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iPhone music software

Articles about iPhone music software:


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Way Out Ware’s Jim Heintz demos iSample 2 (App Store link), and makes some pretty freaky sounds along the way.

Here’s what’s new in iSample 2:

  • sample trimming with pinch to zoom, two finger scrolling and scrubbing
  • sample length quantization
  • loop positioning/viewing screen
  • mixer
  • delay effect
  • a reverb effect,
  • step sequence pattern editor with 12 separate pattern buffers
  • a song mode that allows you to build songs out of patterns
  • WIFI sharing
  • tempo control with tap to set tempo

iSample 2 retails for $9.99. Read more…

 

http://www.vimeo.com/7584007

Following on from the original Deadmau5 Touch Mix comes the new version (App Store link), featuring 20 tracks including tracks from his new album For Lack of A Better Name, new effects, tilt control and an integrated Twitter feed.

It retails for $2.99.

 

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iPhone Music Software: Check out this visual demo of PatternMusic (App Store link) a gorgeous new matrix synthesizer for the iPhone.

PatternMusic retails for $4.99. Detailed specs below.

If you’ve used PatternMusic, leave a comment and let me know what you think of it! Read more…

 

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Amidio announced that Touch DJ (App Store link), described as the first full-featured DJ MP3 application on the iPhone platform, has been approved and is now available.

Touch DJ offers realtime independent manipulation of 2 MP3 files, including scratching, looping, positioning, equalization, effects and and pitching.

Touch DJ gets around the limitation of one set of stereo outputs by focusing on “visual mixing” – the graphic display of the track waveforms next to each other. The low-bass (kick) parts are detected and rendered in different color compared to the rest sonic frequencies, making beatmatching as easy as adjusting the tracks position and pitch so that the kick parts become visually matched. Read more…

 

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This is a video demo of IK Multimedia’s GrooveMaker Electro – a beatmaking app for the iPhone. Read more…

 

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      We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience. — Brian Eno

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