Feature Requests

Description: Add support for a second, independent app window/view when an iPad is connected to an external display. This should allow the iPad and the external screen to show different parts of the project simultaneously (e.g., operate clips/widgets on the iPad while showing Mixer/Sequencer on the external display). Problem: Using a single iPad screen forces frequent view switching during performance and setup: Users often need to see and control clips/widgets while also monitoring the mixer, meters, routing, or the sequencer. Mirroring to an external display does not solve this, because it still shows only one view at a time. For live performance and studio workflows, simultaneous visibility of multiple views reduces mistakes and speeds up operation. Proposed Solution: 1) External display mode with a dedicated second view When an external display is connected, provide an option: "Use External Display as Second Window". The external display shows an independently selected view, while the iPad remains fully usable with its own view. 2) Assignable views per screen Allow choosing what each screen displays: - iPad: Clips/Canvas/Widgets (typical performance control) - External: Mixer, Sequencer, Set List, Browser, Meters, etc. Provide quick switching and persistence (remember per-project or global preset). 3) Interaction model options If the external display is touch-capable: allow direct interaction on the external screen. If it is not touch-capable: keep the external screen as a “monitor” view, and allow controlling it from the iPad (optional pointer/cursor support if applicable). 4) Performance-safe features Optional "Lock external view" to prevent accidental edits. Optional high-contrast / large text mode for distance viewing. Clear indicator of which screen is showing which view. 5) Compatibility and fallback If the platform cannot support true dual independent UI in a given mode, provide the best possible fallback (e.g., a dedicated “external monitor” view) while keeping behavior predictable. Benefits: Dramatically less view switching during live use and setup. Better situational awareness: keep clips/controls visible while monitoring mixer/levels/sequence. Makes an external display genuinely useful (not just a larger mirror). Improves reliability and speed for complex projects. Examples: Live performance: - iPad shows performance widgets + clip triggers; external display shows Mixer with meters and FX chains for monitoring. Production/editing: - iPad shows Clips and clip editing; external display shows Sequencer timeline. Troubleshooting: - iPad remains on the main performance page; external display stays on routing/mixer to quickly identify where signal is going. This summary was automatically generated by GPT-5.2 Thinking on 2026-01-18 . Original Post: Second Loopy Window when using a second display If I have a computer screen connected to my iPad, it would be good to have a second loopy per window. For example, you could operate the loops and controls on the Ipad, while the sequencer and the mixer are displayed on the screen.

Description: Allow a clip/loop to have a user-defined "bar start" position that is not necessarily the beginning of the audio. This enables loops where the musical phrase begins before the downbeat (pickup/anacrusis), while the loop still stays perfectly in sync with the clock when launched and stopped. Problems: Many real musical phrases start before the bar (pickup notes/words). With a strict "audio start = bar start" assumption, these loops feel wrong or require awkward workarounds. When launching such a loop, users want the pickup audio to be heard before the downbeat, while the downbeat still lands exactly on the bar. When stopping such a loop, users may want it to play through the remaining tail segment (including the "pre-bar" portion that conceptually belongs to the end of the cycle) so it ends musically instead of cutting early. Proposed Solution: 1) Add a "Bar Start Offset" (or "Cycle Start Marker") inside the clip In the clip editor, allow placing a marker that defines where bar 1 beat 1 occurs within the audio. The audio segment before this marker becomes the "pre-roll" pickup. 2) Launch behavior: pre-roll playback with synced downbeat When the clip is activated, playback can begin slightly before the bar so the pickup plays naturally. The defined bar-start marker aligns to the next quantized start point (beat/bar) so the groove is in time. 3) Stop behavior: finish the cycle musically When deactivating the clip, provide an option to continue playback until the end of the current cycle (including the segment after the bar start and then the wrapped pickup segment), so the clip completes the phrase cleanly. 4) Actions integration (optional but important for performance rigs) Actions to set/adjust the bar-start marker (nudge left/right, set to playhead, reset). Actions to choose stop behavior (stop immediately vs stop at cycle end). Benefits: Makes pickup-based musical phrases usable as tight, clock-synced loops. Eliminates the need to bake silence into files or duplicate/reshape clips as workarounds. More musical launches and stops during performance, especially with vocals and phrases that lead into the downbeat. Examples: "Roxanne" (pickup vocal before the bar). "All You Need Is Love" (pickup phrasing). "Purple Rain" style lead-in phrasing where the emotional pickup needs to happen before the groove locks in. Any vocal loop where the first syllable lands before the downbeat but the groove must still align exactly on bar start. This summary was automatically generated by GPT-5.2 Thinking on 2026-01-18 . Original Post: Shifted loops Sometimes, a vocal part begins a half note before the bar. I would love Loopy to give me the ability to select where the bar beginning is in the loop and synchronize the loop so whenever starting it I can hear that beautifully groovy premptive word(s) before the bar groove takes over. Think Police’s « Roxanne », or the Beatles’ « All you need is love », or Prince’s « Purple Rain ». In the attached example, a yellow vertical bar marks where the bar starts. when the loop is activated, it should begin a bit before so the pre-start bit is played along with the rest in time. also, when the loop is deactivated, it should play until it’s very end: which is until the relooped part before the bar start.

