![]() ![]() Audio Damage FuzzPluss - used in moderation great for dirtying things up a little.Audio Damage Filterstation 2 - the two things that make this essential for delay return paths are the MS20 filter model and the feedback saturation IO path.Audio Damage Eos, great with short decay times used in combo with a tape delay.Lofionic Duplicat, provides a nice Roland-ish chorus, on a Dimension D tip.Audio Damage Discord - as close as you're going to get to an Eventide shifting effect on iOS.Audio Damage - Dubstation 2, far more powerful than you might think, especially when modulating the tempo (without tempo sync).Bleass Delay, this one's especially good for delays with pitch shift.Virsyn AudioEffx, the delay in this multiFX is powerful but when combined with other FX - chorus, phaser, para eq, reverb and soft/tape saturation algorithms, it's a delay powerhouse. ![]() AUM/AudioBus are useful but they don't have the routing flexibility of apeMatrix ( in alphabetical order): Tweaking can drive you nuts, but it's output is unique and provided an IOS Shopping List for Delay-based Confgurations that comes close to ValhallaDelay or Echoboy but you'll need apeMatrix to power the multi-FX approach. The latter has an interface controlled by 2 dials: one to select a parameter (printed on the frontplate) and another for the value, a number from 0 to 64. My favourite delays atm are an emulation of the Ursa Major Space Station (Sean Costello admits in his blog that he failed on that one) and the Lexicon Vortex. It's absolutely possible to do the same in IOS, but simply a lot of effort - and IOS prices don't look exactly promising (or motivating) for anyone interested to enter this domain. There's also a lot of experience involved how to design control surfaces that turn software into a user friendly experience. These people have a rare degree of deep knowledge about reverb and delay - it's a lot more challenging than most audio processes handled by standard SDK code. Just recently Izotope aquired Exponential Audio, more or less to get the expertice of Michael Carnes (ex Lexicon engineer). To get this into some perspective: the software heritage of Echoboy reaches back more than 2 decades, Sean Costello (Valhalla) started his own business 10 years ago, but before that had 6 years work on audio algorithms with Sharc DSPs. Sure this means that customers have to put a little more effort in, but it also means that those same customers are more likely to come up with signature sounds of their own rather than relying on the same presets as everybody else. The benefit of this single core approach is many small utility apps can combine and maintain sample accuracy. I'm ok with that seeing as iOS Audio is pretty much throttled to a single audio core. It's a sustainable model for talented indie developers, who can charge a reasonable price for more focused apps that tackle particular challenges. In the medium-term iOS is going to become even more modular. In the fullness of time, the big desktop players will transition to iOS but for the moment you can purchase excellent modular FX components that you can combine to great effect for at least a 10th of the cost of desktop plugins. The thing that's missing on iOS is lots of presets like you get with SoundToys, Eventide or Valhalla, but that doesn't make them any less effective when used to the maximum of their potential. Their sonic palete does not come close to what we have in one plugin on MacOS or Windows.Īs I suggested in my post, in isolation these are limited compared to the best desktop options, but when you combine them in tools like apeMatrix and AUM (AUM is better for simple insert effect chains) you can come up with powerful/unique FX.
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