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YOUR COMPANION, FROM FIRST NOTE TO FULL SESSION
Make a little noise. Find your sound. Keep the good ideas.
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RiffJam is a touch instrument and loop workstation. It records the notes and gestures you play inside the app; it does not record a microphone or an external guitar. Use wired or USB headphones for a responsive playing experience.
Read this topic →Search and filter the preset browser, select a preset, and use Listen to audition it. Cancel preparation stops a preview that is still loading. Choose the included instrument parts, then Create Session. Creation makes an independent session; editing it does not alter the preset library. A playable guitar is supplied if the selected arrangement has none.
Read this topic →Play Session starts or stops the arrangement. Undo reverses an available session edit. Mix opens the session mixer. Tab opens guitar and bass notation with Premium. Save names and stores the session; Save as Copy creates another saved version. Session Settings opens tempo, time signature, key, and tuning. Exit Session returns to Home.
Read this topic →Open Session Settings from Session Home. The tempo label shows which note unit the BPM describes. Use the displayed controls to change tempo or time signature. A bar contains the number and kind of beats shown by the meter: 4/4 has four quarter-note beats, while 6/8 has six eighth-note beats. Changing these settings changes the musical timing of the session.
Read this topic →Hold a fret with one hand; pick the corresponding string in the picking area with the other. Sweep across strings to strum. Open strings can ring without a fretting finger. Touch halfway between strings to barre neighbouring strings. Use the neck's horizontal and vertical viewport controls and FIT to reach notes comfortably. Fretboard height can be adjusted from the instrument controls.
Read this topic →Bass uses the same fretting, picking, strumming, bending, sliding, muting, and tapping gestures as guitar. It has its own tuning and part. Pick a string while holding a fret, or play it open. Use the viewport controls to reach higher frets. Strong Tapping and handedness are device preferences shared with guitar.
Read this topic →Add Acoustic Guitar from Session Home with Premium. It uses the guitar playing gestures: fret and pick, strum, bend, slide, tap, and mute. Record and edit its part as you would another guitar. Its sound controls are designed for a steel-string acoustic sound.
Read this topic →Choose a keys preset from the sound menu. Touch the two-octave keyboard to play; Octave − and Octave + move its range. Brightness changes tone and Motion adds the selected sound's movement. The lower character control is Tail for pads, Pluck for plucked sounds, or Glide for other families.
Read this topic →Touch the playing field: moving right raises pitch, and moving up raises volume. Lift to release. Split layout separates a left-hand volume area from the right-hand pitch area. Stop releases a sounding note. The visible trace helps you follow pitch and volume during playback.
Read this topic →In Kit view, tap a drum's centre for a harder hit and near its edge for a softer one. Pads are harder at the top and softer at the bottom. Each fresh finger tap makes a hit. Hold CHOKE and tap a cymbal to stop it. Closed hat and pedal hat stop an open hi-hat.
Read this topic →Open Drums and choose Sequencer. Choose a bar, then tap a grid cell to add a hit or select existing hits. Tap a lane name to select and audition its articulation. Tap a beat number to zoom into that beat; choose a subdivision for fast notes or triplets. Return to the wider view to navigate the bar.
Read this topic →Open an instrument and choose Record for an empty part or Overdub for a part with notes. Wait for the one-bar count-in, then play. Overdub layers a new performance over the existing part. Finish take ends capture and keeps listening. Stop ends playback. Cancelling during count-in prevents that take from starting.
Read this topic →From an instrument choose Edit part. Tap a note in the timeline to select it. The timeline shows each note's location, duration, and recorded expression. Empty parts direct you back to the instrument to record.
Read this topic →Turn chord presets on from the instrument controls. Numbered chord slots show your progression. Tap a slot to select its fingering; NEXT advances through the choices while you pick. Selecting a chord prepares the notes for playing. After finishing progression editing, playback preparation starts at the first chord.
Read this topic →Sequence prepares a series of note choices. Pick strings independently and advance to the next step when ready. It is a playing aid rather than a command to record automatically. You can capture the resulting performance in a take.
Read this topic →Open Tab from a guitar or bass, or from Session Home with Premium. Choose the displayed part if needed. Tap a string/time slot in the score. The Selected slot card contains Fret, Length, Value, unit, Use previous, and deletion when a note is selected. Adjacent bars join without a gap; string tuning labels appear at the beginning.
