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. A notable feature is the ‘SAMPLE’ parameter control, which lets you switch between samples from the project’s sample pool.

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

Sample Controls

START - Starting point of playback
LOOP START - Starting point of the loop when in a looping mode
END - End point of playback
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
TUNE - Fine tuning in cents
TRANSPOSE - Base pitch in semitones
SAMPLE - Select sample from the sample pool

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

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.
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.
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

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

FM

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

Master

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

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

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