Description: Add an Ableton Link offset adjustment so users can compensate timing differences between linked apps/devices. This should allow positive or negative offsets (in milliseconds) to align metronomes, clip launches, and tempo-synced behavior when Link timing is consistently early/late relative to other peers. Problems: In real multi-device setups, Link can feel slightly late/early due to audio buffer sizes, interface latency, routing, or host/driver differences. Some apps (e.g., AUM) provide a Link offset control that makes it possible to line up metronomes and downbeats precisely; without an offset control here, users have to add external hosts/workarounds just to correct timing. oai_citation:0‡Loopy Pro Live reliability suffers when two linked systems are almost in sync but not perfectly, especially for click alignment, tight rhythmic performance, and synchronized recording/launching. Proposed Solution: 1) Add a Link Offset parameter A simple control: "Link Offset (ms)" with negative/positive values. Range should be wide enough for practical compensation (e.g., at least +/- 100 ms), with fine resolution (0.1 ms or 1 ms depending on implementation). Display current effective offset clearly. 2) Scope options Global setting (applies to all projects), and/or per-project override. Optional per-session behavior: remember the last offset used with Link enabled. 3) Integration with Actions and bindings (important for performance rigs) Actions: - Set Link Offset (ms) - Nudge Link Offset (plus/minus step) - Reset Link Offset to 0 Allow MIDI binding so a user can quickly calibrate on stage or during rehearsal. 4) Usability and safety Optional quick calibration helper: - Tap-based or metronome alignment aid (visual) to help users find the correct offset quickly. Ensure the offset affects Link timing alignment only, without unexpectedly altering unrelated latency compensation features. Benefits: Enables tight metronome alignment between linked peers without external hosts. Faster setup for mixed rigs (iPad + desktop, multiple iPads, different interfaces). More reliable clip launching and tempo-synced effects when Link is used as the shared clock. Reduces the need to insert additional apps just to fix timing. Examples: iPad + desktop: - User hears the desktop click slightly ahead; set Link Offset to -16 ms (example) until clicks align. Multi-iPad rig: - Different buffer sizes cause small drift in perceived attack; offset corrects consistent lead/lag. Live recalibration: - Bind nudge actions to a controller to fine-tune Link offset during soundcheck. This summary was automatically generated by GPT-5.2 Thinking on 2026-01-18 . Original Post: Ableton Link offset option AUM provides an Ableton Link offset adjustment feature. It would be great if Loopy Pro offered the same functionality.

