“I’ve got my strat going into the iRiffPort on my iPhone running JamUp, and that output going into my Fender Hot Rod Deluxe – it’s been great to be able to experiment with so many different pedals on the cheap, and these JamUp simulations are shockingly close!!!”

All the more reason something like this would be super awesome. Route your iPhone in-between physical amps and pedals and be able to stomp activate it’s effects… If such a pedal existed, with high quality IO, MIDI support for assigning controls to effects inside of the apps, and support for multiple audio processing apps, I’d probably buy it in a heartbeat.

JamUp Pro XT (universal) on the

Show notes:

• Novation Launchkey gets Audiobus
• Jack Audio Connection Kit
• iMini gets Audiobus
• Rode iXY - ”RØDE Rec or RØDE Rec LE app required for 24 bit / 96 k quality”
• Waldorf Nave (english version of video)
• Alchemy Synth Mobile Studio – Now also supporting Audiobus!
• Novation Launchpad video
• Rheyne Live looping jams using multiple iOS devices
• Heavy NanoStudio user & iOS producer Jinx Padlock
• NanoStudio Audiobus / Virtual MIDI thread
• MIDI Designer – App with knobs that appear around your finger upon touch
• TC-11 – iOS synth with unique UI

Be sure to follow the podcast on Twitter @TouchMusicPC or like us on Facebook to keep up with the show!

As requested via the forum, here’s how to use the BeatMaker 2 MIDI editor to draw in audio track automation to control the app’s built in effects and mixer…

1. Create a ‘sub track’:A sub track adds another row to the main sequencer for you to place audio and MIDI regions in, but uses the same sound source (keyboard sequencer, drum machine, audio track, ect…) and FX as the original track. To create one, tap the + button on a track from the main sequencer and select “duplicate.” This will create a sub track but it will also duplicate all of the regions in the original tracks, so you’ll need to delete those.
2. Next, select the draw option from the main sequencer and draw in a MIDI region in your newly created sub track:
3. Next, double tap on the region you just created and select the parameter you want to control:
   Go ahead and draw in some automation, you can change what will be controlled from the ‘edit’ menu (bottom right). Also, you may want to increase the grid size for smoother transitions (top right).

See also:
-Use BeatMaker 2 MIDI Editor and MIDI Learn Functionality to Control iOS Synthesizer Apps
-YouTube: BeatMaker 2 Sunrizer Funkbox and Audiobus – Live APP Mixing

List updated: May 1st 2013

1. Audio Filter
2. ThumbJam
3. CMP Grand Piano
4. Live Guitar
5. SunVox
6. MIDI Wrench
7. New! Turnado

Something missing? Leave a comment below!

iOS musician Jinx Padlock has been producing under the streets of London for a year and a half now – picking up initial momentum on SoundCloud and landing on Tactal Hots Music for his debut E.P. Colonisation. Primarily producing inside of NanoStudio, the DAW of choice for many iOS musicians, Jinx incorporates a variety of iOS apps in his tracks, keeping the use of desktop software to a minimum and pushing the limits of what can be done on iOS. His latest release is a remix of Nomean by Newborn, read on to learn about production process for the track and what’s in store for his future…

How did you get the remix rights?

Since joining Tactal Hots Recordings last year I’ve been receiving the remixes emails from the company, always good stuff on there, and pretty diverse. I find remixing a good way of exploring avenues that are normally, sub-consciously hidden from my normal workflow, so I try and do as many as possible. It’s also a good way of keeping my profile active out there!

