BAM Help

Thanks for your interest in BAM.

BAM gives you everything you need to bring your musical ideas to life, across PC, Mac and iOS.

• 16 Audio tracks with Mixer control
• 12 different Engine/Sound Sources
• 11 FX devices
• About 1500 samples of Factory sounds

Whether on desktop or mobile, start making music fast, and unleash your full creativity with BAM.

Contents

• Interface overview
• The BAM workflow
• MATRIX Panel
• TIMELINE Panel
• AUTOMATIONS Panel
• COMPOSER Panel
• MIXER Panel
• Device rack
• Engine devices
• FX devices
• Sample manager and Factory Soundbank
• Project manager
• MIDI mappings
• Export menu

Interface overview

BAM is a groovebox style application ready for full autonomous music production. It comes with sound engines, effects units, a mixer, various panels for MIDI clips and automation editing as well as a factory soundbank.

BAM’s interface consists of a fixed horizontal toolbar across the top, a dynamic three-section main work area, and a fixed horizontal toolbar across the bottom.

Top toolbar

• (A) Menu icon - Open BAM’s menu.
• (B) MIDI learn - Activate MIDI mapping mode and select highlighted controls to map to connected MIDI devices.
• (C) Clock source (standalone app only) - Choose between internal, external MIDI Clock, or Ableton Link.
• (D) Toggle metronome.
• (E) Tempo - Set project tempo, adjust the metronome volume and configure MIDI clock.
• (F) Project - Open project manager to manage and load projects.
• (G) Create new project.
• (H) Save Project.
• (I) Revert project to last manually saved state.
• (J) Load previous/next project in current bank.
• (K) Open sample manager.

BAM Menu

• Profile - Login to Imaginando account.
• Store - Manage expansions.
• MIDI (Standalone app only) - Enable/disable available MIDI in/out ports.
• Controllers - Manage external MIDI controllers with built-in support.
• Settings
• • Audio Driver (Windows standalone app only) - Select ASIO or WASAPI drivers.
  • Output Audio Device - Select output audio device.
  • Input Audio Device - Select input audio device.
  • Sample rate - Select sample rate.
  • Buffer size - Select audio buffer size.
  • Window scale (Desktop only) - Resize BAM UI size/scale.
  • Background Audio (iOS only) - Enable background audio.
  • Notifications (iOS only) - Enable push notifications.
• About - Details about app version number, publisher, and production credits.
• Help - Open BAM´s user manual in a web browser.

Top Section - Device rack

• (A) Trigger - Note properties for created steps.
• (B) MIDI Effects - Effects processing for incoming MIDI (up to three per track).
• (C) Modulators - Modulator engines (up to two per track).
• (D) Engine - Synthesis source/generator of the tracks.
• (E) Effects - Effects processing for incoming audio (five available per track).
• (F) Mixer - Mixer parameters.

Middle Section - Main panels

In this section we have the panels for:

• (A) Show/Collapse top section
• (B) Matrix - MIDI Clip and Scene launcher.
• (C) Timeline - Step Sequencer.
• (D) Automations - Clip-based parameter step-modulation editor.
• (E) Composer - Piano roll MIDI clip editor.
• (F) Mixer - 16 track mixer plus master and return.
• (G) Show/Collapse bottom section
• (H) Track Selection

Lower Section - Performance area

There are 16 pads which trigger the default note of each track´s engine, and provide a visual representation of each track’s audio in real time.

To the right there are four toggle buttons that, when active, perform the following actions:

• KBD - Switch to keyboard mode.
• SOLO - Select tracks to solo.
• MUTE - Select tracks to mute.
• ARM - Select tracks to arm for performance and recording.

Keyboard mode

Keyboard mode enables a playable keyboard for the selected track. With SHIFT active you can drag the keyboard horizontally to scroll the available notes, and drag vertically to zoom/resize the keys. While Keyboard mode is active the toggle buttons change accordingly:

• TRK - Switch back to pad trigger mode.
• OCT + - Raise the values of all note triggers by one octave.
• OCT - - Lower the values of all note triggers by one octave.
• PANIC - Send note off messages to all notes.

Scales

You can select a scale and root note for the selected clip using the scale settings located above the keyboard. The keyboard and COMPOSER piano roll will highlight the scale notes. The Apply to option lets you apply the current scale to every clip in the track, scene or the whole project.

The FOLD option will fold the keyboard to show only the scale notes.

Bottom toolbar

The bottom toolbar consists of several different functions:

• (A) Store button - Opens store browser.
• (B) Shift button - Provides additional functions for some tools when active.
• (C) DSP usage meter - Displays the current level of DSP usage.
• (D) Undo/Redo button - Undo/redo the last performed action.
• (E) Transport follow - When enabled, COMPOSER and TIMELINE views will follow the transport playhead.
• (F) Transport buttons
• • Play button - Start project playback.
  • Stop button - Stop project playback.
  • Record button - Enables recording for armed track(s).
• (G) Automation buttons
• • Automation record mode - Toggle between Latch and Touch modes.
  • Re-enable automations - This is used for reactivation of an existing step automation, when manual operation of parameters has temporarily overwritten the automation in currently playing clips.
• (H) Export menu - Open the Export menu.
• (I) MIDI mapping manager - Open MIDI mappings.
• (J) Preferences menu - Open the Preferences menu.
• (K) Shift button - Provides additional functions for some tools when active.

Preferences menu

General

• Multi Thread Processing - When active, improves performance by using multi thread processing.
• High quality time-stretching - When active, audio loops will use the highest quality time-stretching setting, but may take longer to load.
• Open Engine windows by default - When adding a new engine or changing an existing engine to a different type, if this setting is active, the new engine window will always automatically open.
• Always select master track when selecting mixer - When active, switching to the MIXER panel will automatically select the master track.
• Auto add engine parameters to automations list - When active, adding a new engine will automatically add all of its parameters to the automations panel list.
• Auto select tracks when pressing pads - When active, clicking any of the track pads automatically selects that track.
• Arm track on selection - When active, selecting any track will automatically arm it (and unarm any other currently armed tracks).
• Autosave Frequency - Enables auto saving of the project state, based on a regular time interval in minutes (a choice of 1, 2, 5 or 10 minute intervals), or disables auto save when set to ‘off’.
• Interaction Axis - Choose axis for knob interaction.
• Multichannel output (plug-in only) - When enabled, BAM outputs each track audio through a separate stereo bus.

Performance

• Trigger Quantization - The time period that triggering a clip or scene synchronizes to. Sometimes referred to as onset timing correction of triggering.
• Recording Quantization - When recording MIDI notes they will automatically quantize (snap) to the closest note position to the specified note length division. When set to off, no quantization is applied.
• Recording Countdown - The number of ‘count in’ bars before recording starts each time the record button is pressed.
• Select clip on trigger - When active, triggering a clip will also select it.
• Select clips when scene is triggered by follow action - When active, any scene triggered by a follow action will automatically select all of the scene’s clips when playback of the scene commences.
• Change clip properties on beat time - When active, changes to properties of the clip that can be changed on the TIMELINE and AUTOMATIONS panel will be synchronized to the beat.
• Start transport when recording - When recording starts, project will start playback.
• Auto scroll grid to selected scene - When active, MATRIX clip grid will scroll to keep selected scene in view.

