Deck Stop effect. (Speed of Deck Stop slowdown is set by Friction Slider in Master screen).

Double tap a Patch to recall FX settings only - this is a very useful function which means we can build general purpose patches which can work with any combination of clips. Say you have a sweet combination of clips playing and you want to apply a patch you know has some great FX and ColdCutter settings to that clip combination. Tapping the patch to recall it would also recall the clips that were playing when the patch was saved, supplanting the ones you have playing. Instead, use Double tap to recall all the Patch settings EXCEPT the playing clips and thus apply the Patch to your currently playing clips.

8 Characters max. We recommend using leading Capitals e.g. DrumMod, not DRUMMOD - Caps take more space and these fields can overflow which looks untidy.

reset to the Sets saved BPM by double tap on the BPM.

The Global TimeStretch mode in Settings controls how all clips respond to BPM. If set to Repitch All, changing the BPM will also change the pitch of all clips , like a record slowing down or speeding up. If set to Per Clip, each clip will be Timestretched using its Timestretch mode to adapt to the new BPM.

forces all channels Swing to be the same.

These control how the clip slots in a channel behave when triggered. Jamm has been designed to give the Jammer a lot of flexibility over how clips are played back. This flexibility means there is more to understand. The good news is all defaults are set up to be instantly playable and other options can be ignored until the need to master them arises.

Each channel has these pairs of options.

Sync Mode: Jsync or Free

Loop Mode: Loop or One Shot

Launch Mode: Trigger or Gate

Normally  clips in the Loop Matrix (ie the main 4 channels) play in Loop mode, Jsync mode, and Trigger. Clips in the separate Stab Matrix to the right of the  Loop Matrix play in Loop, Free and Gate.

Sync option

Loop option

Launch option

Learning about Channel Modes

Channel Pitch

Channel Scratch

Drillter

Move the Stab pitch bend slider up and down to change the pitch of whatever Stabs are playing.

Like the channel pitch bend, this is done using a conform to scale effect to get musically pleasing changes in the note. So it's not like a normal pitch bend. The intervals are:

Centered = No pitch shift.

Semitone shift up pattern: +2, +5, +7, +9, +12

Semitone shift down pattern: -2, -5, -7, -9, -12

Hold Shift and tap the Stab Pitch slider.  It will go red. Move the slider up and down and it will apply a scratching effect to any stabs playing.

The button labeled FX turns effects on and off for the Stab Matrix. The Stabs channel has a full set of effects which can be accessed through the channel FX ‘Tone’ and ‘Time’ screens. So the Stabs FX button enables whatever effects are already on for the Stabs channel. By default the Delay and Reverb are turned on in the Stabs channel Time page. To add Distortion to Stabs, turn it on in the Stabs Tone page. It will only be active if the Stabs FX button is on.

Stabs FX Mini XY

Each DJ FX button is also a Mini XY controller which can tip control 2 params of that effect.

See Settings for how to set Mini XY response.

More detailed control of all FX params is available from the Tone (Filter and Distortion), Time (Delay and Reverb) and Pump (Side chain) screens.

There are 2 XY controller cursors : Circle and Square

Circle : X= Filter cutoff, Y = Filter Resonance

Square: X = Reverb, Delay, Crush

Whilst the XY Pad is active it overrides the channel settings for the effects it’s controlling. On release of the XY cursors, the channel settings take over again.

The ability to have different XY Pad assignments and generally make this module more powerful is on the dev list. Still, it's a heap of fun.

Each channel has an XY FX Send button which controls whether it is routed into the XY FX: if that’s turned off for a channel, then the XY pad will have no effect on that channel.                

Holding one of both of the cursors down for more than 3 secs locks them on and Holds their position. Tapping them again releases the Hold.

Slot Zero is the special, patchable polymorphically perverse Slot which is automatically selected for Patch Store/Recall.

i.e. when the Jammer wants to save a currently active Slot or particularly dope CCut Sequence in a Patch, the Patch Store operation will copy the Slot and its sequence to Slot Zero and on recall will recall it into Slot Zero.                                

