“Get lost in the music”: RipX DAW for Apple Vision Pro is an immersive music production environment that enables you to step inside your sounds
“Walk around and interact with melody while it plays through you, just like it’s really there”
Not satisfied with creating “the world’s first AI DAW,” Hit’n’Mix has set its sights on creating an immersive version of its RipX music production software for Apple Vision Pro.
There’s not a great deal of detail on this right now, but we do have a teaser video and the promise that you’ll be able to “walk around and interact with melody while it plays through you, just like it’s really there”. Of course, you could argue that any melody that you can hear is “really there”, too, but we don’t want to get bogged down in a philosophical debate about that.
This being a 3D environment, different instruments can be distinguished by distance, and all audio - whether that be live recorded, MIDI or stem separated - can be edited on a note by note basis. There are no waveforms - just visualised sound.
Whether this is a glimpse of what DAWs will look like in the future or just a novelty remains to be seen, but Hit’n’Mix is confident that RipX DAW for Apple Vision Pro will give users “a new way to create and enjoy sound that needs to be experienced to be believed.”
Since the launch of Apple Vision Pro earlier this month we’ve already seen a new Moog synth that’s exclusive to the platform and an AR version of Algoriddim’s djay. Users of other DAWs, meanwhile, have been experimenting with using the headset as an immersive laptop display.
All fun stuff, but we’ve yet to see a killer Vision Pro app that convinces us that mixed reality music making is the way forward. If Apple decides to port either GarageBand or Logic Pro to the platform, though, then it could be a different story…
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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.