Post your great Auxy feature idea here!


10 seconds is enough for 8 bar loops at 200 bpm. Only thing that could push that is the reverb, but I don’t know why you would want reverb at the end of a loop.

This statement was ignorant pls ignore :joy:

Yes, maybe you are right, 15 seconds would be ideal at least for a 4 bar loop at 80 bpm.


I agree with @Arimyth. A fresh and excellent idea.
Would be super useful.


I second both of those suggestions :+1:t2::+1:t2:


Good reasoning. This will be changed soon.


Yeah we would love to offer that but there’s no good mechanism for doing it unfortunately. I.e. since Apple handles payments there’s no way for us to a) figure out if someone is a student and b) give a special price depending on who’s paying.


Quick comment on why it’s not straightforward to add ADSR controls… Our sound engine, which happens to be called Toad, has a modular architecture. This means we can add any number of envelopes and route them to any parameter in the app. For some sounds, it would be straightforward to hook up dials to control the parameters in the “amp envelope”, i.e. an envelope that controls the output signal from the oscillators. However, in most cases, there’s a more “advanced” setup, where for instance, we use envelope to shape the filter section, which is also semi-modular, or we use different envelopes for different oscillators.

Our solution has therefore been to add a shape macro, since then we can setup a macro controller and specify exactly how it should affect the different envelopes. The problem with this is that we only have one dial, and sometimes it affects the (perceived) attack of the sound, sometimes how the sound is sustained over time, and sometimes the release.

So the best solution would not be adding ADSR controls for the “amp envelope” but potentially we could split the shape macro up into several dials and tune each one to affect the (perceived) attack, sustain and release. I think this is what would solve your “problem”.


Yes this we want too. Although the problem is that there’s no fixed relation between automation and note loops. They can be different length etc. so the automation loop would have to only visualize the currently playing loop for a certain time delta.


This will be fixed in the next update that is coming out soon.


One insight about this is that certain type of automation should potentially be added in the note loop instead of in a separate automation loop. E.g. pitch.


I’m sure this has been suggested before, but I’d love an option to export drum parts as individual files.


So basically this is exactly what I said, yes? So much for making up complicated answers to things I know nothing about, huh?

Also, as an aside, there’s no such thing as a (perceived) attack. Either the sound exhibits attack in the context of ADSR or it doesn’t. Any serious musician would know the difference.


you could def work around that by copying the drums to a new project with the same settings then export that drum loop.
(or just export the whole project)


I meant being able to export the kick, snare, hats etc… as separate WAV files.
I currently put each drum part into their own kit, which works, but is an inconvenience.


This would definitely be helpful, as it would make the desired so-called 20% process of creating a banger song as L puts it much more user-friendly.


If you just do like 8 bars and put each part of the kit every 1/2 or full bar you should be able to just export the one thing and just chop it up in another app


Hard to compose that way though…
Feels like it might be more of an inconvenience than my current workaround?


Very true. Things like slicex can only do so much, after all.

Not to mention that it in and of itself is a workaround as well. Currently, I just recreate all the samples and then recreate all the drum loops individually, which is a relatively laborious process but allows me to do on-the-fly adjustments once I do it in FL. Usually, I rough sketch the drum loops and then expand in FL. But I’d love to just do it once and be done.


No it’s not.


Yes. For instance, if you have a short decay and low sustain for a low pass filter cutoff controlled by an envelope, the sound will sound plucky, even though the amp envelope (which is what you usually refer to) would stay the same. My point is that in a modular environment, like ours, it’s not as trivial as connecting a dial to the A, D, S and R controls


I really don’t see how it isn’t. Both mention the solution of dividing up the Shape macro into smaller units that can impact the sound as desired. I suppose I addressed Decay when you didn’t, but that’s just a tiny part of the whole picture.