Review

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PPG Infinite – Review

Developed by Wolfgang Palm

Available in iTunes App Store

Wolfgang Palm changed the world of synthesizers with the development of wavetable synthesis in the 1970s. Since then he has been responsible for numerous innovations, contributing greatly to the world of synths. Recently he brought his inventions to iOS with a collection PPG apps that have given inspiration and previously unavailable options to many artists, myself included. PPG Infinite goes in a direction that offers massive freedom with intricate sound designing, taking notes from nature by manipulating harmonic and inharmonic frequencies not found in typical synthesizers. 


For about three weeks I have explored and experimented with Infinite, and each time discovered new tonal realms. You might think by looking at the GUI that there’s not much to it. You’d be very wrong. It is simply laid out in a way that shouldn’t intimidate, but also has countless doors to open; leading to more doors and so on. Before you know it you’re reading the various “Help” articles, learning new ways to make something interesting. Just about any sound is possible. Any complaints I’ve seen have essentially been because of operator error or plain old laziness. 

What makes PPG Infinite so special is its ultra deep editing and morphing options. I don’t want to get all “tutorial” about it but to put it simply you can edit individual wave partials by the hundreds. This can lead to many different tones coming and going with their independent frequencies and envelopes while holding one key. A truly infinite audio adventure. Maybe it starts out as a stab that fades out as a drone comes in, then soon after a melody starts repeating with background ambience of any number of various sweeps or random chimes clinking about. You could rather easily have a single patch that sounds like multitrack recordings.


It’s all in how much the user chooses to spend their time in the many mod routing and parameter adjustments as they behave with the noise, morpher, and spectral filtering molders. The two Sine editors have different impacts on the sounds. Sine 1 is where you can create and edit your Sine values as they track in the waveform. Sine 2 is where the structure of the sine 1 volume or amplitudes for each partial is adjusted. All with a detailed wave graphic showing you what’s happening to your sound in real time. Additionally there is a Random panel that allows you to make changes to each sinusoids 6 parameters changing their intensity etc. Hit the “Go” button after making some adjustments and that new overtone variation is set. Adjust and repeat while being careful to save the changes. The in app “Help” does a far better job of explaining how each of these work. I recommend reading as many of these articles as you can. 


With so many editable pieces it’s not hard to get lost. Fortunately you can always revert to the original saved version of your patch and compare it to your new edits with the A B button. There is also parameter copy and paste which will become very useful, especially when you want certain partials to have the same behaviors. 

PPG Infinite’s deep mod matrix, 4 LFOs with 4 common waveforms, envelopes, filtering, morphing, molding and all the highly detailed overtone editing can have a nice delay, reverb or distortion effects added. Want more? You can also import wavetables from PPG WaveTable, and WaveMapper or phonic utterances from PPG Phonem to the Molder to expand even further upon the already massive library of included sound sources. I might add that the Molder being so versatile does make for some seriously wild filtering type effects depending on what source is selected. It’s another incredibly powerful unit that shouldn’t be overlooked.


There’s so much good stuff in PPG Infinite that I can’t cover it all. It’s no lightweight. Be patient and if you think something doesn’t work or can’t be done, take the time to read up on the in app “Help” articles or try contacting support. It can seem a bit complicated at first for some people, but in all likelihood there is a way to do what you want. 

My only complaints are a little minor. First is that the mod matrix is tiny. If there is a way to blow it up, I can’t find it-please correct me if I’m wrong. 

My other complaint is that I’ve experienced some crashes on my freshly restarted iPad Air 2 and no background apps. That is likely something that will be corrected in the near future, and I wouldn’t consider it a deal breaker since this is a very new app. Lastly, (another thing that’s hardly a deal breaker and has no impact on my overall enjoyment and satisfaction) I’ve never been a fan of how PPG’s preset managers are laid out. Other than that PPG Infinite is a marvel. It’s so nice to see something that isn’t another classic hardware reproduction. Infinite brings something new and powerful to this summer’s table of great new synthesizers for iOS.  Don’t miss this one. 

*supports MIDI, Audiobus 2, Inter-App Audio, and AU extensions with multiple instances.

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KASPAR – Review

KASPAR is developed by Yonac

Available from iTunes App Store

KASPAR (resisting obvious children’s cartoon references) launches with a fierce dragon logo before quickly revealing the synthesizer and all its glory. It is an immediate impression that perhaps intentionally conveys to the user that they just released a majestic, mythical beast. This is however no myth.

