MIDI

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

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. 

Shoom Synthesizer- App Review

Shoom Synthesizer is developed by: Yuri Turov

Available from iTunes


Shoom Synthsizer is a fantastic X/Y touch controlled instrument for iPad. 3 polyphonic synths in one.

An intuitively designed interface clearly emphasizing ease of performance with a great amount of playable screen space makes this super fun to play. 


3 simultaneously playable synths each with their own set of two multi-waveform, FM cross modulation oscillators are at your disposal. Each synth has its own noise, and volume control as well as the standard ADSR and LFO basics. A handy 4 pole low pass resonance filter and overdrive are also included with each. Nothing fancy, but made for easy patching and variable sound types. From crunchy, screaming leads, to booming bass lines, and on to amazing drones. 


Shooms built in stereo delay and reverb effects stand in nicely for simple sound effects. I’d say they are pretty good for what they are. Many users have said that Shooms strength is with making drones. I agree, but wouldn’t say that is all it can do. There’s plenty of room to get creative with this and have some pretty unique sound scenes to play. 

Of course it has Inter-App Audio and Audiobus 2 supports. So far I have found both to be very stable on my iPad Air 2. Though like any iOS synth the more active voices being used, the more the chance of distortion.

I love that each synths note can be played independently and / or held. Get all ten fingers involved. If your digit dexterity is above average, you could do some impressive things. Even with average finger dexterity like me, you’re going to smile. It doesn’t take long to get the hang of Shoom, and I found it to be very easy, very quickly. More importantly the sound quality is fantastic. This is one grand instrument that has more to it than meets the eye. Sure you aren’t getting a massively powerful synthesizer, but you do get quality.

Only thing I felt I was longing for was user sample import. Is that a big deal? Maybe not, but I’d like the option. 

It’s a bargain, it sounds fantastic, and it’s fun. A no brainer purchase. 

Thor Polysonic Synthesizer

Thor Polysonic Synthesizer
Made by: Propellerhead Software

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Remarkable, beastly, outstanding, monstrous, unearthly, incredible, you should get this synth.
That was the easiest review ever. Not enough? What? You want me to elaborate?
Oh, alright.

Every time I see a new iOS synth I get very excited. Don’t you? Well you should. Thor is no simple or run of the mill synth. Its a port of course, but a port that still has stones. Instead of a single synthesis type, Thor has 6 oscillator types! What? Yes 6. Analog, FM Pair, Wavetable, PhaseMod, Multi Oscillator, and Noise. Its can make for some nutty but thunderous combinations depending on how you apply them to the 3 available slots.
Add to the incredible selection of synth types, there’s 4 filter types for 3 slots. Then there’s a whole mess of routing options and modulations to dig into. It is a mind blowing collection of options that can lead to some of the most creative synth sounds imagined. Thor is godlike.
Kind of getting ahead of myself here, so ill expand in the order of the interface screens next.

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The functions and parameters that all make up Thor being numerous and complex, are thoughtfully contained in 3 main screens with collapsible and expandable sections. It might seem at a glance like there’s too many hoops to go through in order to make an adjustment, but what’s the alternative? Ive seen some complaints about this. When you think about it and understand how much stuff there is packed into Thor, those complaints boil down to being just nit picky, and painfully trivial. If everything were visible without consolidating, the interface would be a big mess full of tiny buttons, knobs and itty bitty text. What Propellerhead did to keep everything neat, clean and accessible works out nicely.

First is the “Keyboard” screen.
Pretty strait forward and self explanatory. This is where the performing is done. Select Mono or Polyphonic with adjustable portamento. There are 2 assignable rotary knobs and buttons. Adjustable pitch bend, modulation, and strum sliders reside on this screen. The Strum slider is fairly unique to synths & works as you might think. Hold a key or keys and strum away or tap “Hit” for a stab. It all can make for some unique play styles when applied together during recording or performance.
Also on this screen is the “Assist” function which is used to select scales and keys.
It all comes together smashingly for a very satisfying experience.

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Next we have the “Knobs” screen. This is where the magic happens. As I mentioned previously, you have 3 slots to apply any combination of the 6 oscillator types. 3 filter slots for the 4 available filter types, a “Shaper” unit with 9 shapes, a mixer, and all the routing. Plus there are 3 envelops and 2 LFOs.

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You might think it could get pretty crowded with all of these tools, and if it weren’t for the “Expand” function to help control space it would be.
Each piece has additional options for waveforms, speeds, types, in the form of drop down menus neatly contained within each unit. The sound designing capabilities are astronomical. Nothing has been diluted or compromised here at all.
With so many synthesis types available to combine with one another it could seem like Thor is a student of many but master of nothing. That would be an error. Each type can be controlled in great detail. The WaveTable for example is loaded up with many wavetable types for you to select from. No you can’t make your own wavetable, but there’s plenty to choose from. The 4 filter types Comb, LoPass Ladder, State Variable and Formant can be used in any combination (like the oscillators) in 3 separate slots. How you combine and route each of these will offer some sonic dimension that few synths can approach. Thor’s FX units are Delay and Chorus, and pretty darn good to boot.
All of your Thor creations can be moved to or from the Reason version of Thor.
The over used “playground” description seriously applies to Thor in the most sincere ways. This is really not just a playground but more like the Disneyland of sonic realms.

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The 3rd and final screen is called “Routing”. Here we have a comprehensive matrix for some massive routing and modulation options. Tweak signal flow and directions of each parameter with fine adjustments to just about anywhere. Its a relentless range of depth and possibilities. You can be as complex or simple as you wish with your routing. Additionally a micro keyboard is always available on the bottom of the “Knobs, and Routing” screens for you to audition your creations.

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In addition to the matrix on this Routing screen is a 16 step sequencer. One of the more detailed I’ve seen in a synth allowing fantastic control over each note, 2 curves, velocity, gate, and step durations. Select the order, skip notes, change direction, and speeds etc its all there. Super slow 16/4 to light speed 1/64 speeds.

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Thor is a class act. This synth is ridiculously rich with features and capabilities. Obviously I’ve left out a lot in order to keep this all at a decent length. Check out the Propellerhead Software site for more details.
Thor supports Audiobus Input, MIDI, and background audio. It works great with my iRig Keys. There doesn’t appear to be any ACP support, and no built in recording. That will be a disappointment to those who still prefer to do things that way.

To sum it all up I’d have to say that Thor on iPad is a monumental addition to the ever increasing library of pro quality options being delivered to iOS. Thor is complete, playable, and insanely deep. Creating synth sounds with loads of character and life are just the beginning. -(*edit) In case I’m not making myself clear, the resulting sounds can be amazing. Ive been enjoying the strong sonic capabilities Thor puts in my hands. Making thick, evolving pads that breath are my favorites, but any types can be made and sound great. You get out of it, what you put into it.- With over 1000 patches built in there’s plenty of inspiring sounds to mess with, but building from the ground up is where its at. The tools are there, its up to you to make it however you like. Experiment and have fun with it. The only thing that bugs me is there’s no way to share custom patches by email, and the color scheme of GUI is drab to me. Then again I am color blind, so maybe its delightful to others?
This is the kind of synth that will keep you hooked and coming back over and over to design sounds like no other. Its behaved well for me on my iPads 3&4 with no stability issues at all. Its recommended for iPad 2 and up. Sorry iPad 1 owners.
It is a legend born from Reason and having this on our iPads is a dream come true. Synth lovers rejoice! At the time I wrote this Thor is selling for $14.99 (USD) and that’s a bargain for what you’re getting here.

Thor is available in iTunes HERE

Couple extra screen shots:

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