CCut Slots 1-15 are monomorphic: if you edit  them, that edit will persist ignoring Patch recall because only Slot Zero is polymorphic. Think of Slots 1-15 as  'lenses' which can be reliably switched in at any time without considering Patch state. You can edit them, but within a Set each can only have one state. Slot Zero can have multiple states as it saves and recalls its state via every Patch store/recall.

Hopefully playing with the app will make it clearer why this is the best way to do things...we thought long and hard about this and concluded that 64 patches saving all 16 slots would be resource bloated and confusing.

Jump to how to edit the Slots

Slots 1-7 are toggles and have various CCut Slice Shuffle and modulation operations

1-Kick fill

2-Crazy Riddim

3-Call and Response with 8 bar changing Crush action

4-Spacemaker Glitch

5-Evolve+Reverse

6-Riddimer

7-Superfill Ninja Master 7

Slots 8-15 are momentary action. They are called 'Superfills'. On pressing them they take over from what every CCut Slot is active, but on release return to that slot (even if its off)

8- 16th transform

9-Deck Stop

10-Filter down+Pan

11-Scratch

12-Glitch

13-Flowcoma triplet

14-16th drill - try shaking your device while playback is active!

15-Reverse

For CCut slots which have Slice Shuffle enabled, Shift + Double tap on a slot will reshuffle it

For detailed info on the CCut module which is the most complex module in Jamm, see the full CCut section

This concludes the Main Jamm page summary.

Following are the other Screens accessible from the Screen Selectors at the bottom of the UI.                        

This defaults to ‘Fat’, an effect like valve distortion. Hold down this Disto type button (under the Disto on/off button) to popup 5 different distortion types: Solid, Tube, Fuzz, Fat, Shaper. Shaper can give some extreme electronic sounding overtones to drums for example.

This is an additional bitcrusher stage to the Disto effect and is not affected by the Disto Depth control.

Hold down The Filter type button (under the Filter on/off button) to popup 5 different filter types:

DJ = Dual Low Pass + High Pass (centre is off, effectively)

4LP = 4 Pole Low Pass (default)

2LP = 2 Pole Low Pass

BP = Band Pass

HP = High Pass

The Filter Cutoff Frequency at which the Filter is shelving off part of the signal; which part gets shelved off depends on Filter Type.

By default, the Freq is turned down - that way the LFO can control the Freq - as the LFO Depth and LFO Rate are available from the Play screen Filter Mini XYs you can immediately use them to get some cool ‘womp’ style  Filter modulations.

Filter Resonance, the amount of output that is fed back to the Filter’s input, also called Q.

Each Filter has an LFO, a low frequency oscillator which acts to automatically sweep the Cutoff Freq of the Filter up and down. That kind of movement action is called ‘Modulation’ - you can say the LFO is modulating the Filter Cutoff Freq. However, unlike some types of Modulation, you don't actually see the Freq moving up and down, it happens ‘under the hood’.

The amount by which this LFO moves the Cutoff Freq of the Filter.

Note that if Freq is near max then LFO depth won't have much effect, because both the Freq slider setting and the LFO are controlling the overall Filter Cutoff Freq and that total Freq cannot be higher than the max.

Mixer

Various controls and settings for each channel’s Mixer. Double tap a control to return to its default settings. Tone is emphasising treble at the top, bass at the bottom.

The big button with the Delay icon toggles it on and off.

hold to popup: Digi or Tape.

This toggle when on forces longer delay times to be fractions of the BPM/bar length so repeats are in time with the beat. When off, delay times are freely set from 1-4000ms, a more dubtastic approach as odder cross rhythms with the beat result.

Tape-Wild FB

Wild Feedback is a potentially dangerous feedback setting where self oscillation can build up to an ear damaging level. Whilst this is no different to many delay effects on the market, please take care. Please note that if Wild Feedback is on, and Feedback has been pushed up, even turning the delay off for that channel will not stop the feedback. You will need to actually turn down the Feedback using the Feedback slider for the channel that is feeding back, to get rid of it. Take care of other people’s ears and your own. Sound frequencies can be dangerous. We accept no responsibility for any damage from use of the app. You have been warned!

