Monday, November 15, 2010

Two Stunning Sequels


Controls (Both Channels)
  • Level: Controls overall output
  • Gain: Sets grit/crunch/distortion amount
  • Tone: Controls high-end roll-off
  • Normal/Boost Switch: Switch from moderate to high gain
  • Bypass Footswitch: True bypass switching

The release of this little doozy was one that for me made absolute sense. Like the original this new pedal also works perfectly for all types of rock - from alternative, punk, and hard rock, to blues, country, and classic rock. And also like the first Mudhoney this puppy is also an awesome tool for stacking up with other dirt boxes and overdriven amps. Only with this Mudhoney T-Rex has added a second identical channel for even more tonal range on the fly. Finding suitable amps, guitars, and pickups to match this pedal up with was a piece-of-cake. I was literally able to just plug in and go without any problems,  thanks to the pedal's responsive and versatile controls. I plugged this pedal into everything from Strat's and Les Paul's, to Tele's and semi-hollow guitars, and never found I wasn't able to dial in stunning tones. 

I'll start with my 15 watt head and neck bucker Tele, which I later used with the Mudhoney II on a small gig and ended up being the perfect little tone machine for knocking out all of my overdrive and distortion textures. Later I would discover this would also be quite an impressive setup for studio and recording sessions. With the amount of range that this pedal's gain and tone controls have to offer, it made it possible to dial in everything I needed. Then add in the pedal's boost function and a little meddling of your guitar's controls - and you got yourself a whole new range of tons to play with! Having the ability to set one of the pedal's channels to a light boosted grit, and the other channel to a hotter drive - really made this one of the most useful dirt pedals. Using the pedal to slam into the tubes I was able to get these traditional punchy clean/dirty AC15 tones with lots of highs and smooth mids. Then once engaging the pedal's second hotter channel I was able to push into more distorted and aggressive rock tones. All without loosing the amp's characteristics and maintaining my root tone feel. I was also easily able to control how and when the tone broke up by the dynamics of my picking and strumming. A light touch would provide a sparkling clean tone with gritty undertones, and digging in would take the amp into a howling growl. With ease I was also able to get back to the amp's clean tone by rolling back on the guitar's volume, all without any coloration or drop in tone. Next I experimented with one channel as a clean booster and the other cranked full blast. Here the pedal created an authentic rich'n'smooth golden rhythms and ruff'n'rugged leads. Most awesome was how each pick would respond. In the Tele's bridge pickup the overdrive signal was able to slice and cut with great definition and spank. Ringing out chords never sounded so beautiful! I got great note separation yet still had plenty of attitude to punch out massive sounding chord work. With the neck humbucking picking it was more of the same. I got all of the same note separation and aggression, only with even more smoothness and low bottom thump. I thought to myself "Here I am not even ankle deep into this pedal and it's already pushing out tons of awesome tones." This was something that the first Mudhoney pedals had, and why so many players love them so. Another amp/guitar combo that works nicely with this pedal was my 4x10 Deville and P90 equipped Junior copy. Here also tried the clean booster channel/fully cranked lead channel thing and it was marvelous! The throaty P90 tone cut through like a deadly samurai sword. It was obviously going to be no problem getting this pedal to adapt to whatever pickup you played it through. I was could take the sparkling Fender clean tone into just about any dirt tone I wanted. Through this amp I also got hear what the Mudhoney II sounded like through super loud levels. If you guys have ever played the Hot Rod amps you know how knarly they can get. And with mine sporting four 100watt ten inch speakers, a revamped tone circuits, and a few other tweaks - it gives it enough clean headroom to spare and makes it the perfect amp for running dirt pedals through. With the amp cranked loud enough and the Mudhoney set just right, I was also able to convert it into a Marshall-like demon. The four 10's sounded like a wall of rock god heaven. This amp is also another piece of gear I use a lot for gigs, and with the Mudhoney II it was really nice. On stage the pedal was able to give me the perfect blend of clean to distortion, and able to provide me with those blaring screeching lead tones. Using this pedal live also gave me the opportunity to stack it up with some other pedals... hehehehe. Just for kicks in the middle of a riffing good break down I decided to stomp on the Mudhoney, while already playing through a blaring smooth fuzz tone. The Mudhoney took the fuzz pedal's grimey sound and twisted it into a mothership of psychedelic harmonics and overtones. Then there was pushing this pedal though an already overdriven signal, which was probably one of my ways to use this pedal. Through both pedal overdrive and amp overdrive the Mudhoney II came through with flying colors. After playing around with the Mudhoney II for a couple days I would safely describe it as a pedal capable of a huge range of dirty tones, a pedal that plays well with other stompboxes, and a pedal that thrives when matched up with tube amps.... and just a kickass pedal PERIOD!