Explain the process from receiving the media to mastering a mix…

If I’m doing this purely mobile, which is 95% of the time, I’ll Dropbox the audio stems into Auria and from there chop out what I think I’ll need. Sometimes you’ll just get 8 bar loops, sometimes its full stems of the track. If its the full stems its good to get one last listen to the track as it originally stood. I have one simple remixing rule which I never break – once work starts on the remix, under no circumstances must I listen to the original until the mix is final and sent off. I find too closer a relationship with the source material offputting and counter productive – best to let instinct take the mix wherever it sees fit. Once I’ve got my samples roughly cut up, it’s copied into NanoStudio, where I’ll do the real intricate chopping and tuning. I try and keep it neat, I’ll bring most of it into a TRG to sort, then break those into drums, bass, fx etc. Its always a fight if you’ve got a lot of usable stuff to leave room for Jinx Padlock TGS! I treat it like a normal tune, working in the 8 bar loop, getting everything leveled and EQed, then adding parts to it from iOS synths. I sometimes get supplied with MIDI by the original artist but have never used it, I think its better to create something new. I do all my MIDI work in Cubasis, I like the clean approach to hooking synths up. I’ll play stuff into Magallen, NLog, Animoog etc and either directly ACP into NanoStudio, or take them through Audiobus. My main workflow of choice regarding Audiobus is usually going through one of two effects – LiveFX or JamUp. I’ve actually been having a lot of fun with the JamUp amplifier simulations. Great for adding a crispy live feel to sound. Its a perfect device for the DM1, which pretty much takes care of all of my drum needs these days – get a pattern looping and fire it through a marshall stack. LiveFX is great for FX performance – just jamming FX into AudioShare, sometimes you capture some real magic. When I’m happy that I’ve got enough ammunition in the 8 bar loop, and after trying a few dropouts in the mixer, I’ll start to populate the song arrangement. It was pretty clear from the moment I sampled it that the vocal was going to be the hook, line and sinker of this tune, so it was a matter of getting to it in an interesting way, then letting it rip over some building synths. It was a fairly painless arrangement, I was happy to let it fall into an almost standard club tune and resisted the urge to go into crazier territory, it was working and grooving along so nicely – those vocals were getting me quite excited, needed to finish it! The mix took 4 days of commuting to completely arrange and mix, about 9 hours. I was really happy with Newborn from a clarity point of view – impressed with getting this amount of punch and flow out of NanoStudio‘s mixer. I never master directly on the track in NanoStudio, preferring to leave a -3/-6 db headroom and no compression, then get it into Auria to push it through the master bus. I find the key to that process is ignoring any of the preset mastering setups and starting from scratch. Every track is different so every track deserves a individual master. Newborn was a fairly easy final, no need for any extra EQ on the stereo track itself, it all went through the master bus. I tend to then live with a tune for a day or so, listen to it on a few different devices – ALWAYS the car stereo – learned this years ago from a professional engineer, even better than NS10s – if it sounds good on a standard car stereo, you’ve pretty much got it! Once I’m happy, it gets dropboxed to the label and, if passed, off to the distributors. Then, I wait…

Any other remixing in the pipeline?

There is a mountain of JinxPadlock mixes hitting this year, almost one a month, I’ve been really busy with it, almost forgot to get my new E.P. finished! There’s a few remixes that I’m really happy with, both new acts, exciting stuff – Pop-Up Machines, mixed two of their tracks, Fools in a Goldfinger Bond style, the other Good Clean Woman in a more bouncing breaks / house groove, great tracks to start off with, lovely vocal performances. Another is an act called OhBoy, I’ve remixed their track “Berlin”, taken it into a dark techno space, again driven by it being an excellent tune originally. Going to be fiddling with another of their tracks soon. Just finished mixing Eick – “Tattletail” – something that I discovered one day in my SoundCloud stream and instantly loved – pestered Eick for the parts and made a massive acid mess of it! I also plan to have another bout of remixing other iOS / NanoStudio / SoundCloud users stuff like I did last year, it was a lot of fun and quite revealing to see how differently people were using the software. I’ve already got my eye on a couple of candidates! Must finish the new Jinx Padlock e.p. first, not far off now, you’re in for a very loud treat!

You can follow Jinx Padlock on Twitter, Facebook, and SoundCloud to keep up with his new tracks and thoughts on iOS production.

We’re back with episode 2 of the Touch Music Podcast!

Show Notes:

• iMini
• ‘Tabletop Ready Apps’
• BeatMaker 2 MIDI learn to control synthesizers
• Cubasis v1.2
• The Audiobus support explosion
• Sunrizer for iPad v2.5
• Level.24 from elephantcandy
• d(- -)b

In case you missed episode 1, we are Tim Webb from Discchord and Chip Boaz from iOS Music And You. Follow us on Facebook, Twitter, and subscribe to the podcast on iTunes to keep up with the show!

1. Open Audiobus and select BeatMaker 2 for the output and a synth with MIDI learn for the input. So far I’ve tested this process so far with Magellan, Magellan Jr, Sunrizer, Sunrizer XS, and Arctic Keys. (If you discover of any other synth apps that can do this, please leave a comment below!)
2. First, in BM2 add a keyboard sampler track. When prompted to load in a sample set, select “Empty Preset” – we’ll just be using BM2′s sample synth as a MIDI controller.
   