The BAM workflow

BAM is a groovebox style application ready for full autonomous music production. It comes with sound engines, effects units, a mixer, various panels for MIDI and/or audio clips and automation editing as well as a factory soundbank along with an expansion bank.

The starting point for music creation in BAM will probably be one of these two options: load a sample or open an Engine device on a track. These will be your primary sound sources for composition which you can then edit or process further through FX devices. You will be stacking these up to 16 tracks and mixing them down on a mixer with routing for two FX sends and a master track for more FX processing.

On the panels is where most of the work on BAM will be done and where you can access most of its functionalities. Here you can add or remove sound sources and effects units; add, edit and delete notes; create automations and complex sequences of music events; fine tune your individual tracks and mix all audio.

From there you can start creating your MIDI clips through either the TIMELINE or the COMPOSER by creating and editing notes which can then be sequenced in clips through the MATRIX panel. Finally you add and create movement to your compositions and give them some sparkle by generating modulations through the MODULATORS panel and automating parameters through the AUTOMATIONS panel.

MATRIX Panel

The MATRIX panel is the heart of the BAM project structure, displayed as a grid of cells containing colored MIDI clips for each numbered track, and white scene launcher buttons on the Master track (M).

Triggering a clip

To trigger a single clip simply press the clip you want to trigger. This action also selects the clip, which is shown by a white border around the clip’s cell. A clip that is in a trigger state is shaded brighter than non-trigger state clips. As a clip plays, a visual indication of its playback position is represented by a progressive horizontal shading graduating from left to right. When the end of the clip is reached, it will automatically loop back to the start of the clip and playback will continuously loop until the clip is stopped.

Pressing a different clip on the same track will select and trigger the new clip (synchronizing the start of playback based on the ‘Trigger quantisation’ project settings - accessed via the cog icon on the bottom toolbar.)

Pressing a clip from a different track will select and trigger the new clip, synchronizing the playback with currently playing clips. You can see that both clips are now selected because they both have a white border, and both clips will also have brighter shading to show they are currently in triggered state.

Selecting a clip without triggering

To select a clip without triggering it, press the clip while SHIFT is active. This will give the clip a white border which signals the clip is selected, but the shading of the clip will not change as the clip is not triggered.

Triggering a scene

Pressing a scene launcher button on the master channel will trigger playback of all clips on the same horizontal row, adhering to the project ‘Trigger quantisation’ setting.

Selecting a scene without triggering

To select a scene without triggering it, press the scene while SHIFT is active.

MATRIX clip and scene context menus

Pressing and holding or right clicking a clip or empty cell reveals a pop-up context menu to perform relevant actions:

• Copy - Copy MIDI notes, automations and audio content of the clip.
• Paste - Paste copied clip.
• Oneshot/Loop - Toggles clip looping.
• Mute
• Clear - Clear all clip content.
• Audio (Audio clip only) - Open the Audio Clip Properties panel.
• Clear Audio (Audio clip only)
• Import (iOS only) - Import MIDI file into clip.
• Export (iOS only) - Export MIDI content as a .mid file. For exporting MIDI on desktop, see Export Menu.
• Rename - Renames the clip.

Pressing and holding a track button reveals a pop-up context menu to perform relevant actions:

• Move Left
• Move Right

Pressing and holding a scene button reveals a pop-up context menu to perform relevant actions:

• Add Scene
• Duplicate
• Copy
• Paste
• Delete
• Select
• Move Up
• Move Down
• Rename

Audio Clips

Clips may play both MIDI and audio. Dragging an audio file from the Browser to a Matrix cell will load the audio into the clip. When loaded, tempo is automatically detected and the audio is time stretched to match the project tempo.

The Audio Clip Properties panel - opened through the Matrix clip context menu - can be used to manually adjust the reported audio tempo and other clip settings such as clip length and time signature.

Time-stretch quality can be adjusted in the Preferences menu.

• (A) Reset to automatically detected tempo
• (B) Insert audio tempo
• (C) Halve/double current audio tempo
• (D) Change clip length
• (E) Halve/double current clip length
• (F) Change clip time signature

Scene Follow Actions

For automatic transitions between scenes and song arrangement purposes, scenes can be assigned a follow action event to occur after a specified number of bars and beats from the moment the scene is triggered. To assign a follow action, select the scene and then use the follow action settings above the Matrix. Scenes that have a follow action assigned show a two-letter abbreviation of the follow action type. Follow actions are only applied when the scene is triggered.

If the song is stopped while a scene is running, the scene launcher and all playing clips will remain in the triggered state. Pressing the play button will launch the scene from the beginning, and continue follow actions if present. Pressing the stop button of the master track clears all triggered states. Doing this and then triggering a clip allows you to play a single clip.

The different types of follow actions are detailed below as part of the MATRIX UI overview.

• (A) Move selected scene one position up/down
• (B) Add/delete/duplicate scene
• (C) Select scene follow action:
• • None - No follow action will be applied at the end of the scene
  • Next - Play next scene
  • Previous - Play previous scene
  • First - Play first scene
  • Last - Play last scene
  • RND (Any) - Play a random scene
  • RND (Other) - Play a random scene excluding the currently playing scene
  • Last Playing - Play last playing scene
  • Stop - Stop playback of project
• (D) Number of bars and beats to play before follow action event occurs
• (E) Enable follow actions
• (F) Scene launch buttons
• (G) Track stop buttons

Pressing a track stop button will stop that track's playing clip. Pressing the master track stop button stops all playing clips as well as removing all triggered states.

You can access additional functions for some tools by using them with the SHIFT button engaged, which is located at the bottom right corner of the app.

TIMELINE Panel

This panel presents the tracks along with their selected clips as a step sequencer. Each of the clips may have different lengths, playback speeds and directions, among other properties.

Here you can write/delete notes on steps, with each step representing a 16th note. The default clip length is 16 steps, but may be expanded to a maximum of 256 steps. The number of steps is displayed next to the track name.

The top toolbar lets you change various clip properties as well as view and loop specific sections of the clips.

When you toggle a step, the created note takes after the Note parameter in the Trigger Device (existing note automations will override this). If keys are being pressed on an external MIDI controller or on BAM's internal keyboard while toggling a step, notes will be created according to the pressed keys. If multiple keys are pressed, a chord will be written.

• (A) Select pencil type.
• • Fill Pencil - Fill each step with a note.
  • Long Note Pencil - Create long notes.
  • Smart Pencil - Create evenly spaced notes.
• (B) Create random step sequence.
• (C) Delete all steps.
• (D) Select clip time signature.
• (E) Select clip swing.
• (F) Clip direction playback.
• (G) Clip playback speed multiplier.
• (H) Loop zone on/off.
• (I) Resize clip.
• • Halve/Duplicate length.
  • Remove/Add bar.
  • Remove/Add beat.
  • Remove/Add step.
• (J) Clip page and loop zone selection.
• (K) Track selection.

