I’m happy to write to you and I bring good news: an updated version of the Table of Animoog Presets, adding 572 new presets and 274 new timbres to Animoog from 6 expansion packs. This table that I’m gladly compiling for the community of Animoog players now lists a total of 3,148 presets and 5,129 timbres for Animoog. This gives us access to a large diversity of presets to explore for hours and hours.
Players will also be happy to hear that since my last blog entry, two minor versions of Animoog have been released, version 2.4.6 in April and 2.4.7 in June, bringing minor bugfixes and one small feature for those wanting to play along with existing tracks: Animoog now allows Apple Music to continue playing when Animoog is in the foreground. Animoog for iPhone followed the same path and got the same new feature, reporting now as version 1.3.3.
I read reports that the current version of Animoog doesn’t support iOS 11, Apple’s upcoming iOS version currently only available as a public beta. It’s extremely likely that Moog Music will update Animoog over the coming weeks to fix compatibility issues with iOS 11 before it launches.
Good news, the first Animoog update since last October. Happy to see Moog is keeping our beloved app up to date :-)
What’s new according to the release notes:
Integrated Audiobus 3 with full support for MIDI routing
Improvements to pressure modulation behavior when playing over MIDI
Updated AudioCopy SDK to v3.4
Improvements to mod and pitch wheel rendering
Fixed media import for clips in the 4-track on iOS 10
Improved background audio compatibility with other apps
Animoog for iPhone gains one more feature:
Animoog for iPhone keyboard now sends polypressure when the MIDI Expansion Pack is purchased
The update has certainly been triggered by today’s release of Audiobus 3, which Animoog’s new version supports. Audiobus has been an essential app for mobile musicians needing to send audio signal from one app to the other. Audiobus 3 now supports inter-app MIDI routing as well. Here’s the video that presents Audiobus 3 capabilities, and yes, this overview showcases Animoog!
Thanks Moog for the Animoog updates and let’s hope there’s more for Animoog to come from Moog developers! Enjoy the new version — Alex / Satri
It’s not zombies targeting Animoog players, but yes, this post really is about playing Animoog with your brain! You read that right, the tool I was invited to test leverages brain fluctuations and converts the signal to MIDI messages. This tool is Brain2MIDI from ‘Vision EEG‘. EEG stands for electroencephalography which essentially is “an electrophysiological monitoring method to record electrical activity of the brain”.
About a year ago, Brain2MIDI’s developer Laurent Allen-Guerard invited me to testdrive his software with Animoog. That’s how I got to play Animoog with my brain! Two recording sessions were enough for me to understand the potential of Brain2MIDI. Here’s the 3-minutes video that Vision EEG created from this experiment of playing Animoog with your brain. The video demonstrates Brain2MIDI in action with Animoog.
Here’s a few points about Brain2MIDI and the experience as a whole. Connecting Animoog to Brain2MIDI is straightforward and I could easily map multiple Animoog parameters to the brain sensors. I would not recommend using your brain to actually play notes, unless you like erratic music! Assigning brain fluctuations to other parameters such as Animoog’s stereo delay mix, orbit time and the key’s glide resulted in pretty fun and melodious results. Was I able to control what came out of my brain? Not entirely, but despite the little experience I had, I felt like I could really control something. There’s also certainly a feedback loop: my brain is influenced by the music I’m hearing and this very music is directly influencing my brain in real time, creating a positive feedback loop! What The Brain2MIDI software provided visual indications of what is going on and allow users to fine tune the signal configuration.
I consider myself lucky to have experienced playing Animoog with my brain. If you’re interested as well, you’ll need a Muse headband, which can be put to other uses than playing music, such as for meditating.
You’ll of course need some way to connect Animoog to Brain2MIDI. At the time of recording the videos, Bluetooth MIDI networks were not supported in Animoog and that’s why I used my iRig MIDI 2. One thing that may constitute an annoyance to you is that the Brain2MIDI app is Android-only at this point. So you’ll need an Android device to run it. An iOS version is under consideration if enough users express interest. Brain2MIDI is currently available on the Google Play store for $19,99, which is a bargain considering you need a Muse headband which is much more expensive.