Delay time has a range of 1 to 4000ms.

For short delays less than one step in length, the delay time is scaled smoothly without bpm sync.  For delays longer than one step, the delay time is quantised to multiples of step length:

1,2,3,4,6,8,12,16,24,32,48,64

The amount of Delay fed back from the Delay output to the input. A high setting can cause feedback that builds up to a dangerous level, see above note ‘Danger-Extreme Feedback!’

The amount of Delay compared to the original signal , also called Wet/Dry. Higher depth =  more Delay.

Introduces a ‘lofi’ degradation of the delay repeats.

Introduces a Stereo ping-pong effect on the delay repeats.

The big button with the Reverb icon toggles it on and off.

Hold to popup and select between: Jamm, Pure, or Wes Reverb type. These are slightly random names but basically they all sound a bit different. Try!

Freeze

The amount of Reverb compared to the original signal , also called Wet/Dry. Higher depth = more Reverb.

The amount of Reverb feedback which amounts to the same thing as Reverb time or decay….the length of time it takes for the Reverb to die away.

Pre Delay

Inserts a delay in the Send to the Reverb with the result that the Reverb appears later than it normally would-  the higher the Pre Delay the later it gets. Thanks to Prince Fatty dub maestro for this suggestion.

Mixer

Various controls and settings for each channel’s Mixer from the Tone page are repeated here.. double tap a control to return to its default settings. Tone is emphasising treble at the top, bass at the bottom.

This LED lights when Key triggers happen.

After a Key trigger event, Release controls how long the Key event is held before releasing.

A filter to filter out frequencies of the Key Input so that only the desired part of it is applied, typically the bass of the kick drum. On the left no filtering takes place; moving it right reduces the cutoff frequency cutting off frequencies above it, so only the bassier part is left. If you are not getting the Pump effect you want from a drum clip, try increasing the Isolate slider to get the Trigger LED to be on less.

Sometimes the Pump effect lowers the perceived vol of the Target channels overall. Makeup can compensate for this.

The column of Pump buttons on the left turn Pump on and off for each of the 4 main channels.

Pump Amount

This column of Pump sliders controls the degree of Pump for Channels 1-4.

What is Pump Amount?  It is the amount of influence the Kick (the typical Key Input)  has on ducking  the Target channels DOWN when the Kick plays.

Normally Pump 1 is off because channel1 pumping itself usually is not what you want. It's Channel 1 which pumps the OTHER channels. However, it can on occasion have an interesting effect.

Chain

If Chain is on, Channel 2s Pump setting is copied to Channels 3 and 4. Channel 1 is not linked.

NB if the Pump Mini XYs are used they can override a Channels Pump settings even if Link is On.

Offset

Per channel Pump offset, ie the time taken before the Key event triggers the Pump effect.

Adjusting this can create interesting effects for changing the perceived rhythmic results of the Pump effect, shuffling or making the Target channel sound more urgent or lazier.

Per channel Key selectors. Sets which channel(s) provide the crucial Key to pump the Target channels.  Usually left on channel 1.

Per Channel Pump invert. Invert causes the Target channel to decrease in vol when Key is off rather than on.

Adds the Stabs channel to the Key Input. So, for example, playing manual Kicks from the Stabs module will pump Target Channels.

Represented by a looping arrow icon. When on, only 1 bar is looped rather than the app playing through the longest current clip before it loops. It’s worth noting that clips can be many bars long (typically 1,2,4, or 8) but all the CCut Sequencers, including the Slice Sequencers are only 1 bar of 16 steps.

Also, Modulation sequencers and Slice Shuffle Evolution settings keep evolving even if Loop 1 Bar is On. It’s looping 1 bar of the clips, not the sequence data. To stop evolving and loop 1 bar of everything, use Freeze, to its right.