  • Mix: Mixes the dry and the wet signal. Set at 12 you can hear the guitar go through
  • Decay: Determines the length of the spring, that is emulated
  • Hicut: Cuts the high notes on the tail of the reverb. Giving the tail a smooth sound
  • Level: Controls the output volume
  • Gain: Controls the level on the input signal. With this knob you can turn down the input signal, if it is too power full. The green light on top of the pedal will go red, if the input signal is too high and makes the pedal distort
Reverb Types
  • Spring: Sounds like an old vintage Fender amp with the typical spring based reverb
  • Room: Typical room reverb. Like a clinic in a small room
  • Hall: Sounds like a big concert hall
  • LFO: Reverb with chorus
(Pedal gives stereo output through the left and right output jack plugs)


I could very easily describe this pedal in one sentence simply by writing - The end-all be-all reverb pedal for the masses. But I won't stop here. First let me say I honest to God thought there was no way T-Rex could improve on the Room-Mate... boy was I wrong. I myself never owned a first version Room-Mate but nontheless I am quite familiar with the pedal. The first Room-Mate is a pedal that many cats that I know use in their studios and gigging pedalboards. For this reason I must admit that when I first heard there was going to be a new Room-Mate hitting the streets, I got giddy with excitement. Never did I think it would end up being as amazing as it is. Features I won't go into, if you want to read up on the new Room-Mate's features look above or click here. It is all about how this pedal works with you and your tone, and how versatile of a reverb box it is. 

I'll start with some honest to goodness classic spring reverb tones. For this I plugged into my Super Lead and Telecaster. The big booming sound of the 100 watt Marshall in fact ended up being the perfect canvas for the new Room-Mate's awesome tones. To achieve a vintage voiced spring verb sound was indeed very very easy. I simply set the mode switch to spring, dialed in it's controls to my liking, and that was that. Right there swimming out from my amp was a lush sparkling classic reverb tone that had my guitar sounding pretty damn hip. I had the perfect blend of British attitude and classic American verb, which made for one very cool tone. I slowly went from a clean tone to pushing the amp into a light grit. With the pedal's decay and mix controls I could dial-in just the right amount of effect and feel. It was nice having the ability to have a big decayed reverb only mixed in lightly. This created this strange reverb that sat intensely behind the amp's root tone. Lots and lots of fun. When I first demo'd this pedal I had done it through a Twin Reverb (the king of all reverb amps if you ask me). This would later lead to comparing both of the reverb types. A/B-ing the amp and pedal's reverb tones I must say was quite tuff, and I will have to honest here - I did choose the pedal more times than I did the amp. Later when getting deeper into this pedal I knew exactly why this was - It is the Room-Mate's tone quality. Even at low almost undetectable rverb settings the pedal gives your root tone a little bit of sweetness. This is one of those pedals that holds all of the mojo that makes a great vintage tone great, yet takes this tone into higher grounds. This let me pull surfy psychedelic 60's verb tones and light fluffy whispers, with plenty of warm and definition. All literally a breeze for this pedal. With the pedal's wide range of controls I could pull a bunch of variations on each reverb tone I dialed in. This automatically makes this a killer gigging reverb. Anyone without a on-board reverb would do themselves proper by snatching up one of these pedal's.  Then there was using this pedal as a studio tool (which is where the fun really began). Not everyone can afford expensive rackmount reverb tools or has room for big bulky reverb tank units. This pedal is a perfect alternative to all of this. I'm the type of cat that when recording uses the best tool for the job. Not always what might work best for one application work for another. Sometimes I like to use something flashy, sometimes I use a plug-in, and sometimes I use pedals. With the new Room-Mate I was able to get all types of uses out of it. One of my favorite was using it's room reverb effect in recording sessions and live gigs. With drums and vocals this especially worked best. I was able to give my drum tracks a big, sweet, forgiving room sound that added size and muscle to the overall sound. I recorded these hi-hat/kick/snare tracks with a stereo overhead and mic in the kick, that in the end sounded pretty damn impressive (thanks to my micing techniques and skills, hehehehe). Later when adding the Room-Mate's room reverb things got even sweeter. I was able to hear and feel all of the room's characteristics and sweet acoustics. This possible with both hall and room settings. Adding the pedal's hall reverb also sounded great with fuzz pedals and high gain distortions. I myself really enjoy using an exaggerated hall verb with fuzz for adding spooky and psychedelic layers to tunes. It's a great way to create background noise and make your fuzz notes trail on forever. Then last came the super cool super hip LFO reverb mode. Oh mama! I've heard and played many different takes on this type of reverb before, and thought either they were too much or just not interesting at all. With this pedal it is not like so. The LFO mode really takes your tone and turns it into something wild and special. I was able to get these beautifully aquatic-like reverb/chorus hybrids, then take her all the way up to trippy warbling madness. Again, having the amount of control that that this pedal offers made it a cinch to get tons of different variations. From one end of the reverb spectrum to the other - I was able to cover just about every sound you could imagine. This is one of those pedals that really needs no help in speaking for itself - a pedal that will for sure become a collector's in years to come. 