Description: Allow a sequencer clip to define multiple loop regions (multiple loop points) and switch between them. This enables workflows like verse/chorus patterns, A/B/C sections, fills, and structured arrangements within a single sequencer clip without duplicating clips. Problem: With only one loop region per sequencer clip, users must duplicate clips or create multiple separate clips to represent different sections (Verse/Chorus/Fill). That leads to: More clutter in the clip grid. More triggers and more controller mappings to manage. Higher performance risk (triggering the wrong clip). Harder iteration when multiple sections should remain part of one coherent “song pattern” object. A multi-loop-region model would make the sequencer far more expressive and arrangement-friendly. Proposed Solution: 1) Multiple loop regions per sequencer clip Allow defining Loop Regions A/B/C… (each with start/end points). Display them in the sequencer UI as labeled regions. 2) Switching mechanisms Manual selection in the sequencer editor: choose active loop region. Actions: - Set Loop Region (A/B/C or by index) - Next/Previous Loop Region Follow Actions support: - Switch loop region at loop end, after N loops, or on cue. 3) Musical timing safety Optional quantized switching: - switch on next bar/beat - switch only at region end Optional “queue next region” behavior: - choose next region now, but change only when safe. 4) Optional advanced behaviors “Fill” regions that play once then return to the previous region automatically. Random region selection within a defined set (for generative sequencing). Benefits: Cleaner projects: fewer duplicated sequencer clips for sections. Faster arrangement building inside one clip (verse/chorus/fill as regions). More reliable live control: one clip can cover multiple sections with predictable switching. Enables generative and performance sequencing (queued fills, random region selection). Examples: Verse/Chorus: - Region A = Verse pattern, Region B = Chorus pattern. - Action switches regions quantized at the bar boundary. Fills: - Region C = Fill. - Trigger "Play Fill Once" action that switches to C for one cycle, then returns to A. Generative pattern: - Multiple regions configured; Follow Action randomly selects the next region every 4 bars. This summary was automatically generated by GPT-5.2 Thinking on 2026-01-18 . Original Post: Allow for MULTIPLE loop points in the squencer CURRENT STATE: The sequencer supports ONE, and only ONE loop point. There are WORK-AROUNDS, which take more work, more time, more confusion, more chance for error..... come one.... just do in right.... create a sequencer that allows multiple loop points. This may be similar to the feature request below. The functionality in the sequencer now is LAME, and workarounds are soOOOoo painful, and time consuming - like creating 1 bar empty loops that. I am wasting time making something that has a hidden secret meaning. This type of stuff destroys a users' confidence in the software. https://roadmap.loopypro.com/feature-requests/p/arrangement-markers-in-sequencer-with-bpm-time-signature-loop-sections-and-cue-c

Description: Add Actions to change a group’s mutual exclusivity behavior at runtime. This allows users to dynamically switch whether clips in a group can play simultaneously or whether starting one clip should stop the others. Problem: Mutual exclusivity is a powerful structural control (e.g., verse/chorus switching, one-of-many variations), but today it is typically a static configuration: Users may want the same group to behave differently at different times. - Example: during a build, allow layers to stack; during the main arrangement, enforce “only one at a time”. Without runtime control, users must create duplicate groups/pages or redesign clip layouts to achieve dynamic behavior. This limits performance flexibility and complicates controller-driven workflows. Proposed Solution: 1) Add group exclusivity Actions Provide Actions such as: Set Group Exclusivity: Exclusive / Non-Exclusive Toggle Group Exclusivity Optional: Set Exclusivity Mode variants if more than one exists (e.g., "Stop others on start" vs "Fade out others" if supported) 2) Scope and target selection Target a specific group by name/ID. Optional: apply to selected groups, or "current group". 3) Performance-safe timing (optional) Allow exclusivity changes to be: - immediate, or - quantized (next beat/bar) to avoid unexpected mid-bar stopping behavior. 4) Clear UI feedback Show an indicator that exclusivity was changed (and current state) to prevent confusion during performance. Benefits: Enables dynamic arrangement behavior without duplicating groups or redesigning layouts. Supports advanced performance macros: switch from “layering mode” to “section switch mode” instantly. Makes controller-driven rigs more expressive and less brittle. Reduces project complexity by keeping a single group that can change behavior when needed. Examples: Build-up layering: - Set group to non-exclusive so multiple clips can stack during a crescendo. - Then set group to exclusive for verse/chorus switching. Rehearsal vs show: - Non-exclusive during rehearsal for experimentation. - Exclusive during show for strict arrangement control. Footswitch macro: - One footswitch toggles group exclusivity while another triggers next clip, enabling different behaviors on demand. This summary was automatically generated by GPT-5.2 Thinking on 2026-01-09 . Original Post: An action to adjust group mutual exclusivity It would be great if there were an action to adjust group mutual exclusivity. This would allow me to easily create scenes on-the-fly.