Pressing and holding or right clicking (L) will open the track's context menu:

• Copy - Copy the track's engines and selected clip.
• Paste - Paste copied contents.
• Rename - Rename track.
• Move Up
• Move Down
• Clear - Clear all track contents.

AUTOMATIONS Panel

This panel provides clip-based step automation of the parameters of the track’s devices. It also features the timeline of the currently selected clip, which can be edited using the same pencil types as in the TIMELINE panel. Multiple parameters can be automated by adding them to the scrollable list on the left using the LEARN button or enabling the SHIFT button and pressing the parameter you wish to add. Conversely you can remove parameters from the list by selecting them and then pressing the trash icon next to LEARN.

Selecting a parameter from the list shows its automations represented by a series of vertical bars, one for each step of the clip. You can draw/erase automations manually by using the automation tools, plus there are preset ramp-shape shortcuts and randomisation functions also present on the toolbar. For each parameter, any step that is automated appears brighter in color, with non-automated steps shaded darker. Using the erase tool resets a step’s automation.

• (A) Select pencil type.
• • Fill Pencil - Fill each step with a note.
  • Long Note Pencil - Create long notes.
  • Smart Pencil - Create evenly spaced notes.
• (B) Select automation tool type.
• • Pencil - Draw automations values.
  • Dice - Creates a probability range from which a value will be randomly chosen every time the step is played.
  • Eraser - Delete the step automation and probability range.
• (C) Horizontally mirror automation for the selected clip pages.
• (D) Create preset automations for the selected clip pages.
• • Ramp up.
  • Ramp up and down.
  • Ramp down and up.
  • Random.
• (E) Loop zone on/off.
• (F) Resize clip.
• • Halve/Duplicate length.
  • Remove/Add bar.
  • Remove/Add beat.
  • Remove/Add step.
• (G) Clip page and loop zone selection.
• (H) Add parameters to automation list.
• (I) Delete selected parameter from automation list.
• (J) Automation parameter list.
• (K) Bypass parameter automation.

How to automate a parameter

These are the different ways to automate parameters in BAM:

• Adding the parameter to the Automations page through LEARN.
• Enabling SHIFT and manipulating a parameter.
• Automating a parameter for a single step by changing the parameter value while pressing and holding the step in the Automations or Timeline panels. (iOS only)
• Manipulating a parameter directly while the record button is active.

Parameter automations are always associated with a clip. Once learned, changes to the parameter and its displayed value are linked to the selected clip. All of the listed actions will add the parameter to the clip's automation list.

Whenever a parameter is automated or modulated you can monitor its activity through a small dot moving around the parameter knob showing the automated and/or modulated value.

If a parameter control is manipulated directly while it is being automated, this will bypass its automation and the icon near the Record button (re-enable automation) will light red showing that automations have been bypassed. By pressing this icon BAM will return automations to normal.

COMPOSER Panel

The Composer view displays an environment with a Piano Roll keyboard on the left side and its timeline on the right side which allows you to create and edit the clip notes with various tools.

All note actions are applied to currently selected notes or to all notes if no notes are selected. Manually created notes will always be snapped to the grid. To create notes simply press where you want the notes to be created. If you press and drag you can create a long note. If you press on an already existing note and drag this will move the note, but if you press and drag the right end of a note it will change its duration. (On iOS you can zoom the view using two fingers). To make a selection of notes you can press on an empty space and drag diagonally to create an area of selection.

Notes created in the composer also create Note, Velocity and Time Offset automations for their respective steps.

• (A) Snap to grid.
• (B) Fit viewport to existing notes (if no notes exist on the clip it will fit viewport to the clip length).
• (C) Generate Assistant. All actions will respect current clip scale
• • Generare Melody.
  • Generate Chords.
  • Mutate Melody.
  • Mutate Chords.
• (D) Delete all notes in clip
• (E) Note actions.
• • Select All.
  • Quantize.
  • Shift Left - Move notes one step backward.
  • Shift Right - Move notes one step forward.
  • Pitch Up - Move notes one semitone up.
  • Pitch Down - Move notes one semitone down.
  • Octave Up.
  • Octave Down.
• (F) Loop zone on/off.
• (G) Resize clip.
• • Halve/Duplicate length.
  • Remove/Add bar.
  • Remove/Add beat.
  • Remove/Add step.
• (H) Clip page and loop zone selection.
• (I) Lock Piano Roll drag.
• (J) Vertical and horizontal viewport zoom/navigator.

MIXER Panel

This panel is BAM’s full project mixer, providing access to mixing controls for all tracks on one screen. Each track includes a gain fader, rotary control of A and B sends, stereo pan, mute and solo buttons, a DJ style filter and a visual representation of track audio levels.

You can access FX processing for master and A/B return channels above the MIXER when the MASTER track is selected.

In the top right corner you can toggle between viewing the controls for the tracks' sends or the DJ filter control.

Here we have a crop of 3 tracks with their respective VU meters. The VU meter turns red when the track's gain peak value is over the 0dB mark. The track's peak value is represented by the two lines above the filled VU meter while the filled VU meter corresponds to the RMS value of the track.

Device Rack

Each track consists of a chain of devices, processed from left to right. Each device can be minimized/expanded by double pressing the name of the device. MIDI FX, Engine and FX devices can be bypassed by toggling the green circle switch at the top left of the device. Single pressing their title bars will open/close their floating window interfaces, while double pressing will collapse the device panel.

• (A) Trigger - Note properties for created steps.
• (B) MIDI FX - Effects processing for incoming MIDI (up to three per track).
• (C) Modulators - Modulator engines (EG and LFO) (up to two per track).
• (D) Engine - Synthesis source/generator of the tracks.
• (E) FX - Effects processing for incoming audio which can be dragged to change their order of processing (five available per track).
• (F) Mixer - Mixer parameters. When the master track is selected you can access the master FX chain as well as the FX chains for the Send A and Send B.

TRIGGER

The TRIGGER device allows you to set the track’s default note, velocity, and time offset values, plus provides probability and retrigger controls.

• NOTE - Default value for the MIDI note triggered by the track pad and adopted when toggling steps
• VELOCITY - Default velocity for the note triggered by the track pad and adopted when toggling steps
• TIME OFFSET - Allows backward and forward shifting of the step timing
• PROBABILITY - Controls the probability of a step being played
• RETRIGGER - Controls the retrigger frequency of a step being played

The top right corner icon opens the Trigger settings panel with the following options:

• MIDI from Track - Select track to receive MIDI from
• MIDI Input Channel - Select channel to receive MIDI from (ALL will listen to MIDI from all channels)
• MIDI Input Device - Select external device to receive MIDI from
• MIDI Output Channel - Select MIDI channel to send MIDI to (ALL will send to all channels)
• MIDI Output Device - Select device to send MIDI to

MIDI FX

The MIDI FX rack device allows loading AUv3 MIDI effects.