Brain2MIDI’s developer Laurent is also a Trance musician and published lots of music already. I felt his track ‘Brain Stimulation’ was appropriately named for this post! Here it is :-)
Playing music your brain sounds esoteric? With the upcoming omnipresence of augmented and virtual realities and their current and future inroads in music creation, I would not be surprised to see more and more of our physical selves making its way in our music creation processes.
I wish us all an excellent year 2017 with our favorite synths, such as Animoog! Cheers — Alex / Satri
Dear fellow Animoog players, I have good news for all of us just in time for the holiday break: 251 new Animoog presets and 159 new timbres! The prolific sound designer Rust(i)k previously gave us two packs earlier this year, one with 132 presets last May and the other with 169 presets in July. Big thanks to Rust(i)k for providing us an even bigger playground to explore sounds with Animoog.
Here’s the announcement Rust(i)k wrote for these new X & K presets and timbres:
RUST(i)K : X & K Animoog presets and timbres
The presets are wide ranging and their names attempt to convey the intended mood. My goal was for these timbres and presets to allow a person to use Animoog for all synth needs. Essentially, the ultimate Swiss Army synth that can produce the most lovely of etheral pads and heavenly atmospheres to the booming wobbles of the bowels from hell.
The presets are categorized and arranged nicely. All the timbres are original and painstakingly compiled over the last 6 months.
I was going to set this up on a sale platform to make a couple dollars but with the holiday and my inner voice said to help my friend Doug Woods of The Sound Test Room in this time of adversity. Here's the PayPal address for people to donate the $5.55 to: email@example.com
The timbres and presets are not lined up according to the bank number. Timbres are used from both timbre banks in both of the preset banks. Dividing them is to help not get overwhelmed with too many options. For every preset, pluck a single note, play a chord, hold it, and then sequence it. The presets are multi-dimensional in that they have a surprising variety of sounds per many of each of the presets. So treat this like an amusement park - and ride till you scream!
Happy Holiday and please enjoy. Best of health for all. And a special thank you to Satri here at Animoog Love for all the hard work he does for all of us.
Why does RUST(i)K invites us to contribute to the thesoundtestroom? Jacob Haq explains it in this video. The short story is thesoundtestroom has created and shared tons of videos for iPad Musicians, such as app reviews and demos, and he is an important figure in this community. If you have interests in other apps than Animoog, chances are you heard of him already. Unfortunately, Doug Woods is very sick and a small financial contribution can help. That’s why RUST(i)K and many others in the community decided to help Doug in ways they can, just like what I’m doing myself with this post ;-)
Because I want all of you to benefit from these presets and timbres for the holiday break, I exceptionally did not take the time to play and publish an improvised solo with these new presets, something I usually do. I have quickly tested the presets and timbres and I can confirm they’re pretty interesting. Don’t forget the instructions to install third-party presets and timbres on Animoog.
If you’re reading this website, chances are you already own and play Animoog. But do your musician friends do as well? That’s the opportunity for everyone to get Animoog, both the iPad and the iPhone versions, as well as Moog Music’s Model 15 app, at a 50% discount. I suspect this sale will last until next Monday or so, enjoy it while it lasts.
Share the good news with your friends! And maybe it’s time for you to discover and explore new sounds with Animoog? If that’s the case then head to the table of Animoog presets which lists over 2,500 presets. I have tons of incomplete Animoog-related posts to share with you and hopefully I’ll find the time to complete them in the coming weeks. One thing I can tell you though: the next version of the table of Animoog presets will add 4 packs of Animoog presets! Yes, this means new presets for all of us to enjoy! Thank you for your patience :-) — Alex / Satri
I have great news dear Animoog players! A new expansion pack for Animoog, and it’s an excellent one! I’m happy to share with you the Animaal pack, which brings us 55 presets and 134 new timbres from Terra Nova Music.