Description: Add metronome subdivision controls so the click can play not only the main beat, but also selectable subdivisions (e.g., 8th notes, 16th notes, triplets). This should be configurable per project (and ideally controllable via Actions) to support different practice and performance needs. Problem: A metronome that only clicks on the main beat is often insufficient: Users practicing tight rhythmic accuracy may need 8ths or 16ths for reference. Triplet-based feels (shuffle, 12/8) benefit from triplet subdivision clicks. For complex looping, users may want a stronger internal grid to stay locked without relying on visual cues. In performance contexts, different songs/sections may need different click densities (e.g., sparse click in verse, denser click in a fast section). Without subdivision options, users must rely on external metronomes or workarounds. Proposed Solution: 1) Add metronome subdivision setting Metronome options: - Off - Quarter notes (current) - 8th notes - 16th notes - Triplet 8ths (1/8T) - Triplet 16ths (1/16T) (optional) Optional: dotted values or 12/8 style patterns. 2) Accent behavior Keep the downbeat accent (and optionally beat accents) independent from subdivision ticks. Provide level controls for: - main beat click - subdivision click so subdivisions can be quieter and less intrusive. 3) Actions and automation (important for live use) Actions: - Set metronome subdivision - Toggle subdivisions on/off - Cycle subdivisions (optional) Allow binding these actions to widgets/MIDI. 4) Presets / per-song recall (optional) If setlists/songs have distinct settings, ensure subdivision choices recall correctly per song/project. Benefits: Better timing support for practice and tight performance. Makes triplet/shuffle feels easier to lock in. Reduces reliance on external click solutions. Enables section-specific click behavior when controlled via Actions. Examples: Fast piece: - 16th subdivisions at low volume to maintain tight timing. Shuffle/12-8: - Triplet subdivisions to reinforce the feel. Live looping: - Subdivisions enabled during recording setup, then switched back to quarter-only (or off) for performance. This summary was automatically generated by GPT-5.2 Thinking on 2026-01-18 . Original Post: Metronome subdivision I would like to have the option to select 8th ot 16th notes and triplets on the metronome

Description: Improve Loopy Pro’s audio engine by enabling true multi-core (multi-threaded) CPU processing for audio rendering, especially useful with multiple AUv3 plugins and parallel signal paths. Problem: Currently, Loopy Pro does not seem to fully utilize multi-core CPU processing for audio tasks. This can quickly lead to CPU overloads in complex projects with several AUv3 plugins, effects, or multiple audio channels – even on high-end iPads. Proposed Solution: – Implement multi-threaded audio rendering – Distribute AUv3 plugin processing across available CPU cores – Prioritize per-track or per-plugin parallelization – Dynamically allocate threads based on system load – Add CPU usage per-core display (optional) Benefits: – Much better performance on modern multi-core CPUs – Lower risk of audio glitches and dropouts – Enables more complex, creative setups with more plugins – Extends device longevity by improving resource efficiency – Makes Loopy Pro more competitive as a DAW alternative This summary was automatically generated by ChatGPT-4 on April 30, 2025.