The Record icon enables recording MIDI output from the MIDI FX rather than track input.

MODULATORS

The MODULATORS rack device enables loading generator engines for modulating rotary parameters of MIDI FX, ENGINE, FX and MIXER devices.

You can add up to two modulation sources for each track by pressing the + button in the top right corner and set multiple modulation targets from each source.

LFO (Low Frequency Oscillator)

• RATE - Control the frequency of the wave cycle.
• OFFSET - Change the bias of the values of the waveform. This allows the LFO to gradually change from bipolar to unipolar.
• DELAY - Control the time it takes for the LFO to start gradually modulating after triggered, from no modulation to full modulation.
• WAVEFORM - Waveform type used for the wave modulation cycle.
• Sine
• Square
• Saw
• Triangle
• Sample and Hold
• Filtered Sample and Hold
• SYNC - Synchronize the LFO to the project tempo.
• PHASE MODE - Select LFO trigger mode.
• • Free - Run continuously.
  • Key - Reset phase on note on.
  • Oneshot - Reset phase on note on and stop after one cycle.
  • Play - Reset phase when playback is started.

EG (Envelope Generator)

• ATTACK - The initial slope of the ADSR envelope. Defines the time it takes for the envelope to grow from zero to its maximum amplitude.
• DECAY - Controls the time the envelope takes to go from its maximum value, after climbing the attack slope, to the value designated in the Sustain parameter.
• SUSTAIN - After the attack and decay phases, the envelope will rest on this value while the note is held. Low sustain values will result in percussive envelopes.
• RELEASE - The time it takes for the envelope to go from the Sustain level to zero after the note is released.
• TIME SCALE - Apply a multiplier on the time duration of all of the EG's phases.
• MODE - Toggle between the two trigger modes.
• Key - Trigger envelope on note on
• Loop - Trigger envelope on note on and continuously cycle from attack to decay

RWK (Random Walk)

This modulator periodically generates random target values within a designated step size.

• RATE - Trigger frequency. Each trigger starts a step in a random direction.
• SYNC - Synchronize the RATE to the project tempo.
• STP-SZ - Step size.
• S-RND - Step size randomness. At 0%, every step will be the size of STP-SZ.
• T-RND - Random offset added to the start position of each trigger.

Modulating BAM parameters

You can assign multiple parameters to a modulator - to add a parameter press the large + button in the bottom right of the device, then press the target parameter to add it to the scrollable parameter list where you can can dial in the amount of modulation.

Modulating parameters from AUv3 plugins

To modulate an AUv3 plugin's parameters, you need to make them available in BAM. Press the cog icon (A) in the bottom left corner of the plugin interface, then toggle the EDIT button (B). Interacting with a plugin parameter will add it to the parameter list (C) and allow modulating and automating it.

Double pressing a learned parameter with EDIT toggled will remove it along with its modulations and automations.

ENGINE

The ENGINE rack device displays the main synthesizer/generator of the track. Pressing the top right corner icon shows the list of available engines to choose from.

The save icon saves the current engine state as a user preset available from the Browser.

The macros icon enables the macros editing mode. While enabled, you can add or replace macros by selecting one of the eight macro slots and pressing a parameter in the engine interface. Double pressing a macro slot will remove it. Saving an engine preset will save the macros as well.

FX

The FX rack device is an optional slot for loading up to 8 audio effect engines. Pressing the top right corner icon shows the list of available FX to choose from.

You may drag FX panels to reorganize the process chain.

TRACK Mixer controls

• Save Icon - Save track sound as a preset.
• Mute - Mute track.
• Solo - Solo track (enable SHIFT for non exclusive solo).
• Arm - Arm track for playback and record.
• Send A - Control signal sent to mixer´s effect Send A.
• Send B - Control signal sent to mixer´s effect Send B.
• Pan - Control track panning.
• Volume - Mixer control of volume for current track.

Engine Devices

AUDIO UNIT

BAM allows loading external Audio Unit v3 plugin instruments. For information on exposing AUv3 plugin parameters for mapping, automation and modulation see the Device Rack section.

AUv3 presets are browsable in a drop-down menu in the rack panel.

SAMPLER

BAM’s SAMPLER is an easy to use sampler with a streamlined set of features and an intuitive minimal interface. It includes a range of playback modes, legato and portamento functions, tuning controls and a multi-mode filter.

The Sampler can load samples from the Pool, or work as a single sample engine. The SOURCE button toggles between the two modes. Dragging a sample onto the Sampler or onto the engine slot will load it as a single sample engine.

In POOL mode, the ‘SAMPLE’ parameter control lets you switch between samples from the project’s sample pool.

The interface has 4 different tabs: Sample, Envelopes, Filter and Master.

Sample

• START - Starting point of playback.
• END - End point of playback.
• LOOP START - Starting point of the loop when in a looping mode.
• LINK POS - Link START, END and LOOP START positions.
• PLAY MODE - Select playback mode.
• • F - Play forward without looping.
  • FL - Play forward and loop.
  • FLPP - Play forward and loop back and forth in a ping pong manner.
  • B - Play backward.
  • BL - Play backward and loop.
  • BLPP - Play backward and loop back and forth in a ping pong manner.
• CROSSFADE - Length of the crossfade between start and end loop points.
• SAMPLE - Select sample from the sample pool. Enabled when SOURCE is in POOL mode.
• SOURCE - Sample source.
• • POOL - Play the samples loaded into the Pool. The SAMPLE control determines which Pool item is played.
  • LOAD - Play a loaded sample. Samples can be loaded by dragging a sample from the Browser onto the Sampler or an engine slot.

Envelopes

The amplitude envelope controls the volume of the sound over time, visually represented by the yellow line. The envelope can be interacted with directly by dragging different parts of the line on both x and y axis.

All filter envelope parameters are the same as in the amplitude envelope but applied to the cutoff frequency of the filter rather than the amplitude of the sound.

• CURVE - Provide access to individual controls to define non-linear curve shapes for the attack, decay and release stages of the envelope.
• • A.Curve - Define the curve for the ATTACK phase.
  • D.Curve - Define the curve for the DECAY phase.
  • R.Curve - Define the curve for the RELEASE phase.
  • INV - Inverts the envelope so that the volume amplitude starts and ends at maximum.
• ATTACK - The time it takes for the sound to reach its peak volume after the start of a note.
• DECAY - The time it takes for the volume of the sound to transition to its SUSTAIN value while the note is held.
• SUSTAIN - The volume of the sound after the ATTACK and DECAY stages of the envelope while the note is held.
• RELEASE - Time it takes for the volume of the sound to transition from its SUSTAIN value to its final value after the note is released.
• MAX - Opens controls to adjust the scale/range of the ATTACK, DECAY and RELEASE knobs by defining the maximum duration value for each knob.
• • A.MAX - Maximum ATTACK time available.
  • D.MAX - Maximum DECAY time available.
  • R.MAX - Maximum RELEASE time available.

Filter

The SAMPLER features a 2 pole multi-mode resonant filter.