Represented by a chain + from “name of channel one” When this is on, all channels are controlled from Channel 1s Seqs. Channel 1 is given its per Set name for clarity. In this case, the other Channel Selectors are not available because only Channel 1 is in effect.

A snowflake icon. Loop 1 bar without allowing any evolution of Slice Sequence or modulation sequencers. ‘My God -  we’ve found the perfect beat. Quick, before this crazy program changes it...hit FREEEZE!’

Tap to Reset the displayed Sequencer to default.

The probability a shuffle will reorder slices from 0-100%.

Controls how often the bar is randomised.

Value 0 = very often.

Value 5 = less often.  

Controls how many steps are repeated between randomisations.

Value 0 = 1 step is repeated.

Value 7 = many steps between repeats.

We suggest just playing with the sliders and seeing the results for yourself. It’s kind of mysterious even to us!

How often an Evolve -ie an automatic shuffle - happens, in bars. 0= never, 1= every bar, 2= every 2 bars…

NB to force an Evolve of the currently active CCut Slot, hold Shift and double tap that Slot in the Slot Rack. The effect of the Evolve will be governed by the Slice Shuffle controls.  If the Slice Sequencer is displayed you will see the reshuffled Sequence there.

Probability of slices being muted by a shuffle.

Proportion of slices being reversed by a shuffle 0 = none 3 = all.

A 16 x 16 matrix in which X axis is Step number (i.e.1 step = a 16th of a bar)  and Y axis is Slice number, of 16 Slices per bar, of the current Clip in the selected Channel. The default is to play Slice 1 on step 1, Slice 2 on step 2....Slice 16 on step 16. Slices can be reordered by drawing on the Slice matrix. Slice Shuffle operations will also alter the Slice Sequencer - the Slice Sequencer IS what the Slice Shuffle operates on.  

Tap a Slice that is on to mute it. Reset to default ( slice 1,2,3,4...16) using the Reset button top right.

Each channel has a 16 Step Gate sequencer. This reflects the Slice Sequencer but the Gate Seq allows one to see all 4 Channels at once and has other cool looping operations.

The Gate Seq module does not have channel selectors as all 4 channels are available at once in the module.

Gate Slices

Create Lockloop

Clear Lock loop

Each channel has a set of 3 sequencers controlling Pitch, Reverse and Drill for each channel's component slices.

Each of these 3 PRD sequencers 16 steps is controlled with a slider or a button.

Each PRD Seq can be turned on independently using the buttons which say Pitch, Reverse, Drill.

Pitch unlike the ‘Smart Pitch Bend’ controls is not conformed to scale.

Reverse steps are toggles.

Dril steps loop a slice for 1/32 or 1/64 of a bar depending on the setting for that step: 0 = no drill, mid =1/32, full =1/64.

Call and Response is a core musical technique in which one phrase first plays and is then answered by another. The CAR submodule generates Call and Response between channels.

CAR on/off

 CAR XY

CAR Mode

CAR Direction

CAR activity Leds

Each channel has a set of 6 Sequencers of 16 Steps, organised as 3 pairs.  Each Mod Seq can be individually patched to modulate most of Jamms parameters, allowing the creation of complex patches.

Sliders

Mod Seq Mapping to Target Parameters

Copy/Paste Mod data

Clock Divide

Step/Smooth

Evolve Strength and Evolve Rate

Reset

Slot Zero is the special, patchable polymorphically perverse Slot which is automatically selected for Patch Store/Recall.

i.e. when the Jammer wants to save a currently active Slot or particularly hot CCut Sequence, in a Patch, the Patch Store operation will copy the Slot and its sequence to Slot Zero- and on recall will recall it into Slot Zero.                                

CCut Slots 1-15 are monomorphic: if you edit  them, that edit will persist ignoring Patch recall because only Slot Zero is polymorphic. Think of Slots 1-15 as  'lenses' which can be reliably switched in at any time without considering Patch state. You can edit them, but within a Set each can only have one state. Slot Zero can have multiple states as it saves and recalls its state via every Patch store/recall.

Hopefully playing with the app will make it clearer why this is the best way to do things...we thought long and hard about this and concluded that 64 patches saving all 16 slots would be resource bloated and confusing.

