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PolyNome Offers Metronome for iOS
PolyNome Offers Metronome for iOS…
Created by professional drummer and educator Joe Crabtree, PolyNome is a versatile and intuitive app for working with rhythm in practice or live performance settings. Compatible with iPhone, iPad, and iPod Touch, musicians now have a formidable tool that is simple enough for beginners but flexible enough to handle the demanding needs of the most advanced musicians.
The idea for PolyNome was born to give musicians a tool to improve their time and rhythmic understanding. PolyNome has evolved to re-invent the metronome becoming the go-to tool for drummers such as Virgil Donati, Chris Coleman, Peter Erskine and Dennis Chambers as well as many professional bass players, guitarists and pianists.
Version 2.2.1 introduces new features to make PolyNome even more powerful while simultaneously making it more intuitive and efficient.
New in-app video tutorials guide new users through the powerful features while an improved mixer adds sounds and independent volume control for the 16th and triplet subdivisions.
Automatic Voice Counting can count in any time signature while Big Numbers make it ideal for use in tutorial videos.
Key Features Include:
– Built in Presets with accompanying video tutorials to make learning easy.
– Ability to get install new Presets from the web and other users.
– Faders for 16th and Triplet partials for creating simple clicks quickly.
– 2 fully programmable drum machines with custom rhythms, sounds, and accents. These can be used simultaneously to easily hear polyrhythms.
– Super-fast tempo entry – essential for live performance.
– Count down/up timer for tracking practice time.
– Variable swing to get that “in the cracks” feel.
– A clean and attractive user-friendly interface that is easy to see in live show environments.
In-App Pro upgrade features include:
– Automatic and Advanced Voice Counting
– Save your work as Presets organised in the Preset Library with tagging and searching.
– Use the power of Playlists to create: Practice routines; Setlists for bands; Song structures with multiple time signatures and tempos; Routines with automatic tempo increase/decrease.
– Create Practice routines with automatic tempo changes. You can see in advance how long your routine will take on the Playlist Time row.
– Share your Presets/Playlists with friends/students/band-mates via email/iMessage/AirDrop.
– The Practice Log that tracks everything you play and gives you detailed graphs and statistics about what you’ve worked on.
PolyNome is an exceptional practice and gigging tool for all musicians.
PolyNome creator Joe Crabtree used PolyNome every night on tour with his band Wishbone Ash through multiple tours. Crabtree noted, “I wanted to put PolyNome through the rigors of the road as the ultimate test for skips or crashes. PolyNome performed flawlessly and the process allowed me to fine-tune the interface to make it as intuitive and efficient as possible.”
Users can find PolyNome at polynome.net and on the App Store. New features and improvements are continuously being added.
A resource for music teachers is available at polynome.net/teachers
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Photo: Self-portrait by Melissa Auf Der Maur
Melissa Auf Der Maur is a Canadian bassist who played with Tinker, Hole, and The Smashing Pumpkins. She released her own work and is a photographer with photos published in Nylon, Bust, and National Geographic. She released her ‘90s Rock Memoir “Even The Good Girls Will Cry” on 17 March 2026.
KB: Did you always want to be a singer-musician growing up?
I’ve played music my whole life. In school, I played trumpet and sang in a children’s choir, so music was always within me. My mother was the first female disc jockey on the Montreal airwaves; her record collection played a huge role in my inspiration and love of music.
KB: When did you start playing bass, and why this instrument?
When I was 19, the early 90s music explosion began to percolate in tiny clubs around the world. I was lucky to be a ticket girl at Montreal’s underground music club. In one year, I saw Hole, Sonic Youth, Smashing Pumpkins, White Zombie, and The Breeders – all had female bass players. That’s when the seed was planted. By the age of 22, I was the bass player of Hole.
KB: Which brands of basses have you used in your career, and which one are you using now?
The first bass that I learned on was a vintage Squier Precision. Hole was sponsored by Fender guitars, so I upgraded to Fender Custom Shop Precisions. That is all I play, but I have a cool vintage 8-string Greco that I use on recordings to thicken up guitar parts.
KB: What equipment do you use or have you used with your basses?
Ampeg SVT amps and cabinets, a couple of Sans-Amp pedals, and that is it.
KB: How did you become a member of Hole, and what is your fondest memory of that time?
Billy Corgan of the Smashing Pumpkins was helping scout a replacement for (RIP) Kristen Pfaff, Hole’s bass player. My band, Tinker, opened for them on the Siamese Dream tour, so Billy had seen me play and could vouch for me. Courtney trusted her talented friend, and that was it. I initially said “no thank you” due to my commitment to my photographic studies and the drama and chaos surrounding the band during the “Live Through This” album release. Courtney took it as a good sign that I said no, so convinced me to reconsider, and soon after, I accepted their invitation, in the name of helping put females in the male-dominated landscape of rock music. My fondest memory is every show we played as a mostly female band, symbolizing what a woman could do in a rock band. Every show had a purpose: get more women to play music.
KB: You are a photographer as well. What makes a great picture? Do you shoot in color or b/w?
I started shooting photographs at age 15. Initially only shot black & white and worked in the art school darkroom. In university, I took a color photography course, and shifted mostly and forever to that, because it was easier to process film on the road when I joined a rock band. I experimented with many cameras, point and shoots, manual, polaroids, medium format, and vintage finds. The trick to a good photograph is to shoot many and all the time – the magic is in the edit and selection process.
KB: Are there artists you would love to collaborate with or wish you had?
??I’ve been lucky to collaborate with some of my favorite musicians in my career. I would still love to collaborate with a new generation heavy electronic artist on an analog bass, heavy electronic drums, and synths collaboration project. Take me out of my usual zone, merging the past and future: my love of 80s dark new wave and new artists exploring that genre. It was very futuristic back then, and we are now, after all, living in the future. I am in the mood to play bass to heavy beats I want to dance to.
KB: What are your 7 favorite bass lines in music across all genres? And why these 7?
“Mountain Song” – Jane’s Addiction (love a rambling, rolling bass line – feels like the ocean waves)
“Black Top – Helmet” (was the first bass line I taught myself)
“Gold Dust Woman” – Hole from “The Crow 2” Soundtrack (it was my first bass line contribution to the band)
“Get Ready” – The Temptations (Motown just feels so good, because of the bass)
“Lucretia My Reflection” – Sisters of Mercy (makes me want to hit the dance floor and play bass simultaneously)
“Be My Druidess” – Type O Negative (full chord bass playing at its best by iconic, demonic, Peter Steele, RIP)
“Romantic Rights” – Death from Above (1979 – unique distorted overdriven tone, combined dance rhythm and melodic intelligence, all in one shot – also! Shout out to a bass & drum only band, which is awesome, and we should have more of, but the bass player needs to be a killer to fill that role.
KB: What are you currently up to?
Releasing my ‘90s Rock Memoir “EVEN THE GOOD GIRLS WILL CRY”. Visceral healing process, it was to get it out of me and write it, but I suspect the real magic will begin by putting it into the world and reflecting with others on what the magic of the ‘90s was all about. Powerful music decade that carried us into what is now a brave new world of digital corporate weirdness – may the past shed a light on our future. That’s my hope for this book release and tour.
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