• CUTOFF - Filter cutoff frequency.
• Q - Resonance or Q factor of the filter; creates a resonant peak at the cutoff frequency.
• MODE - Filter mode.
• • LP - Low-pass.
  • BP - Band-pass.
  • HP - High-pass.
  • NOTCH - Band reject.
• EG - Amount of the envelope generator affecting the filter's cutoff.

MASTER

• TUNE - Fine tuning in cents.
• TRANSPOSE - Base pitch in semitones.
• PORTAMENTO - Toggle a slide between notes when they are overlapped rather than an instant pitch change.
• TIME - (If PORTAMENTO is enabled) this designates the time it takes for a note to pitch slide to the next played note.
• MODE - Select between Mono (only plays one note at a time) and Poly (plays up to 8 voices at a time).
• LEGATO - Toggle Legato style note transitions on or off. With LEGATO on and in MONO mode, the notes change without retriggering the envelope generators.
• VOLUME - Controls the output volume.

OSCILLATOR

A subtractive analogue modeling synthesizer with two independent oscillators and a noise generator as its main audio sources. It is also capable of Ring and Frequency Modulation. It features a multi-mode filter and a saturation circuit.

Osc 1

• OCTAVE 1 - Select octave.
• COARSE 1 - Pitch control in semitones.
• FINE 1 - Fine tune in cents.
• WAVEFORM - Base waveform shape.
• PULSE WIDTH - Pulse width of the square waveform, from an even square to an infinitely thin pulse.
• LEVEL - Output volume.
• MOD MODE - Select modulation mode.
• • Ring - Perform ring modulation with OSC 2.
  • FM - Perform frequency modulation with OSC 2.
• MOD AMOUNT - Modulation amount between OSC 1 and OSC 2.

Osc 2

All parameters are the same as in OSC 1 with the exception of the modulation controls.

Filter

• CUTOFF - Filter cutoff frequency.
• Q - Resonance or Q factor of the filter; creates a resonant peak at the cutoff frequency.
• MODE - Filter mode.
• • L4P - 4 pole Low-pass Filter (24dB/oct attenuation) - A low-pass filter allows low frequency content to pass through, cutting high frequency content at a rate defined by the number of poles. This filter is a digital implementation of the Moog Transistor Ladder Filter.
  • L2P - 2 pole Low-pass Filter (12dB/oct - thus less frequency cutting effect than the L4P) - This filter is a digital implementation of an analog multi-mode filter topology in the low-pass mode.
  • B2P - 2 pole Band-pass Filter (12dB/oct) - A band-pass filter allows only a restricted frequency band to pass through, attenuating frequencies above and below. In this filter the Q factor has a particular importance as it somewhat defines the bandwidth that can pass through the filter. This filter represents the band-pass output of the analog multi-mode filter implementation.
  • H2P - 2 pole High-pass Filter (12dB/oct) - A high-pass filter allows high frequency content to pass through, attenuating low frequency content. This filter represents the high-pass output of the analog multi-mode filter implementation.
  • NOTCH - Notch Filter - A notch filter is a filter that cuts a very restricted band of frequencies. The Q factor designates how narrow the band is. Can be used to achieve a phaser-like effect, especially when modulating the cutoff. This filter is also a product of the multi-mode filter topology used in the other filters (except L4P).
• EG - Amount of the envelope generator affecting the filter's cutoff.
• KBD - Modulate the cutoff frequency with the pitch of the played notes.
• VEL - Modulate the cutoff frequency with the velocity of the played notes.

Pitch

• EG1 MOD - Amount of pitch modulation from the Amplitude Envelope.
• EG2 MOD - Amount of pitch modulation from the Filter Envelope.

VCA

• KBD - Modulate the volume of the oscillators with the pitch of the played notes.
• VEL - Modulate the volume of the oscillators with the velocity of the played notes.

Noise

• LEVEL - Volume of the noise generator.
• TONE - Cutoff frequency of low-pass filter.

Amplitude and Filter Envelopes

The amplitude envelope controls the volume of the sound over time, visually represented by the yellow line. The envelope can be interacted with directly by dragging different parts of the line on both x and y axis.

All filter envelope parameters are the same as in the amplitude envelope but applied to the cutoff frequency of the filter rather than the amplitude of the sound.

The envelopes can be adjusted with the following parameters:

• CURVE - Provide access to individual controls to define non-linear

curve shapes for the attack, decay and release stages of the envelope.

• • A.Curve - Define the curve for the ATTACK phase.
  • D.Curve - Define the curve for the DECAY phase.
  • R.Curve - Define the curve for the RELEASE phase.
  • INV - Inverts the envelope so that the volume amplitude starts and ends at maximum.
• ATTACK - The time it takes for the sound to reach its peak volume after the start of a note.
• DECAY - The time it takes for the volume of the sound to transition to its SUSTAIN value while the note is held.
• SUSTAIN - The volume of the sound after the ATTACK and DECAY stages of the envelope while the note is held.
• RELEASE - Time it takes for the volume of the sound to transition from its SUSTAIN value to its final value after the note is released.
• MAX - Opens controls to adjust the scale/range of the ATTACK, DECAY and RELEASE knobs by defining the maximum duration value for each knob.
• • A.MAX - Maximum ATTACK time available.
  • D.MAX - Maximum DECAY time available.
  • R.MAX - Maximum RELEASE time available.

Master

• VOLUME - Control the output volume.
• OVERDRIVE - Enable saturation on the main signal.
• DRIVE - (If OVERDRIVE is enabled) control the drive of the main signal.
• LEGATO - Toggle Legato style note transitions on or off. With LEGATO on and in Mono mode, the notes change without retriggering the envelope generators.
• MODE - Select between Mono (only plays one note at a time), Poly (plays up to 8 voices at a time) and Unison (plays all 8 voices simultaneously with slight detune).
• PORTAMENTO - Toggle a slide between notes when they are overlapped rather than an instant pitch change.
• TIME - (If PORTAMENTO is enabled) this designates the time it takes for a note to pitch slide to the next played note.

DRUM SYNTH

A synthesizer specifically engineered for creating drum sounds. It has an oscillator with a filter, a noise generator with different noise sources, a filter and stereo controls. It also has a frequency modulation section and a saturation stage.

Oscillator

• FILTER TYPE - Select between the different available filter modes (Low-pass, Band-pass, High-pass, Notch and Peak).
• CUTOFF - Filter cutoff frequency.
• RESO - Resonance or Q factor of the filter; creates a resonant peak at the cutoff frequency.

• ATTACK - The time it takes for the sound to reach its peak volume after the start of a note.
• DECAY - The time it takes for the sound to fall from peak volume to zero.
• WAVEFORM - Shape of the waveform.
• TUNE - Fine tuning of the pitch in cents.
• P MOD - Pitch modulation amount.
• P DECAY - Decay time of the pitch modulation envelope.
• • Note that this envelope also modulates the Noise filter cutoff.
• VOLUME - Volume of the oscillator output.