Wednesday, November 10, 2010

Night of the Living Fuzz

Spencer Amps
Distortion Processors/Modifications

That's right kids, we've got another extra special treat for you from the awesome mind of Bill Spencer. Earlier this year when I discovered Spencer Amps I had no idea what I would be in for. In this life of a tone conscience/tone hunting fool - I come across and am introduced to lots of different gear. Some of the time the finds are real gems, and other times it is just more of the same. With Bill's gear it was a refreshing combination of familiar and wild'n'crazy tones. For those of you didn't catch our Spencer Amps feature on the Mystique Overdrive click here and come back to us once you've finished. You'll be glad you did. So what is it that makes these pedals a force of their own? Well, it appears Bill has a knack for uniting distortion tones with killer sounding fuzz. This is a talent that has led Bill to modify and design some real champion stompboxes. Below Bill has taken what in my opinion is not all that great of a pedal, and converted it into a spectacular one. You players that dig swimming within the distortion and fuzz box realm will ab-so-lut-ely dig this one. 

Supra Zombie Distortion
Mixfuzz (Total Conversion Mod)

  • Level: Controls overall output, with enough on tap to send your amp into a fierce overdrive
  • Tone: Shapes your overdrive's tonal character - From smooth to sting
  • Gain: Dials in grit amount and overall aggression
  • Mix (Zombie): Works to blend in a second distortion circuit for a world of dirty tones


This is one pedal I have been very very excited to share with you. I have always thought DOD pedals could be easily improved on and always wondered why more builder hadn't done so. Bill Spencer's "Zombie" modification of the DOD Supra Distortion is one that not only converts this pedal into a higher quality stompbox, it also provides it with the ability to deliver tons more tonal possibilities. What was once a normal run of the mill dirt pedal, is now a beast of many many faces. The Supra Zombie is capable of hitting you with everything from gritty boosts and overdrives, to distortions of all types and fuzz's of all colors. But dirty signals isn't all this pedal can do, no sir. In the right settings this pedal is also capable of synth-like tones, gated overdrives, and even controllable noise and feedback sound effects. Exactly how this pedal does this I won't get into. If you'd really like to read up on the specs and techs of the Supra Zombie you can click here. Instead I will share with you my experience with this saucy demon.