This allows the behaviour of the current CCut slot to be set. So you can customise the 16 slots with CCut operations you like, for example combinations of Slice shuffle settings, Slice Sequences and Modulations. These can then be used as fills and variations. Refer back to the default settings for Slots 1-15.

Chain from Channel1

Loop 1 Bar

Mod Sequence Lockloops

Lockloop Start on Trigger

Slot Quantise

Slot touch action

Setting Steps and Bars allows some triggers to be ignored allowing the density of the generated sub to be varied. So reducing Bars for example will mean that Sub is not triggered on all bars where it would otherwise be booming.

Vary the frequency of the Sub as it plays.

Two different styles of Sub Bass tones. Default is Sine.

Makes the tuning of the Sub follow the global pitch...so the sub automatically is in tune with each Sets root key, and if this changes so does the Sub.

Cool basslines can be easily generated using a CCut Mod Sequencers set to Target the Sub note...in such a case Follow will be ignored until the Mod is turned off. Smooth and Step will have much different effects on the B-line..

On iOS you can also browse to ‘On my Ipad’ some apps save their samples within their program folders and you can load these.  Within the JammPro folder you can browse the Samples folder, or the Packs folder. In the latter you can load Clips from other Sets (formerly called Packs :) -from each one's Soundfiles folder.

Tap a clip’s file name to load just that one and it will Immediately load.

Tap ‘Select’ in the top right of the file browser to Select multiple files. 

For multiple files, Select each file you want by tapping its circle on the left. Then tap ‘Open’ and a confirm dialog will appear. Clips will be loaded in alphabetical order starting from the Clip slot you were on when you started the Load operation- and will overwrite previous clips in the subsequent slots. Undo will not undo such multiple overwriting!

‘Select All’ selects all files in a folder...however if any non-audio files are selected (e.g. a folder, or a text file) , then the Open button will be ghosted. Scroll down until you see the unsuitable file or folder and deselect it.

The maximum length stereo sample @ 44.1khz  that can be loaded into a clip is 90 sec.

Be aware that if the sample that is loaded was recorded at a different BPM to the current BPM in Jamm,  then the sample will be stretched according to whatever time stretch algorithm is selected for it. Time stretching always introduces some artefacts. See the Time stretch Mode section below.

For More Information

Here is is a doc with more info on Loading samples and making your own sets.

On Android, Jamm Pro Sets are held within a partitioned folder, while it was possible to force access to that folder using a 3rd party file manager, Android 13 disabled this functionality for security reasons. If you want to mix and match sets you will have to Export your collection to Zips and then decompress them in your documents folder.

From the android file manager you can choose any linked storage location as a source for samples, tap a clip’s file name to load just that one and it will Immediately load. To select multiple samples while in your file manager hold press on an audio file, and a tick will appear, then choose your selection of items, or hit the 3 dots on the top right and Select All, samples will load in alphabetical order, from the slot you are highlighting onwards.

The maximum length stereo sample @ 44.1khz  that can be loaded into a clip is 90 sec.

Be aware that if the sample that is loaded was recorded at a different BPM to the current BPM in Jamm,  then the sample will be stretched according to whatever time stretch algorithm is selected for it. Time stretching always introduces some artefacts. See the Time stretch Mode section below.

For More Information

Here is is a doc with more info on Loading samples and making your own sets

On slowing down or speeding up, like a turntable the pitch will change. NB for pitch changes, Repitch will use the Beats mode.

Good for beats, where the timing is crucial, also preserves transients well.

General purpose mode, the default.

Good for melodic clips, but timing may wobble. Used on ‘Repitch All’

Special mode for Junglists. Try it. See Speed options below.

½, 1, 2 : half, normal or double the speed of a clip.

NB for Jungle, ⅛, ¼ and ½ are available for extreme effect.

When MaxBars is set to Manual (default), Jamm assumes that you want to make an Export Recording. Used to make any length stereo or stems* recording of your Jamm performance. When you press the Record button to Manually STOP an Export Recording, you go to the Export Recording Screen where you have various options with what to do with your Recording.