In order to properly control such power a proper cage is needed to house it. What I’m saying is don’t expect to fully enjoy KASPAR on anything older than an iPad Air. The developer has included this warning in the App Store description. Somehow a couple ding dongs still wrote bad reviews because this powerful new synthesizer doesn’t work well on their old iPad 4s. Who’s fault is that? Come on. There is a very fair warning upfront that they ignored. Makes as much sense as complaining to the makers of a gold fish bowl that their product sucks because they can’t fit their pet shark in it. I’ll detail the recommendations a little more at the end of this review.


KASPAR is a massive synthesizer or really 8 synths in one with 4 touch controlled morphing (or Auto) groups. Each synth has 3 oscillators (totaling up to 24) with multiple waveforms. Dedicated filter envelopes, an arpeggiator, chord maker, 6 dedicated mods slots with 20 possible targets, 2 LFOs and more. With a strong morphing capability, loads of high quality sound effects, there doesn’t seem to be any limits to what you can come up with.

The 4 group morphing unit is controlled by touch and KASPAR can record your own custom morphing shapes that you draw. Each of the groups are x and y controls. The morpher allows for deep sound modulation control with an endless pallet of possibilities, shapes and sizes. Reassign synths easily to any group, control the x and y curve speeds and enjoy manually shaping your sound or set to “Auto” and watch it go on and morph whatever mode(6) and loop(4) type you choose.


In KASPAR it’s all bout layering. So of course there is a screen to make general adjustments to each of the 8 synths, volume, pan, and both FX bus levels. Similar to a standard mixer.


Choose from about 300 presets. Better yet, make your own synth patches from a variety of common and several unique waveforms for each of the 3 oscillators. All have pulse width/ timbre controls, and oscillators 2 & 3 also have ring modulation. The overall combined sound can have noise added with a wide tone control, and a glide option. Play polyphonic or mono with legato on or off. Pretty standard stuff. It’s the variety of unique waveforms that can spice things up. There are some interesting shapes to choose from and they can make serious impact on the sound that synth makes.


As you edit each layer of synths you will find a nice selection of independent filters to enable. All have their own unique qualities. The Fat 70’s, Formant and Comb are very cool. Mix and match your favorites or whatever your final patch design needs. They are all excellent. I couldn’t find anything lacking with the filters. I just wish I could copy a filter setting to use in a different synth layer. Come to think of it, that would be nice to have for the oscillators or other parameters as well.


Each synth has its own set of 2 LFOs and an envelope. Each LFO has 7 possible waveforms. On the Mod page (not shown) you can have up to 6 different modifiers for each synth with 20 possible sources. For a single synth having just 6 mods, might seem like it’s not much, but remember we can make up to 8 layers of 6 each. That means there are up to 48 possible mods throughout the layers. It adds up and doesn’t pose any significant limitation.


The 2 FX busses can both have up to 8 effects units selected. The signal flow is easily adjusted by touch, drag and drop. For those not familiar how busses work, it means you are sending a chain of FX to the overall sound, not inserted to each specific synth. However each synth has bus controls to adjust how much of each busses chain of FX are applied to them. It would be interesting to see what it would be like to have independent FX chains, varying units and parameters for each synth someday. I don’t think even the latest iPad Pro could handle that today? That said 2 busses are nothing to shrug off. The FX units are all high end and custom made for KASPAR. There’s plenty of interesting options and combinations.


Being a stand alone synthesizer, KASPAR wouldn’t be complete without its own recorder. It can also be used to play a imported loop along with whatever sound the app is making.

With such an enormous range KASPAR doesn’t just stop here. Each synth also has its own multi mode arpeggiator and chord maker. Program your own chords to a single key in a snap. That’s become more useful than I had thought it would.

Put it all together and you have one colossal or “super synth”. Even my iPad Air 2 performed well with heavy loads of layers, FX, arps, filters and morphs running with the “Best” audio generation quality at 256 buffer through Inter-App Audio in Cubasis. Yonac really did a good job with efficiency here. They also thoughtfully made sure to include full MIDI services, Audiobus, Abelton Link, and AU plug in.

KASPAR sports up to 12 polyphony (tested with 8), a pleasant interface with after touch and velocity controls. A very playable synth that unlocks layered sounds not seen on iOS until now. It is making summer of 2017 one of the best for synth lovers.

As I mentioned near the beginning of this review here are more device recommendations for this super synth. You should have an iPad Air, iPad Pro, iPad Mini 2 or newer. If you must try KASPAR on an older device like an iPad 4 and are willing to take the risk and not blame the developer, you might have decent results if you turn the buffer to 512 and the audio generation quality to its lowest or “Good” setting. Just know that you probably won’t always be able to use all 8 synths, mods, FX, arps etc.

