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DEVELOPMENT NEWS

 

All latest development news, distribution news and app releases have been published here.

 

 

 

 

 

 

January, 29th 2023


JAX CHROMAIC Compander - RELEASED!

It is available in the Apple AppStore at: https://apps.apple.com/us/app/jax-chromatic-compander/id1619225672

Listen to it it in action here: https://youtu.be/C5M7zj804xo

The TestFlight link for the beta version can be found here : https://testflight.apple.com/join/lQ27GMe2

The direct macOS disk image download (Intel/Silicon) is available too.
Download: JAX CHROMATIC Compander (signed) macOS disk image (version 1.4)

Note for Logic Pro X Users. With each new Logic Pro X version the risk of failing validation of x-platform AUv3 plugins raises again. So we currently do not know, whether it will succeed. You always can force loading the plugins if validation fails in Logics Plugin Manager. However, this is not possible if merely GarageBand is available. As this are all sandboxed plugins, the risk of a crash can be minimized to the plugin itself.

 

January, 28th 2023


JAX CHROMAIC Compander - Release Candidate

We uploaded the JAX CHROMATIC Compander 1.4 ( release candidate) to the Apple TestFlight servers. It should be available immediately.

We are preparing the release in the Apple AppStore for iOS / iPadOS / Apple Silicon tonight.
This usually will take some time and possibly also schedule delays due to approval processing and rejections.

There is a manual for the JAX CHROMATIC Compander here.

And a introduction video (pre release) here : https://www.youtube.com/watch?v=TlEGn_npt4A

 

The direct macOS disk image download (Intel/Silicon) is available too.
Download: JAX CHROMATIC Compander (signed) macOS disk image (version 1.4)

 

January, 25th 2023


BETAS Are Back

Most of our BETA versions are back and can be downloaded on iOS/iPadOS and macOS (Intel & Apple Silicon) via Apple TestFlight.

MacOS users also can download signed disk images with the apps for direct installation, without using Apples insatllation methods and without any time limit (on our main page).

 

January, 22th 2023


100 Years NOSFERATU - The JAF Filter Collection

( Premiere: 23. Januar um 00:00 )

On the occasion of the anniversary of Friedrich Wilhelm Murnaus Nosferatu, we have set the silent film classic to new 'music'. We only used our own tools for this. For example (and mainly) our famous JAF Filter Collection.

 

January, 18th 2023


REMINDER

Currently the JAX CHROMATIC Compander, our 32 band dynamics processor, based on analog style bandpass filter models (filter bank) is available as public BETA again via Apple TestFlight on all platforms (iOS/iPadOS/macOS Intel and Silicon).

The item (AudioUnit) is planned to be released this month in the AppStore.
The beta version will remain for 'try before buy' reasons too while introduction offer, until timed out.

There is a youtube video, demonstrating it in action.

We also provided a direct download DMG image for direct installation on macOS.

 

January, 15th 2023 (Addendum)


COMPLAINT SUCCEEDED.

JAX MIDI Jinny PRO (AppStore release) will be is out today this way.
We are providing more video and documentation material and a roadmap for future extensions.

There are allot of additions for JAX MIDI Jinny PRO planned and there is a kind of internal roadmap. 
i.e. the following:

  • global transposing up and/or down
  • displaying useful information (chord progression)
  • change chord progression, keep all patterns
  • re-generating single tracks (chord phrase, bass, melody, sequence, drums)
  • mute/solo single tracks
  • (user defined MIDI channel assignment)
  • (export single track patterns)
  • (drag and drop) ?
  • (core MIDI out)
  • (media control center implementation)
  • (genre selection)
  • (batch exporter function)

items with 
() means possibly
? means not sure if it is possible without problems

Some additions surely will be implemented. There is an "extended" version planned for Jinny, possibly as in-app purchase.

The entire progress of the further development is very dependent of the purchase performance, as there are so many new releases of very different kinds waiting for release this year. So the concentration will focus in the sales performance of each release.

 

January, 15th 2023


RELEASE REJECTED

Apple reviewers are ...

... please feel free to add a term above.

We submitted our latest App, the JAX MIDI Jinny PRO. The app was rejected. (rejection rate on the AppStore is approximately over 50% in our experience all the time)

The prompt result was the following:

Rejected ( as usually, with a useless paste of their catalogue for rejections ),
(we had to ask why, as always...)

Answer:

Hello,

Thank you for your question.
Regarding Guideline 4.1 - Design - Copycats, your app looks and functions exactly the same as the “files” app with minimal changes.

To resolve this issue, it would be appropriate to add features and functionality to make the app unique instead of a slightly altered copy.

We look forward to reviewing your resubmitted app.

Best regards,
App Store Review

 

I immediately opened a dispute with the following answer:

1. The app reviewer obviously does not understand what a document based app is, how it works and how it looks. He/she also does not know something about the development guidelines for the framework regarding 'document based apps'.

2. The reviewer did not really read the meta data, nor the attached documents. Or he/she did not understand what there is actually written.

3.The reviewer just copies something from the catalogue for rejection, even had to explain this on demand, with a wrong assumption by him/her regarding the issue.

4. The reviewer claims a copycat of the 'Files' app, which is absurd, as the app actually does UNIQUE things that the 'Files' app is not approximately able to do! (Not understanding the concept of Apples own principles regarding document based apps.)

5. The app is innovative and unique as it used advanced algorithmic to create unique MIDI files, based on polyrhythmic and polymetric music theory. It can visualize and play back MIDI files. This allone is na unique feature.

6. The 'Files' app cannot even play back music (MIDI) files nor handle these specifically, the files that are generated as documents by my unique app.

The JAX MIDI Jinny PRO app actually will generate, visualize and play back MIDI files and thus - fill a missing link for iOS users!

Please explain me where this is a copycat issue.
Under the hood there is complex code the base of this app. And the simplicity of usage is actually a feature, not a fault, nor a deficite.

 

Conclusion:
You can think what you want. But Apple is, because of such things one of the most bad experiences in our entire live.
This rejection is (once again) entirely ABSURD. And our forces to fight against stupidity is also at the end very soon.

If the complaint fails, we can not release this app! We are sorry.

 

January, 13th 2023


 

JAX MIDI Jinny PRO BETA and macOS RELEASES

The public beta for JAX MIDI Jinny PRO of the iOS/iPadOS is out now!
You need (as usually) the Apple Testflight app installed on the destination system.
Here is the public link:

Apple TestFlight link: https://testflight.apple.com/join/0uhq1Tu8

A manual can be downloaded here.


JAX MIDI Jinny PRO Teaser at YouTube

The public beta for the macOS version is available via the same link above too.
We will furthermore publish a direct disk image download ( especially for older Intel machines ) here tonight. This will also run on latest Apple machines.It is not notarized, but signed. Our direct download disk image also do not have that Apple beta ltime-out imitation of 90 days.

 

As promised, the beta of the JAX Chromatic Compander beta was refreshed for all platforms too.

Have fun!

 

January, 11th 2023


 

PENDING JANUARY RELEASES

New year, new stuff and loads of work.

We are about planning the realeases of at least 2 items in January 2023. Both are universal/x-platform (iOS, iPadOS, macOS with Apple Silicon Support).

  • The first will be our brand new MIDI Idea Tool, the "JAX MIDI Jinny PRO". (there was no beta yet).
  • Second will probably be the JAX Chormatic Compander. (known from beta, timed out), as there was some interest by one beta tester and one youtube comment.

If everything goes well with all the usual AppStore upload/notarization hassle and problems, there should be 2 new apps on all platforms available to you very soon. One BUG of the latest XCode compiler prevented us actively to compile the projects for release earlier. We will publish short demonstration youtube videos on our channel for these releases, if available.

For the macOS Intel platform the 2 planned apps probably will be available for free, not via the Apple AppStore for macOS but as separate downloads here from our website. The appstore unfortunatley has insufficient distribution mechanisms for bundled x-platform releases for all of their devices, like all of our latest projects are.

 

CURRENT OPEN BETAS

Furthermore, we will refresh and revitalize some out-timed open betas next. Until now, the interest for all of these betas (over 20) was quite (extremely) low, so our enthusiasm is at zero and we currently cannot say anything about the release date and priority for these apps this year, nor whether some of these will be released at all. If there is nobady interested, so this all would be a huge waste of time and energy. Unfortunately the cycle of active interst in iOS music apps did get down extremely low and we will have to think about to focus on other plattforms and jobs next.

 

APPLE IS REMOVING APPS!

Some apps, for which we do not have the complete source code anymore will disappear from the App Store next.

Apple informed us about to remove some older apps because these were not updated last 3 years. These apps are still fully functional, and have a decent number of downloads. But these cannot be updated by us anymore, for several reasons.

The low priices of apps in the app-store did not even compensate for the initial development costs and forcing developers to update their apps for livetime is just a ridiculous demand. Apple, where are you actually living? Anywhere on the moon? So we appologize to our existing customers for the fact, that these apps are removed by Apple, not by us. We recommend to use special downloading tools (i.e. iMazing for macOS) that enable to save theses apps for all existing customers on there disks, as we do not have any control over this entire awfull process.

We also have to think about the methods that Apple is actually using for dictating the income and the amount of work to app developers in general. This is close to inacceptable we think. ^^

 

January, 1st 20223


 

Happy New Year 2023!

 

December, 8th 2022 


JAX Algorithmic Composer Demo 2

This randomized medley of 100 mini arrangements (13:20) was compiled in a second by JAX Algorithmic Composer, just by pressing the button, using advanced IA - the honest peng deng to liar fake 'AI - latest hype of using aclaimed artificial intelligence' promoted by the wanabe music industry to fool their users ). ^^

'Ah yeah, I make my music with AI now.' This is for all the folks, not becoming a Mozart ever but wanting to enter the Billboard Charts never the less. ^^

Feel free to read the entire rant below...

 

December, 6th 2022 


JAX Algorithmic Composer Demo

According to our youtube channel we demonstrated the first shots of our JAX Algorithmic Composer. THis was merely a stress test and interface demonstration.

( Please read the description of this video for more information at youtube. )

Here is a sound sample of our algorithmic composer (you probably need an Apple device for listening to this encoded *.aif audio file).

There were just 20 MIDI snippets (each 4 bars long) generated and exported to disk - without sorting out anything! With Cubase we imported and assigned different instruments from the Steinberg Halion Sonic (multi timbre synthesizer) to the 7 generated MIDI channels. The result was then passed thru a limiter straight bounced out to disk.

As you may hear, there is no 'fake wannabe AI' required for generating complex, musically pleasing MIDI patterns at a button press. Most of such tools, claiming to use artificial intelligence just lie to you (*), wanting you to buy their unbelieveble crap for 'production'. This is what we call 'AS' ('artificial stupidity'), made by and for for dumb asses. ^^ Or just 'IA' (the natural noise of a donkey)

We instead used simple algorithmic, based on smart musically polymetric and polyrhythmic rules rather than just plain randomization. Many of the available generators (i.e. Beatly Pro) obviously use just random number generators without any means and without any pleasing results for that reason. Also Riffer and Co. ...