*Stem Recording requires the ‘Jamm Creator’ pack to be purchased.

Creates a 16 bit WAV stereo mix of your performance.

brings up a standard iOS and Android Share menu screens where you can use Airdrop, Email, Save to Dropbox or GDrive, and various other sharing apps if you have them set up eg WhatsApp. You can also open with compatible, permissioned audio apps you have installed.

If Sharing as an AAC, longer recordings may take a moment to process, this is normal, and highlighted by a progress bar.

On Android, when you tap Share to Wav, or AAC, the file will be saved locally in the Music>JammPro folder, regardless of whether you share it (If you click “delete recording” it will be removed from this location too).

On iOS recordings are all saved (unless deleted) in JammPro>Recordings, accessible in the Files application.

Creates a video file of your performance, with a static album art as graphic, useful for social media posting!

Load Recording to Clip...used only for Resampling, see below

Requires ‘Jamm Creator’ pack.
If Stems recording was selected, a slightly different set of Export options are present.

-Share… is the same as above except that for stems the app will zip all the stems into one zip file which can then be moved to your computer, unzipped and the Stems loaded into a DAW eg Logic where you can do further work on it.

iOS exclusive currently

-Ableton Live Set Export also zips the stems into a file, but formats them as an .als for Ableton Live which on unzipping can be loaded straight into Ableton!

When MaxBars is set to 1,2,4, 8 or 16 bars, Jamm assumes you want to do Resampling.  Resampling is the term for making short recordings of individual or combined channel outputs-  and then immediately loading that recording into a clip Slot.

When Resampling is set, the Record button is a red circle as for Export Recording, and it works the same: tap the Record button to trigger a drop in to Record after any set PreRoll. Perform as you will. Recording will stop, after MaxBars number of bars, ‘bar safe’ i.e. at the end of the last bar.

The difference with Resampling is what happens after Recording. Instead of going to the Export Recording page, a red arrow pointing up replaces the Record button. This ‘Load Prompt’ has the same meaning as the message displayed at the top of the screen which prompts you:  ‘Double Tap any Clip to load your recording’.

Double Tapping any Clip, including Stab Clips, will load in the Recording you just made.

NB This used to be just a single tap to load, but from v1.1 onwards we changed it to a double tap, after user feedback suggested that it was too easy to overwrite clips by mistake with a single tap.

When you hit the Record button, PreRoll will wait the specified number of bars till it drops into Record.

Controls whether the recording will include the FX. NB The ColdCutter is regarded as an effect!

Controls whether the recording will be Stereo or Stems. For Stems, a separate recorded stereo track is made for each of the 4 main Channels of the Loop Matrix, and also the Stabs, and the Sub Bass, and also a stereo mix, so 7 stems in all.

NB FX including Delay and Reverb in each channel are always per channel INSERTS so there are no separate Returns for the FX. What you hear per channel is what is recorded for that channel.  

Controls what Channels are included in a Stereo Recording Output.

(If Output is set to Stems then Include Channels is not shown because all Channels are separately recorded).

Include Channels has a button for each of the 4 Loop Matrix Channels, the Stabs Channel, the Audio In, the SubBass and the Master.

For a normal Record Out Stereo Mixdown, only Master would be selected (which itself then includes all the channels).

However for Resampling or if for some reason you just want to Record Out a particular combination of channels, you can turn Master off and select the channels you want.

For example, say you want to Resample a riff you are playing on the Stabs. Turn Include OFF for everything except the Stabs. Now when you hit Record only the Stabs will be recorded.

Sampling - Requires ‘Jamm Creator’ pack

Sampling is the Recording In of audio from an Input Source, directly into a clip within Jamm.

When Sampling Mode is selected the Record Icon changes to a Red Microphone. Tapping that then makes it start flashing and the message at the top ‘Double tap any clip to start recording. Tap again to stop’ is shown.