Read this topic →Select bars groups material over a bar range. Note tools operates on the selected notes; check the selection before deleting or transforming. Copy retains note offsets relative to the selection. Paste waits for a destination slot, then selects the pasted notes. A single pasted note can immediately have its length adjusted.
Read this topic →In Tab, choose More, then Practice / all parts. Back to editing returns to the editor. One part shows the selected part; All parts shows the available guitar and bass parts together.
Read this topic →Choose Mix on Session Home or Session Mix in an instrument's sound workspace. Each instrument has its own level, pan, mute, and solo. Master controls the overall output. Use small changes and compare at a comfortable listening level.
Read this topic →Home > Sound presets opens instrument cards. Select Electric Guitar, Bass, Acoustic Guitar, Keys, Theremin, or Drums, then search/filter the browser. Listen previews a sound. Favourites keep useful sounds easy to find. Change instrument returns to the instrument choices.
Read this topic →A rig combines a source, effects before the amp, an amp, effects after the amp, a cabinet, effects after the cabinet, and output level. Open Tone from the instrument. Select a module to see its controls. The available effects catalogue is documented individually in the Effects reference below.
Read this topic →Guitar source chooses the instrument sample set, including Metal Guitar and Classic Guitar. Import sound pack adds compatible sources and cabinets. Bass source offers Pick and Finger. A different source changes the signal reaching all later modules.
Read this topic →In the effect editor, open Session automation and select a parameter or Module enabled. Each selected control has its own automation lane. A recorded lane changes the parameter over the instrument loop.
Read this topic →Changes the low-frequency body of the acoustic sound. Increase for fullness; reduce if the arrangement feels muddy or competes with bass.
Read this topic →Choose a preset family to establish the sound. Brightness adjusts its tone and Motion adjusts movement. Tail, Pluck, or Glide provides a performance macro appropriate to the family. Level controls sound output.
Read this topic →Tone changes brightness. Drift changes pitch/tone movement for a less static sustained sound. Start with modest drift when you want accurate melodic playing.
Read this topic →From Drums, use the sliders button (Kit) or the instrument menu to open kit sound controls. This is separate from the Kit playing mode. Choose a drum sound preset or the kit selector. Changing the kit changes the samples, while your recorded rhythm remains the part. Tap a kit piece to audition adjustments. Save sound preset stores the kit and sound settings for reuse.
Read this topic →On its Session Home card, choose 2nd Guitar. Premium is required. Select a natural double or a twin-lead harmony and review the options shown. The source needs recorded notes; chord preset buttons alone are not a recorded part.
Read this topic →Save on Session Home stores a named session. Save as Copy makes a separate version. Continue Session resumes the current work. My Vault contains saved work and Recovery drafts; use the appropriate view to reopen it. Autosaved work is not a substitute for an external backup.
Read this topic →Use the export action for the item you want to move. Native sessions use .riffjam, sound rigs .rjrig, parts .rjpart, and sound packs .rjpack. These preserve RiffJam-specific information; a rendered audio file cannot replace them as an editable backup.
Read this topic →Open Settings > Backup and recovery > Export backup. Choose a destination outside RiffJam, such as a document folder you can copy off the device. The backup includes sessions, drafts, personal parts, sounds, favourites, and imported sounds.
Read this topic →Control size offers Automatic or Compact. Automatic uses larger controls on roomy screens; Compact keeps smaller controls everywhere. Pick with left/right hand changes playing layout. Low string: bottom/top changes string order. Picking box width sets the relative picking-area width. These preferences are saved on this device.
Read this topic →Settings > Advanced Audio shows requested and actual buffer sizes. Smaller buffers can respond sooner but allow less processing time. Larger buffers add delay but can prevent dropouts. Automatic grows the buffer when underruns occur. Restore automatic buffer returns to that policy. Fixed sizes are rounded to device bursts and limited by device capacity.
Read this topic →Premium adds up to eight instruments per session, extra guitar/bass/drum instances, Acoustic Guitar, Keys, Theremin, 2nd Guitar doubling/harmony, and guitar/bass tab editing and practice. The current offer is a one-time purchase, not a subscription. The purchase dialog displays the store's available price.