The success rate (musicality) of our algorithmic generator is above 95 percent (if one uses to be picky). Beatly Pro in our opinion has for instance a success rate of rather under 5 percent (if one uses to be gentle) so far and it is also much too complicated (editing wise, clumsy interface, strange buttons and editors placed allover the app) and not leading to any usefulness on that base. We are asking ourselfes here, how can one drive a basically good idea to such a desaster !? And the fan base at audiob.us forum unfortunately (as always) did not make this app any better, rather just more worse - as with many apps that are raved and 'pseudo-developed' there - these apps often will became more worse based on all these strange un-coordinated and un-thought user suggestions. Se also Piano Motifs, which is another app, that has gone more worse than better based on all that user suggestions. The initial concept and its special flair of simplicity was just friggin perfect!

(*) The tools we analysed for our deep research to realize this project are:

  • Odesi
  • Captain Chords
  • Captain Chords Epic
  • Orb Plugin Suite 3 (claims to use AI)
  • Orb Producer (claims to use AI)
  • WA Insta Composer, Insta Chords 2 (claims to use AI)
  • Rapid Composer

  • Songen (claims to use AI)
  • Beatly Pro
  • ... to list merely a few of them ...

The tools, claiming AI are all very SUSPECT, as there is obviously NO Artificial Intelligence but plain algorithmic used! Even the tools claiming to use AI often sound musically more worse than the obviously pattern based assemblers, which naturally produce more useful results. With all these tools, we detected either repeating 'motifs' all the time or just unpleasing randomized algorithmic (un-musical) shit sequences that were hurting our ears - and this is a prove for NOT USING any AI, but just using patterns and/or the random() math function excessively and then just pitch quantizing these to the selected chords. Very few of these apps and plugins have advanced polyrhytmic / polymetric rules, that are FUNDAMENTAL in MUSIC. And missing this is most likely a TOTAL FAIL.

AI generally would imply to see any development of an internal learning in progression, thus having a kind of a growing artificial 'brain' at least. We, by best will, could not detect anything near of such with these liar fake AI composers !!! This is just a nasty marketing trick to get you paying for crap. Unfortunately many users are successfully hunted this way.

One of the tools we looked somewhat closer at was InstaComposer from WA Production. Oh my! It was not able to do such simple things like importing a MIDI pattern, not able to deliver any musical feeling (everything generated was placed straight onto the on beat), placing and moving notes manually did not quantize the pitch to the current chord, and the whole enchillada of presets sounded like infantile toy melodies from an ape playing bontempi while eating bananas. Well just simply terrible ... and similar results do the other tools with IA mostly too, things that are strictly against any artificial or even any human intelligence. Such tools are the reason, why aliens want to come and teraform the earth by pure accident, because there's obviously no sign of intelligence found there...

Another of the tested tools (Captain Chords Suites) required a permanent internet connection, continuously dumping out strange bulks of data, obviously for the purpose of stealing the peoples creative input in realtime and put it onto their own servers for generating their 'algorithms' later - this also is not AI - this is a kind of crime! - If you switch off internet connection, the tools all immediately quit their service and refuse to work. These software developers obviously are kind of natural born killers with a dangerous psychosis...

Well, not all are that bad.

There are fortunately some tools out, which actually deliver fantastic musical results, based on smart algorithmic and prope human operation, i.e.

  • Sundog
  • ChordPotion
  • PhraseBox
  • Patterning 2
  • ... there are many more ...

... but usually requiring a bit of used human brain (never the less), These tools use smart polymetric/polyrhythmic rules for pattern generation and are more like a concept of specialized 'arpeggiators', step and pitch controlled sequencers. Especially repititive polymetric patterns can produce very musical and interesting motifs for algorithmic composing, even if randomized. Polyrhytmic is very good for creating rhythmic patterns with a certain shift and interesting movement. And this all has nothing to do with IA, because it is a product from the BEAUTY OF MATH mapped to musical intervals and created by a human brain. ^^

And here finally again: If you are not able to feel rhythm or to hear any harmonies, you won't be able to get anything pleasing out of ANY algorithmic composer out there. In such cases we recommend to seek for a different feeld of activity, as we would suggest for these wannabe fake AI developers.

( And we certainly also whished, youtube would be cleaned up from all those self-acclimed 'influencers' we stumbled uppon, obviously not having any clue of what music is all about but endlessly featuring and demonstrating the usage of such fake AI composition tools for instantly become a 'Music Producer'. Man, couldn't you limit yourself to demonstrate something you may master, i.e. the correct usage of toilett paper??? )

 

December, 1st 2022 


We are currently prototyping our own chord tool. ^^

There are so many different chord apps out there and we certainly purchased most of them. But none of them actually really fits our needs for real production scenarios.

In our imagination, a chord tool should be fast and efficient, inspiring and let us concentrate to the MUSIC. Most tools we tried are the complete contradiction. These are all cumbersome, hell inefficient and ugly too or just are kind of preset selection tools, made by someone other...

Our chord tool lets you define up to 6 individual rows of musically related chord rules (including completely user defined disharmonics), which can be ordered chromatically or in circle of fifth order. You can define the keys for each chord rule yourself and - what is the most important thing here - you can freely adjust the inversion for each chord by just clicking one of the octave buttons for each key in the chord editor.

The rows of chords are defined for intuitive trial and error real time performance. By selecting a row you can edit the chord and its inversion for the chord rule in the row. The tool will guide you as much as possible with useful information. The chord editor can be blended out.

Everything should work as intuitively as even possible, you create chord progressions mainly by listening to the harmonics instead of endlessly philosophating about pseudo scientific chord relations for hours with finally just average harmonic results that nobody really undersatnds or finds any exciting. ^^

picture: JAX Chorder prototype

 

The chord tool also allows you to define some bars of chord progression and use the results as MIDI information.

Simplicity is the key here and it always is automatically the best solution too. The entire approach builds on intuitivity rather than super complicated editors with nifty controls and menues and no real meaning or result. But a warning at last: people, who are not able to "hear" any harmonics, won't be able to get some pleasing results and this is actually very true FOR ANY chord tool out there. ^^

 

 

November, 15th 2022 


So much confusion about iOS file handling ...
(i.e. with samplers and their libraries)

We continuously read about just WRONG assumptions about the iOS/iPadOS file handling.
You just CAN NOT use *symbolic links* to external files, that are stored in an usual other app on Apples mobile devices in general.

Unlike many misleading discussions in several laymens fora, this is just NOT POSSIBLE. And Apple also would NOT allow this EVER !!! However, there are some certain exceptions ...

To understand this, you must undersatnd the iOS file access paradigms, which inherit strictly from UNIX security paradigms. Each app on iOS is basically a strictly sandboxed environment ( a unique 'user' in fact ) with restricted access privilegues to disk storage and system files, even system functions. There is no shared system area like on the ( legacy ) macOS for instance. And the macOS actually tends very much to take over these strict sandboxing paradigms for all apps in the near future. (A system wide 'cleaner' app for instance is just not possible on iOS therefore. There are so many nonsense apps out there for iOS, which claim they would clean up the system (by always merely deleating required caches, that are created and needed by the system and built up straight after again, deleting these...)

Period.

If you want to share files across different apps, this is EXCLUSIVELY managed and monitored by the operating system. Although the OS provides some mechanisms for sharing with so-called *file providers*. This is a cumbersome mechanism and thought mainly for using cloud storage space ( files located on and synchronized with external servers ) and strictly watched by the operating system. One example of such specific *file provider* is AudioShare for iOS or any cloud service for instance. However, AudioShare actually 'misuses' this mechanism.

So telling the users, an app could just easily 'share files' across the device in form of symbolic links to anything without being an officially registered and OS-supported global *file provider* with its secured space is just plain stupid nonsense. Per default all files, that require permanency must be copied (and thus duplicated) on all Apple eco systems to the app container, except the macOS to certain amount ( up to now at least ).

And an app, that would be dependent on any external storage links (outside of its own granted permanent space) will always become dysfunctional and potentially crashy, if these files are not available at time of the demand. So mobile device users must always live with a massive data duplication on their devices, if they want their apps to be any useful and fully fuctional. And mobile devices are conceptionally not designed to be 'mass storage devices for sharing' - but rather the complete contradiction.

This specifically applies to *sampler* apps, that must manage allot of audio files for their functionality. And there is no way around data duplication, as long the operating system is secured in the way it actually is - and this also is REQUIRED for the integrity of the entire system. The only way is therefore to use a file provider like AudioShare or a cloud or any ecternal storage device, if you want sampler libraries to be shared across apps on iOS. Although most serious apps will probably copy the used files into their container storage nevertheless, because of the mentioned reasons of permanent availability.

So please stop talking that kind of imaginary SHIT !

 

November, 10th 2022 


JAX Environment - Serializing

The project becomes more complex. For preparing basic audio unit preset handling, we developed a native *.plist based serializer, which is able to save and load the complete state of the environment. We also implemented the support of internal audio file player banks and sampler banks, along with internal MIDI and VA synthesizer banks. This means, one can load for instance a setup with mulltiple streaming audio files, 16 channels multitimbre synthesizers of differend kind, all along with send and master busses. All of these busses can have a number of insert effects, so this really gets massive then. With 41 loaded audio units we get a result 10% CPU hit.

Currently there are still some problems with the input sample rate on some machines. Apples internals of the AVAudioPlayer / scheduled file player audio unit make problems on some machines (including the MacBook Pro 16), where the internal format converters of the player unit obviously do not work correctly and produce static crackles. However, it works, if we use an external audio interface, the YAMAHA AG03 mixing console. This is really strange, as this external mixer is an USB 2 device. The internal audio chip of the mac actually should not make such problems.

And still there is the problem with multiple instances of the apple players, these crash ramdomly with cryptic assembler debugging output if accessing multiple files randomly. If that cannot be fixed, we have to develop our own audio players.

 

November, 8th 2022 


JAX Environment - Alpha Version

The JAX Environment runs on macOS Ventura, iOS 16 and iPadOS 16. Earlier OS versions may be supported with a release too.

Invoking the (generic) user interface of the Apple AUSampler on macOS Ventura. On iOS this user interface is differently, as it uses the Apple generic interface there, which is available since iOS 15 (but deprecated again with iOS 16) ^^ For fallback we always will use our own generic user interface, based on the WU series. Mac Catalyst apps obviously do not support Apples generic user interfaces at all. ^^

The environment user interface is generated on base of the audio engine configuration, which also can be saved as a (and loaded from a) file. There can be several predefined busses, i.e. the MIDI bus, the input bus, the generator bus, the send busses and the master bus. Genaerator and send busses are expandable to any number, there are expandable insert slots for each bus. The busses may be color coded later for better distinguishment. On top of the environment a floating resizeable window can be invoked for exposing the user interface of a selected audio unit slot. The entire user interface of the environment is scalable to any screen size, which makes it available on all Apple platforms (including all sizes of the actual iPhones). On smaller screens, the main interface will scroll horizontally. The contrast of the environment UI can be adjusted to any value, as with all of our AudioUnits.

The audio engine is basically working at this state. In this example more than 30 internal and external audio units are loaded and connected for processing. MIDI is already supported.

We discovered some problems with the Apple Timer class in Swift, which behaves strange regarding performance in conjunction with the AVAudioEngine. The timer was supposed to do scheduled realtime updates of the VU meters. Also the Apple file player makes some problems with file handling, if trying to load multiple, co-operating instances of it.

Next steps are now : preset and parameter handling and audio recording and preparing more internal audio units for specialized purposes.

 

So is this actually an AUM clone?