So the flashing Red Mic  means Sample Recording is ARMED i.e. ready to record - be aware then that double tapping any clip in the Loop or Stab Matrix will trigger Recording, and that the contents of that clip will be overwritten by the new Sample recording. You can use Undo Audio from the File menu to undo the last record.

NB This used to be just a single tap to load, but in v1.1 we changed it to a double tap, after user feedback suggested that it was too easy to overwrite clips by mistake with a single tap.

When you are confident that you do want to record into a clipslot, double tap it and it will drop into Record on the beat after any PreRoll that is set, see PreRoll below. The Record icon goes solid red. The clip during recording counts the number of bars recorded.

Sample Recording will stop automatically after whatever number of bars MaxBars is set to. Or, if the clip that's being sampled into or the Record button is tapped, that will manually stop recording at the end of the current bar. Either way, the Red Mic will go dim indicating that Record Arm is OFF.

After a Sample has been recorded into a Loop Matrix Slot, it will automatically start to play. If the recording was into a Stab slot, you would trigger that Stab slot to hear it.

The Input Source describes where a recording is coming from. This could be the built in microphone your smartphone or tablet, a wired headset microphone plugged the device and fed into the app, a soundcard with any audio source connected to it and digitised by the sound card, or other apps (iOS only) on the same iPhone or iPad routed into Jamm using InterAppAudio solutions such as AudioBus and AUM.

NB there are issues with iOS and IAA which affect not just Jamm but many apps.. For both Audiobus and AUM we have found that it works best  if one loads Jamm from the home screen, NOT from within AB/AUM. THEN when it’s loaded, select Jamm as the output or insert effect.

Audiobus is an app that allows for multi-input routing, this means that you can send app audio or midi to different locations, such as Jamm Pro, where it can be recorded and resampled.

If using this software, to start load up Jamm Pro, and jump into a set, if you want Audiobus to keep track of the tempo and other relevant information, please go to the settings and make sure Ableton Link is enabled.

Once you are in Audiobus, you are presented with 3 options on the bottom row, MIDI, AUDIO, and Mixer (greyed out till you create some inputs and outputs)

There are numerous possible routing options that you could use, so we’ll only explore a couple of them for clarity.

Scenario One: Synth-App into Jamm or Jamm into Daw

1: Tap input

2: Select an AUV3 or IAA compatible app (in this example I am using Overdrive Synth)

3: Tap Output

4:Select Jamm Pro

5: Tap on Jamm Pro’s input and it’ll take you back into the app direct from Audiobus.

6:Go to the Mode Page, Choose Sampling in, and turn Monitoring to “In” this means you’ll be able to hear the source as it arrives in Jamm Pro.

7: Want to record a quick clip, set a recording pre-roll and hop back over to the synth, many have virtual keyboards you can use on the fly. Once recording is done it’ll automatically begin looping in Jamm, unless you’ve recorded to a Stab Slot or left the channel on “Stab Mode”

8: To take Jamm into a DAW, e.g. Apple Garageband, you can follow the same procedure, just swap the input to “Apps: Jamm Pro” and Output accordingly and it’ll work how you’d expect.

Scenario Two: Synth + External Audio Source into Jamm Pro

1: Make sure your USB audio source is connected properly to your iPad or iPhone. (Some interfaces may require more power than your device can output by default, please use a USB PD compatible adapter and hook up to mains/external battery for maximum compatibility)

2: Tap input>System (in this example I’m using a USB microphone)

3: Choose your interface channel or summed source.

4:Tap Output, Select Jamm Pro

5:You’ll notice a new input slot appeared when you created the first one, use this for your AUV3 or IAA apps, and repeat steps 2-4 accordingly.

6:Go to the Mode Page, Choose Sampling in, and turn Monitoring to “In” this means you’ll be able to hear the source as it arrives in Jamm Pro.

7:bonus step, if you want to host a midi controller for your external synth. Go to the MIDI page on audiobus, for input, choose your controller, for output, the app you want to control, make sure it’s the same “instance” that’s loaded in the AUDIO section.