Read this topic →1. Check device media volume and the connected output. 2. If audio is paused, choose Resume audio. 3. Confirm the instrument switch is on and the part contains notes when using playback. 4. Check channel level, Master, mute, and solo in Mix. 5. Check string mutes, keys Hold/Stop, and instrument output level. 6. Try a simple factory sound and play a live note. If that works, inspect the original rig and its bypass/level settings.
Read this topic →Beat: the meter's counting unit. Bar: one group of beats defined by the time signature. BPM: beats per minute for the displayed tempo unit. Loop: a section that repeats. Quantize/snap: move events toward a timing grid. Triplet: three evenly spaced notes in the time normally occupied by two of the same value.
Read this topic →Open Tuning from the instrument sound workspace, or use the tuning controls in Session Settings. Select a standard or drop tuning. Guitar and bass have their own tuning choices. Guitar string-count controls are available where shown. These choices set the live instrument's open-string pitches.
Read this topic →Browse the available grooves, narrow them by the displayed style, meter, tempo, or difficulty filters, and use Listen to preview. The destination and included-instrument controls determine whether you are choosing drums, bass, or both. Use the musical root and sound options shown to fit the backing to your session.
Read this topic →A noise gate reduces low-level sound between notes. Set the threshold just high enough to suppress unwanted tails without cutting off quiet playing.
Read this topic →A boost shapes and raises the signal feeding later stages. Try it before the amp for extra drive, or after it for a level change.
Read this topic →Green Drive adds focused, soft-clipped overdrive. Try low Drive and a higher Level to push an amp.
Read this topic →Rodent Distortion adds aggressive clipping with a darkening filter. Set distortion first, then tame the top end with Filter.
Read this topic →Doom Fuzz adds dense sustain and fuzz. Leave room in the low end for bass and compare chords as well as single notes.
Read this topic →Three-band EQ adjusts bass, middle, and treble balance. Cut an unwanted region before raising the whole channel.
Read this topic →Compression reduces dynamic peaks. Set threshold and ratio first, then use Makeup to restore comparable output level.
Read this topic →The simple Delay adds repeating echoes. Time is independent of tempo; start with a low Mix and a few repeats.
Read this topic →Reverb adds a simulated space. Balance Size and Damping before raising Mix.
Read this topic →Chorus combines the note with a moving delayed copy. Start with a low Mix for width without obvious pitch movement.
Read this topic →Phaser sweeps notches through the sound for a swirling effect. Slow Rate and moderate Depth work well on held chords.
Read this topic →Flanger creates a comb-filter sweep. Feedback makes it more resonant; keep Mix modest when preserving note definition.
Read this topic →Octave-flavoured fuzz with normal and scooped tone modes. Higher single notes often reveal its octave character most clearly.
Read this topic →Ram’s Head-style fuzz combines sustained clipping with a pronounced tone scoop. Raise mids elsewhere if it disappears in the band.
Read this topic →Russian-style fuzz emphasizes fuller lows and gentler drive. Check its low-end balance against bass and kick.
Read this topic →DS-1-style distortion combines a biting attack and hard clipping. Start with Tone below halfway.
Read this topic →RAT-style distortion ranges from crunch to dense saturation. Turn Filter up for a darker sound.
Read this topic →A two-control distortion with a compact, raw character. Distortion also changes the feel of the low end; Output matches level.
Read this topic →A two-control drive with silicon-style clipping and substantial output range. Try Gain low before pushing the amp with Level.
Read this topic →Soft clipping with focused mids and some clean signal retained through the drive stage. Useful for tightening an already driven amp.
Read this topic →A RAT drive section followed by a high-cut filter. Internal enable controls allow comparison of drive and filtering separately.
Read this topic →A multi-stage Muff fuzz with internal clipping, tone, and bass-cleaner controls. Set Sustain/Tone/Volume first, then expand the extra controls.
Read this topic →A Ram’s Head variant with additional clipping and midrange controls. Compare Harmonics and Smoothing on sustained notes.
Read this topic →A Russian Muff variant with additional internal controls. Balance its fullness against the rest of the arrangement.
Read this topic →A Triangle Muff variant with additional internal controls. Use Mids to place the fuzz in a dense mix.
Read this topic →A compact Distortion+ circuit. Set Distortion for texture and Level for comparison; no middle tone knob is required.
Read this topic →A Centaur drive with a separate treble-shaping stage. Compare its internal enable switches before changing the whole rig.