NO. There are some things with AUM, that we do not really like. For instance the fact, that this host gets much too cumbersome and complicated, if preparing more complex, but commonly used audio processing scenarios, like send and maser busses and multi-timbre sound setups with 16 channel MIDI connections and so on. Also MIDI file support and playing is quite unsatisfactory solved with this host. And at all: it is NOT available on te Mac! ( and also heavyly builds on older, deprecated Objective C Apple farmeworks, which will not be available on all the moderen Apple platforms for very long time ).

 

November, 3RD 2022 


JAX Environment - An UI Prototype

An UI prototype with input bus, audio generator bus, send bus and master bus.

A place for the hosted audio unit inside a sizeable window.

 

October, 31TH 2022 


Back To Idiotic (A Continued Rant)

Apples own audio units version 3 are designed in an inconsistent manner from the ground up. Yet, the entire audio system is 'designed' that way...

The Apple units initially were hidden units in the past (for iOS), not exposing a user interface at all, so the interest and usage was quite low by developers of audio unit hosts and audio applications.

Now these (system) audio units - since iOS version 15 can expose their own native user interface - but this 'feature' was marked deprecated by Apple immediately with the follow-up iOS version 16 !!! We think, this exactly describes all the entire mess with Apples audio unit framework in all its desastrous attitude quite impressively! The audio developers at Apple obviously have no plan nor do they seem to have an overview of all that mess they have been created over the years!

There are for instance massive issues with some of these native Apple units, especially because these are obviously all rendering at fixed internal samplerate of 44,1 kHz, whereby all latest Apple mobile devices use a native hardware samplerate of 48 kHz by default. Some of these units (i.e. the multiband EQ and the Reverb2) will just instantly crash the entire audio engine due to 'format missmatching issues', if one tries to connect these units into a native hardware samplerate audio processing chain. (Note: The native hardware samplerate across all the latest mobile Apple devices cannot even be changed by the user, nor the developers!)

One solution is now to implement 'on the fly samplerate converters', like the native Apple mixer audio unit onto both sides, the input and the output of such questionable units, to make them even working with usual audio processing scenarios. This is completely IDIOTIC and maximum inefficient too. And this also often unexpectedly will produce rendered audio with uncontrollable (false) samplerates / pitch either. The other solution is rather to ignore all this shit, that is not properly switching to correct samplerates like all the Apple audio units actually do.

The entire samplerate missmatch flaw of their audio engine framework is kind of a dilettantic conceptional desaster and will lead consequently to a kind of permanent instability and danger of their entire audio system on all of their platforms. Without massive tricks and cumbersome, inefficient mechanisms, this cannot even be mastered by any serious developer to an satisfactory level.

Ever wondered, why for instance an app suddenly switches the systems samplerate on a Mac in undesired manner, just by starting it oreven just loading a file with different samplerate ??? This is kind of idiotic behaviour as a result of the unthougt audio system architecture on the Apple platforms.

However, here are some of the numerous issues with our AVAudioEngine project so far we have discovered yet:

 

    • The Apple AVAudioPlayer is contantly crashing due to internal errors and inconsistencies with basic file handling, which is completely opaque and basically uncontrollable by the developers.

    • Open audio files are for instance limited to a ridiculously small number on iOS, accessing multiple files with different instances will often crash randomly without an identifiable reason. There is not even a possibility to close a file that was once opened with AVAudioPlayer, finally leading to dysfunctionality at certain point, without any further note.

    • AVAudioEngine is missing nearly everything that is required for a properly designed audio unit host application. This API is completely unfinished and rudimentary with gaps everywhere.

    • The Apple input node often reports idiotic numbers and format of hardware inputs and outputs - also based on questionable security mechanisms - making it nearly impossible to connect something senseful for sure with that. it is a guessing game, whether your carefully designed audio graph will be compatible with that randomly reported audio input availability.

    • We repeatedly discovered the AVAudioEngine trying to access INVALID busses (bus numbers) on the connected audio units, that are not even defined or published by that audio unit anywhere!

    • An audio unit must obviously continuously traverse its output bus, whether a samplerate change occured. There is not even another way to call up a valid samplerate for processing - and this obviously can change at runtime. There is also no consistent way to keep constant samplerate inside a supposed processing chain, as the audio units can define their smplerate themselfes at initialization, which most likely will lead to potential conflicts inside the audio signal flow. The resetting and allocation is performed by the audio engine in obviously randomized fashion and basically uncontrollable.

    • If one tries for instance to hot swap Apple audio units (with a running audio engine), suddenly all of them switch back to false internal samplerates on their input and output busses due to strange internal resetting and/or re-allocation behaviours caused by the audio engine, that is just false and also unneccessary with any hot swapping.

    • The Apple reverb2 effect, crashes instantly with a connection, because it cannot handle the native device hardware samplerate of all latest Apple devices! It obviously needs on-the-fly samplerate converters at both ends - thus using 3 audio units at ones - 2 mixers and the reverb unit - for one proper operation.

    • The same for some other Apple effects (i.e. the multiband eq/filter unit). Other may do a connect without crash but then most likely rendering at a false samplerate streams of crap to the output chain.

    • It is not possible to call up any useful information about the current connection state of an audio node inside the so-called processing graph, despite of tracing out the complete undescriptive bunch of nodes for the entire engine at debugging time with no further meaning.

    • All native Apple audio units report false samplerates on their (newly) exposed user interfaces in general, possibly these units also will strictly render at false samplerates internally, no matter how these are connected, sometimes the audio output is suddenly resampled to 44.1 kHz, resulting in a pitch change, as even the supposed samplerate conversion obviously does not work correctly in that circumstance and these units reset their initial samplerates, whitout taking their current connection state into account.

    • Trying to make a MIDI connection to a MIDI enabled effect will terribly fail and crash, claiming it cannot be done. The connectMIDI() function obviously does not accept 'aumu' effects, audio effects, that actually can process MIDI. This feature is also basically useless with its 'multiple connections property', as in practice this would make no sense without useful MIDI channel and event filters.

    • The AVAudioEngine is crashig much too often in general for no obvious reason, even in situations, where nobody can actually recover a real source of disruption with the attached debugger (showing cryptic assembler blocks from the audio kernel then) or in situations where a 'hand-made' crash would be completely unneccessary, because the issue actually just could be ignored with a simple notifying error message.

    • The 'required condition is false' crash message is more often performed as any audio rendering task with this shit of an audio engine.

    • The entire mis-conception of the audio engine makes many cross-platform audio units and apps dysfunctional, as our tests have shown. Only few apps for iOS are currently running correctly on the Apple silicon platform as supposed to do. Most of them will not perform correctly on the Mac (produce crackles) or will fail the AUVAL audio unit validation, which makes seemless usage experience with audio hosts impossible.

    • Everything in this framework is maximum intransparent - 'opaque' in a bad way - and developing with this is rather like (a just more bad) guessing game as with nearly everything that Apple is releasing for developers as so-called high-level 'frameworks'. But the AVAudioEngine surely does top them all !!!

    • .... there are so much more ....

    • ... in short, this all is just horrible unfinished and just not-correctly-working shit and just a shame ...
    • ... it for sure is not the base, the fundament we can build on something stable and advanced ...

      Apple, sit down on your asses and actually design something completely new, something working, if you want keep musicians and audio engeneers as your customers, and the developers of audio apps.

      This one, at least, was an absolute FAIL.

 

This all makes us really angry because of massively wasted time for investigations and development and so it remains absolutely unsure, whether we will release something based on all this terrible crap. Our conclusion: If you want to develop professional grade audio applications, do not build on the Apple frameworks - it is basically all dilettantic, extreemely limited fault and will drive you (and your users) crazy !

Our planned audio environment, based on Apples AVAudioEngine requires a massive amount of solid and stable realtime connections, not just 2 or 3 players with delay effect connected together. It also must support hot swapping of audio units without any issue and it must support MIDI connections to audio effects (aumu) too. This all just seems not to be possible to build with a stable state based on the propagated Apple frameworks. The amount of instability, inconsistency and incompatibility is such giant enormous inside this entire AVAudioEngine framework, that we cannot believe that they continue to release such crap to the developers without a general overhoul.

(Some users are wondering why for instance GarageBand on iOS is delivering strange audio results if for instance connected to an audio transmitter/receiver effect (as a workaround to missing connectivity of that music application). The reason is just the terrible internal misuse of the samplerate. GarageBand obviously internally uses 44.1 kHz and not the native samplerate of the hardware for its internal audio rendering. This is just inefficient and infantile crap on very essential level. We often wondered, why GarageBand is so limited. The answer is that it is so limited because it probably would deliver a crash concert if it would be more complex or even be any "usable" for serious music production because the frameworks on which it is based are unbelieveble, inconsistent crap.)

 

Users also may ask, why audio apps on iOS and macOS are rather so unsatble at this time of writing. Well, the reason is actually house-made and evolutionary. And the Mac as 'THE' music production platform is nothing more than a MYTH of the past. I think, the core of the apple audio developers do not even understand the needs of creative folks like musicians that well. Even the Logic Pro X 'flagship' has so many conceptual issues, fails and constantly grown list of unsolved issues, that a complete list would not fit on this page. Fortunately there are some choices for alternatives available ...

 

 

October, 20TH 2022 


Schema for the JAX Environment

We have made a signal flow schema for visualizing the processing structure of the JAX Environment AUv3 Host. This app is written completely in SWIFT 5 and only use, what is available in the AudioUnit, AVFoundation, CoreMIDI and MusicSequence frameworks from Apple. NO external 3rd party frameworks ( like 'AudioKi(d)t' or 'Ableton Link', WHIST, worst and waste or such) will be used there and also NOT any, yet deprecated parts of the current Apple frameworks.

Heart of this is Apples 'AVAudioEngine', which actually completely manages the audio unit hosting in an opaque (highly intransparent) manner. with very limited possibility of interaction.

The underlying AVAudioEngine has still loads of obvious issues and a quite insufficient, unthought API and genaral holes in it's conception. So it is for instance impossible to call up what an audio unit has actually connected to its busses ^^ and such very basic things, that are essential for proper programming. So we ended up writing wrapper and extension classes to make a more complex environment even possible. This engine is good for fast connecting a player unit to the output or hosting a synthesizer or even a sampler for realtime playing via MIDI. But as soon the processing graph shall be more advanced and satisfy somewhat professional demands, with send and master busses for instance, and so on, this thing quite becomes a challenge and somewhat instable too. But there is just no real alternative for that on the Apple platforms.

Another problem is, that this engine conductes continuously entire crash concerts of undescriptive cryptic error messages, that noone actually can really understand, even randomly and highly misleading, if someone tries to connect things in a more advanced way and the documentation of many system units is insufficient too. It's a similar situation as with the awful AUVAL tool on the macOS. Some members and structurs in the class farmeworks are still just undocumented (because obviously nobody at Apple actually understand these) and one has to experiment for weeks to feature out how this is intented to work. In the meantime I am believing, that Apple developers themselfes do not understand anymore what they have coded there, asit is a

patchwork quilt,

and feels like a work of volunteers, that did not finish the job in time. Just look at GarageBand, esp. on iOS. it does not implement the most basic features to be any useful for serious music production, things tha one have to be think about very first, if starting to write a music application, like real useful MIDI connectivity or im- or export of MIDI files, nor MIDI processors or MIDI / parameter automation and so on...