8: If you want to monitor sounds outside of JP, please duplicate your input channels in Audiobus, and change the output to your headphones/interface etc.

Here’s another example Audiobus setup so you can have 2 inputs both running into Jamm; you could switch between them with the Audiobus mixer.

For a howto using AUM see here.

Say you want to route various apps via AUM into Jamm.

You can't load multiple instances of JP in an iOS host, that's the nature of the complex libpd global issue that prevents us from making Jamm an Auv3 plugin. But, there’s always a workround!

To route two apps into JP using AUM you need to set up a mix bus and route the two apps into a bus, then choose that bus as the input for the channel you add JP on. See screenshot using bus A.

If no Soundcard is plugged into the iPad or iPhone, the input source will default to be the built in microphone, if a headset with Microphone on it is plugged in, then this Mic will be used.

If a Soundcard is plugged in, then that overrides the Mic and becomes the input, so whatever is plugged into the Soundcard can be recorded. If an audio  routing app like Audiobus or AUM is used, then this can be used to switch between different sources including other apps on the Ipad or iPhone.

The Input Source level will always be seen on the meter to the left of the Input Gain slider no matter if Monitor is on or off. The level can be adjusted using the Sources own volume and the InputGain.

Keep the level out of the red to avoid distortion.

Controls whether the Input Source will play through and be heard via Jamm.

Even if it’s off, it can still be recorded.

There are 3 settings, hold the button underneath where it says ‘Monitor’ to select from:

Off -the Input Source is not heard, though it can still be recorded

On-the Input Source is heard

Auto (default) - when Auto is on, the Input Source is only heard when Record Arm is on, ie the Red Mic is flashing, This works so that when Record Arm goes off, typically by the app having recorded Max bars of the source, the Input Source is muted. As after recording the new recording begins to play, this is handy as otherwise you would hear the Input Source AND the Recording which would be confusing. Auto ensures you hear EITHERr the Input Source OR the Clip recorded from it.

NB If the Input Source is the Inbuilt Mic, then be aware that feedback, a generally unwanted horrible whistling sound, can occur if no headphones are plugged in. So have Monitor OFF  if using the internal Mic and the built in Speakers.

(Feedback occurs when a Mic is too near a Speaker so the sound of the Mic comes out of the Speaker, then goes back into the Mic...in a loop which gets out of control. Hendrix used it but he knew what he was doing :)

A typical situation in which this occurs is: a Headset with its own Mic is plugged in and Monitor is ON so you can hear your voice coming through Jamm. Feedback doesn't occur because the Headset Mic doesn't interfere with the Headset speakers. You record some stuff, then unplug the Headset. Feedback occurs with pain to everyone’s ears. The reason is that when you unplug the headset, the iPad switches back to the internal Mic and its own speakers and so Feedback happens. Turn Monitor off, or plug the Headset back in, or turn the Vol of the iPad right down to stop the feedback till you get a solid grip on the situation.

Off by default. If this is on, then after a Sample Recording is dropped out of, the Record Red Mic goes back to flashing, meaning that we are still in Record Arm, and so double tapping a clip will immediately go into Record again without having to tap the Record button an extra time. This is useful if you want to quickly record several samples but you need to know what you are doing or you risk recording over clips you didn’t mean to. Still, Undo Audio from the File menu can help.

Sets whether recordings will be Stereo or Mono. Mono sums both left and right sides of a stereo input together to create a mono sample.

Preset the number of bars of Recording to be 1,2,4,8,16 bars.

When you hit the Record button, PreRoll will wait the specified number of bars till it drops into Record with a metronome helping count in.

The MIDI Map for your install of Jamm is saved when you save your Set, and that is global across all your Sets- ie currently a user can only have one MIDI map for their copy of Jamm.

Most of the functionality provided by keyboard support is intended for use on ARM Mac products, but it’s actually built right into the app on iOS, you can map the keys the same way as you would MIDI, though at this time it is limited to one or the other per parameter, i.e. you can have either CC #0 or Space to control the play button, not both. “Function” keys are not fully compatible at this time, so YMMV.