the line between a controller and an app. Digesting all of this information took time, but we did not want to rush anything and be sure to come with a novel design. It took us around three years in total.

One thing you haven’t done is move out from iOS, either to Android, or indeed to the desktop. Can you imagine BeatMaker as a desktop DAW?

It’s the next logical step, since more and more of our users are asking for BM3 on their Mac or PC. Competition is tough on desktop platforms, and I don’t see BM3 ever replacing the big DAWs out there, and that’s not what we have in mind, anyway. Our users want to transfer their productions back and forth to their studio/computer, without ever getting into manual file transfers and things like that. Offering the same feature set on the go or back at home is what we can provide. We do have a Mac version for internal development and to make the life of sound designers easier, but this isn’t quite what we want to release to the public. Hopefully, 2018 will be the year INTUA makes its first move to the desktop world — it’s a really good opportunity for us.

As for Android, well, it’s a tough one. If we can’t provide a similar experience on it, then we’ll keep waiting until it gets a bit more unified. There are so much devices out there, it could really become a nightmare to ensure the app works correctly on all of them. However, I think [Microsoft] Surface / Windows Universal Windows Platform is to look for! Ed.: That’s Microsoft’s family of touch-equipped hardware laptops and tablets, plus the means of targeting traditional desktop Windows users and users of a variety of hardware platforms at the same time – even including things like Xbox and HoloLens.

CDM: What does the future look like on iOS for Intua?

Intua: The latest iPads and iPhones are often benchmarked against laptops, and I think this says a lot of what’s coming next. Also, some of the frameworks we use to develop on macOS and iOS are merging into a single entity, so clearly, Apple is blurring the lines between both worlds. It’s ambitious to ever consider replacing laptops with tablets, but they can surely complement each other.

If we look back, iOS has evolved so much in the past couple of years; iOS 11 brings file management a step closer to the desktop experience.

On the audio side, well, Audio Units V3 [plug-in support] was a huge milestone, and our users love integrating their favorite synths and effects directly into BM3. This is a real creativity booster and gives a new dimension to mobile production. It’s even bringing devs to connect, which is great! We’ll keep working on iOS, for sure, and staying in line with Apple’s products and technology is something we actually enjoy doing – especially since the introduction of the “pro” iPads (and now iPhones).

If you could give new iOS developers a piece of advice, what would it be?

Be sure to bring something unique to the user. Competition is tough and there are so much synths, effects, DAWs out there that you need to differentiate yourself in a clever way. Being close to the community is also paramount — understanding how your users create with your app is something to look for constantly. As developers, we often focus on testing part of the app; it’s a very methodical approach, but testing it as a whole entity is a completely different thing. Your users do, so
keep listening to them and make sure you don’t break their creativity with a clumsy interface. Even the smallest detail can become a productivity killer.

That said, iOS is a land of opportunity; you see indie devs “living” along big companies such as Korg in the music app charts — this is pretty unique!

What would you change about iOS, if you could?

Luckily, iOS 11 was released not so long ago, but one aspect would be a more streamlined way to manage and transfer files to and from the device. Also, on the hardware side, we need more storage space! Samples, projects, exports, archives, etc. will eat space very quickly. The latest iPads and iPhones come with better storage options (but you pay the price), so I guess it’s going on the right direction.


All three versions of BeatMaker are still on the App Store – BM1, BM2 and the latest BM3).

The post How BeatMaker caught the iOS music trend before it even started appeared first on CDM Create Digital Music.

Neue Mixe: Double Impact 08.12.2017 pt.1 & pt.2


Wie ihr seht braucht es hier gar keinen Adventskalender es rauscht auch so rein :D
Am Freitag war dann mal wieder Double Impact Time, also die Nacht die sich Wolle XDP und ich abwechselnd teilen und zwar all night long. Diesmal machte Wolle den Anfang und somit ich das Ende, will heißen es geht mit Part 1 schon richtig los und wird in Part 2 hintenraus etwas ruhiger.
Viel Spaß mit 5 1/2 Stunden Musik



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How To Record + Mix A DJ Set With Live Crowd Noise

Recording a DJ set with crowd noise

Want to make your DJ mixes that you record in the club in front of an audience sound professional and live? Guest contributor Cameron Lichtenstein shares what you need to get the cheering crowd into your next mix. It's a cool effect that makes people listening to your mix feel like they were right there on the dance floor.

The post How To Record + Mix A DJ Set With Live Crowd Noise appeared first on DJ TechTools.