Description This feature request proposes enhancing Loopy Pro's audio routing capabilities by allowing buses to be assigned as destinations and enabling buses to send their output to multiple destinations, including other buses. This would facilitate more complex and flexible routing configurations, such as creating monitoring buses with effects like reverb or delay that are applied across multiple channels. Proposed Solution Bus as Destination : Enable buses to be selected as destinations for audio sources, similar to how colors or outputs are currently assigned. Multiple Destinations for Buses : Allow a single bus to route its output to multiple destinations, including other buses, colors, or outputs. Dynamic Routing : Implement actions or controls that allow users to dynamically change bus destinations during live performances or within a project setup. Monitoring Enhancements : Provide options to monitor through buses, enabling users to hear the combined effects applied to multiple channels in real-time. Problem Limited Routing Flexibility : Currently, buses in Loopy Pro can only send their output to the main output, restricting the ability to create complex routing scenarios. Monitoring Challenges : Users cannot monitor the combined effects of multiple channels through a single bus, making it difficult to set up cohesive monitoring environments. Workflow Limitations : The inability to route buses to other destinations limits creative possibilities and complicates setups that require shared effects processing or parallel routing paths. Benefits Enhanced Creative Control : Users can design intricate audio processing chains, such as parallel effects or subgroup processing, improving the overall sound design capabilities. Improved Monitoring : Facilitates the creation of dedicated monitoring buses with specific effects, aiding performers in hearing exactly what they need during live sessions. Streamlined Workflow : Reduces the need for workarounds or external routing solutions, allowing for a more integrated and efficient project setup within Loopy Pro. This summary was automatically generated by ChatGPT-4 on 2025-05-07.

Description: Integrate high-quality octave and pitch-shifting effects directly into Loopy Pro, either natively or by enabling access to system-level AU pitch effects like Apple’s AUPitch. Problem: While Loopy Pro supports AUv3 effects, users seeking clean, adjustable pitch-shifting—especially for live use—are currently limited. Notably, Apple’s AUPitch effect sounds better and provides more control than AUNewPitch, yet it is not easily accessible in Loopy Pro outside GarageBand. This creates a barrier for users needing reliable pitch control for vocals, instruments, or creative FX chains. Proposed Solution: – Make Apple’s AUPitch accessible within Loopy Pro as an effect option – Alternatively (or additionally), develop native Loopy Pro pitch/octave shifter with high-quality algorithms – Include real-time control via MIDI/automation – Offer parameters like coarse/fine pitch shift, formant control, mix/dry, and stereo width – Ensure low latency and stable performance suitable for live performance scenarios Benefits: ✅ Unlocks access to Apple’s superior pitch-shifting algorithm for Loopy Pro users ✅ Provides musicians with high-quality real-time pitch manipulation tools ✅ Useful for harmonizing, vocal doubling, creative sound design, and instrumental FX ✅ Helps avoid needing GarageBand or third-party hosts just for AUPitch access ✅ Makes Loopy Pro more self-contained and powerful as a live processor This summary was automatically generated by ChatGPT-4 on April 30, 2025.

Description: Users would like to have a new type of loop specifically designed for automation within MIDI learning workflows. This loop type would exclusively record automation data, never audio, allowing for precise control over MIDI parameters. Problem: Currently, there is no dedicated loop type that can record and manage automation separately from audio. This limitation makes it difficult to create complex automation sequences, especially when using MIDI learning for live performances or automation stacking. Proposed Solution: Introduce an "Automation Clip" that functions solely as a container for MIDI automation data. These clips could support overdubbing, stacking, and be triggered via button presses or gestures. Additionally, users should have the option to combine one-shots or loops to control sequences and playback of other clips. Benefits: Enhanced control over MIDI automation workflows. Allows for complex automation stacking and precise triggering. Facilitates more dynamic live performances by separating audio and automation loops. This summary was automatically generated by ChatGPT-4 on 2025-05-07.