Here’s the official announcement for the new presets being released today and announced on Animoog.org before anywhere else:
Animaal: You've never heard Moog like this.
NY, NY: Today Terranova Music released a set of jarringly organic presets for Animoog, Moog’s synthesizer for iOS. The Animaal library takes most of its inspiration from insects but also includes whales, birds, cats, and reptiles. Technologist Matthew Aidekman sifted through hundreds of hours of ECM Artist David Rothenberg’s private library of nature field recordings and painstakingly transmogrified them into magical instruments.
“When David showed me Animoog,” Aidekman said, "I was struck by its ability to make any sound playable. We’ve tested the limits of that by dumping tons of unusual biological sound in and making them play like professional instruments.” Aidekman said. The results are uncanny.
Animaal spans from a searing rattle-snake inspired leads to “galloping” basses but it’s real power is in full spectrum drones and pads which seem to simultaneously strike the ear as single 3D objects and serve as complete living soundscapes.
They’re slimy, they’re odd, they grow on you. The beasts have been released.
On the Artists:
An accomplished recording artist, writer, and thinker, David Rothenberg is Distinguished Professor of Philosophy and Music at the New Jersey Institute of Technology. Matthew Aidekman has been a record producer, music technologist, and composer currently working on technologies specific to Indian classical instruments.
Here’s a video showcasing some the included presets.
Regular readers of this site know I could not resist testing and creating Animoog solos from these new presets. Here’s the first one I played with Animaal’s Laughing Lyrebird preset. As usual, it’s raw Animoog improvisations, no overdub/effect, just Animoog played live with these marvelous presets :-)
The second one is played with Animaal’s Grunge Drone preset:
And a third one with Animaal’s VoxAmpTremolo preset:
Buying the presets will also get tracks from the Animaal pack creators, as well as improvisations I just share with you. On the preset’s download page, you find these pertinent additional details about Animaal:
“55 presets based on 134 new timbres derived from the sounds of hermit thrushes, humpback whales, seventeen year cicadas, superb lyrebirds, snowy tree crickets, various tree frogs, swamp demons, rainforest ambiences from Senegal and Cameroon, purring cats and European marsh warblers–quite simply, the best more-than-human musicians on the planet.
The cognoscenti will realize that Animoog works with wavetables, not samples, so music programmer extraordinaire Matthew Aidekman has painstakingly converted nature sound samples collected by interspecies musician David Rothenberg into timbres that Animoog can use, and assembled them to make some of the most unique musical tools ever contained on an iPad.”
Better expression is one of my main goals as an electronic musician. Most recently we have witnessed terrific advancements in this arena. Moog Animoog began a big step in that direction with a whole new way of playing expressive electronic music, taking full advantage of the possibilities offered by the multi-touch screen on an Apple iPad (or later, the iPhone). This was a big inspiration for me, and I set about creating a bank of custom presets to take advantage of this new dimension of touch (the “Song-Haven bank” is currently sold right here on “Animoog.org”). This revelation eventually led me towards purchasing a ROLI Seaboard GRAND, which took a similar approach, but with a much larger 3D playing surface entirely different from a standard keyboard. Unfortunately, these two products were not directly compatible. That has very recently changed, with both the Animoog and Seaboard adapting the new MPE protocol. MPE (MIDI Polyphonic Expression) is an extension of the MIDI 1.0 specification. Basically, it allows for multi-channel communication within a single instrument without having to make a lot of settings. Response on multiple MIDI channels is how it becomes possible to have expression independent for each note played, making for a much more organic sound than was previously possible.