*Tested with iPad Air 2

SynthScaper – Review

SynthScaper is developed by iMusicAlbum

SynthScaper can be purchased in iTunes App Store


iOS music has come such a long way since my first cutting edge iPod Touch 3. The technology of the devices and advancements in app development have steadily re-shaped perceptions of how music can be made, serious or not. Sure it was sometimes rough being one of maybe a few small voices trying to take it all seriously, while being scolded for using what many people considered to just be “toys” to make music, but just look at where we are now. Only the most rigid of personalities could still hold a grudge against iOS music production. There have been countless examples of incredible apps come along that discredit the medieval belief that the higher the price tag, or the more expensive a computing device is, the higher the resulting music is regarded. SynthScaper is an example (among others) of innovative app development that should put the “toy” nonsense to bed. If it wasn’t already. 

iMusicAlbums SynthScaper is a mighty sound sculpting toolbox of seemingly endless synthesizing possibilities. This synthesizer was designed for making a huge range of experimental, melodic, and ambient sounds, but not limited to just that. It has whatever you need for nearly any musical project whether it’s something like a simple lead to a morphing sound scape of diverse and complex nuances. 

The first screen seen when opening SynthScaper reveals a keyboard, buttons leading to all of its tools and options and a touch control area for each of the 3 scenes currently installed. Moving the three scenes relate to the spacial relationships of their sounds. The keyboard is highly flexible with a number of options to select that compliment any play style or need. It can be set to behave like a normal piano, or seamlessly glide through the keys, or hold the starting note on first touch position while stretching either direction on the board. A full compliment of scales are available and customization is open to your wants. The keyboard can also be set to take over the whole screen making for a very large playing surface. It can also be split. 

The three independent oscillators can be set to use any of the included waveform options and three layers for each that you can assign preset samples or your own samples and with up to 6 voices each. Of course oscillators have their own multi-routing sources for as many as 6 LFOs, & Envelopes. The variety of options and incredibly detailed controls that are available can inspire your wildest imagination of sounds being brought to life. Go ahead and be anal retentive with your assignments and detail exactly how fast, slow, delayed, loud, panned, or whatever. It is all there. 

As well as highly detailed customized oscillators and layers, the available filters and effects are just as plentiful and controllable. Each oscillator can have up to three different units chained and routed further to two more envelope or LFO mods. With the ensemble of filters, delays, flangers and chorus available, things can get pretty crazy. Mostly just damn fun though. 

What I found very pleasing (other than the great audio quality and sound designing paths) is the way everything is layed out. It’s very intuitive. It all for the most part flows in a way that felt very comfortable to me. I would think just about anybody can figure it out. However for the really deep audio sound designs, at least a basic understanding of synthesizers and how they work might be needed to get the most out of SynthScaper. It can get complicated with the many routing options and then the even deeper options under them. Keeping track of every little thing can get confusing for the uninitiated. With some time experimenting and finding pleasant mistakes along the way, the journey is worth every minute spent. 

To make matters even more complex with your scenes, there are also multiple arpeggiators. One for each oscillator. Basic arps, but don’t underestimate them. The qualities added can be incredible. 

In the interest of making a long story shorter I would suggest visiting the iMusicAlbum website to find out more about all that’s under the hood of SynthScaper. There you will find tutorials, demos, videos etc. I could go on and on about everything this fantastic synth has to offer. 

To sum it up, SynthScaper is a jaw dropping, innovative effort by a developer who clearly understands what people didn’t even know they needed. It fits in any** iOS workflow. Full Audiobus (state saving) , Inter-App Audio and midi support. Dropbox, Audio Copy Paste, and web access for transporting user samples are supported. With excellent audio quality, intricate and intuitive yet highly complex audio designing options, and a very stable engine I highly recommend this to anybody who likes synths. I  believe that this is especially useful to ambient artists, who may discover that this just the sort of thing they’ve always wanted. I did. 

*Tested and used with iPad Air 2 iOS 10.3.3

** Audiobus 3 and Abelton Link are confirmed for next SynthScaper update. 

FACChorus – Review

FACChorus by: Frederic Corvest 

Available in the iTunes App Store


FACChorus (Fred Anton Corvest) is a stand alone, versatile Chorus effects app designed to emulate classic physical modules of day’s past. Not unlike the analog Roland Juno Chorus effects (and others) from decades ago. 