Noise

• FILTER TYPE - Select between the different available filter modes (Low-pass, Band-pass, High-pass, Notch and Peak).
• CUTOFF - Filter cutoff frequency.
• RESO - Resonance or Q factor of the filter; creates a resonant peak at the cutoff frequency.
• F.MOD - Filter cutoff frequency modulation amount.
• • Note that this cutoff frequency is modulated by the Oscillator's pitch envelope.
• EG MODE - Select the behavior of the envelope generator.
• • EXP - Exponential curve.
  • SHORT - Short decay times.
  • CLAP - Multiple impulse envelope to create a rattling sound. Use the Attack parameter to control the time between impulses.
• ATTACK - The time it takes for the sound to reach its peak volume

after the start of a note.

• DECAY - The time it takes for the sound to fall from peak volume to zero.
• TONE - Cutoff frequency of low-pass filter.
• STEREO - Stereo width.
• VOLUME - Volume of the noise output.

Modulation

Perform frequency modulation on the Oscillator pitch and/or the Noise filter cutoff.

• WAVEFORM - Modulation waveform.
• FREQ - Modulation frequency.
• OSC FM - Amount of oscillator frequency modulation.
• NOISE FM - Amount of noise filter cutoff modulation.

Distortion

• DIST AMT - Distortion amount.
• MODE - Select distortion signal chain (Oscillator, Noise or both).

Master

• DECAY - Global decay control.
• VOLUME - Global master output volume.

HOFMANN

A monophonic synthesizer with an oscillator, a sub-oscillator and a filter, physically modeled after the most famous classic acid synth in history.

• WAVEFORM - Toggle between square and sawtooth.
• CUTOFF - Cutoff frequency of the low-pass filter.
• RESO - Resonance of the filter; creates a resonant peak at the cutoff frequency.
• ENVELOPE - Amount of filter cutoff envelope modulation.
• DECAY - The time it takes for the amplitude and filter envelopes to fall from peak amplitude to zero.
• ACCENT - Amount of accent modulation of the note.
• • An accent is triggered when the velocity of a note is over 100. Accent notes default to a short decay time and have higher amplitude and filter envelope modulation.
• SUB LEVEL - Volume of the sub oscillator, which is a square wave regardless of the WAVEFORM.
• DISTORTION - Enable distortion of the main signal.
• DRIVE - (If DISTORTION is enabled) control the drive of the main signal.
• LEVEL - (If DISTORTION is enabled) level of the main signal after distortion.
• VOLUME - Control the output volume.

NOISE

A creative noise generator with different noise sources, three different filters and a simple envelope generator.

• SOURCE - Select between eight different types of noise.
• LP CUTOFF - Cutoff frequency of the low-pass filter.
• HP CUTOFF - Cutoff frequency of the high-pass filter.
• ATTACK - The time it takes for the sound to reach its peak volume after the start of a note.
• RELEASE - The time it takes for the sound to fall from peak volume to zero.
• NOTCH - Cutoff frequency of the notch filter.
• GAIN - Control the output volume.

‘08’ ENGINES COLLECTION

Virtual analogue models of the sounds of the iconic drum machine. All engines have an ACCENT parameter which affects the sound for notes with a velocity value of over 100.

08 KICK

• PITCH - Generator fine tune in cents.
• TONE - Low-pass filter cutoff; useful for attenuating the "clicky" transient of the sound.
• DECAY - The time it takes for the amplitude envelope to fall from peak volume to zero.
• GAIN - Control the output volume.
• ACCENT - Amount of accent modulation.

08 SNARE

• SNAPPY - Volume of the noise generator.
• FREQ - Oscillators pitch.
• TONE - Volume relation between the synth's two oscillators.
• DECAY - The time it takes for the noise's amplitude envelope to fall from peak volume to zero.
• ACCENT - Amount of accent modulation.

08 CLAP

• TONE - Cutoff frequency of resonant filter.
• DECAY - Length of the retriggering noise clap oscillators.
• TAIL - Length of the continuous noise generator sound.
• ACCENT - Amount of accent modulation.

08 TOM CONGA

• DECAY - The time it takes for the amplitude envelope to fall from peak volume to zero.
• PITCH - Generator fine tune in cents.
• NOISE - Volume of the noise generator.
• ACCENT - Amount of accent modulation.

08 HI-HAT

• PITCH - Generator fine tune in cents.
• TONE - Brightness amount.
• DECAY - The time it takes for the amplitude envelope to fall from peak volume to zero.
• ACCENT - Amount of accent modulation.
• MODE - Select between the OPEN and CLOSED hi-hat modes.

08 COWBELL

• PITCH - Generator fine tune in cents.
• DECAY - The time it takes for the amplitude envelope to fall from peak volume to zero.
• ACCENT - Amount of accent modulation.

AUDIO INPUT

An audio input for processing external sources inside BAM (such as a microphone or an external synthesizer).

• GAIN - Input signal volume control
• MUTE - Mute audio input
• SOURCE - Input channel configuration.

MIDI OUT

The MIDI Out engine enables routing MIDI output to external devices.

Bank, Sub-Bank, Program, Pitchbend and Aftertouch controls are provided by default. You may add additional CC parameters.

By directly changing, mapping and/or automating the existing parameters, you can output MIDI messages to the selected DEVICE and CHANNEL.

• DEVICE - The MIDI device to send MIDI to (press to open scrollable drop down menu).
• CHANNEL - Select MIDI channel to output to.
• BANK - Send MIDI Bank message.
• SUB-BANK - Send MIDI Sub-Bank message.
• PROGRAM - Send MIDI Program Change message.
• PITCHBEND - Send MIDI Pitchbend message.
• AFTERTOUCH - Send MIDI Aftertouch message.

FX Devices

AUDIO UNIT

BAM allows loading external Audio Unit v3 plugin effects. For information on exposing AUv3 plugin parameters for mapping, automation and modulation see the Device Rack section.

AUv3 presets are browsable in a drop-down menu in the rack panel.

BIT REDUCTION

Degrade the audio bit depth, introducing audible quantization error artifacts.

• DEPTH - Audio bit depth.
• DRY/WET - Mix between the unprocessed and processed signals.

BURNER

This is a distortion device that can alter the sound from subtle amplification gain saturation to clipping and fuzz effects. The link switch toggles the channel link, allowing separate processing of the left and right (or mid and side, if MS mode is enabled) channels.

• INPUT - Input gain.
• OUTPUT - Post distortion output volume control.
• MODE - Distortion mode.
• • SAT - Saturation.
  • CLAP - Hard clipping.
  • FUZZ - Fuzz distortion.
  • SINE - Sinusoidal wave folding.
• LR/MS - Stereo/Mid-side mode switch.
• • LR - Process the left and right channels individually.
  • MS - Allows processing only the mono or stereo parts of the sound.
• HP - Cutoff frequency of the high-pass filter affecting the input signal.
• TONE - Cutoff frequency of the low-pass filter affection the output signal.
• BIAS - Input signal DC bias; affects the generated harmonic content and general timbre.
• MIX - Mix between the unprocessed and processed signals.
• LINK - Toggle channel link.