Besides the ROLI Seaboard models, MPE can now be found on other new types of MIDI controller devices, such as the LinnStrument from Roger Linn Design, the Eigenharp from Eigenlabs, and others, with more to come. With the MPE setting, I can now successfully play Animoog from my ROLI Seaboard, which as you might expect, is quite a joy! It did however, suggest that I needed to tweak my custom presets to take a bit better advantage of this new marriage. Initially, I had created the Song-Haven bank to primarily take advantage of the polyphonic aftertouch, pitch gliding and other touch mods made available on the iPad screen. Velocity settings were mostly left out of my sound design because they did not translate using the iPad screen (The latest Animoog 2.4.3 update also added velocity support in the form of initial vertical touch on the iPad screen). Of course Animoog can also be played on a regular keyboard via a MIDI interface as well, but with very limited touch response.
Video showcasing the new MPE version of the Song-Haven presets:
All this has prompted me to create a slightly revised version of my Song-Haven bank, to better accommodate the velocity touch factor. But as with most everything, there are limitations. The Animoog has only four modulation slots. I had used all of these slots in most of my presets for various modulations, mostly relating to touch. As such, for this new MPE friendly preset bank version, it has been necessary for me to replace some of these slots in order to make velocity control settings. A small number of these settings, such as Mod Wheel control over LFO created vibrato were first among those I chose to remove, because they are unnecessary with MPE instruments, which are capable of natural vibrato playing instead. Otherwise, I would try to choose what I felt were the least important mod routings to replace. As such, this new version is necessarily a little bit of a compromise. Whether to use this newly revised preset bank version would depend on your playing preferences and what instruments you may have to play it. Animoog may seem to take on a different character when played from an MPE enabled controller, because of the different way of playing it (such as downward pressure for aftertouch, instead of vertical finger placement). It may take a bit of getting used to. I also found that many of the presets had a better playable range if I transposed the Seaboard controller down an octave. A greater emphasis on velocity control also make many of these presets more responsive on a regular MIDI keyboard as well.
Here’s an improvised Animoog solo by Satri, using the original (non-MPE) ‘Nebula Vector’ preset of the Song-Haven pack:
As the new MPE version of the “Song-Haven bank” involves some tradeoffs, there are some things to consider. On the Animoog, velocity control over volume requires that the “volume control” (to the right of the key controller) be set for the minimum velocity value. You may notice that in many of the presets in my new versions, the volume control seems to be set rather low, which is specifically for this purpose. Therefore, changing this control (whether from the iPad screen, or from an external controller) will override this setting, which will change or even eliminate this programmed velocity response. As such, an alternative for master volume control should be considered. But if you primarily play the Animoog from an iPad/iPhone screen, this newer MPE/keyboard version is not really recommended, because since the initial velocity position also controls poly-pressure (as mentioned above), the results are a compromise and may restrict playability.
For those who have purchased my Song-Haven Animoog bank, I’m offering this new MPE and keyboard friendly version free of charge, and will be offering both versions for those considering a purchase.
To new owners, the Song-Haven bank is available for $6,99 by sending money directly to Steffen via Paypal. There’s a total of 50 new presets, with some of them requiring that you already purchased the Acoustic and R. Devine packs in order to access their timbres.
To use Animoog with an MPE equipped instrument, go to the “Setup” tab in Animoog. In the MIDI section, set the CH. parameter to “MPE”. The pitch bend range can be changed also, but the most instantly compatible setting of 48 will give you a very desirable four octave glide range! Make sure that your MPE equipped controller is also set to transmit MPE and that the pitch bend range on both devices match. That’s all there is to it! Enjoy your new found musical freedom of expression!
One of my ongoing quests is to find an alternative controller for Animoog that would suit my playing style. This post focuses on the compatibility and capabilities of the Linnstrument and the ROLI Seaboard with Animoog now that Animoog supports MPE, aka Expressive MIDI.
Animoog MIDI MPE Support
Animoog 2.4.0 released about a month ago brought support for MPE input with note-per-channel MIDI controllers. This changes everything. Everything when it comes for Animoog to support sophisticated MIDI controllers.
What is MPE and why it matters so much? MPE is an extension of the MIDI standard that stands for the Multidimensional Polyphonic Expression specification. It is also known as ‘Expressive MIDI’. You’ll learn a lot more in this previous post a year ago about MIDI MPE’s development and its technical specification.