FACChorus sports a simple and clean interface resembling a rack mount style with realistic, responsive knobs. The no fuss look may seem a bit dated to some, but fits right in all the same. It mirrors the actual signal path from left to right (input to output) making it quite intuitive. Not that there could really be much to confuse anyone, anyway. Plus, who cares about looks when what really matters it how it sounds.


So how does it sound? Well, it sounds really good, even through an iPads built in mic. Of course better with a plug in mic, USB or in a AU (Audio Unit) setting.  This Chorus unit has a wide range of possible effects from clean and subtle to clinically insane. Most iOS synths and iDAWs have a built in Chorus but lack any real versatility and often even with the most subtle settings, sound overly wobbly. FACChorus can be manipulated to suit any need for vocals, guitars, and of course iOS instruments. Lush, rich and wide. Spacey or water logged, FACChorus gets you there. 

The properly named presets offer a nice range of ready to go effect parameters suitable for most situations.  Sadly there’s not any way to save user presets. Nor does it save your last state when the app is closed and reopened. This could be problematic for some users. 

While this great sounding effects unit supports Audio Unit V3, it does not support Inter-App Audio or Audiobus. Considering that most iDAWs (like Cubasis and GarageBand Mobile) support UA V3, this may not be much of a problem. However a lot of users have a workflow that depends on their use of IAA or Audiobus, and missing those supports could be a crucial turn off. Even though AU V3 basically works the same way as IAA. 

It’s early still, so it remains possible that more workflow supports or features might be part of future development. 

That all said, for three bucks you get an incredible sounding Chorus unit that would’ve cost far more in the physical world. 

Mood – How to Analog Right

Mood is developed by apeSoft

Available in iTunes App Store

apeSoft continues their offerings of reimagined classics ( i.e. iVCS 3) with Mood. A “personal interpretation” of the Analog Synthesizer by Eugenio Giordani. As apeSoft fans would expect, Mood is a faithful sonic reproduction with several modern additions that make it more than just another virtual analog synth. 


More than just another 3 oscillator VA Synth, ( is there an echo in here?) Mood comes packed with loads of user customizable widgets and supports, like an easy to use sampler, audio unit v3, full midi, Inter-App Audio, Audiobus 3, and so much more. 

This mono or up to 16 voice polyphonic synth does deliver quality at all levels of design and sonic exploration.  With the built in sampler you’ll have many more avenues of sound designing to explore. Dig in to micro details by assigning various widgets to nearly any parameter by a double tap on the knob. I’ve been up very late obsessively tweeking many different things. 

As shown above the aforementioned double tap on a parameters knob brings up the widgets screen to make those specific adjustments. It can get a bit tedious for those not interested in audio designing, but for those who are, it is very welcome. These should look familiar to anybody who has used any other apeSoft offering.  The widgets bring audio designers a mass of possibilities that can lead to some extreme detail in their sound creations. 

With the sampler you are open to many more options in possible sound designs. This is another example of how Mood separates itself from the usual or hum drum typicality of common VA synths. Import samples or record new ones from the environment or people around you. Mix and match with the FM or Wave unit, various effects, sub oscillator sounds, filters or LFOs etc. There’s not much limiting your imagination being brought to audible life. 

Although not shown in this review, there is a full service arp available. It’s accessed a little awkwardly by turning the XLFO wave knob to the lowest right hand wave form. I’m sure there’s a good reason for this, but it struck me as a bit oddly placed. Nevertheless, it is there. It’s possible I’ve had a major lapse of understanding from one too many late nights micro managing some sound I was working on. 

Moods effects are top notch. The Reverb unit has a vintage or distinctly different modern settings option and sounds very clean. That is until the powerful and grungy Distortion unit is enabled. There’s an excellent Ring Modulator for adding some unique tonal qualities. Of course a very nice Delay effects as well. 

I should mention the filters. The well designed Moog-like filters are as good as any can get for iOS. Personally I think they may be the best so far, but that’s just me. 

Overall Mood is not your ordinary virtual analog synth trying to be a perfect copy of a classic. It’s a loaded baked potato with double the flavor and satisfaction. Is it perfect? Maybe not, but what is? It’s about as perfect as I think it can be minus a few minor UI issues. Its very stable (using iPad Air 2 for this review) and with a quick buffer, it’s largely lag-free. Except for maybe a loaded 16 voice sound with heavy Reverb,  running through audiobus to a DAW with an effects unit in the chain, this synth rarely causes any grumbles or crashes. It’s hard to find any reason to no recommend Mood highly.