The entire conception of these Apple frameworks seem to be insufficiently designed and ported from ground up. Many workarounds are required to ever satisfy users with this. We have deep respect for the developer of the AUM app on iOS for instance, however we do not know, whether he used SWIFT for that at all - I do not believe in that. I think this app is written mainly in legacy Objective-C, where you have in-depth control over (deprecated) core classes of the 'AudioGraph' and such. AUM is a fantastic general tool for audio enthusiasts, but as more it becomes complex and expedient for concrete musical usage and results, one easiely loses overview over the entire project and it becomes quite unproductive. Ever triied to set up a traditional send/master chain signal flow with this? The you will undersand what I mean.

If we cannot create our host app completely in SWIFT satisfactory, we actually won't release it 'as it' but merely use it for shipping, and using our own integrated audio units on all Apple platforms. We want to have it as 'NATIVE' as even possible there.

Our JAX Environment is planned to have conceptionally many things, that are required for the solid core of music production hosts. It has for instance:

  • complete MIDI connectivity and MIDI file support
  • optional support of external MIDI processors, all kind of 3rd party audio unit generators and effects in any constellation
  • configurable number of audio and send channels with insert effects (of also any number)
  • integrated send and master busses with insert chains and connection points
  • integrated 5 band split bus for efficient 'out of the box' multiband and/or mid-side processing
  • advanced audio unit diagnostics tools
  • all basic things like platform independent preset and state saving/sharing
  • ... and many things more

 

October, 16th 2022 


Introducing the 'JAX AUv3 XPlatform Host'

Here are the first screenshots of our JAX AUv3 Multi Platform Host so far, running on an Intel MacBook Pro. It is true UNIVERSAL, meaning the same code base will run on iOS (phones), iPadOS, macOS Apple Silicon (M Series) and Intel too!

The loaded AudioUnit for this case is the Moog Model 15 in AUv3 format and everything is working quite well (AudioGraph and CoreMIDI) with realtime performance.

Last picture shows the third party 'MIDI Tape Recorder' AUv3 AudioUnit from Uwyn with some recorded MIDI events from external MIDI controllers.

This host application is a small configurable universal environment, based completely on Apples AVAudioEngine, and can load different configurations for easy setup, i.e loading just a synthesizer AUv3 and play it with a connected MIDI keyboard (like the examples above) or loading an AUv3 audio and/or MIDI effect from the list of available units installed on the system, pairing with the microphone or integrated audio player. An integrated sample perfect AUv3 MIDI sequencer is there too, for playing MIDI files straight out of the box.

The environment - under the hood - implements a variable size MIDI bus array, a configurable array of audio and synth channles and send busses and also a master bus. Each bus can load a chain of variable count insert effects with connectivity to each other. This means for instance, it can construct a complex environment such as a 16 channel Audio Sampler with complete inserts, sends and master effects, be a complex Mastering Tool with loads of audio channels and mid-side processing or just be a plain MIDI arpeggiator or performance controler for connected external synthesizers and such. It's just a matter of configuration...

However, this host EXCLUSIVELY supports AUv3 Units and loads these out-of-process. It is a sandboxed environment and expects sconsequently andboxed version 3 audio units. So if a unit crashes, the host won't die with that. With the host you also can check what AUv3 units actually are available and installed on your system and run basic diagnostics on them. At this time only few third prty music production systems on the macOS currently support AUv3 units actively. Of course, every AUv3 unit, that can be loaded with Apples Logic Pro X, MainStage 3 and GarageBand may be loaded with JAX AUv3 Host (final release name not established yet).

Availability: We plan to release this as macOS downloadeble disk image file first and soon. Stay tuned!

 

October, 15th 2022 


Idiotic

We are currently re-inventing our Auv3 hosting app, that initially was developed as dstribution envelope for our AudioUnits. But we have chosen to extend it, becoming a full featured AUv3 host application (configurable environment), that also can load other AudioUnits. It must run on all actual Apple music creation platforms ( iOS / iPadOS / MacOS Intel & Apple Silicon ) and especially support realtime MIDI.

Here is a dumpout from the idiotic AVAudioFramework, as everything, that is AUv3 must suffer from this now, because we are developing this host with Apples Swift language exclusively (AudioGraph is not available for Swift at all and it is generally deprecated on all platforms too). The AVAudioEngine is such an Apple construct, that claims to be the future of audio processing on the Apple platforms, but it actually is a complete mess and untought kind of a patch work with loads of issues and inconsistencies, even if it is updated regularily. The engine supports printing out its configuration at any state, but the result is rather idiotic, as you may see here. ^^

You also may discover the entire mess of potential samplerate conversion issues inside this 'graph', a very important point, that is still unsolved, unsatisfactory designed and applies to all Apple devices equally. Sometimes, we whish back the good old VST times, where everything was very clear, simple and powerful.

This entire AVAudioEngine is a kind of an opac 'black box' with a totally insufficient API, hiding internals as much as possible but powering cryptic error message pipelines instead, that must be thougt by misanthrops. Developing anything professional and exciting with that crap it is just a complete challenge. Many developers gave up on this completely and we are not wondering why. ^^

 

________ GraphDescription ________

AVAudioEngineGraph 0x7f83b301b1f0: initialized = 0, running = 0, number of nodes = 16

	 ******** output chain ********

	 node 0x600001c4e900 {'auou' 'rioc' 'appl'}, 'U'
		 inputs = 1
			 (bus0, en1) <- (bus0) 0x600001c4ea00, {'aumx' 'mcmx' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c4ea00 {'aumx' 'mcmx' 'appl'}, 'U'
		 inputs = 1
			 (bus0, en1) <- (bus0) 0x600001c3b700, {'aufx' 'lmtr' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]
		 outputs = 1
			 (bus0, en1) -> (bus0) 0x600001c4e900, {'auou' 'rioc' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c3b700 {'aufx' 'lmtr' 'appl'}, 'U'
		 inputs = 1
			 (bus0, en1) <- (bus0) 0x600001c33700, {'aumx' 'mcmx' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]
		 outputs = 1
			 (bus0, en1) -> (bus0) 0x600001c4ea00, {'aumx' 'mcmx' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c33700 {'aumx' 'mcmx' 'appl'}, 'U'
		 inputs = 4
			 (bus0, en1) <- (bus0) 0x600001c30500, {'aumx' 'mcmx' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]
			 (bus1, en1) <- (bus0) 0x600001c20900, {'aufx' 'lmtr' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]
			 (bus2, en1) <- (bus0) 0x600001c3ad80, {'aumu' 'samp' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]
			 (bus3, en1) <- (bus0) 0x600001c21a00, {'aumu' 'samp' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]
		 outputs = 1
			 (bus0, en1) -> (bus0) 0x600001c3b700, {'aufx' 'lmtr' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c30500 {'aumx' 'mcmx' 'appl'}, 'U'
		 inputs = 2
			 (bus0, en1) <- (bus0) 0x600001c20680, {'aumu' 'imid' 'DGST'}, [ 2 ch,  48000 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]
			 (bus1, en1) <- (bus0) 0x600001c20400, {'aumu' 'imid' 'DGST'}, [ 2 ch,  48000 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]
		 outputs = 1
			 (bus0, en1) -> (bus0) 0x600001c33700, {'aumx' 'mcmx' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c20900 {'aufx' 'lmtr' 'appl'}, 'U'
		 inputs = 1
			 (bus0, en1) <- (bus0) 0x600001c20e00, {'aumf' 'isnd' 'DGST'}, [ 2 ch,  48000 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]
		 outputs = 1
			 (bus0, en1) -> (bus1) 0x600001c33700, {'aumx' 'mcmx' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c3ad80 {'aumu' 'samp' 'appl'}, 'U'
		 outputs = 1
			 (bus0, en1) -> (bus2) 0x600001c33700, {'aumx' 'mcmx' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c21a00 {'aumu' 'samp' 'appl'}, 'U'
		 outputs = 1
			 (bus0, en1) -> (bus3) 0x600001c33700, {'aumx' 'mcmx' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c20680 {'aumu' 'imid' 'DGST'}, 'U'
		 outputs = 1
			 (bus0, en1) -> (bus0) 0x600001c30500, {'aumx' 'mcmx' 'appl'}, [ 2 ch,  48000 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c20400 {'aumu' 'imid' 'DGST'}, 'U'
		 outputs = 1
			 (bus0, en1) -> (bus1) 0x600001c30500, {'aumx' 'mcmx' 'appl'}, [ 2 ch,  48000 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c20e00 {'aumf' 'isnd' 'DGST'}, 'U'
		 inputs = 1
			 (bus0, en1) <- (bus0) 0x600001c21080, {'aumu' 'samp' 'appl'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]
		 outputs = 1
			 (bus0, en1) -> (bus0) 0x600001c20900, {'aufx' 'lmtr' 'appl'}, [ 2 ch,  48000 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 node 0x600001c21080 {'aumu' 'samp' 'appl'}, 'U'
		 outputs = 1
			 (bus0, en1) -> (bus0) 0x600001c20e00, {'aumf' 'isnd' 'DGST'}, [ 2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved]

	 ******** input chain ********

	 node 0x600001c23800 {'auou' 'rioc' 'appl'}, 'U'

	 ******** other nodes ********

	 node 0x600001c28280 {'aumx' 'mcmx' 'appl'}, 'U'

	 node 0x600001c2ad80 {'aumx' 'mcmx' 'appl'}, 'U'

	 node 0x600001c2d800 {'aumx' 'mcmx' 'appl'}, 'U'
______________________________________

It is just idiotic, isn't it?

 

October, 1ST 2022 


Price Information For Pending Releases

We publish the price information for our pending releases.

Our next releases are all true 'universal' audio apps (with embedded AudioUnits version 3), which are installable on macOS (Apple Silicon), iPadOS and iOS (phones). We decided to do everything with an uniform scalable binary format, that performs everywhere on the Apple devices. Currently it is quite unclear how we handle the releases for the Intel platforms on the Mac, because there are unfortunately some inconsistencies with the Apple distribution schematics for this. Possibly we will continue to provide special disk image downloads for the Intel macs. So the prices for all platforms are listed below.

  • JAX Triple Series : 9.99 € (intro price 6,99)
  • JAX Chromatic Series : 16.99 € (intro price 9,99)
  • JAX Masterng Series : 16,99 € (intro price 9,99)
  • JAX Grand Piano Collections : 12.99 € (intro price 7,99)
  • JAX Dynamics Series : 6,99 € (intro price 4,99)
  • JAX Selective Range Series : 12.99 € (inro price 7,99)
  • JAX Essential Series : 6.99 € (intro price 4,99)

All intro prices are limited to the first 14 days after initial release. The prices for all products may raise in January 2023, depending on the count of sold items in 2022. Please note, that these prices (for niche AUv3 audio units) will not even compensate the initial real development costs ever nor give any base for 'lifetime' updates.

 

September, 30TH 2022 


September, 22TH 2022 


Oscillators and FX for Korg Hardware

We are proud to open new development fields :

KORGs Prologue, Minilogue xd, and now also Drumlogue opened new possibilities for extending these hybrid analog synthesizers with digital extensions, based on the integrated DSP hardware. These hardware synthesizers feature real analog oscillators and filters with perfect digital control and MIDI integration and extend this with digital technology for delivering additional oscillators and effects.

The analog hardware is great for prototyping new analog style and digital oscillators of any kind and testing them under real musical performance conditions. We are actively in the game now and will deliver our oscillator collection soon.