Read this topic →A combined American-style drive and tone chain. Each processor’s name prefixes its controls; compare one section at a time.
Read this topic →A Flapjack drive and tone chain. Use Low Cut to tighten the input and Presence to refine the attack.
Read this topic →A combined fuzz chain. Change the Fuzz Machine’s mode for character, then set output and tone in the following sections.
Read this topic →A Tone King drive chain with tone and gain sections. Select the clipping mode before balancing Drive and the final gain.
Read this topic →A Tube Screamer drive chain with a separate tone stage. Diode choices affect breakup; TS-Tone shapes the result.
Read this topic →A Yen Drive chain with tone shaping. Gain sets breakup and Voice changes frequency emphasis before the following tone section.
Read this topic →Impulse-response coloration with a selectable amp/cabinet flavour. Use Mix to blend it and Gain to balance the result.
Read this topic →Low-frequency cleanup for a tighter signal into drive. Check both open bass notes and higher notes before settling on Clean.
Read this topic →Bassman-style tone shaping. Bass, Tilt, and Treble interact to set the broad frequency balance.
Read this topic →Broad bass and treble tone shaping. Useful for gentle overall warmth or brightness rather than a narrow corrective notch.
Read this topic →An amplifier-style three-band tone section. Set middle frequencies for presence and refine bass and treble in context.
Read this topic →Centaur-style drive with selectable Traditional and Neural processing. Compare at matched level before choosing the response you prefer.
Read this topic →An expanded chorus with delay-line character and feedback. Use low Depth and Mix for subtle widening.
Read this topic →An expanded compressor with timing and knee controls. Set threshold/ratio first, then attack/release, and match volume with Gain.
Read this topic →An expanded delay with optional tempo sync, filtering, stereo ping-pong, and clean/Lo-Fi character. Set timing before feedback and mix.
Read this topic →A tube-style drive stage with a simple drive control. Use the rig output to compensate for level changes.
Read this topic →A distortion stage with drive and output controls. Useful before tone shaping or an amplifier.
Read this topic →A filter whose sweep follows playing strength, or direct modulation when enabled. Set Sensitivity to suit the incoming level.
Read this topic →Six fixed frequency bands shape the spectrum. Use small cuts for muddiness or harshness before boosting level.
Read this topic →A low-pass filter that removes high-frequency content. Lower Cutoff to soften fizz or bright repeats.
Read this topic →Tube-style amplification stages with dry blending. Tube Drive and stage count set saturation; Tube Blend retains dry attack.
Read this topic →A high-gain drive stage. Start with a moderate Gain and compare low-note clarity before adding more distortion.
Read this topic →The fuzz-clipping part of a Muff-style sound without its separate tone circuit. Pair with Muff Tone when you want both stages.
Read this topic →A selectable Muff tone circuit, separate from fuzz drive. Type changes the circuit response; Tone and Mids refine it.
Read this topic →A frequency-selective booster. Range changes what feeds the boosted signal; useful for focusing an amp’s breakup.
Read this topic →Rotating-speaker-style modulation. Set Rate for speed and Depth for movement, then compare mono and stereo.
Read this topic →A state-variable filter offering low-pass, high-pass, band-pass, and blended modes. Increase Q carefully for a stronger resonance.
Read this topic →A diffuse reverb with filtered tails. Use Low Cut and High Cut to keep its space clear of bass and harsh treble.
Read this topic →A spring-style reverberation with controls for size, movement, reflections, and shaking. Start with a restrained Mix and explore one control at a time.
Read this topic →The tone-shaping section of a Tube Screamer-style circuit. Pair it with a drive stage for a complete overdrive sound.
Read this topic →A treble-focused booster. Place it before drive to emphasize bite; lower the final rig output for a fair comparison.
Read this topic →Rhythmic volume modulation. Depth sets the level swing and Rate sets speed; waveform controls change the pulse shape.
Read this topic →A configurable Tube Screamer clipping stage. Diode model and count change breakup; add TS-Tone for separate tone shaping.
Read this topic →A drive stage with a Voice control for frequency emphasis. Try less Gain before deciding whether a phrase needs more sustain.
Read this topic →STILL STUCK?
Email info@etherapps.com.au with your device model, Android version, RiffJam version and what happened. For audio problems, include the diagnostic report if you can. Tell us the steps so we can follow along.
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