CHORUS

Stereo chorus effect (it converts mono signals to stereo) with two different algorithms. The CHORUS simulates the subtle pitch and timing differences that occur when multiple musicians or vocalists play the same note, but vary slightly in pitch and timing.

• RATE - Frequency of the modulations.
• TIME - Delay of the modulated signal.
• DEPTH - Modulation amount.
• SPREAD - Stereo image widening effect.
• FEEDBACK - Amount of signal to be fed back into the circuit.
• MODE - Switch between two different CHORUS algorithms.
• • ANA - Analog.
  • DIM - Dimension.
• DRY/WET - Mix between the unprocessed and processed signals.

COMPRESSOR

A flexible and versatile compressor with side-chain capabilities, suitable for controlling audio transients and managing perceived loudness.

• THRESHOLD - Level at which the compressor starts acting.
• RATIO - Gain reduction ratio applied to the input signal above the threshold.
• ATTACK - Time it takes for the gain reduction to be fully applied after the signal surpasses the threshold.
• RELEASE - Time it takes for the gain reduction to fully dissipate after the signal goes below the threshold.
• MODE - Select between feedforward and feedback compression algorithms.
• • FF - The gain reduction is based on the clean input signal.
  • FB - The compressed output is fed back into the sidechain, meaning the compressor reacts to the signal after it has already been compressed. This makes the gain reduction soften over time.
• STYLE - Control the character of the gain reduction envelopes.
• • A lower value results in very fast envelopes and can result in ripples and distortion similar to a FET compressor. A higher value behaves like a cleaner VCA compressor.

Side Chain

• SC SOURCE - Source for the compressor's analysis signal.
• SC GAIN - Input volume of the compressor's analysis signal.
• SC HP - Enable the analysis signal high-pass filter.
• SC HP CUTOFF - Cutoff frequency of the high-pass filter.

Master

• MAKEUP - Volume control of the output signal, used to rebalance the perceived loudness after the compression.
• DRY/WET - Mix between the unprocessed and processed signals.

DELAY

A virtual stereo tape delay. This delay has tape emulation controls, a custom filter and stereo parameters.

• TIME - Delay time between the repetitions of the signal.
• SYNC - Synchronize the delay time to project tempo.
• FEEDBACK - Amount of the output signal fed back into the circuit.
• PING PONG - Enables ping-pong mode, where the delay bounces back and forth between the left and right channels.
• FREQUENCY - Starting point of the frequency band filtering the signal.
• BAND - Bandwidth of the frequency band.
• SPREAD - Add a delay to the right channel.
• STEREO WIDTH - Amount of pan separation between the left and right signals of the output.
• FLUTTER - Amount of fast frequency modulation generated by the flutter of a tape machine.
• WOW - Amount of slow frequency modulation generated by the playback speed variations of a tap machine.
• DRY/WET - Mix between the unprocessed and processed signals.

EQUALIZER

A three-band equalizer with controllable bandwidth parameters, ideal as a frequency band cut or frequency band isolator.

• LOW - Low frequency band gain.
• MEDIUM - Medium frequency band gain.
• HIGH - High frequency band gain.
• LM CROSS - Frequency of the crossover between the low and medium frequency filters.
• MH CROSS - Frequency of the crossover between the medium and high frequency filters.

FILTER

A multi-mode filter with 6 different modes.

• CUTOFF - Filter cutoff frequency.
• RESONANCE - Resonance or Q factor of the filter; creates a resonant peak at the cutoff frequency.
• MODE - Filter mode.
• • L4P - 4 pole Low-pass Filter (24dB/oct attenuation) - A low-pass filter allows low frequency content to pass through, cutting high frequency content at a rate defined by the number of poles. This filter is a digital implementation of the Moog Transistor Ladder Filter.
  • L2P - 2 pole Low-pass Filter (12dB/oct - thus less frequency cutting effect than the L4P) - This filter is a digital implementation of an analog multi-mode filter topology in the low-pass mode.
  • B2P - 2 pole Band-pass Filter (12dB/oct) - A band-pass filter allows only a restricted frequency band to pass through, attenuating frequencies above and below. In this filter the Q factor has a particular importance as it somewhat defines the bandwidth that can pass through the filter. This filter represents the band-pass output of the analog multi-mode filter implementation.
  • H2P - 2 pole High-pass Filter (12dB/oct) - A high-pass filter allows high frequency content to pass through, attenuating low frequency content. This filter represents the high-pass output of the analog multi-mode filter implementation.
  • NOTCH - Notch Filter - A notch filter is a filter that cuts a very restricted band of frequencies. The Q factor designates how narrow the band is. Can be used to achieve a phaser-like effect, especially when modulating the cutoff. This filter is also a product of the multi-mode filter topology used in the other filters (except L4P).
  • PEAK - Peak Filter - A peak filter amplifies a frequency band with the resonance determining the amplification amount and creating a resonant peak at high values.

PARAMETRIC EQ

This is a parametric equalizer with low and high shelf controls and three peak filters with controllable cutoff frequency and Q factor.

L Shelf

A low shelf filter amplifies/attenuates all of the frequency content below the cutoff frequency.

• CUT LS - Cutoff frequency.
• GAIN LS - Gain control.

Peak

Three peak filters are available. These filters amplify/attenuate a frequency band according to the gain and Q factor controls.

• CUT - Cutoff frequency of the filter; determines the centre of the frequency band.
• GAIN - Amplification/attenuation control of the frequency band.
• Q - Q factor; controls the width of the frequency band.

H Shelf

A high shelf filter amplifies/attenuates all of the frequency content above the cutoff frequency.

• CUT HS - Cutoff frequency.
• GAIN HS - Gain control.

PHASER

A phaser introduces a comb filter like effect by creating a series of notches in the frequency spectrum around a center frequency. This center frequency is modulated by controllable LFOs.

• DEPTH - Modulation depth of the notch frequencies.
• TILT - Change modulation rates of left and right channel LFOs; negative values speed up the left LFO and slow down the right one, and vice versa.
• RATE - LFO rates.
• WAVE - LFO waveforms.
• SYNC - Synchronize LFO rates to project tempo.
• CENTER - Center frequency of the phaser; notches are grouped around this point.
• FEEDBACK - Amount of signal to be fed back into the circuit.
• NOTCHES - Number of notches.
• SPREAD - Control the distance between the notches.
• WIDTH - Create a difference in the center frequencies of the left and right channels.
• DISTORTION - Distort the output signal.
• DRY/WET - Mix between the unprocessed and processed signals.

REVERB

This is a reverb effect that can recreate different acoustic spaces from small rooms to long halls.

Input

• INPUT FILTER - Cutoff frequency of the high-pass filter affecting the input signal.

Reflections

• EARLY - Amount of first reflections.
• SHAPE - Control the size and type of simulated space.
• PRE-DELAY - Control the distance between the sound source and the first reflections.

