Still VanDerGraaf

You could well be correct on that- but I do find it a bit bizarre that the corporate might of Steinberg/Yamaha can't crack this after years of requests, while the "one man band" coders churn out iOS DAWs that are arguably superior in many respects. The upside is thst iOS users have so much choice when it comes to recording platforms.

I liked how you began your reply with "Unfortunately".🙂 You do have a point, but the decline of imagination in Western pop isn't enough of an excuse for Steinberg to have consistently omitted this feature. I do use Cubasis, but there at least a couple of demo arrangements I did while working for someone else that I couldn't have done on it due to these missing features. Other tiny developers on iOS manage to give us incredible features. Steinberg CHOOSE not to give this (very basic) one- labouring under the misguided assumption that a very old-fashioned business model will make people upgrade to the "big" platfrom they sell. I wasn't aware of N-Track Studio and will check it out.

Cubasis seems not to do tempo or time signature changes- making it utterly unsuitable in any pro sense.

Absolutely- crazy pricing for one 20 year-old piano sound. It can be made to cut very well through loud rock bands and I used it in exactly that way live on my hardware Oasys. That does not make it worth £30. I would say £10 would be a fair price.

I have mulled over tryng Module Pro, but I am not sure it is going to give me anything much over my use of AUM. I have the basic version of Module, but despite buying several of the expansion packs, rarely find myself using it.

Scott, I think the big upgrade potential of using Midi Layers in conjunction with AUM is in patch switching. Gets you very close to Mainstage on the iPad imo. AUM can already do splits, layering, extensive midi control/filtering but Midi Layers is definitely the icing on the cake. The one big thing AUM CANNOT do is change scenes. To be fair, it was never designed with this in mind. I am already heavily invested in the AUM way of doing things, so Midi Layers seemed perfect rather than say going to/having to learn another platform like Camelot. Being able to transition between song sections in Midi Layers is a breeze with a simple scene switch. This was the "missing link" with AUM which stopped it from being a true onstage rig host. One of the hidden masterpieces of doing these things on the Korg Oasys/Kronos system in my hardware-only days was the smart options they gave players- volume fade/rise crossovers in splits and layers, dependent on your choice of key position/split point. Finding that in Midi Layers was a joy. Another missing puzzle piece. @AnotherScott I owe you a debt of thanks 🙂 because it was only through reading one of the many threads on here that I became aware of Midi Layers, or perhaps I should say, realised what it did. I have some of the other 4Pockets apps but for some reason hadn't picked up on this one. Too late to reprogram everything for a tribute act gig I gave in a few weeks, but from there on in I will definitely be using it.

Damp squib? Nice enough, but maybe not at the price quoted. One thing I did like was the sound selection by synthesiser make/model. But I'm not wowed.

I see that the M1 app has now been made AUV3-compatible. Good news and hopefully others will follow in short order.

I heard this last night with my friend/bass player/felllow Yeshead. This is the first thing I have heard from the musicians that now call themselves Yes that is worthy of the name. Good music and well-constructed.

A lot of talk about the AZ-1 here. I still have mine which I got used in 1992. I couldn't stand the white casing and enormous logo so I took it apart and sprayed it matt black. I had no idea about painting and didn't use any primer etc. This resulted in an unexpectedly-pleasing distressed look which it wears to this day. Last used live in about 2016. More recently in another band as lead vox I used an Alesis Vortex 2- such a good board for the money, although it has some stupid programming quirks. This time some black duct tape over the logo sufficed. I used to love the hardware octave switch on the AZ-1- allowed the dropping octave effect on single notes like Tony Banks used. The Lync looks good, but I am happy with what I have for now.

Just to echo the other guys, I bought a used SL61 ii and frankly, I think I will buy some more of them. Cheap to buy, plenty of control features, and importantly, that action is excellent and walks all over plenty of new boards beneath the £1000 mark.

Check out many of the tracks on Going For The One. His harmony vocals on "Parallels" are incredible. This is the one album where he his vocal harmony and counterpoint never fails to amaze and move me. I might not be a bass player, but I feel more influenced by Squire as a musician than Wakeman.

Didn't Jane Child grace the Keyboard magazine cover once? I am sure I remember both that and reading the interview (although I can't recall much about it).

Incredible band. Christian Vander is a force of nature. Been looking forward to that one!

Great feel-good song. I had to do this with my old band. I got the Dolly part 😂 and the key wasn't changed (not my choice)! I had the pipes for it (just) but not the bust. 1 out of 2 ain't bad. 😊

Going slightly OT from the "do we love playing horn parts or not subject, this is a point that escapes people. On my live horn patches I would always add mic simulation as an insert effect. For me it always got me closer to a more workable result. Remimds me of one time out of hundreds that my old band did "The Final Countdown"- and I didn't have to play (admittedly synth) brass. Kazoos for all on stage, and the legendary lick took on a highly amusing direction.

I find when I load up an AUM preset for a song that uses Ravenscroft, it will often stop working after a certain time. Other synth apps in the preset are fine. Not exactly what you want in a live performance situation.

I think I am going to get this for my iPad Pro. Have been looking for something to replace Ravenscroft 275 with as it just doesn't seem to be reliable any more inside AUM.

One of the most underrated pop bands ever- if you live in the US, it seems they still feature in those "One hit wonder" articles. In the rest of the world they went from strength to strength after "Take On Me". They have a fantastic body of work and many great songs. Of course, it's always nice to hear a band where the keys have parity with the guitar. Kudos to them for their bittersweet, world-weary, beautiful interpretation of Take On Me from 2017. Not a synth in sight.

Have to agree with the guys, AUM is a wonder of an app and makes life so easy where routing and creating keys rigs are concerned.

This is doing it right.

Touch wood this has never happened to me yet. I feel that they are as reliable as any other connection- of course they won't stand up to abuse but treated well I think you'd be safe.

UK £1699. That's better than I was hoping for.

I don't think Queen used the Fairlight that early on. The Oberheim actually belonged to Roger Taylor. Was used a lot on The Game album. Could well be the culprit.