Jamahook is a VST/AU plugin that ‘listens’ to your DAW project and then suggests samples that could make it better

For some, trawling through samples to find one that ‘works’ in a DAW project is part of the fun of music production; for others, it’s a chore that they could well do without. If you’re in the latter camp, you might want to give some eyeball time to Jamahook, a new VST/AU plugin that promises to ‘listen’ to your DAW project and then suggest samples that will fit.

It’s an interesting idea, and one that’s aided by the inclusion of a Sound Match algorithm that Jamahook created in collaboration with the Fraunhofer Institute for Digital Media Technology. The theory is that, by matching your music’s properties to the ‘learned’ properties of samples in Jamahook’s database, the plugin will suggest sounds that will slot right into your projects.

When making suggestions, Jamahook considers tempo, harmony, mood, rhythm, key signature, genre and more. It then presents you with a selection of loops - these can be auditioned and then dragged directly into your project.

The plugin is free, but if you want to be able to use the suggested samples - all provided by Loopmasters at this stage - then you’ll have to sign up to a subscription package. You can choose from three options here: Bedroom (€3.99), Studio (€9.99) and Professional (€19.99). A discount of 50% is available on the Studio tier when paying annually.

The amount of loops you can use per month will depend on your subscription tier, which is based on a points system. It seems that loops vary in price, with the average one costing two points. In terms of allowances, a Bedroom subscription gives you 40 points, Studio gives you 160 points and Professional gives you 400 points. 

Find out more on the Jamahook website.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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