Diffusion

• DECAY - Decay rate of the reflections
• M.DEPTH - Amount of frequency modulation of the reflections
• M.RATE - Rate of frequency modulation of the reflections

Damping

• H.DAMP - Damping of the high frequency band of the reflections.
• H.FREQ - Cutoff frequency of the high frequency damper.
• L.DAMP - Damping of the low frequency band of the reflections.
• L.FREQ - Cutoff frequency of the low frequency damper.

Output

• GAIN - Wet signal output gain.
• DRY/WET - Mix between the unprocessed and processed signals.

STEREO ENHANCER

This device can change the apparent width and stereo position of audio signals. Using the panning controls, a stereo image can be created from mono signals.

The crossover filter allows you to separate the signal into two frequency bands and control their stereo images independently.

• L WIDTH - Stereo width of the low frequency band.
• H WIDTH - Stereo width of the high frequency band.
• CROSSOVER - Frequency of the crossover.
• PANNING - Enable panning controls.
• PAN - Position of the signal in the stereo image.
• PAN WIDTH - Control the stereo width of the signal.

Sample Manager and Factory Soundbank

The Sample Manager allows browsing and preview audio files and presets, as well as recording from a designated audio input source. It can be accessed by pressing the right corner icon in the Top Bar.

The bottom of the window features a preview player enabling auditioning of samples. When active, the headphone icon enables auto-play of samples and engine presets when pressing them. Long pressing a sample/preset name in the Browser or Pool will make a Hot Swap. This temporarily replaces the sound in the currently selected track for previewing. This is useful for previewing sounds in the context of the current project.

The play button plays the currently selected sample, and the volume of the preview audio can be controlled with the volume knob on the right.

The panel is split into three tabs: Sample Pool, File Browser and Recorder.

Pool

Each BAM project has its own sample pool to store up to 128 imported samples. Samples can be added to the pool from the file browser by pressing the add to pool button to the right of the file name. Dragging and dropping a sample from the Browser on the Engine Device, Timeline Track Name or the Track Pad will add the sample to the pool if not present. Samples are imported into the first available empty slot in the pool and automatically assigned an index number, which is used by the Sample parameter in the Sampler engine. The pool content is saved with the project.

Browser

The file browser provides access to all of the Factory sound bank samples and engine presets, user created presets and recordings. In desktop, you can also access the file system to browse local storage.

You can add shortcuts for specific folder locations using the Add folder bookmark button.

Recorder

Here you can record samples from BAM’s master channel output or from any of your device’s available audio input sources. You can crop the recorded sample by adjusting the start and end knobs (D) or interacting with the waveform area (C) and selecting the crop button (E). When recording from the Master Output, silence will be automatically trimmed from the beginning of the file.

After recording your sounds, you can rename and delete them (B). You can also change the sort order, add the selected recording to the Pool, and export the recording (A).

Factory Soundbank

BAM´s main library is the Factory Soundbank, consisting of samples and presets.

Presets are divided into two categories:

• Effects - Presets for BAM´s FX devices
• Engines - Presets for BAM´s Engine devices

Samples

BAM’s extensive sample library is divided into two folders.

Drums - split into 9 categories with traditional drum kit sounds with these 5: Cymbal, Hihat, Kick, Snare and Tom, subdivided into Acoustic and Electronic folders.

• Clap
• Cymbal
• Fx
• Hihat
• Kick
• Perc High
• Perc Low
• Snare
• Tom

Sounds - melodic/tonal samples split into 8 categories:

• Bass
• Brass
• Fx
• Lead
• Pad
• Stringed
• Synth Keys and Organs
• Woodwind

Expansions

BAM is an ever-growing application with periodic paid expansion releases. These expansions include samples (both one shot and audio loops) and engine presets, located in the expansion's folder in the Browser under LIBRARY.

Project manager

BAM’s project manager has a simple layout with banks displayed on the left and the selected bank's projects in the center. To open and close the project manager, click the project name on the top toolbar.

The default three banks are:

• Factory - A selection of demo projects.
• Local - The default bank to save custom projects to device local storage.
• Favorites - Provides a shortcut to all starred/favorited projects.

Expansion banks are displayed below Favorites and are greyed out when locked.

Saving a project

The Save icon opens the save panel. SAVE AS creates a new project file (.bpf), while SAVE will overwrite the current project. A project can only be overwritten if marked as modified (indicated by "*" after the project name).

You can also save the current project as an Ableton Live project using the SAVE AS LIVE SET button.

If autosaving is enabled, BAM will periodically save and allow for recovering your project in the event of abnormal termination.

Importing/exporting banks and projects

BAM allows exporting the local bank and custom banks as well as their projects. Banks have a .bbf format while projects have a .bpf format.

• (A) - Import Custom Bank.
• (B) - Import Project into Bank.
• (C) - Export Bank.
• (D) - Export Project.

MIDI Mappings

This panel is used to manage all the MIDI mappings configured in your BAM project. Here can view and edit the list of the parameters mapped to MIDI.

In order to map parameters, enable MIDI learn in the Top Bar. An overlay will appear over mappable parameters.

Selecting a parameter and sending a MIDI message from an external MIDI controller will map the MIDI control to the parameter. Double pressing the parameter will open the MIDI Assign panel to manually configure its MIDI mapping.

Mapped parameters are displayed in a scrollable list along with their track, engine and MIDI information.

You can edit the mapping with the cog icon which opens the MIDI Assign panel, and delete the mapping with the delete icon.

Configuring Parameters as a Hosted Plugin

When BAM is hosted as a plugin, the Mappings Manager will display a CONFIGURE button in the top right corner. Toggle this button and press parameters to expose them to the host and allow automation. The order of the parameters in the host application will be the same as the one the Mappings Manager.

Export Menu (mixdown)

The Export Menu allows exporting audio and MIDI from the current project. It is accessed via the icon in the bottom toolbar:

The menu has three panels for exporting the Song, a specific Track or tracks from the selected Scene.

Song

Song export uses the project’s follow actions to render the master output.

You can specify an additional tail length in seconds to add to the end of the audio file; this allows you to give extra time for effects like reverb and delay to fade out rather than abruptly end.

The total duration of the audio file that will be created is shown including the tail length. Make sure your project has its follow actions set up to export correctly.

If the project has follow actions in an indeterministic sequence (such as with random follow actions or in an infinite loop), you must manually insert the length of the export.

On desktop, exports are saved to 'Documents\Imaginando\BAM\Exports’. On iOS, you will be prompted to choose a save directory.

Track

Track export allows exporting individual tracks respecting the scene follow actions.

• Raw - Export without FX.
• Post FX - Export with FX.
• Send A - Export with Send A return.
• Send B - Export with Send B return.
• Send AB - Export with Send A and B returns.

Scene

Scene export allows exporting the audio and MIDI of the selected scene.

The ALL option will export the audio/MIDI for every clip of the selected scene, while the other options allow exporting individual clips from the respective track.

• MIDI - Export MIDI data.
• • ALL will export a multichannel MIDI file.
• Raw - Export without FX.
• Post FX - Export with FX.

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Updated on: 12/03/2026