In short, this new way of leveraging MIDI messages makes it possible to control the multiple expressive parameters of a single Animoog note over the same old MIDI cables. The ‘core MIDI specification’ wasn’t built to handle multiple dimensions per note. Dimensions in Animoog? Think of modulations such as the different polypressures or orbit rates for every note played.
The advent of MIDI MPE significantly reduces the limitations external controllers had when it comes to controlling advanced sound synthesis instruments such as Animoog and Model 15. If I’m not mistaken, it also enables better means to record Animoog performances over MIDI (I haven’t made experimentations myself yet, but I plan to — and of course, I’ll publish my findings on this very site). Expect more and more controllers and apps to support MIDI MPE over time. And be happy, thanks to Moog developers, Animoog now supports it! :-)
The LinnStrument by Roger Linn Design is one of the alternative controllers for serious players. Yes, it’s different from the MIDI controllers we’re used to, but don’t be afraid by this grid of lights, just look at how others play with it and you’ll understand why it attracts that much interest. Every cell will reacts to z-axis pressure as well as x / y-axises for vibrato and modulation. Pitch slides are easily performed on the LinnStrument’s x-axis. The Sonic Lab video below will show this to you.
The LinnStrument also happens to be built and played by incredibly friendly people! I wanted to try the LinnStrument and Roger Linn himself nicely arranged a meeting with a LinnStrument owner in my home city of Montreal. That’s how I met with the wonderful Nathanaël last April. Nathanaël happens to work for the famous Moment Factory studio. He generously spent time with me on his LinnStrument, testing not only Animoog (which at the time didn’t support MIDI MPE) but also let me test how it feels to actually play on the LinnStrument. Thanks a lot Nathanaël!
Unrelated to the LinnStrument, here’s a short video by Nathanaël showing Animoog controlling LED lights with note velocity and polyphonic aftertouch.
Sonic Lab just released a 22-minutes video review of the Linnstrument, and guess what, it extensively features Animoog! :-) This video not only gives you an idea of the capabilities of the LinnStrument, Gaz Williams goes into the details of many of its features. This is a must-see video to anyone looking for an alternative controller for Animoog.
After trying the LinnStrument last April, there’s one question I asked the LinnStrument developers: can we select playable notes ourselves, just like we can select which Animoog keys show up on the iPad? The answer is essentially no. From their FAQ:
Q: LinnStrument's rows always contain consecutive semitones (chromatic scales). Is it possible to set it so that the rows contain consecutive notes of a specific scale, for example only major scale notes while skipping over the accidentals?
A: It is fundamental to LinnStrument’s design that each of the eight rows always contain only chromatic scales. While it is true that some controllers (like our Tempest drum machine) permit you to set consecutive pads to play only scale notes (for example, only major scale notes, skipping accidentals), this is really only useful for controllers with few pads like drum pad controllers or Ableton Push. However, LinnStrument has 200 note pads so it is not necessary to delete any notes of the chromatic scale. The problem with removing the notes outside of the scale is that you can't play them, which is useful in all but very simple music. There are other problems with non-chromatic scales: 1) you must always change the scales to play in different musical modes so you never get a chance to develop any playing skills because the notes are always moving. 2) Pitch slides will no longer be consistent, with larger jumps between note pads that are a whole tone apart than between those that are a semitone apart. 3) Vibratos on a pad with a semitone interval on one side and a whole tone interval on the other will be asymmetrical, bending twice as much on the whole tone side than on the semitone side. Instead of preventing you from playing accidentals, LinnStrument borrows an idea similar to the piano keyboard's black and white keys: it provides access to all the notes but highlights the naturals. By default, it highlights the natural notes (C, D, E, F, G, A and B) in green lights and highlights all “C” notes in light blue lights, but you can change it to highlight any scale and in any of 6 colors (red, green, blue, cyan, magenta or yellow). This is done in Global Settings / Note Lights.
