iPhone/iPad iOS music making app round-up: Week 57
Instruments, effects and more
There’s still time to vote for the best iPhone/iPad music making app in the world today, but if you’re on the lookout for a new tuneful iOS plaything or two, read on.
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.
NEXT: Bastus Trump Orphion
Bastus Trump Orphion, £2.99
Orphion makes the most of the iPad’s multi-touch interface by enabling you to play both pitched and percussive sounds from the same pad-based interface. There are nine layouts, and the tones you create depend on where and how you touch each pad. Demo video here.
VirSyn iVoxel 2.0, £3.99
This classy iOS vocoder has received a significant update, with real-time pitch following, automatic tuning to a selectable scale, improved sound quality, a polyphonic sequencer and a redesigned interface among the new features. There’s support for Virtual MIDI, SoundCloud export and WIST, too.
Masao Suzaki Petites Ondes, £1.99
The Ondes Martenot was an early electronic instrument that was invented in 1928, and this iPad app is an emulation of it. It produces one tone at a time; your right hand is used to alter its pitch, while your left can control dynamics. Check out a demo video.
Periscope Audio Lab SpaceSampler, Free
Convolution technology comes to iOS with an app that enables you to record, apply filters (Impulse Responses), set the mix and then share the resulting sound. The IRs come from real gear and acoustic spaces, and you can export via email Audio Copy, Dropbox and SoundCloud.
Download now from the App Store
Liked this? Now read: The best iPhone music making apps and The best iPad music making apps
I’m the Group Content Manager for MusicRadar, specialising in all things tech. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 20 of which I’ve also spent writing about music technology.