 

September, 22TH 2022   


Preview : Our Latest Project ( beta no. 21 ) :

We are currently actively developing our JAX Supersonic - a 16 cahnnel MIDI compatible multitimbere synthesizer worrkstation, that is able to play MIDI files out of the box. With some tweaks the 15 polyphonic virtual analog voices + one drum channel can be tweaked to deliver a complete song.

 

VA synthesizers are out there like sands on the beaches. But there are not so many multitimbre VA or even real analog synths out there, where you can create complete songs with just one single instance and finally feed it with one prepared MIDI file to deliver the finished result.

The sound architecture of the internal 15 VA synth instances in JAX Supersonic is fairly simple. One special thing is the oscillator unison of max. 16 + 8 tones per voice without reducing the polyphony or multi-timbrality. This is something that is only possible with digital emulations, as the analog components of hardwre synthesizers are always limited to a certain count. However, we decided to use a 18db ladder filter with self oscillation per channel to complete this.

And so the count of parameters is intentionally limited, because we are ABSOLUTELY NO fans of overly complex sound architectures and plugins with loads of parameters in general. We think, that complexity does not neccessarily improve the sound. In contradiction, there are hundered, yet thousands of examples out there, which actually prove our theorem regarding that quite impressively. ^^

Complexity inside, Simplicity outside is our main division. And we think, many developers and also users do that thing wrong and then asking, why they are getting into stuck with their real creativity output.

Our project will be available on macOS, iOS and iPadOS, like all our current beta apps. The beta for Supersonic is not yet available for download and possibly will be a closed beta ( the 20 released public betas from us seemingly get so few attention, that all the time to compile that was just a waste of many days precious development time ).

 

 

September, 22TH 2022   


New Betas Available:

We added new beta version projects to the macOS disk image downloads:

Apple TestFlight submissions are in progress. (This usually needs some time for review.)
There are now in sum 20 different beta versions available for macOS, iOS and iPadOS. Further direct download links of disk images for macOS are listed in the posts below.


September, 21TH 2022   


Updated Public Link List Of Current TestFlight BETA Releases by us :

Our whole set of Apple TestFlight releases is (re-)published for macOS AND iOS/iPadOS. Please note, that these releases are completely separate projects, if you use an Intel machine. But the binaries are basically identical on all platforms. It is necessary to ship the macOS versions separately for users with dedicated Intel machines. Requirements: macOS 12.0++ (Monterey), iOS 14++ for Apple TestFlight. Testflight unfortunately won't install on mac systems below 12.0.

( Alternatively you may try the direct disk image downloads we provided earlier ( macOS only ). )

    1. JAX SPECTRO : Isolate
    2. JAX SPECTRO : Transcend

    3. JAX TRIPLE SERIES : 3Stereo
    4. JAX TRIPLE SERIES : 3Verb

    5. JAX CHROMATIC : Compander
    6. JAX MASTERING : MBC Pro
    7. JAX MIDI : Module & Player

    8. JAX Superior Grand
    9. JAX LABS : AudioCoder

    10. JAX ESSENTIALS : Flanger
    11. JAX ESSENTIALS : Chorus
    12. JAX ESSENTIALS : Phaser

    13. JAX DYNAMICS : Compressor
    14. JAX DYNAMICS : Limiter
    15. JAX DYNAMICS : Gate
    16. JAX DYNAMICS : Compander

You need to install Apples TestFlight app from the AppStore for using these links directly. It is available for macOS and iOS/iPadOS separately. After installing that, you just need to click on the TestFlight download links and you will be directed to the public betas, which are managed by TestFlight directly then.

Please note, that TestFlight releases will time out automatically 89 days after release, unless there is a new version in the meantime. This is an Apple restriction. No need to say, that active corresponding beta testers qualify for a free promotion codes after official release. Please send your reports to support@digitster.com . ( Please note, that anonymous TestFlight reports are useful to us but these do not automatically apply to our free promo codes offer, because we are not able to assign a concrete user to such reports. )


September, 21TH 2022   


WU SERIES Price Action

We are celebrating our WU (Wrapped Units) SERIES with a 'price drop' action. Until the end of the year, we drop the price of one unit per week to 0.00 Euro. This price action started today and will end until all units in the series were iterated.

There are currently 13 different WU SERIES units in our collection. These units wrap the hidden (UI-less) audio units from Apple and expose all their parameters for usage with host applications, that do not support AudioUnits without an UI (in fact most of the modern AU hosts do not expose the system integrated Apple audio units). Our WU SERIES units all have a kind of generic parameter interface with sliders and switches and keep the original preset format of the Apple units.

We will realease also 3 new WU SERIES units the next days, which finally complete the entire collection.

  • WU AUPitch : a pitch shifting AudioUnit
  • WU AUMidiSynth : a polyphonic multitimbre, General MIDI compatible synthesizer device
  • WU AUSampler : the polyphonic Apple sampler unit with a set of prepared presets and their XML format description

Espesially the latter 2 audio units would be basically useless without making any extensions to them, if exposed.
So we prepared a set of basic extensions for these units to be usable at all. The WU AUMidiSynth can load *.dsl and *.sf2 soundfonts. with complete sets of GM compatible sounds for multitimbre playback. The WU AUSampler unit is able to load Apples AUSampler preset format, which is an XML (plist) text file with the complete sound mapping description for a single sound set. In contradiction to the AUMidiSynth, which can play different voices on 16 MIDI channels, the AUSampler is a single timbre polyphonic synthesizer.


September, 20TH 2022   


We are still alive (part 2)

Here is another bunch of the current enchilada of BETA releases for the Mac by us:

( Please do not forget to check the BETA releases, published in the post prior too. There are in sum now 16 ( of 20 ) beta releases available. All of these releases are shiped to TestFlight for iOS and macOS additionally. The official TestFlight releases are (at current state) identical to the direct disk images below. )

Direct Signed Disk Image Downloads for Mac (Intel & Apple Silion):


Installation: This are all MacOS disk images with the file extension *.dmg. These are like virtual drives, which can be mounted and opened by just clicking on it. The disk images may include manuals and (at least) the beta app with the embedded audio unit. You must drag the app to your applications folder and start it from there, otherwise the audio unit registration would not work correctly and merely temporary (as the mounted disk image can be removed anytime afterwards).

De-installation is very easy: just remove (trash) the app from your application folder and the app with the embedded audio unit is removed from your system completely. Please report validation issues with Logic Pro X to us, so we can fix that ( you may read our 'auval' rant - macOS specific audio unit validation issues - in the texts below ^^ ).

We would be happy to hear from you, reporting your experiences and discovered issues with our Mac BETA releases !

support@digitster.com


September, 19TH 2022   


Yes, we are still alive. 

But everything is delayed do to personal health condition.

We just discovered, that some of our BETA releases below where timed out automatically, saying to the users of Apple TestFlight, that these betas won't accept new users. Well, this is autogenerated nonsense from Apple. Unfortunately betas will time out after 90 days.

We will publish new beta packages as soon as possible. Please note, that beta apps must be reviewed by Apple teams too and each of the beta releases invokes a cumbersome and tidious extra process and work, which takes away alot of time!

 

So we decided to ship new beta releases as MacOS (Intel/Apple Silicon) packages very first. These *.dmg disk images can be downloaded here and are signed and installable directly onto any latest MacOs system. It is just not possible to provide something similar for iOS/iPadOS due to Apples restrictions.

 

Direct Signed Disk Image Downloads for Mac:

Installation: This are MacOS Disk images with the file extension *.dmg. These are like virtual drives, which can be opened by just clicking on it. The disk images include manuals and the app with the embedded audio unit. You must drag the app to your applications folder and start it from there, otherwise the audio unit registration would not work correctly.

 

The MacOS apps are identical to the iOS/iPadOS universals, in behaviour and visual appearance, because we use native macOS Catalyst compilations for the Mac versions. Apple M1/2 are fully supported along with all Intel Macs this way. The Mac versions are validated for usage with Logic Pro X, MainStage 3 and GarageBand by us. Yes, you read it right, we are ahead with the technology. (Unfortunately we will remove some of our old iOS apps and audio units very soon, with these new releases.)

Note: We are developing exclusively new generation AUv3 plugins! AUv3 audio units are significantly different to common AudioUnits version 2 and may not be supported by all 3rd party host applications yet. Installation is quite easy, just place the beta apps to your applications folder, the audio units are embedded and installed system-wide automatically by opening the beta app at least ones. There is no need to tuch the system folders for audio units at all ! Uninstalling the betas is simple as it too. Just remove the app from your disk.

JUNE, 29TH 2022   


List of current active reta releases. 

Currently the following PUBLIC BETAS are active: 

JAX TRIPLE SERIES : 3Stereo

JAX TRIPLE SERIES : 3Verb

JAX LABORATORY : AudioCoder

JAX CHROMATIC : Compander

JAX DYNAMICS : Compressor

JAX ESSENTIALS : Chorus

JAX ESSENTIALS : Flanger

JAX ESSENTIALS : Phaser

JAX MASTERING : MBC Pro

JAX MIDI : Module & Player

JAX SPECTRO : Isolate

JAX SPECTRO : Transcend

 

JAX DYNAMICS : Compander

JAX DYNAMICS : Limiter

JAX DYNAMICS : Gate

JAX Superior Grand

 

All these PUBLIC BETAS are available for MacOS 11.0++ (Intel & Apple Silicon), iPadOS and iOS 14.0++.

To install them, you need the Apple TestFlight app installed. However, we will publish special MacOS installer packages later, for systems, where TestFlight is not available.

JUNE, 5th 2022 


JAX LABORATORY : JAX AudioCoder (AudioUnit AUv3)

We are proud of releasing the JAX AudioCoder, a long lasting project from our 'Laboratory Series' as (early) Beta for MacOS Catalyst.

Sometimes one may need a fast and easy to use DSP programming environment, for quickly scetching down ideas in code. We sometimes even 'dream in code', so such tool was a logical step...

Base of the JAX AudioCoder is a powerful, bleeding fast scripting engine with a JIT (just in time) compiler, specialized for DSP (Digital Signal Processing) in realtime and out of the box. In a sandboxed environment you can prototype, compile and execute your own audio and MIDI DSP with just tapping on the screen. It is merely a matter of pressing the 'Compile button and the audio stream will reflect the results immediately. If something goes wrong, you will most likely see the reasons for the fail printed out on screen.

JAX AudioCoder comes with an integrated syntax highlighting editor. A realtime logview is optionally printing your programmed string messages on the screen for debugging and information. A generic user interface currently delivers 128 floating point realtime parameters for direct AU parameter access.

The programming language is very close to classic C/C++. You can even create own classes (object oriented programming - OOP), define enums, variables, arrays, strings, functions, callbacks and so on, accessing the floating point audio stream buffers in a protected environment and generate MIDI messages and parameter events for sending out to other audio units. It has many of the often used math and coding functions pre-defined. It even includes already highly specialized things, like an integrated native MIDI file sequencer and recorder and also has basic access to reading and writing files inside the sandboxed environment up to a binary base. It comes yet with some useful example scripts, which demonstrate and document basic things. The functionality is planned to be extended with each new release.

If C++ is quite familiar to you, you may start straight away coding new DSP stuff out of the box. If not, this is a great way to learn an audio programming language, which is very close to the industry standard in audio coding and promotes the understanding of the mechanisms and basic concepts behind DSP programming. There are loads of open source C/C++ audio codes there all around, which can be manually ported to AS (AudioScript) with very little tweaks and effort.