One of my favorite amp's to push with the Supra Zombie was a mighty fine ol' 22 watt Fender Deluxe. This amp's ability to go into naturally smooth and silky overdrives, makes for a great painting canvas. The Deluxe is an amp that on it's own is capable of great clean, semi-clean, gritty, and all-out distorted tones. By playing the Supra Zombie through this amp I was able to add to and accent everything the amp created. Guitars of all sorts were also something this pedal worked with magnificently. Through the Deluxe amp P90's and Strat pickups were my favorite. With the Strat I was able to get awesome Texas blues tones, super sustain soaked lead tones, and Hendrix-like fuzz tones. With the P90's I was able to some of the most aggressive and brutal dirt tones ever! And getting all of these tones was a cinch too, all thanks to the Zombie knob. Some dirt pedals you will wit with for hours trying to find and dial in sweet spots. Many dirt pedal you will plug into and just end up with the same old thing. With this baby that ain't so. In one direction the Zombie control will act much like an overdriven tube amp, giving you plenty of dynamics and letting you control the character of the crunch with your pick attack. At the opposite end the Zombie knob will take you into non-traditional dirt tones. I began by experimenting with the pedal without it's Zombie circuit blended into the signal. I Set the pedal's level and tone at noon, and the gain at 9'o'clock. Here the pedal pushed out a spot-on Pete Townshend rhythm tone that sounded amazing through all types of chord work. No matter how strong or soft I pushed the strings, the signal would dish out balanced and defined notes. It was something quite special actually, and it really took me my surprise. Strumming lightly the Supra Zombie kicked out perfectly clean notes that had plenty of sparkle and chime. Whenever I wanted more from the pedal I had to do was dig into the strings and I was home-free. With every bit of gain that I added to the signal I would get more crunch and more attitude. Once I got to about noon on the gain knob, the pedal began producing these harmonically rich super charged under/overtones that sang and howled with every little touch. This was really noticeable when chugging down on the strings, playing up on the higher frets, playing harmonics, and bending and playing double-stops. Here I was able to dial in a killer sounding David Gilmour lead tones. Then by adding in a hint of analog delay only made it that much better. Last before getting into the Zombie knob I went ahead and cranked the gain to full blast. Just like I expected the pedal's grit stayed intact with killer note articulation and smooth sweet compression. But even with the gain at full blast the pedal wasn't done doing it's magic. By rolling off on the tone knob I was able to get even more tonal characteristics and colors.And then, it was time to mix in the Zombie control.I started slowly, rolling it up while playing a chord. At low levels the Zombie control created these light synth-like tones that only got in the way enough to give the tone some extra sizzle. I began crunching down on a bunch of complex huge chords, and just like magic the pedal was able to hold it's own. Everything from riffing to bending sounded spectacular! Then I rolled the Zombie up a little more and the pedal began creating these killer sounding gated overdrive/distortion tones. But unlike sticking a normal gate pedal into your signal, this baby made things much more user friendly. The Zombie control was able to maintain and tighten the guitar's overall signal, yet produced a smooth enough roll-off that things didn't sound too choppy or robotic. Then I set the Zombie control at noon and things really started getting interesting. Here is where the signal turned into something other than just an overdrive or distortion tone. It was synth city all the way.And once this started the possibilities were endless. I was able to shape and mold the tone with my guitar's volume and tone, with my picking, and with my feedback. It was lovely! A little trick I found to be quite fun was playing way close to the bridge, with the volume rolled back half way, and the tone at full blast. Talk about a stinging hot signal. Passed noon the Zombie control began to blend a perfect balance of the first distortion stage into the second one. I got plenty of sizzle and zap, lots of smooth overdrive, and a hell of a lot of weird overtones. The type of pickups I played with the Zombie circuit engaged also made a huge difference on it's outcome. High watt amps, overdriven signals, through clean boosters, wah pedals, dirt boxes, etc... all sounded rock and roll. What was really cool though was how the pedal's dirt signal would stay defined and balanced no matter how much gain or Zombie I introduced into it. For anyone on the hunt for something a little bit different, a little bit strange, yet capable of getting back to the traditional - this pedal is it. If any of you out there have a stock DOD© Supra Distortion laying around the house collecting dust - Do yourself a favor and contact Bill Spencer for a proper mod. You'll be stoked you did!


For more info on Spencer Amps go to or click one of the Spencer Amps links. Make sure to check out our other Spencer Amps reviews and look out for more from this company in the near future. 

Tuesday, November 2, 2010

Helping You Get There

Vyagra Boost
Tone Shaping / Booster


  • Right Footswitch: True Bypass Operation
  • Left Footswitch: Kicks in Parametric EQ
  • Gain: 25db of  Clean Boost
  • Frequency: Parametric EQ / 220Hz-1kHz
  • Cut/Boost: Cut or Boost Frequency Signal

Anytime I get a chance to try anything from the Crazy Tube Circuits pedal line, I just know I'm going to be in absolute treat. For those of you hardcore pedal addicted stompbox junkies, these pedals are the ultimate fix. It didn't take me long to become a loyal and dedicated fan once getting a hold of these boxes. Everything from the artwork on these boxes to the dynamite sound that they project is highly attractive. Chris Ntaifotis (mastermind behind CTC) has been able to design his pedals with the perfect balance between vintage vibe and traditionally smooth boutique sound. In all of the CTC pedals I have ever tried I've been able to find spot-on classic tones, as well as characteristics that make them all their own beasts. And speaking of tone beast, this is exactly the perfect way to describe the fury of the Crazy Tube Circuits Vyagra Boost. 

