iPhone/iPad iOS music making app round-up: Week 12
More good news regarding musical iOS standards this week. The rumour that native MIDI support is coming to iOS 4.2 appears to have been confirmed in a video by MooCowMusic, while Sonoma Wire Works has released version 1.2 of its AudioCopy/AudioPaste SDK.
And, of course, some new apps have been released and previewed: read on to find out more.
Also make sure you check out these regularly updated features:
The best iPhone music making apps
The best iPad music making apps
If you've got a new iOS app, make sure you let us know about it by emailing musicradar.pressreleases@futurenet.com with all the details.
Heavy Ephemera Wiresq, £1.19
While many iOS music-making apps are designed to be picked up and used by anyone immediately, this one looks a little more involved. It’s a sequencer that users wireworld – “a cellular automata that allows for the construction of digital logic circuits to generate audio triggers”. A basic synth with a filter is part of the package, too. Check out a video demo.
mobileRhythm, mR-606, £3.49
One look at the interface and name should be enough to give you an idea of what this is - a vintage drum machine that takes inspiration from classic Roland hardware. This being the case, there’s a step sequencer and a range of tone-shaping controls. A Universal version that works on iPhone and iPod touch is also available.
Konkreet Labs Konkreet Performer, £TBC
This one won’t actually be released until 2011, but we thought you’d like a preview now. Konkreet Performer is an innovative-looking MIDI/OSC controller that’s designed for live performance, and promises to “reconnect the musician’s actions directly with the music”. Check out a demo video here.
Liked this? Now read: The best iPhone music making apps and The best iPad music making apps
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.