Imagine such things like a Bit or Rate Reducer, a Stereo Splitter, a MIDI file sequencer and recorder, which are for instance already included as modular script classes with this release. A single line of code can invoke their functionality. You may start to build a modular environment out of severa own writtenl DSP classes, which finally may build up more complex things later.

Please note, that AudioUnits (AUv3) require a supporting host application to perform. But this download comes with an embedding host standalone application for installation and instant access. A documentation is currently in progress.

This project is truly 'universal', meaning, unit is available for:

- MacOS (Catalyst - Intel)
- MacOS (Silicon - M1/2)
- iOS (iPhone)
- iPadOS (iPads)

Remark: The Mac versions (at least on the Intel) are allot faster, because we used Assembler routines for optimization. On iOS everything is sandboxed and checked twice, which makes it somewhat slower. On M1 machines, the Intel version will run on Catalyst emulator. We will see later, whether a native compiled Apple silicon version will run clearly more performant there...

 

Direct Download BETA of JAX LABS : AudioCoder for MAC :

JAX LABS : AudioCoder BETA VERSION 1.1 (2024)

JAX LABS : AudioCoder BETA VERSION 1.2 (2032)

MAC (Logic Pro X) AU Validation result:


    AU Validation Tool
    Version: 1.8.0 
    Copyright 2003-2019, Apple Inc. All Rights Reserved.
    Specify -h (-help) for command options

--------------------------------------------------
VALIDATING AUDIO UNIT: 'aumf' - 'jxAC' - 'DGST'
--------------------------------------------------
Manufacturer String: DGST
AudioUnit Name: JAX AudioCoder Extension
Component Version: 1.6.0 (0x10600)

* * PASS
--------------------------------------------------
TESTING OPEN TIMES:
COLD:

Loaded AudioUnit out-of-process: true 
Time to open AudioUnit:         1581.352 ms
WARM:

Loaded AudioUnit out-of-process: true 
Time to open AudioUnit:         102.134  ms
This AudioUnit is a version 3 implementation.
FIRST TIME:
Time for initialization:        58.429 ms

* * PASS
--------------------------------------------------
VERIFYING DEFAULT SCOPE FORMATS:
Input Scope Bus Configuration:
 Default Bus Count:1
    Default Format: AudioStreamBasicDescription:  2 ch,  48000 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved

Output Scope Bus Configuration:
 Default Bus Count:1
    Default Format: AudioStreamBasicDescription:  2 ch,  48000 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved

* * PASS
--------------------------------------------------
VERIFYING REQUIRED PROPERTIES:

* * PASS
--------------------------------------------------
VERIFYING RECOMMENDED PROPERTIES:
  VERIFYING PROPERTY: Latency
    PASS
  VERIFYING PROPERTY: Tail Time
    PASS
  VERIFYING PROPERTY: Bypass Effect
    PASS

* * PASS
--------------------------------------------------
VERIFYING OPTIONAL PROPERTIES:

* * PASS
--------------------------------------------------
VERIFYING SPECIAL PROPERTIES:

VERIFYING CUSTOM UI
Cocoa Views Available: 0
WARNING: CurrentPreset property is deprectated. AU should implement PresentPreset

HAS FACTORY PRESETS

VERIFYING CLASS INFO
    PASS

TESTING HOST CALLBACKS
    PASS

* * PASS
--------------------------------------------------
PUBLISHED PARAMETER INFO:

# # # 128 Global Scope Parameters:

# # Parameters for clump: -872977547
# Full Clump Name: JAX AudioCoder Global
# Short (4 Chars limit) Clump Name: JAX AudioCoder Global
Parameter ID:-879289985
Name: Parameter 0
Parameter Type: Generic
Values: Minimum = 0.000000, Default = 1.000000, Maximum = 1.000000
Flags: Readable, Writable 
  -parameter PASS

...

Parameter ID:230916136
Name: Parameter 126
Parameter Type: Generic
Values: Minimum = 0.000000, Default = 1.000000, Maximum = 1.000000
Flags: Readable, Writable 
  -parameter PASS

Parameter ID:230916137
Name: Parameter 127
Parameter Type: Generic
Values: Minimum = 0.000000, Default = 1.000000, Maximum = 1.000000
Flags: Readable, Writable 
  -parameter PASS

Testing that parameters retain value across reset and initialization
  PASS

* * PASS
--------------------------------------------------
FORMAT TESTS:

Reported Channel Capabilities (explicit):
      [2, 2]  

Input/Output Channel Handling:
1-1   1-2   1-4   1-5   1-6   1-7   1-8   2-2   2-4   2-5   2-6   2-7   2-8   4-4   4-5   5-5   6-6   7-7   8-8
                                          X                                                                       
WARNING: Can Initialize Unit to un-supported num channels:InputChan:1, OutputChan:1
WARNING: Can Initialize Unit to un-supported num channels:InputChan:1, OutputChan:2

* * PASS
--------------------------------------------------
RENDER TESTS:

Input Format: AudioStreamBasicDescription:  2 ch,  48000 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved
Output Format: AudioStreamBasicDescription:  2 ch,  48000 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved
Render Test at 512 frames
Slicing Render Test at 64 frames
  PASS


Render Test at 64 frames, sample rate: 22050 Hz
Render Test at 137 frames, sample rate: 96000 Hz
Render Test at 4096 frames, sample rate: 48000 Hz
Render Test at 4096 frames, sample rate: 192000 Hz
Render Test at 4096 frames, sample rate: 11025 Hz
Render Test at 512 frames, sample rate: 44100 Hz
  PASS

Checking connection semantics:
Connection format:
AudioStreamBasicDescription:  2 ch,  44100 Hz, 'lpcm' (0x00000029) 32-bit little-endian float, deinterleaved
  PASS

Bad Max Frames - Render should fail
  PASS

Checking parameter setting
Using AudioUnitSetParameter
Using AudioUnitScheduleParameter
  PASS

Test MIDI
  PASS

* * PASS
--------------------------------------------------
AU VALIDATION SUCCEEDED.
--------------------------------------------------



JUNE, 1st 2022 


MacOS Catalyst Universal Beta Packages

MacOS users (above Mac OS 11.0) now have the exclusive ability to test our latest developments directly on the Mac. Completely anonymously, without any hassle and Testflight brimborio...

We will provide downloadable DMG packages for install on a Mac (Intel or Silicon, it does not matter). The installation is totally easy. Just download the *.dmg file, this is a usualy Mac disk image, open it and drag the app file into your Applications folder. Deinstallation is as easy as well. just delete the app from Applications folder and everything is done. The apps are correctly signed by Apple (but not specifically notarized) but should work perfectly without GateKeeper problems.

All these releases will come with the main app (Catalyst compilation), which is an AUv3 host, that embeds the AudioUnit version 3. By draging the main app into your Applications folder and starting it ones, it automatically will install (register) the AUv3 component for usage with Logic Pro X, MainStage 3, Garageband and all hosts, that properly support AUv3 units.

The apps are quasi IDENTICAL to our iPad/iOS/Mac Silicon universal releases.

Please note, that AUv3 units have to be strictly sandboxed. The latest version of Logic Pro X actually supports 2 different operation modi, In-process (now default) and out-of-process loading of AUv3 units. This is configurable with the 'Plugin Manager' of Logic Pro X. Our units are all validated with the mac 'auval' tool prior releasing, to ensure 100 percent compatibility with in-process loading.
This actually was quite a challenge, as this awful 'auval' tool is extremely notoric when testing AUv3 audioUnits, even if these run without any problems on all iOS devices. In fact we had to inject allot of platform dependent compiler directives to make successful Mac validation even possible. In one case we required 3 entire days to find the solution of fixing these stupidly reported 'issues' by the auval validation upon host starting ...

If you get a message of validation fail, please send the resulting logfile to us (this is created with the 'Plugin Manager' in Logic/MainStage or the 'auval' command line tool), and we will try to fix it then (again).

 

So Apple: If you actually allow (and even advertize this as a feature), perfectly running iOS AudioUnits to be executed on the Mac platform, so please also ensure that these will correctly validated on the Mac then. Otherwise this feels like a bad joke to the users !!!

Not only that this stupid 'auval' tool is reporting stupide none-sense messages, it also often reports just plain false and misleading, irritating 'issues', that nobody with a brain could even interpret. Please make this open source, so that we actually can see, what nonsense you have coded there...

This (ones more) shows, that the entire AU implementation, with its quirks and quarks, is a kind of a overall ridiculous, dilettantic kind of trial&error. It seems, that even your new generation (as the old generation) of audio staff has lost complete overview and does not even have a clue of that entire MESS now...

It also does not make any sense to us, that you yearly selfishly celebrate your raves about new 'innovations' and how excellent you all are, if the base stuff just does not work. And this is despite the awful app review processing for the AppStore the most terrible issue and a complete ever lasting FRUSTRATION for all app developers.

Approx. 80 percent of our time we try to code around your hacks and unfinished, unthougt frameworks code, finally getting something out of use ... and even trying to get a finished app released to the users... because your review staff is obviously sitting behind a firewall, extremely tired, and just pressing repeatedly the 'Reject' buttons, because they are - at the moment - also too lazy to even take a closer look at the submitted work of the app developer...

... on the other side, you are awaiting regularily updates from your app developers - otherwise you probably will exclude their releases - but each update is treated the same frustrating way of 'continuous appstore delaying & rejection' mechanisms, even if merely some internal bugs were fixed and nothing essentially has changed in that app....

 

FEBRUARY, 16TH 2022 


Pending Releases

Today we want to post (finally) more demo sound recordings for the pending releases of the JAX Superior, the JAX Emporior and the JAX Imperior. All 3 suites will include 3 different base models for user selection, which differ in sound and expression.

 

1. Rhapsody in Blue (piano version)

This piece was recorded from a MIDI file with the model AM1, which is part of the JAX Imperior Suite. It features the well known classic American style Concert Grands and presents strong and very clear, somewhat resonant tones, that is characteristic for that sort of pianos. It has extraordinary great expression range and just sounds brillant. Who is loving Steinway Grands, will most likely love this model very much.

 

2. Feuervoglel (Firebird) (piano version)

This sound file was recorded from a MIDI file with the model GP2 from the JAX Superior Suite. This model, a special German medium sized Grand Piano was explicitely created to play back such rare compositions, that mostly will sound not very convinceble with usual standard models. It has a more intimidate sound and extraordinary expression range and delivers an astonishing superb performance in that case (and other expressionist/impressionist compositions). Who is loving European style Concert Grands (Blüthner, Bechstein) with some special character, will surely love this model. We, at least, do.

 

3. Nussknacker Suite (piano version)

Here we used the Japanese model YAM 1, which is part of the JAX Emporeor Suite. The model has the well knownand characteristic lovely tone and brillant expression and is therefore perfectly suited for playing such story telling romantic compositions. The feeling of this style of Grand Pianos is generally more modern and present in many popular music productions. Who is loving the Yamaha Concert Grands, will love this model for sure.

 

4. ThirtyTwo Variations in C Minor

For the fourth demo, we have chosen a more gentle big size piano, the German GP3, part of the JAX Superior Suite. Big sized Grand Pianos usually have a smoother and also more distanced sound. It is not, what most people expect, they think a big sized piano must sound big. Mostly this is not the case, these rather sound more delicate and sonically fuller. This model is a smooth and pleasant German style Concert Grand Piano with a well balanced sound and dynamic range. European Grands generally do sound more lovely in the mid and higher range. Some compositions would appear rather harsh, if played on a Steinway or Yamaha, as for instance Beethovens piece here.