3. Tap on the MIDI options in for the keyboard sampler you just created:
   and set the MIDI input and output channels are the same:
4. In BeatMaker 2 open the ‘MIDI Setup’ menu (tap the home button in the upper left, settings icon, and ‘MIDI Setup’):
   Make sure that the synth you’re using is turned on under input and output.
5. If you’re using Magellan, go to the preferences tab, open the MIDI learn menu, tap the ‘MIDI Destination’ you want to assign, then tap ‘Learn.’
6. If you’re using Sunrizer, tap the ‘Learn’ button and then the knob/slider you wish to control:
7. Switch back to the BM2 and open the sample synth settings:
   Twist one of the knobs in the the BM2 sample synth (since we’re only using BM2 as a MIDI controller it doesn’t matter which one – but be sure to make a mental note of the one you assign).
   Now if you switch back to Magellan, the MIDI CC number for the knob you turned in BM2 will be shown in the CC Map!
8. Switch back to BM2 and open up the MIDI editor. Select the parameter from the edit menu that you assigned to the knob in Magellan, and draw in some MIDI:

   Note: You may want to narrow the grid size to 1/96 instead of the default 1/16, to get more of a smooth control over the synths knobs.

   
   Woohoo! Now BM2 is controlling Magellan’s knobs via virtual MIDI!

If you found this tutorial useful, help support the iOS Musician Blog by purchasing featured apps (you intend on buying) via the links on the site!

BeatMaker 2 on the
Magellan on the
Magellan Jr on the
Sunrizer for iPad on the
Sunrizer XS on the
Arctic Keys on the

See also: Video: BeatMaker 2 Sunrizer Funkbox and Audiobus – Live APP Mixing

Follow iOS Musician: @iOSMusician | Facebook | Google+ | Feed | YouTube | SoundCloud

GarageBand on the

Audiobus has made my music production experience on iOS exponentially better. Now that the flood gates to the 1000+ developers who’s been waiting to add Audiobus to their iOS apps, things are just going to continue skyrocketing…

Audiobus Makes SDK Public:

Audiobus Pty Ltd, developers of the revolutionary Audiobus inter-app audio routing app for iPad and iPhone are today making the Audiobus SDK publicly available for all iOS developers. The public release comes after having reached over 100 compatible applications during the SDK’s closed beta.

After a three-month closed beta, the Audiobus Software Development Kit (SDK) is being made available to the public today. The SDK, which allows apps to support the Audiobus inter-app audio routing platform, has already been integrated into more than 100 apps including Animoog, Figure, BeatMaker 2, Auria, and KORG’s entire iOS app lineup. Over 1,000 additional developers have signed up to add Audiobus support to their apps.

The Audiobus SDK beta has already had an extremely positive response from developers. Alex Mathieu, developer of Glitchbreaks said, “It is a fantastic SDK to work with, and the people developing it are super helpful, and extremely responsive.”

Developers can get access to the Audiobus SDK, read the extensive documentation and communicate with other developers at the Audiobus Developer Center, http://developer.audiob.us.

About Audiobus…

With a clean and simple user interface, Audiobus allows users to easily connect the output of one Audiobus-compatible iOS app into the input of another, playing a synthesizer live into a looper or multi-track recorder, or using one app to manipulate the live output of another.
“It’s what so many iOS music makers want: to be able to use multiple apps at the same time, mixing together the audio from each of them into a single project,” wrote leading musicians’ gear website Music Radar recently, dubbing the app “groundbreaking”.

Follow the Developers: @MichaelTyson @ATastyPixel @dittsn @Audanika

The Amazing Audio Engine is Here & Open Sourced:

“The Amazing Audio Engine is a sophisticated framework for iOS audio applications, built so you don’t have to.

It is designed to be very easy to work with, and handles all of the intricacies of iOS audio on your behalf.

Built upon the efficient and low-latency Core Audio Remote IO system, and written by one of the pioneers of iOS audio development and developer of Audiobus Michael Tyson, The Amazing Audio Engine lets you get to work on making your app great instead of reinventing the wheel.”

View on GitHub