BeatMaker 3.0.8 arrives with support of AUv3 MIDI plugins and so much more

BeatMaker 3 just keeps getting better and better, and with it’s latest 3.0.8 release it has added support for AUv3 MIDI plugins, a feature that many users have been asking for. This is a huge update, so here’s all the detail:

Overall improvements

  • Song position readout, in the transport bar, can be switched between BAR:BEATS, MM:SS.MS and SMPTE, simply by pressing it.
  • Support of MIDI knob increment/decrement (“infinite” encoders), via MIDI RPN/NRPN.
  • The transport bar record button will now be red when recording.
  • Added an option, in the recording panel (press the ‘Q’ label on the transport bar), to disable minimal note length quantization.
  • It is now possible to show/hide the left global navigation bar while displaying the AUv3 keyboard screen. This gives access to effects and macros from that view.
  • It is now possible to tag packs & categories on a selection of files and directories, recursively from the Browser in files mode.

Sampler & Plugins

  • Support of AUv3 MIDI plugins. Now, BeatMaker 3 will create virtual input MIDI devices for each AUv3 that supports MIDI out. This way, you can route MIDI messages to other plugins and the sampler.
  • Added a ruler button on the full-screen sample editor to switch the time reference of the bottom grid between seconds, samples and bars/beats.
  • When using the “Add to existing layer” sample load method, get the currently selected layer rather than the last one. The layer can be selected from the editor screen > SAMPLES tab, just below the small pads selector.
  • Added move left/right and zoom in/out tools on the mapping editor toolbar.
  • The “Stereo to Mono” sample process tool now offers the possibility to use only the left or right channel.
  • When selecting a sample from the mapping editor, highlight it as well in the “SAMPLES” listing.
  • When drag’n’dropping a sample that is added to an existing layer, auto-select it in the “SAMPLES” listing.
  • Added tooltip next to sample markers when moving them, that will follow the current ruler unit (seconds, beats and samples).
  • Improvements on the “Zero Snap” tool: adapt scan size to the currently visible range and find the closest zero-cross against all channels.
  • Sample editor zoom in/out is now behaving more naturally.
  • Sample editor move left and right buttons will now behave more naturally.
  • Double-tapping the sample editor “START/END” or “LOOP” button will focus and recenter.
  • In the full-screen sample editor, added a marquee above sample & loop start/end markers to make it more obvious the area can be dragged.
  • Zoom in/out and move functions are now consistent on all three modes: select, slice and normal.
  • “Grid Snap” can now be used in Slices mode in the sample/slice editor.
  • Long press on [-] and [+] on the sample editor will resp. fully zoom out or in.


  • Added a setting for the transport stop behavior: it can either go back to the start of the track, or on the latest position (by pressing the bar / position in SONG mode).

Bug fixes & engine improvements

  • When drag’n’dropping a sample onto the mapping editor, follow the browser load method.

  • Fixed an issue where it was not possible to drag’n’drop a sample after C5 on the mapping editor.

  • Fixed Modulation Delay effect that would still apply processing when depth was set to 0%.

  • Fixed an issue where exporting sliced sample to Apple Loop will not preserve number of beats and tempo.

  • Fixed an issue in the browser where sharing a file from a group would bogusly pick another file.

  • Fixed the Auto-Scale feature.

  • Fixed a crash that could happen when using samples with bogus metadata.

  • Fixed an issue with the validation of purchases on iOS 11.2.

  • Fixed double tapping of a value in the parameter panel.

  • Fixed an issue where the mixer would not show any level.

  • Fixed an issue where audio recording wouldn’t start or record anything.

  • Fixed a crash that would happen when exporting slices to a new bank.

  • Fixed a browser issue that would happen when dropping a file back onto itself.

  • Fixed a crash that would happen when duplicating pads with AUv3.

BeatMaker 3 is on the app store and costs $39.99:

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FS Reverser Delay arrives from Bang Means Do It Software Ltd, and is interesting for a number of reasons

Bang Means Do It Software Ltd are a UK firm who say that they specialise in audio software and apps. Lots of people say that kind of thing, but with Bang Means Do It Software I believe it, and for a number of reasons. Firstly, they are core team members of

A stereo delay effect with LP/HP filter, can be used as an audio unit or as a standalone application.


  • Stereo delay effect with delay offset, reverse mode, feedback and mix
  • Tape-like resyncing of delay offset
  • Per-channel state variable filter, offering low pass and high pass modes
  • Mono or stereo input
  • Clean and simple design
  • Runs on both iPads and iPhones
  • Selection of factory presets (available when run in an Audio Unit host)

They go on to say …

Studio on the Go

In recent years the processing power of mobile devices has come on in leaps and bounds. This has opened up some truly amazing opportunities for music makers everywhere, with fully functional DAWs now being available on portable platforms. This is something which could represent a real sea change in the world of music production – who wouldn’t want to carry around a complete recording studio in their pocket? But while countless third party plugins are available for desktop DAWs, musicians on the go want to be able to kit out their portable studios with high quality effects and instrument plugins as well. This has lead FutureSonic to create the Reverser Delay – a high quality delay stereo delay effect that is both versatile and user friendly.