Listen to the envolving waves of dynamics, no sampled piano could ever reach this realism. All the finest and subtile details of expression, which the player was putting into the performance are replicated. This is, in our humble opinion, how an emulated piano actually should sound today, at least.

 

5. Rachmaninov over a theme from Corelli

There are some classic pieces, which are artistically very delicate to perform. If you try to play back these with standard piano models, it will sound not good. Rachmaninov, Ravel and also Debussy are general examples for such composers, who need special care. We have chosen exemplary such composition and a model, that actually is able to perform this with some convincing intimidate feel. It is the model GRT from our JAX Xcelsior collection. However, such individual models may not always sound good with anything. This also answeres the question, why no piano ever is perfect for everything.

 

6. Sonata in B flat Minor

Finally an example of the fulminant sound, that everyone is expecting from a Concert Grand Piano. We selected a piece of Rachmaninov again, this time with the model CNC 4, which is part of the JAX Xcelsior suite. This model is so extremely rich in sound, that it mostly must be tamed with EQs and limiters. The kind of musical stuff also may be a bit too much for some people. But we love the emotional fontaines from Rachmaninov.

 

7. Rachmaninov : Prelude Op. 23, No. 2

OK, it was not enougth from Rachmaninov yet. Here is an intimidate example of mastering heartbreaking musical emotionality. Without any more words so far, as it will speak for its own. The piece i splayed with sustan pedal almost on.

( We used an experimental hybride model for this, which is in fact a fusion of the models CNC 3 and CNC 4 from the Xcelsior suite. We would guess there are no sample library pianos or even not many real pianos out there, able to perform this piece in a similar manner. )

 

8. Pictures at an Exhibition

A great example of mastering extreme dynamics is being performed with this fantastic story telling music piece. We used model GP2 again, which is part of the JAX Superior collection. This composition is long and easily can run out of attention, if you try to play back with flat dynamics and rasterized velocities, which always happens with sampled pianos, no matter how much gigabytes these will use.

 

9. Dante Sonata

We have another interesting piece of classical piano music here. This composition sounds somewhat harsh with most piano models. We selected a sensitive model (BOE 2) from the JAX Empireor collection, which features the worlds largest pianos. Such pianos can play very sensible parts with certain excellence.

 

---

All of these sound files were recorded with Logic Pro X, the AUV3 audio units and some additional sound processing and effects. We used an additional analog style compressor (Arturia), a Maximizer and stereo field optimizer (Izotope) and a Reverb (Apple) to individually finetune (mastering) the tonal results of these demos.

This post will be the last about the new JAX Concert Grands until the final release, as we will be silent now. We got the impression, that most people are quite satisfied with the average quality and limited expressivity of available piano sounds with usual sampling products. However, our products feature advanced waveguide technology and some physical modelling and are usually far under 100 MB memory and disk usage per model, thus highly optimized for mobile device usage - even improving sound quality and playing expression. A sampled 16 layers velocity piano with even 16 gigabytes sampling data is NOT ABLE to play the required expression of all these recordings here.

If you want to tell us your impressions about the sound demos, please feel free to contact us.

 

FEBRUARY, 10TH 2022 


More Sound Examples

A piano is not just an accompanying instrument. It should be able to tell a STORY. We try to make our models as extpressive as even possible. Here is a new piano model (Model GP3), telling you a story:

Mephisto Walz

Telling a story is also very present in yesterdays example Feuervogel. Can you for instance feel the night (death) and the sun raising (out of the ashes) in that masterpiece ??? However, I could not get such feelings with any of the tried piano sampling libraries, playing exactly the same MIDI file...

 

Here are all the demos from the latest posts. These shall demonstrate the variousity of the JAX Concert Grand Pianos:

 

FEBRUARY, 8TH 2022   


Sound Examples

 

Some Arabiata ?

Or some Bolognese ?

While the first is featuring or new Model BLU (Blüthner Emulation), the second is our Model YAM (Yamaha Emulation). Do not try any of such playback with your static, velocity reduced gigabyte sampled piano libraries, as it may terribly fail. One of the Models are part of the JAX Superior Grands package, which features 6 different Models in sum, all part of the 'finest German models'. The second comes with the JAX Emporor Grands, which is all 'finest Japanese models'.

A note: We do not select such music pieces, because we are crazy or have some bad taste, but because these are technically extraordinary difficult to perform and will sound like crap with most sampling libraries. Mainly because of the missing tonal balance and the dynamic range.

And now something that very few would even dare to attempt. It's something for the die-hards. Just imagine if you had to dance to it. Stravinski's Firebird is one of those pieces that is extremely delicate on the piano. This applies to both the real and the virtual world. Whatever, we have a model that can do that too. And with bravura, we think. It is the GP2 (German Grand) model.

 

FEBRUARY, 3RD 2022   


Sound Comparison of the coming JAX Concert Grand Pianos. 

 

There is a new document, which describes the different sound models and links to the rendered sound file for a direct comparison. Please note, that there are still the internal names of the models used, as we are unsure how these different models will be named finally. The description text is available in German and English.

The preview document can be found here.

The untrained ear probably may hear no difference in sound at all. However the differences beteen these models are quite drastic. This can be analysed with side by side comparisons or switching between multiple sound players. Even if exactly the same MIDI data stream is used, the mood and musical expression is often very different from model to model... So much to the 'best pianos battles' across the digital forum folks. In our opinion it is merlely a question of musical quality than a purely technical question - or even a matter of hype.

And yes,we also tried to take some famous competitors into account with the test, but we did not continue for some audible reasons ^^... more information about that at the end of the linked document.

PS: Everyone, who is writing us and actively discussing with us, why she/he loves the classical piano and listened to our demo files in the document above, is qualified to get a free promo code of choice for this collection release. This action is limited until final release. Which model do you think, Ravel would have been chosen?


And permanently valid, our Master Class Sponsorship Program: If you are a music student under 18 years old, you are automatically qualified for free lifetime promo codes for the iOS apps. Just simply contact us with your music shool document and you will get your promo code after the commercial products are officially available in the Apple AppStore.

 

FEBRUARY, 2ND 2022   


FEBRUARY, 1ST 2022   


Sound Demo of the JAX Emporior. 

 

A Concert Grand does not have to be always classical. With the JAX Emporir Grand, we want to demonstrate this: 

1. JAX Emporior Demo

 

JANUARY, 31TH 2022   


Sound Demos of the JAX Imperior. 

 

We did upload some preview sound files for te JAX Imperior Concert Grand.

1. Rachmaninoff : Prelude in C# Minor

2. Chopin : Opus 10/1

2. Ravel : Gaspard 3

 
Especially the last one is exceptionally difficult to perform and also extremely difficult to get sounding right with common sampler technology. The JAX Imperior Grand is very well suited for fulminant and heroic compositions, but also has all the detail for perfect dynamics. So, now try this with your sampling library. You will fail terribly with that. ^

 

Another word to some (well, known) fora users, who continuously skip into EVERY thread with our products, just saying how bad these all are, If available or even not available,  (and always quickly hinting to all possible alternative providers procucts, except ours of course), shall please shut up for ever! Those ppl are b.t.w. the main reason, why we prefer to not to join such communities for very long time now. (We really do not know, why such individuals perfom a kind of endless 'personal war' against us, whenever someone is even just mentioning us. This is obviously pure hate with propagation but without any substance. (This now is really ill.) If I would earn so much money with my passion, that I could pay a lawayer for that, I surely would hire him to perscue you and then prove and unleash your real intention (aka: defamation) infront of a grand jury. 

Cheers, your 'mentally disordered' JAX guy. 

JANUARY, 29TH 2022   


Posting our Youtube videos. 

 

We have seen, that someone is kindly posting our youtube videos into a certain forum but without the included comments. While this is really nice in sense of featuring our (unreleased) products, it also has a certain danger of potentially confusing the people.

At first, the product is not publically available yet to the customers and second,  it has not even started a public beta test yet.

So we want to emphasize, that these our original comments shall be posted with these videos, as these are important for understanding the video and sound content. Sorry, but we are not in hollywood-alike entertainment business. ^^ (And most users will obviously not do the effort and visit the official youtube channel for reading the important comments.)

 

Another personal word to some (well, known) fora users, who continuously skip into EVERY thread with our products, just saying how bad these all are, If available or even not available,  (and always quickly hinting to all possible alternative providers procucts, except ours of course), shall please shut up for ever! Those ppl are b.t.w. the main reason, why we prefer to not to join such communities for very long time now. (We really do not know, why such individuals perfom a kind of endless 'personal war' against us, whenever someone is even just mentioning us. This is obviously pure hate with some focussed propagation but without any real substance. ( This is so ill ! ) If I would earn so much money with my passion, that I could pay a lawayer for that, I surely would hire him to perscue you and then prove and unleash your real intention (aka: defamation) infront of thegrand jury. 

Cheers, your 'mentally disordered' JAX guy. 

 

JANUARY, 27TH 2022   


We are preparing public beta tests for our JAX Concert Grand Series. 

 

It is really not quite ready yet, but here are some infos for the pending releases, which is updated with material the next days and also mainly on our youtube support channel

Please read our comments on the youtube videos to prevent any further confusion.  

 

 

(b.t.w..: If you are not that much into serious classical piano music, so this project probably may be not for you. So rather go and buy these trendy gigbyte hypes if not already done ^^.) 

 

 

FEBRUARY, 15TH 2021  


OK, No Key Sampling, Maybe Sample Fregments Mapped To Keys ?!

 

FEBRUARY, 14TH 2021  


FEBRUARY, 10TH 2021  


FEBRUARY, 02ND 2021  


We are still progressing

We are currently providing quite significant releases for the audio unit world.

MIDI SWEET SERIES are our answer to the 'missing links' inside the audio unit world, regarding MIDI realtime processing. While there are several tools out there for MIDI processing, the most basic things are still missing yet, for instance a 'simple' MIDI player unit, that can load and play back standard MIDI files inside an audio unit environment or a decent (and useful) recorder unit, that can record all MIDI events inside a session in realtime (including for instance MPE).

Possibly many developers do not know anything about good old MIDI or are not really interested and are focussed on latest hype technologies (i.e. 'shimmer reverbs'). Even acclaimed, so-called < state of the art > MIDI s(X)equencers on the iOS platform are obviously up to doday not even able to load and decode a simple standard MIDI file of any length correctly !!! ^^ But basic MIDI tools are just an essentilal but still missing link and urgently required on the iOS platform, especially for audio unit processing. 

So 2 new audio units will be released next: the MIDI Session Recorder and the MIDI Session Player.  As you may discover, these are very simple to use and the one is the invertion of the other. 

These tools took development time and investigations of several months, yet years, but finally were successful and are now advanced enough to be released now. The difficulties with such (obviously 'simple') tools are the core audio processing kernel requirements, which needs special handling for MIDI, rather than just using any available MIDI frameworks from public domain, which are mostly completely useless due to their implementation details. Many developers just use kinds of such 'construction kits', a wild collection of several bits and bytes floating around everywhere - and then these are taken to deliver the released results ... not so with us! 

We developed everything from scratch specially to fit the requirements for the core iOS remote audio kernel.

Along with our new MIDI Time Control (release name: 'MIDI Clockworks'), we will release these tools in February 2021. Early adopters may profit from introductionary prices. Active supporters, as always, will get their promotion codes.