The Vyagra Boost's purpose is unlike any other booster you will ever come across. This simple yet extremely effective pedal will most certainly boost your signal into some of the most beautiful and powerful overdriven tones your ears will ever hear. But it is the Vyarga Boost's capability of taking your tone into wild and new horizons that sets it apart from many others. How it does this exactly? We will get to that shortly. This pedal is housed in a heavy duty small footprint enclosure, which makes it great for saving on pedalboard space, and built with only the highest of components. The Vyagra's gain control is capable of a whopping 25db of boost, enough for slamming the front-end of any amp. The freq control works as a parametric eq which lets you dial in a number of different tone characteristics. The cut/boost works inconjunction with the freq control for dialing the eq signal in & out. Last the pedal sports two LED indicators, and two high quality footswitches for true bypass and the for switching in the eq circuit.

Because of the Vyagra Boost's eq section I was able to run it up against every type of pickup and amp imaginable. The sweep of the parametric eq made it possible to fine tune both my clean and dirty tones, and let me convert certain pickup types into completely different animals. The pedal's eq section also made it possible to convert other pedal's into different beast and gave pedals such as modulation and compressors really cool flavors. I started with a duel humbucker equipped semi-hollow guitar and 15 watt tube amp. I set the amp as clean as I could with it's tone control at noon, no verb, and nothing but a pair of high quality cables going to amplifier and guitar. The root tone itself was thick and full of lots of meaty clean harmonics. The Vyagra Boost I set with it's gain control at about 15% power and left the eq circuit out for now. I engaged the pedal and hear the amp go up into an even thicker meatier sound. With the guitar's humbucking pickups I was able to easily get a bit of grit from the signal simply by digging in and striking down on the strings. Chords rang out rich and clear which made the amp sound much more poweful than it actually was. Single notes also had plenty of definition and strength which sounded great with riffs and licks of all sorts. I added in another 10% of the pedal's gain and switched to the neck humbucker. Here the root signal became much thicker and even more grittier depending how I struck the strings. I really liked how transparent the Vyagra's signal was, and how much mileage I could get from it's sound in each gain setting. I switched the pedal in & out to listen for changes in my tone, but there was none. The character of the naked amp was still present, only much more in-your-face. I then dialed the pedal's gain control to give me a medium overdriven signal, something perfect for blues and classic rock. I was actually able to get these great southern rock tones by pushing my amp and using the semi-hollow guitar. All good good stuff. I then took the amp's volume control as loud as it could go, which gave me an organic crunchy tone, and shot it's tone up a bit higher for more sparkle. I then pumped the pedal's gain up to about 50% which pushed the amp into delivering a stunning bedroom/studio level rock tone. The overall sound handed me plenty of everything! Rich harmonics, great overtones, lots of smooth'n'creamy grit, and sweet sweet mojo. Next I took the pedal's gain to full gain, and cranked out an army of different chords. My oh my what a sound that little was able to kick out. I was actually quite taken by how much power the Vyagra had to give. Here is where I began playing with it's eq section. I began by finding the neutral eq frequency, and left the cut/boost control at noon. From here I experimented with shifting from cut to boost. This is where I realized just how many sounds were going to be possible with this pedal. I was able to add weight to my sound or thin it out with just a turn of the cut/boost control. This also let me fine tune my amplifier, which is perfect for those of you who have trouble finding your amp's sweet spot. By cranking the pedal's gain control to the desired spot and setting the eq section just where I wanted it - I was able to get exactly the sounds I was hearing in my head. Next I began playing around with different freq control settings. Very very quickly did things become interesting. To get the sound I wanted form my pickups all I had to do was strum down on a chord and turn the freq control until I found the tone I wanted. Then with the cut or boost I was able to dial in as much or as little of that sound as I wanted. I was able to get cocked wah sounds, treble boost tones, midrange heavy tones, tones that sliced through the air, and just about everything in between all of these. Using this pedal for lead guitar tones was something I found was exceptionally fun. I then plugged the Vyagra Boost into a 100 watt Super Lead and let it fly. I set the amp really loud so it would overdrive into a big natural crunch. Then I stacked the pedal's boost section into it and got an even bigger sound. The Vyagra didn't change the feel of the tone but instead gave it more of what made it sound great. The more of the pedal's gain I pushed into the amp, the more of the amp's mojo I was able to get. Tossing in some of the pedal's parametric eq was also quite delightful. The huge sound of the amp and frequency range of the eq gave me just about every sound I wanted. I could go about playing my amp's natural clean or overdriven tone, then with the Vyagra Boost boost that signal and have the eq pre-switched for a maniacal sound that made everything sound wild and crazy. Then there was mixing in different dirt pedals, such as overdrivers, distortions, and fuzz boxes. The Vyagra Boost worked as an external eq control which could convert every one of the dirt pedals into whatever sound I wanted them to be. Overall the Vyagra Booster worked great with other pedals and many many different amps and guitars. This was only a scratching of the surface of what kinds of sounds one can get from this pedal. It you're a tone perfectionist or just love tone weapons with lots of range - this pedal is for you. 