In Reverse

The Reverser Delay is a crystal-clear stereo delay comprised of independent left and right delay channels giving the user separate control over the delay time and feedback for each channel. Each channel also has a dedicated filter to sculpt the tone of the repeats, with the option of switching between high pass and low pass.

However, the crown jewel of the Reverser Delay is its reverse feature which allows for either the left or right delay channels (or both) to be reversed allowing for sonic experimentation not capable on a typical delay unit.

The Reverser Delay makes experimentation simple with an easy to understand user interface. But if users aren’t sure where to start, they can jump straight in and explore the Reverser Delay’s factory presets for inspiration.

FS Reverser Delay is a universal iOS app and costs $1.99 on the app store now:

The post FS Reverser Delay arrives from Bang Means Do It Software Ltd, and is interesting for a number of reasons appeared first on CDM Create Digital Music.


People keep telling me to use the radio but I really hate making voice calls.

Bring some Lo-Fly Dirt to your iOS production set up

A first time appearance on iOS for MSXII Sound Design. They describe their app as an audio coloration utility plugin featuring individual modes for classic emulation of some iconic music production tools. According to them their app is meant to bring character, or “dirt” to your incoming audio signals. Which might be exactly what you’re after in your iOS workflow. The Lo-Fly Dirt app installs as an Audio Unit effect for hosts that support the format such as Audio Bus, Beatmaker 3, Garage Band, Cubasis, AUM.

Here’s a bit more about what you can expect from the app:

Default Mode:
Adds subtle character of the input sound. Simple saturation and light, preset compression are added to the overall sound bringing out unique tones & textures of your source audio. The wet/dry knob at the 100 or full position would leave source audio “warmed up.”

60 Mode:
This preset mode is based on some of our favorite characteristics of an iconic drum machine. Activating this button should invite you to 12 bit nostalgia immediately boasting tasteful saturation, small amounts of compression, and a more rounded high end. Great on drums.

404 Mode:
One of our favorites, this mode is the only mode that should add subtle low-pass filtering to the input signal. This mode will apply low pass filtering at 12db per octave around 11.6Khz. The wet/dry knob will continue to filter the sound to no more than 200Hz. The signal will benefit from some additional signal boosting with minimal make-up gain and small amounts of bit rate reduction, or “dirt.”

1200 Mode:
Also built around our love for another iconic drum machine, this mode brings great punch, character, and dirt to any signal it treats. Especially useful for drums and percussion based audio.
more punchier variation of the 60 mode. Enjoy 12 bit goodness by default, but additionally a boost the signals character by our dirt and boost in the low-mid frequencies.

8 Bit Mode:
Simply put, this mode brings back the classic sound of a legendary game console. We’ve added a bit of punch to the incoming signal and you’re able to blend it with great 8 bit artifacts that will allow for some brand new creations…and fun!

SK- 5 Mode:
Also built off the things we love about the classic 8 bit sound, but with a twist…this mode adds HP filtering and punch! Instant dirt is applied when this mode is activated, high pass filtering and punch is applied as you move the signal from dry to wet. The HP filter is set to cutoff at 300Hz.

Lo-Fly Dirt is a universal app for iOS and costs $4.99 on the app store:

The post Bring some Lo-Fly Dirt to your iOS production set up appeared first on CDM Create Digital Music.

Neuer Mix: TNT Adventspecial #1


Sorry für die Verspätung, aber hier kommt es noch schnell bevor es mit dem 2. Adventspecial heute um 21:00 weitergeht. Für das erste Aventspecial habe ich, wie angekündigt, eiige Tracks zusammen gesucht die ich über das Jahr zwar schon immer wal in Mixe einbringen wollte, welche aber aufgrund der Rhythmik nie reingepaßt hatten, aber so zusammen gestellt durchaus Sinn ergeben.
Viel Spaß damit!

Hodge, Peder Mannerfelt – Inside The Rain
Intervention – Conjuration
Killawatt – Psi
Intervention – Extorsion
Scalamerija – Straga
Atze Ton – Let’s Work (Break Edit)
Scalamerija – Dazzling Grim
Manni Dee -Combination Acts
Ayarcana – Despite Everything (Manni Dee Remix)
VSK – Kernel Panic
Killawatt – Crackerjack Cacophany
Razbibriga – Rocksolid
Plug & Play – Wahrheit & Irrtum
Humandishuman – !
Sebastian Groth -Unknown Bionic

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