Loop Breaker vs 88 Synthwave

Loop Breaker is a gamified audio processing environment that periodically forces you to make choices about how your audio loops should change and how your compositions should unfold. This is primarily achieved through a modifier system; every few bars, a new modifier appears in a queue. You must decide which of your loops should be affected by the modifier. If you make no choice, Loop Breaker will decide for you. Change is the only constant. Modifiers include standard audio effects like reverb, delay, chorus, filters, granular delay, auto-pan, and tremolo. Each of these effects has multiple parameters that are set on the fly and include various onset times. Other modifiers effect loop playback: you can change the playback speed, reverse playback direction, time-stretch, re-pitch, move loop brackets via the parts system, and slice loops and then shuffle, arpeggiate, or repeat them. Modifiers stack. Within minutes, your loops will wander down their own paths and recombine to create something previously unimaginable. Loop Breaker also contains a robust probability system for controlling how likely it is that modifier types will appear in the queue and how likely it is that an individual loop will be targeted for modification, should you cede decision-making responsibilities to Loop Breaker. The probability system responds to MIDI CC messages, so you can dynamically change probability settings with MIDI controllers, automation lanes in your DAW, or via modulation sources. Loop Breaker also contains a preset system for saving and recalling modifier stacks. Take your explorations as far as you want, save a new preset, and then recall it later on, even between sessions. Like the pads and probability system, presets also can be controlled via MIDI. Still not enough exploratory madness for you? Record and resample the audio output and then re-apply it to a pad or process it further in your DAW. Loop Breaker works both as a standalone app and as a AUv3 plug-in. Loop Breaker knows that you have a hard drive full of 4-bar loops that you never turned into finished compositions. Loop Breaker wants to help. Loop Breaker wants to make sure you don't get stuck in a loop.

88 Synthwave writes complete synthwave tracks and plays them on its own synths. Press write and you get the whole track: an intro, verses, builds with a riser and a snare roll, choruses with the hook lifted over a pumping mix, a breakdown, solo or bridge in the middle, a final chorus an octave up, and an ending. That can be the arp left running, a fade, or one hit and silence. Everything is synthesized, so there is nothing to download. An analog-style polysynth with up to five detuned oscillators per voice, where no two notes are quite in tune, plays the pads, saw leads, arps and basses. A four-operator FM engine plays the bells, electric piano, brass and sax. Four classic drum machines sit behind a gated-room reverb and a sidechain pump. The tracks come from chaos maths. A Lorenz attractor draws the melody and the hook's rhythm, and a logistic map picks which steps the arpeggiator plays and where the ghost notes fall. Chaos on its own is noise, so a small model filters it: it is rewarded for consonant intervals and learns as it writes. The CHAOS / TASTE slider decides how much say each one gets. There are eleven styles, and each one sets its own scale, drum machine, rack and effects: Outrun, Night Drive, Darksynth, Dreamwave, Disco, Synthpop, Cyberpunk, Horror Synth, Space Disco, Miami Nights and Vaporwave. Tick STYLE LOADS RACK and each style brings its own sound. The sound is half the record. There are four channels (bass, pads and stabs, arp and keys, lead), each with a preamp or amp, a tone stack and a speaker: a studio monitor, a guitar cabinet, a bass cabinet or a car door. Eight one-click racks set a whole sound at once. The effects are the production: sidechain pump, gated room, chorus, tape, bit crush, phaser, width and tape hiss, with a plate, a hall, a spring and a tempo-synced delay on the master. Every track is built from its seed. Write the seed down and you can have that exact track again, note for note. A seed from the browser version rebuilds the same track here. 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. The sixteen-step lane stays in key when the writer picks a new track, and it follows your host. Both play any of 22 voices through that voice's own channel and out on its MIDI channel. Turn on RADIO and it keeps playing, picking a new style, key, scale and tempo for every track. You also get: • 11 styles, 21 scales, 12 keys, tempo and density • 22 voices: pads, leads, brass, FM bells and keys, arps and basses • 4 drum machines, 14 channel voicings, 6 speakers, 8 racks and 8 effects • Seven-part mixer with a meter on every part • MIDI in, so your keyboard plays whichever voice you have selected • Export a MIDI file, a WAV mix, or stems, one WAV per part (in the app; in a host you record the audio there) • A note and a MIDI channel for every drum and every riser and impact • UI scale, so the panel is not tiny on a big iPad • Live spectrum and waveform, and the chaos engine drawn as it runs There are two Audio Units, an instrument and a MIDI processor. Each part sends on its own MIDI channel and every drum has its own note and channel, so one instance can drive a whole rack of synths. The MIDI version passes your keyboard through. Both follow your host's tempo and transport, and 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. No account, no ads, no subscription. Works offline.