BounceBud Physics Based MIDI vs Weeping Wall

BounceBud is a physics based, generative MIDI sequncer. Each side of the app has a customizable keyboard that send a MIDI note when a ball collide with its key. You can specify the ball count, speed and size on the main screen with the knob controls.  In the settings menu, you can set the key/scale, velocity range, octave. range and MIDI channel settings of the keyboards. You can also specify the notes individually per keyboard. All keyboards share the same key/scale that could also be changed with BrainBud. Each keyboard has its own MIDI output, so you can play different audio apps with BounceBud at once. Or you can disable the keyboard sides you don't want to use. With a MIDI input (from a MIDI keyboard or a MIDI sequencer app) you can 'shoot walls' from the keyboards. Balls can interact with the walls and it introduce more randomness to your generative sequence. You can control each keyboard by assigning them different MIDI input channels in the settings menu. You can also toggle the ball collision behavior in the settings menu. Whether balls can collide with each other or not, it creates different, interesting sequences every time. The size variety and ball variety can be change in the ball settings section in the settings menu. It adds randomisation to the size and speed values. You can change the ball color theme in the settings menu as well! BounceBud is a MIDI app and it does not produce any sound on its own. You need to route BounceBud's MIDI outs to your audio app's MIDI input. The AUv3 plugin app needs and AUv3 host app such as AUM, Loopy Pro, Logic Pro, Cubasis, Nanostudio, apeMatrix etc.

Weeping Wall is a standalone app and AUv3 plug-in. WW is a set of microloopers that automatically record based on input detection. Each new sound will be smoothly introduced and replace older sounds, resulting in a group of sounds that always reflect the most recent input. Each looper behaves independently - their size can vary and they will beat against each other as they phase. Up to 5 loopers are available to record into, with repitching and reverse controls as well. A dedicated “jitter” control allows you to randomly vary the size of each looper on each loop, creating variations that will never be heard again. Weeping Wall can be used as an effect directly on a track, or as a send effect. WW is intended to be a modular tool; it doesn’t include reverb, EQ, saturation, flutter, etc., but it plays extremely well with them. WW is a brand new effect that can be used in any number of creative ways - you can place it fully wet in front of a reverb, place a hint of it behind a saturator, combine it with your favorite pitch modulation - whatever you can dream. WW is fully compatible with automation and modulators such as Ableton CV to broaden the horizons even further. Weeping Wall has the following controls available: Threshold: The volume at which input will start recording into a looper. Looper size: The size of loopers, in seconds, from 0.1s to 3s. Jitter: A control for desynchronizing loops. Loops will be randomly shortened, and each one is free to change size independent of one another. Semitones: Repitch loops, with a range of +/- one octave. Reverse: A latching control to reverse looper playback. Looper number: Up to five loopers are available. Hold time: How long loops will be held before fading away, from seconds to forever. This essentially controls whether WW functions more as a looper or as a delay. Independent dry and wet volumes: Use WW as an effect directly on your track, or as a send effect. Beat syncing: Loopers can be synced to your tempo, from 1 whole measure to 1/64th notes. Macro-looper mode: Loops can grow to up to 60 seconds in length. Transport syncing: Loopers can be paused or destroyed on pause. Live performance mode: Enables a button-based UI designed with live performance in mind. Random skip: Loops can be randomly skipped over with some probability. Crossfade length: Control the length of the crossfade occurring at the start/end of each loop to keep sharper transients or smooth them off. Fade time: Control how long loops take to fade in/out. Filters: The wet channel can be high or low pass filtered for dialing in your sound.