While I understand their valid arguments, I still think that it’s the single absent feature that stops me from purchasing a LinnStrument. The good news is that the LinnStrument firmware is open source, anyone can modify the LinnStrument’s software. Enthusiastic players could thus implement this features themselves. I thought of crowdfunding this feature with Bountysource for everyone to benefit from it. I went as far as creating this little explanation of what I was looking for.
My recent discussions with the main LinnStrument firmware developer highlighted the following: “there are physical spacers between the rows of LinnStrument that prevent smooth transitions across cells in the vertical axis.” Despite this limitation, I still foresee this LinnStrument keys layout as valuable and being a useful way to play Animoog on it, similar to how we can configure Animoog’s keys on the iPad. At this point, the LinnStrument developers aren’t interested in even maintaining this feature if we successfully implemented it. I of course respect their decision and it made sense to me to postpone working on crowdfunding this feature.
But don’t stop yourself at my sentiment regarding this feature absent from the LinnStrument, the LinnStrument is clearly an excellent alternative controller and it usually pleases bass and guitar players because of its keys layout, Gaz Williams explains why in his extensive review. Here’s a nice LinnStrument track from Geert Bevin to give you a sense of how it can be played.
If you haven’t seen the ROLI Seaboard yet, I’m glad you’re reading this. One could dare think this keyboard came to existence to be Animoog’s companion. Let’s first have a quick look at what the Seaboard can do — notice the x & y gliding effects in the video, akin to the slides our fingers do on the Animoog keys on the iPad.
The following impressive video successfully demonstrate the Seaboard capabilities with human-like voice. No wonder why the ROLI Seaboard won several awards!
Ok, but how does this the ROLI Seaboard sounds with Animoog? We’re very lucky, Steffen Presley, the sound designer who created the Song Haven pack of presets for Animoog, recorded the following video showcasing Animoog on the ROLI Seaboard Grand.
The ROLI Seaboard has the scales physically locked to the piano scale, meaning my main reticence to adopt the LinnStrument is also valid for the Seaboard. Steffen Presley also warns us that playing micro-tonally, which was possible on the GRAND but never the RISE, is not an option anymore. Steffen provide the details in the description of the following video. Those interested in having access to this feature again should request it to ROLI directly.
Can I have a ROLI Seaboard? You can and you have multiple options. The smaller ROLI Seaboard version available is named the Seaboard RISE, the 25-keys is priced at $799 and the 49-keys is $1,199. The latter is currently out of stock. I haven’t found a comparison of the RISE and its bigger brother the Seaboard GRAND, but the GRAND features more inputs and outputs and has different keywaves. It also costs more, the 37-keywaves GRAND Studio is $1,999, the 61-keywaves GRAND Stage is $2,999 and the ultimate Limited First Edition version featuring 88 keywaves is $8,888.
For such an expense, you’ll probably want to try how a Seaboard feels like and sounds like before purchasing one. Here’s the worldwide map of ROLI Seaboard retailers. Trying one is the next step for me — despite the fixed scale, will I fall in love with it?
Expect more surprises
We’re just at the beginning of a new era of controllers and advances like the LinnStrument and the ROLI Seaboard are pretty exciting. Combined with Animoog, the most popular iPad synth, there’s certainly lots of wonderful explorations ahead! And expect even more surprises in the future, hey, synths are even making it to the augmented and virtual worlds. You got that right and this is nicely demonstrated by the Behringer DeepMind 12, which crosses the chasm and dives into augmented reality. The future is already here, it’s just unevenly distributed ;-)
For those amongst us playing Animoog on their iPhones and iPod Touch, we have great news! The first update since last February, here’s a welcomed major update to Animoog for iPhone which includes several features we already have in its larger brother Animoog for iPad. The latter got minor improvements and is now at version 2.4.4.
