Audiobus

LayR – Multi Timbral Synthesizer

LayR – Multi Timbral Synthesizer is developed by Living Memory Software

Available from iTunes App Store

LayR is described as a “massively polyphonic, Multi Timbral Synthesizer” capable of up to 256 voices of multi layered and textured sounds for 64 bit devices. I was a little skeptical initially and expected less. I was wrong. LayR can actually do as it says it can. 

Andy Bull created LayR somewhat by accident. He started out with something else in mind, not looking to create a synthesizer. After experiencing some disappointments with some of his iOS synths in a live stage setting, he ended up making something to meet his needs as a live performer. LayR was born, and here we are today able to enjoy the fruits of his labor. So much juicy goodness. 


LayR launches with a clean, albeit dark, interface showing the general mix functions of whatever layers make up the selected patch or “performance”, as they are called. A performance is a collection of instruments which contain layers of synths. One performance can be as simple or as complicated as desired. The overall results can be astonishing, with layers coming and going in various states and times. There are a lot of excellent presets available that demonstrate the many possibilities and can be great templates to dissect and learn from. Overall it’s an exciting synthesizer that will satisfy. 


Each layer is its own independent synth with 2 oscillators, each with their own shape and phase states that can be morphed, modulated and filtered. There are 2 ADSRs which can be looped from super fast out to 100 seconds, along with a 3rd ADSR controlling the overall volume. Both of the filters (LP, HP, Band & Notch) can be smoothed with a handy mini filter mixer. The 2 LFOs are well behaved and have several shapes to choose from. At first glance it all seems like a standard twin oscillator synthesizer, but that’s forgetting to consider the amazing depth of what can be hundreds of layers playing together in a giant cooperative audio party. You could easily spend days constructing elaborate performances. Pack a lunch.


It’s hard to explain just how much detail LayR is able to control better than the above screen shot. As you can see this is thoughtfully designed with a forward looking layer parameter linking tool. This will be indispensable when one gets ambitious, getting deep into greater numbers of layers with parameters that will likely need to be linked, and really helps with keeping the intended order together without needing to try and remember what was where or having to constantly switch back and forth to make sure certain layers have the same behaviors. Just link them in sets of parameter groups. My inner synth nerd did backflips when I first discovered this clever tool. You can also copy and paste one parameter to another. 

The 16 step multi channel arpeggiator is quite robust. This screenshot (above) should convey how carefully it was designed to give the user a rich midi routing capability that works reliably. Up to 8 event tracks can be set up with their own synth layer, making for some very lively compositions. While getting acquainted with LayR I found some presets that were impressive and inspiring. Some had multiple synths of varied arp events, all playing together with the touch of a single key. Event notes are visible by the flash of the corresponding key as played by the arpeggiator assignments. 

The in-app help can be accessed at any time should there be a need, so even someone new to multi channel arpeggiators can learn to create their own routes for their project with a minimal learning curve. 


Getting back to the graphical interface, its design uses symbols relevant to each parameter control. Most experienced synth users should understand what they mean but it might also be a little unfamiliar to others more accustomed with text identifiers. Those not used to this will become best friends with the top right corner info button within the first hours. Eventually it becomes second nature. The scale and key can be set, as well as an option for a colorful keyboard if all black isn’t desired. The keyboard can be adjusted in size, range, scrolled or locked. 

LayR has 3 sound effects; Reverb, Delay and a 3 Band EQ. The FX are competent and useful but not particularly noteworthy. 

Inter-app audio and Audiobus are supported, but not AU. I feel like the lack of AU support is for a good reason. Might be because the current iOS AU systems can’t quite keep up yet with something so intensive as LayR. Perhaps that will change in the future?

I spent several days digging into LayR and found it to be a wonderful experience. Great sound, nice quality filters, excellent morphing and an overall magnificent synthesizer. It truly excels when put to the test of making many layers of timbres, multi channel arpeggios and wildly evolving soundscapes. LayR is no slouch by any means and should fit in everybody’s collection. 

I highly recommend LayR. Be sure to check out the developers Website for a more specific feature list and links to helpful tutorial videos. 

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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.

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

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. 

DRC Polyphonic Synthesizer – Review

DRC Synth is developed by Imaginando

Available for free download in iTunes


I’ve seen, used, tested and yawned at every iOS analog emulated synthesizer. This is one particular type of synth that are dime a dozen and not short on competitive options. I’m not saying that DRC isn’t good. In fact I think it’s great. While most developers are creating a graphical resemblance to old hardware to tug at our nostalgia heart strings, these guys are putting the focus on not what you see, but how you use what you hear. 


DRC most resembles the robust and brutal sounds of iSEM (the Oberheim remake for iOS) or iMini (Or Mini Moog) with its signature sound. This definitly is a well made emulation that packs a wallop with the best. This 8 voice polyphonic analog* synth is clearly not just another sell out 2 oscillator emulator of historic hardware trying to cash in on something famous that is either hard or impossible to find. No synth lovers, they really put their hearts into this. One could argue that we have plenty of these already. True, but this not only has the sound talking the talk, it also has a interface of minimalistic design that walks the walk where functionality is concerned. 

The beauty of the simplistic and minimalist user interface design is no accident. It surely isn’t lazy or result of lacking creativity. Everything you need to use, can be used all on this one screen. No interruptions with page swiping. Just set or select the parameter tabs from the 4 quadrant window panes. It promotes a very comfortable usability that’s been largely overlooked by most. Adjusting parameters while playing live in real time allows you to bring new life and evolution into a sound while being performed. This is one of a few instances where I felt really at ease playing the keyboard and slowly maipulating a filter or noise generator at the same time. It feels right. 


Among all of the usual 2 oscillator analog emulators, DRC has something else I found interesting. The above image shows the Mod Wheel and After Touch controls. It also shows the key and scales options. At the bottom with the key labels, flanked to the right and left are ribbon controllers. I couldn’t find anything in the manual that explained them? They can be used to play through the notes of the scale. Whatever the intention is, I found them to add a little extra dimension to certain aspects. They are especially handy while using the arpeggiator. Not sure this was worth getting fixated on, it’s not the first time I’ve seen ribbon controls, but the location is what got my attention. Anyway, I just happen to like it. 

DRC has the MIDI, Audiobus, Inter-App audio supports like we expect. Abelton Link is also supported. You can use the cloud to easily share patches among your devices quite nicely. The usual filters are available, and for a synth of this breed they are the fine quality most would demand. I don’t like listing every parameter, so just check the app page in iTunes to get the full list, or visit the developer website. Both are linked at the very top of this review. 

In the modifiers DRC has something here that you don’t see every day. In the LFO waveforms options is a FS&H, Filtered Sample and Hold. It works similarly to the Sample and Hold waveform that is more common, but ramps up from one random position to another more smoothly. It has a very interesting effect to the LFO behavior. 

It has a Chorus, Delay and Reverb effect unit. You can use the Notch filter cutoff and resonance to make your own phaser effects. All pretty standard stuff. The Reverb is intentionally unrealistic and generates an interesting artificial, spacey component to the sound. It’s not designed after any real world units, or even a simple plate. It’s just a long crazy reverberation effect intended to add more depth to a sound. Interesting, but ultimately still just a cheap sounding reverb. I should add that I’m a reverb snob, so don’t put too much into my comments on this part. I just feel it could be better and remain an equally interesting sound effect. 

Free to download, DRCs synth engine is fully operational for 7 days before purchase is required to permanently unlock and use. It’s worth giving a shot if you like iSEM or iMini type sounds. If you don’t have those apps but want that type of sound, this could be a great first choice.