 

JANUARY, 31TH 2021  


We provided a Maintenance Update 1.2 for our WU Series 

The update for 13 existing units will be shipped to the AppStore reviewing process today. It usually needs days for completing the  entire processing, sometimes even with further delays due to strange demanded catalogized 'requirements' by the Apple review teams. Some developers would say: This is just a mess of frustrations! 

Providing packages for the units even takes sometimes several weeks to review ( yes, these packages of already reviewed existing units will be reviewed again, whithout any change to the code !!! ) for unknown reasons. This all is a nightmare massacre, a fist into the face of any developer. Well... but by now, we will get immensely rich ... with 15% less ( errrm... more ) percent.

Manual for WU Series. 

Providing updates for existing pruducts is not just as easy as one may think. It is a fact, that many users do not even know about the efforts, that the developers must proceed. It usually requires many manual interactions for the development accounting and compiling and packaging, certifying and so on, which usually takes days of fulltime work for a single developer, not even written a single line of code in that time... Even if the number of products is large...

There are 2 new members in the WU series to come in the next days successively: The WU: AUPitch - the missing pitch shifter unit and the WU: AUMIDISynthesizer - a full featured multitimbre, multi MIDI channel, GM compatible sound module, based on soundfonts. 2 other modules are still missing there, the AUSampler and the AU(Scheduled)FilePlayer, which will be released, if the WU Series succeed at all, because these units require developing some extensions to make them any useful as loadeble audio units. However, a kind of preview release for the AUSampler may be possible too,

 

JANUARY, 22TH 2021  


Is the ancient MIDI Clock signal still infront of time? 

A digital MIDI Clock signal can be generated 100%ly accurate and perfectly in sync with the current audio stream, because it is actually generated with audio clock precision at high samplerate (i.e. 48000 or 96000 Hz) inside digital systems. This is more perfect, than any externally connected atom clock precision hardware device ever could produce due to MIDI transmission issues. So there is no question that digital hosts and audio units should be used to generate MC/MTC/SPP signals at the first place... 

Manual for MIDI Time Control, a new audio unit in our MIDI SWEET series.  

MTC (MIDI Time Code) generates a SMPTE time code, independently of the Clock sync and therefore cannot be used for Tempo information without losing its complete meaning. However, it can be used for absolute positioning. SPP (Song Position Pointer) can be combined with MC (MIDI Clock) successfully, finally delivering what some users obviously want to achieve - synchronisation between apps and devices, based on relative beat positions. The Song Position Pointer is usually sent ones prior sending the CONTINUE command, while afterwards usually merely MIDI Clock pulses are sent to indicate progression and tempo of a running composition. This also reduces transmission band width, which is always limited. The MIDI Time Code, on the other side, is an independent stream of constant pulses, sent in certain sequences, based only on the sample rate, which constructs time information and indicates the Real World Time, which is Her Untouchable Mayesty and not affected by any musical tempo or musical divisions.

There is not even one single audio unit available for iOS, that delivers MTC or SPP. However there is one in our series already for MIDI Clock Sync. Many essential MIDI tools are still missing in this world too: A multi channel MIDI recorder for instance or a simple MIDI File Player ...

These tools are not available for certain reasons. Mainly because, many of the established developers are obviously just using questionable open source and 3rd party frameworks and hacks that are 'plugged in' and are limited, which mostly are also quite inoperable with the remote audio unit system and its special threading. Audio unit MIDI frameworks must fit into the remote realtime kernel of Apples AudioUnit eco-system and this actually requires hardcore DSP coding... 

However, we are specilaized in doing such things. Stay tuned! 

 

DECEMBER, 9TH 2020 


Introducing DCCC Indicators.

We have added Develpment Costs Compensation Charts, graphical indicators of the current financial state to our main products on the product pages. This is just for global information, 'how profitable' higly specialized AudioUnit development on iOS currently is. 

We know, that only few developers would even consider unleashing this sensible information to the public, but we want to do so and inform our customers about the financial facts of AudioUnit developemt on Apple platforms in general. 

Especially this may be interesting for some, because customers generally tend to asking and expecting regular updates / upgrades for their '1,99$ lifetime purchases'. But it is just a fact, that in cases of approximately 95 % of all releases on iOS, not even the initial development costs for the products are compensated after one or two years of App Store performance ...  so how do you finance a life ...

Please note, that the biggest part of the development costs are always the actively used man hours. We set the hourly income to just merely 20 US Dollars, which is an extremely low amount of money for a free business person in comparsion to a paid job in a comparable development area (around 40.000 to 90.000 $ per year). We calculate an average timespan per day of 6 hours, inclusive Saturdays and Sundays. We can actually promise you, that 6 working hours per day do not reach out to achieve any useful results. ^^  ( So in fact the real spend amount of hours is significantly higher than even calculated here. )

And please also consider, that audio development usually requires highly specialized and experienced top developers and designers, not just the average javascript 'develeoper' staff that you may find next door in your 'web page design studio'. 

More information is here.

 

DECEMBER, 2ND 2020 


Public beta timeouts and release schedule.

All our existing public beta versions for the SPECTRO, DYNAMIC. TRIPLE and CHROMATIC SERIES expired lately. This is an automatic timeout for published beta versions. The final releases are scheduled for January 2021. The audio units will be released with 50% reduced introductory prices for early adopters.

We highly recommend to keep watching our Youtube channel for early news regarding upcoming releases. 

 

NOVEMBER, 21TH 2020 


We are announcing participation on the Black Friday Sales Week.

Conform to the Amazon black friday week, from November 23th to November 30th we will lower the prices for many of our products. We usually are lowering prices only ones or twice per year. The rest of the time, we focus on stable prices with exception of special introductory prices for new product releases.

 

NOVEMBER, 1ST 2020 


A new website (this one) has been published.

 

OCTOBER, 31TH 2020 


We published a new item in our LABORATORY.

The JAX Variable Latency Delay audio unit is an effect, that can slow down and speed up a constant audio stream in realtime by tricking the time temporarily.

 

 

OCTOBER, 30TH 2020 


We released JAF DeeJay

JAF DeeJay is an analog modelled full range filter, which is able to fade between lowpass and highpass with different selectable filter models. There is no gap between the filtering at center position. This kind of processor is often asked by DJs.

 

SEPTEMBER, 27TH 2020 


The upcoming days we will release JAX P2 and JAX P3, fundamentally different pitch shifter models. 

These units are part of our ESSENTIAL SERIES, a collection of 'one trick horses' of audio units.

There is an update in work too for these 2 Audio Units, adding optional MIDI key automation and further refining parameters. We also prepared an advantage bundle at lower price, which has to be approved by the AppStore review processing extra, because it is technically just not possible to provide such with an initial release due to strange Apple distribution platform issues.

 

 

SEPTEMBER, 9TH 2020 


We changed the prices of some of our products permanently. 

We are often asked for sales periods, but we generally want to focus on stable prices for all of our products. New product releases generally will be offered with special introduction prices.

 

 

SEPTEMBER, 9TH 2020 


The release of the WU (WRAPPED UNITS) SERIES has been started.

We will start releasing selected Audio Units from our WRAPPED UNITS SERIES today, just for testing the common interest. The units then will be released day by day to get some special attention. 

There will be no BETA tests for this, mainly because the units are just 'wrapped units'. However, the products will be actively maintained. 

The project was prepared for a long time now but we had to concentrate on much more complex projects lately.

 

 

SEPTEMBER, 8TH 2020 


Public beta version of JAX SPECTRO Transcend available. 

This audio unit is also based on our chromatic FFT and the second item in our SPECTRO series collection. The beta version can by called up by eveyone annonymously, who has installed Apples TestFlight app.

 

 

SEPTEMBER, 7TH 2020 


Public beta version of JAX TRIPLE Series 3Stereo available. 

JAX 3Stereo extends our classic JAX Stereo Tool and can process 3 freely adjustable frequency bands. The beta version is available for annonymous access via the Apple TestFlight app.

 

 

SEPTEMBER, 3TH 2020 


Public beta version of JAX SPECTRO Isolate available. 

JAX Isolate is the first item in our new SPECTRO series. It provides a spectral filter based on FFT (Fast Fourier Transform), where all frequencies are consequently mapped in chromatic fashion, corresponding to MIDI keys.

 

 

SEPTEMBER, 1ST 2020 


Public beta version of JAX TRIPLE SERIE 3Verb available. 

3Verb was especially created as a mastering reverb. It is the first item in our TRIPLE series, which provides a frequency band ssplitter and 3 parallell instances of an highly adjustable algorithmic reverberator.

 

 

AUGUST, 26TH 2020 


Public beta version of JAX DYNAMICS Compander available. 

This audio unit introduces our DYAMICS series, a collection of visual dynamics processors that are easy to use and do not require a academic music or audio engineering exam. 

 

 

AUGUST, 10TH 2020 


New Audio Unit series announced. 

 

  

We will release allot of new audio units in the next months. These new units will all fit into a selected purpose of audio processing tasks and so we created 4 new global categories for our upcoming products.

 

JULI, 7TH 2020 


We pushed a new item into our LABORATORY. 

The Panda Pianist is an interesting experiment for creating a hight quality sounding multimode Grand Piano module, that actually does not require gigabytes of disk space and does not eat up all the available mobile device memory at ones.

The panda logo will be used excessively by us in the future for all kind of sampler related stuff.

 

MAI, 20TH 2020 


We are announcing the pending release of our WU (WRAPPED UNITS) series

A collection of Audio Units, which expose user interfaces to iOS system included ui-less Audio Units and make them available for usage with all supporting audio unit host apps.

 

 

JANUARY, 11TH 2020 


JAX Convolutor PRO is now available in the App Store.

JAX Convolutor PRO is a studio quality convolution reverberator for mobile devices, which is able to load and process very large impulse response files in realtime. The audio unit is also able to load user defined IR files from disk.

 

 

JANUARY, 1ST 2020 


We released JAX Convolutor PE for free. 

This high-end convolution processor is a time limited offer [ preset edition ] of our upcoming JAX Convolutor PRO. The version does not allow loading user selected impulse response files but comes with a fairly complete set of studio quality impulse response files for instant selection.

This audio unit is fully functional but only available for a short time. 

 

 

NOVEMBER, 11TH 2019  


We released JAX Decimator on all Apple platforms today. 

JAX Decimator is a plugin in audio unit forma, that deliveres controlled digital effects like samplerate and bit reduction.  

 

 

AUGUST, 19TH 2019


JAX !Make Louder 2.0 is out. 

This major update will add two saturation stages for boosting the loudness of audio material, which requires such action.

 

 

AUGUST, 3RD 2019


We want to announce the start of our MIDI SWEET series. 

In our MIDI SWEET series we will publish several audio units with the ability for processing MIDI data streams.

 

 

JULI, 31TH 2019


We released the JAX !Make Louder Audio Unit. 

JAX !Make Louder is an essential tool for boosting and optimizing the loudness of digital audio material in realtime situations.

 

 

JULI, 23TH 2019


We released JAX Stereo Tool. 

The JAX Stereo Tool was created for doing professional mastering tasks and analysis on stereophonic audio material. 

 

 

JULI, 21TH 2019


We proudly present: The JAF Model One and the JAF Collection. 

The JAF Model One and the JAF Collection are unique sounding analog modeled filters with some mojo.