If you’re an Animoog fan, chances are you’re a Model 15 enthusiast as well. If that’s the case, you’ll be happy to hear that Model 15 version 1.1.0 has been released, the first update since June and its first major update since the launch of Model 15 last May.
The Animoog for iPhone 1.3.0 release notes:
Animoog now requires iOS 8.2 or later
Support for ‘path-width’ as modulation source for presets created with Apple Pencil on iPad Pro
Support for accelerometer modulation controls as ‘accel-x’, ‘accel-y’, and ‘accel-z’
Support for Bluetooth LE MIDI devices
Support for MPE input with note-per-channel MIDI controllers
Added collapsible Inter-App Audio transport bar
Consolidated ‘poly-pressure’ and ‘chan-pressure’ into one ‘pressure’ modulation source
The vertical position of the keys on initial touch is now used as the ‘velocity’ modulation source
Tapping left or right of the scale slider will now transpose octaves up or down
Timbres panel improvements for easier sound design
Single-tapping on a left panel timbre now highlights it, while double-tapping scrolls to its location in the Timbres list
The Timbres list on the right panel no longer collapses when switching presets
Values of CC mapped controls are now sent out at preset change
Incoming MIDI CC 120 now turns off all active sound
Incoming MIDI RPN 0 now sets the active pitch bend range
Application settings are now saved immediately when changes occur
The keyboard now allows more space between keys
Fixes to timbre list where auto-scroll would overshoot at times
Fixes to built-in scale definitions
Fixed crashes when Animoog goes to the background
Fixed crackling sound when using hold from a MIDI controller
Fixed sound cutting out when switching between certain audio devices while Animoog is running
The Animoog 2.4.4 release notes:
Improvements to sample rate / buffer size behavior
Improvements to scale slider
The Model 15 1.1.0 release notes:
The SETTINGS -> SHARE panel now allows you to create and share a music video from audio in the Recorder module
Saved patches, arpeggios and CC maps are now automatically stored on your iCloud drive. They can be retrieved through SETTINGS -> SHARE -> iCLOUD DOCUMENTS from any device that uses the same iCloud account
Keys can now be released when HOLD is active by tapping any currently pressed key
Recordings now use much less memory
Recordings can now be up to 5 minutes in length
Recordings are now persisted across application restarts and the undo buffer
Added crossfading to the Recorder Module to prevent clicks at the beginning and end of a recording
Added a configuration option to prevent controllers from being changed when presets are loaded
Added a progress indicator for tutorial presets
Tutorial presets now continue highlighting areas during wiring
Added support for highlighting individual ports, knobs and switches in the tutorial presets
Updated factory tutorial presets to reflect new highlighting capabilities
Factory tutorial presets can no longer be accidentally replaced
Values of CC mapped controls are now sent out on preset change
Added support for incoming MIDI RPN 0 to temporarily set the pitch bend range
Added support for “shake to undo”, which also works during tutorial presets
Added “rate on app store” and “contact us for help” buttons on the SETTINGS -> ABOUT panel
Support for iOS 10
Improvements to inter-app audio connectivity
Improved core audio engine
Improved Ableton Link support
Improved stability on iPad Air 1
Improved fluidity of GUI rendering on older devices
Improved precision of the Apple Pencil as a controller
Improvements to the built-in manual
Updated AudioCopy to v3.3
Fixed stability problems when using incoming messages on MIDI channel 16
More Animoog news to be published probably within a week. Stay tuned :-) Enjoy the apps updates! — Alex / Satri
While I’m preparing a few other Animoog posts, I’d like to share with you two nice live Animoog performances that found their way to me. I usually find it inspiring to hear and see what other Animoog players do with our beloved instrument.
The first video is from Discophone_ and it’s a mix of apps played in a car, with Animoog providing the melody.
The next one of is a live performance by Makers of Sense, and in this one as well, Animoog is at the forefront.
I’m slowly gathering more and more Animoog videos in curated playlists where everyone can find more of such Animoog gems. If I missed any other worthy video on Animoog, let us know in the comments! Take care — Alex / Satri