Retrocord vs 2099 Techno

Retrocord is a retroactive multitrack audio recorder. It works like a tape that's always recording from your selected input, so when you play something worth keeping, you can save the last few minutes — after the fact. How it works Choose your audio input and a buffer length. Retrocord records silently in the background. When you want to keep what you just played, tap a duration to capture. The audio lands in your library as a recording you can play back, edit, organize, and export. Multitrack support Retrocord records every channel your audio input exposes, each as its own track. Connect a class-compliant multichannel USB audio interface — such as the Focusrite Scarlett series or similar — and capture individual inputs as separate stems. Mute and solo tracks during playback, then export them to your DAW to mix and arrange later. Edit before you export Retrocord lets you shape a capture without leaving the app: - Trim — set start and end points against a recording to keep only the part that matters - Split — cut a capture in two at the playhead to create separate recordings - Gain — adjust level in 3 dB steps, up to ±24 dB Your library, on every device Recordings live in an organized library — sessions hold captures, captures hold tracks — with waveforms, names, and durations at a glance. Your library syncs privately across your iPhone, iPad, and Mac through your own iCloud account. Lossless, and smaller Captures are stored as Apple Lossless (ALAC) — full 24-bit, 48 kHz quality at roughly half the size of uncompressed WAV. When it's time to move audio out, export individual tracks or a flattened mix as ALAC or 24-bit WAV, with your trim and gain applied. Use cases - Capturing jams and improvisations without arming a DAW - Recording stems from multichannel audio interfaces - Field recording, where the moment you want has already passed by the time you'd hit record - Interviews and spoken word, where restarting a conversation to get a clean take isn't an option - Practice sessions, rehearsals, and songwriting where good ideas surface unpredictably Details - Works with any class-compliant USB audio interface - Also supports the built-in microphone on iPhone and iPad - Stereo pairing toggle for interleaved L/R channels - Per-track mute and solo during playback - Non-destructive trim, split, and gain - Apple Lossless (ALAC) storage; export to ALAC or 24-bit/48 kHz WAV - Private iCloud sync across your devices, through your own iCloud account - No third-party account, no analytics — your recordings are yours

2099 Techno writes complete tracks. Press generate and you get 76 bars with an intro, builds, two main sections, a breakdown and an outro, played by a virtual-analog engine and a 909-style drum machine. Bass, acid, stabs, pad, a lead line and the kit, through a dub delay, chorus and reverb. Nothing is sampled. Every note is made on the fly and no two tracks come out the same. The music comes from chaos maths. Three Lorenz attractors shape the melody, the rhythm and the mood. Three separate logistic maps run underneath the drums, the bass and the acid line, so they wander independently: turn the logistic control down and the hats and perc repeat every bar, turn it up and they never do. Chaos on its own is noise, so a small model filters it. It gets rewarded for consonant intervals and rehearses two hundred notes over the changes before it writes anything. The CHAOS / TASTE slider decides how much say each one gets. Eight styles, and they are properly different. Detroit rolls an off-beat bass under syncopated stabs. Dub Techno holds one chord for four bars and lets the delay do the work. Acid runs a 303 line with slides and accents. Hard pushes past 140 with a Reese bass and the drive up. Minimal takes most of it away. Every track is built from its seed. Write the seed down and you can have that exact track again, note for note, whenever you want it. You can play over it, too. The pads are the notes of the track's key rather than a piano keyboard, so nothing you touch is wrong, and the sixteen-step lane runs in time with the track and follows your host. Both play any part you like: bass, acid, stabs, pad or lead, through that part's sound and out on its MIDI channel. Choose which sections the lane plays in - just the breakdown, say - and preview it on its own without starting the track. Turn on RADIO and it keeps playing, picking a new key, mode, style, sound kit and tempo for each track. You also get: • 8 styles, 6 dark modes, 12 keys, tempo and density • Two-oscillator analog voice with sub, noise, resonant filter and glide • 22 presets and 9 sound kits, from Warehouse to Game Boy, plus random patch • Six-part mixer, dub delay, chorus, plate reverb and a global sweep filter • A PLAY panel: pads in the track's own key, and a 16-step lane with accent and slide, running in time with the track and only in the sections you pick • MIDI in, so your keyboard plays whichever part you have selected • MIDI export: six tracks, one per part • Live spectrum, waveform and a view of the chaos engine at work Two Audio Units, an instrument and a MIDI processor. Each part sends on its own MIDI channel, drums on 10, so one instance can drive six instruments. The MIDI version passes your keyboard through instead of swallowing it. Both follow your host's tempo and transport. One install registers both. The app is free and nothing in it is held back. Using the Audio Units inside other apps is a one-time purchase, and each AUv3 session plays for two minutes first so you can try them properly.