For more info on Crazy Tube Circuits go to or click the direct links in our sidebar. Make sure to check back in with us for more awesome CTC features coming very soon! Also make sure to check out our review of the CTC Ziggy overdrive pedal. Just type out Ziggy Overdrive in our search engine.

Monday, November 1, 2010

Nov: News/Updates

Xotic Effects
Interview and Demo with Gannin Arnold

My good friends over at Xotic Effects/Pro Sound Communications have got a real treat for you guitar lick loving, rock & roll digging, riff till dawn guitar lovers. Xotic has added another awesome interview/gear demo with another one of today's inspiring and extremely talented guitar players, Griffin Arnold! Griffin demos Xotic and EWS pedals such as the AC & RC Boosters, Brute Drive, Arion Chorus w/Mod, and Fuzzy Drive. There are also some great live performances and a lot lot more. Make sure to check it out!

Check out the rest of the rest of the videos here


The Cats at IK Multimedia have released their newest version of the iPhone/iTouch Amplitube App
Below are some of the new features found on Amplitube version 2

  • New recorder with insert FX and re-amping
  • New speedtrainer to slow down/speed-up imported songs
  • Enhanced sound quality derived from AmpliTube 3
  • Import songs directly from your iPod library on your device
  • Import songs directly from iTunes with file sharing
  • Export recordings to iTunes as WAVs with file sharing
  • Send recordings by email as MP3s
  • New preset naming
  • New set-up panel with input/output settings and metering
  • Now settings can be retained after closing the app
  • Keep playing with the app in background with multi-tasking  

There are also new in-app purchases for expanding your playing and recording experience

  • New 4-track recorder with pan, volume, send FX and insert FX + New Master FX section with ReverbEQ and Compressor (available for only $9.99/EUR7.99)
  • 5 New Stomps effects suitable for playing or recording guitar, bass or any other type of instruments or vocals:Compressor, ReverbParametric EQGraphic EQ and Limiter (available for only $2.99/EUR2.39 each)

For more info on Amplitube 2 for iPhone/iTouch click here


Now Available from our fantastic friends at Strymon, is the mighty mighty 
El Capistan dTape Echo

The cats at Strymon have been working day and night to bring another batch of these fantastmic boxes. So go on ahead and head over to the Strymon online store and get yourself your El Capistan dTape Echo. Can you dig it!?

Strymon is also on Facebook so make sure to stop by and add them to your group of friends. You can keep track of all their news, events, contests, and other cool happenings. Go to for more info.

For those of you Strymon pedal playing rockers, join Strymon on Youtube and be a part of their Playlists. There you can see a little of what players are doing with these fantastic pedals. For more info on the Strymon Youtube channel go to

And last but not least... Congrats to whomever is the winner of the Strymon El Capistan that the cats over at Huge Racks gave away!


Sonoma Wire Works bringing us
AudioCopy/AudioPaste Software to Help us Share Audio

Sonoma Wire Works, creators of the 
FourTrack iOS app and the Mobile Audio Product Interaction (MAPI) 
Program, has released the AudioCopy/AudioPaste Software Development Kit v1.2 for iOS audio app developers. Apps that support AudioCopy/AudioPaste now include a pasteboard history of up to 12 items with audio previews. Users can make up to 12 copies of audio, then launch an AudioPaste app, and paste from any of those 12 copies. The AudioCopy/AudioPaste pasteboard includes meta data such as tempo, file format, name of app copied from, duration, and more. Forty apps from fifteen publishers have implemented AudioCopy and/or AudioPaste and more are coming soon. The AudioCopy AudioPaste SDK code license is free, downloadable, and includes source code, optional UI, instructions, a license agreement, an example app, and a link to a demo video to help developers implement the features into their apps easily. 

To check out more info and some of the AudioCopy and/or AudioPaste compatible apps click here.