Loopcloud 6 has an AI algorithm that finds matching samples automatically

Loopmasters has unveiled Loopcloud 6, the latest version of its DAW-based sample subscription service. This puts the focus on AI-powered searching, promising to make it easier than ever to find the sounds you’re looking for.

Loopcloud enables you to preview and modify more than four million royalty-free samples, right from within your DAW.

One of the biggest additions in version 6 is harmonic and rhythmic sound matching - select a sound you like and an AI algorithm will search through both your own sample collection and the complete Loopcloud library to find sounds that will fit with it.

All sounds added to your Loopcloud library are analysed and given AI tags, meaning that the algorithm should always be scouring all your material for matches.

There are new Audio Filters to help with your searching, too. Using the Tone, Length, Stereo, BPM, Swing, Rhythmic Density, Attack and Decay sliders, you can hone in on the sound characteristics you’re looking for.

Elsewhere, you’ll find three new tweakable effects - EQ, Tonebox and Compressor - and new patterns to help you create arpeggios, basslines, rhythms and more.

Loopcloud 6 gives you multiple export options - you can drag sounds into your DAW, use the Export button or copy them to the clipboard - and downloaded sounds can be exported based on the current mix, in their original format, as a processed file, as processed separate files, or as original separate files.

Finally, a Dark mode has been added so that Loopcloud 6 is easier on the eye during those long night-time production sessions.

Find out more on the Loopcloud website. If you’re a new user, you can try it for free, with subscription prices starting at $7.99/£5.99/€6.99 a month.

Ben Rogerson

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. 

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