Mixer and audio

Load your music

Add your own tracks using the installation instructions. Administrators manage the library and playlists; club DJ permissions do not grant library administration.

Create a playlist, add library tracks and assign it to the intended club. At the DJ position, open the mixer and load a track into Deck A or Deck B. The deck header shows readiness, playback position and duration. A track must finish loading before a transition can start reliably.

Club decks accept the server's configured music catalogue. A YouTube or Spotify URL is not an imported club track. See Boombox for those separate features.

Playlists, decks and queues

Playlist assignment makes tracks available; it does not automatically fill both deck queues. Select a track in the music page and load or queue it for the intended deck. Next track advances that deck's queue, so keep the destination queue prepared before relying on an automatic handover.

Each deck has its own queue. Its capacity follows the active global MaxQueue setting, which ships at 30 tracks per deck. Library size, playlist limits and maximum track duration are global administration settings described in Configuration, not additional per-deck sliders.

Controller controls

The controller image and its aligned interaction areas form one mixer. Drag controls rather than expecting an additional set of buttons over the image.

Dragging a fader starts from its current position. Hold Shift for finer changes. Double-click resets tempo to 1× or an EQ to 0 dB. Controls also support keyboard operation. The deck header provides five-second seek buttons and the next queued track.

The LEDs measure the local decoded deck output while the DJ UI is open. A paused or unloaded deck has no live meter activity; the lights are not a network-quality indicator.

Tempo, loops and EQ

The EQ uses a low shelf at 180 Hz, a mid band at 1000 Hz and a high shelf at 4500 Hz. These are fixed filter frequencies; the three knobs adjust gain. They are different from a speaker's high-pass and low-pass crossover limits.

Loop IN marks the current position. OUT must be at least one second after IN; then playback repeats that section. EXIT leaves the loop. Seeking clears the existing loop. Finish the source deck's loop before starting a timed transition; automix cannot schedule an end-of-track handover while that source remains in a loop.

Changing tempo changes the remaining real playback time. It does not automatically beat-match another deck. Manual seek, rate, crossfader and relevant transport actions can cancel an active automatic transition or automix, so check its status after taking manual control.

Main master and saved start level

The master affects the Main PA bus. Its upper limit follows the active global volume ceiling, not the speaker-strip maximum. A club's Start volume is saved with its layout; the live master knob is session state. Saving the club reapplies its saved start volume, and restarting the resource clears the running transport state.

Master mute and Fade out are different operations: mute switches the main bus off directly, while a power fade changes it over the configured fade time. A fade does not rewrite the saved start volume. Neither controls the independent booth bus or private PFL headphones.

Transitions and automix

Use A → B or B → A for a timed transition between ready decks. Cancel, Center, Fade in, Fade out and Automix are integrated into the controller. Set transition duration, fade duration and preload time in Audio & system → Settings.

Saved transition settings

These values are saved per club. The starting values below apply when no audio settings have been saved; existing clubs keep their own values. Click Save settings to apply changes.

Preload must be at least as long as the transition. For slower delivery or long files, allow more preload time rather than increasing the crossfade duration. The actual transition can be shortened when the remaining source or destination track is shorter than the requested overlap.

Start an automatic handover

1. Start the source deck and open the destination deck's channel fader.
2. Load a destination track or prepare its queue. For automix, put the crossfader fully on the playing source deck before enabling Automix.
3. End any loop in the source deck, then choose A → B / B → A or enable Automix.
4. Watch readiness and transition status. The other deck is prepared before the fade begins.

Automix preloads a queued track and waits for readiness before fading. It can use the other queue when its destination queue is empty. Keep sufficient tracks available and verify duration loading. A missing track, decode error or timed-out preload needs attention before the next transition; increasing volume does not resolve a loading failure.

Cancel stops the transition and keeps the current mix position. Center returns the crossfader to its midpoint. When a handover completes, the outgoing deck pauses; automix also clears the consumed track so another can be prepared.

Soundboard and crossfader curve

The 16 sample pads use the supplied soundboard assets. Up to four voices may play together, with loops bounded to 30 seconds. Pads pass through the club audio outputs and room filtering. They are separate from the imported music catalogue.

Right-click a pad to assign its sample, or open the soundboard settings. Save the configuration for the current club; changing these assignments does not replace your music playlists.

Smooth uses an equal-power blend around the centre. Linear changes both deck gains evenly. Quick cut reaches a strong contribution close to the ends, so both decks can contribute strongly through much of the middle. Timed transitions use their own linear deck blend with a smooth time ramp, rather than the selected manual curve.

In 1× mode, pressing a pad starts or restarts that sample. In LOOP mode, pressing the same looping pad again ends it. CUT ends active samples. Keyboard pads are 1–8 and Q W E R T Z U I while operating the mixer outside text inputs and the assignment dialog. A sample loop stops after 30 seconds even if it was not manually cut.

These settings are saved. Currently playing sample voices, loaded decks, queue contents, loops, automix and transport positions are runtime session state and are not restored as a running show after a resource restart.

Speakers and output delays

Open Audio & system → Speakers to set an output's level, mute, range and bus. Assign each output to Main PA or DJ booth. Spatial outputs retain their own direction and distance fade while sharing one deck player, so separate speaker decoders cannot drift apart.

Output strip settings

Output-strip edits save when committed or changed; this page has no extra whole-rack Save button. The club layout's model, placement and spatial switch are edited in Clubs and placement.

Align tower and other delayed outputs

Delay (ms) adds 0–1000 ms to the selected output. An array applies the same delay to its internal branches. Missing delay values start at zero; a saved nonzero value stays in place. Tune alignment during soundcheck; this is an explicit electronic delay, not an automatic distance calculation or a simulation of sound propagation.

Use consistent source material and listen at the intended overlap area before changing one output. Increasing delay shifts that output later; it does not make a distant cabinet louder or extend its radius. Recheck after moving speakers. The feature does not calculate delays from map coordinates.

Test an individual output

Use a selected speaker's three-second test to check the installation. The test bypasses master mute and the speaker's mute, while its frequency filters, range and room attenuation remain audible. Warn nearby listeners before testing.

The test signal contains 60, 440 and 6000 Hz components, so different roles reproduce different parts of it. A low-pass sub output is not expected to reproduce the high-frequency component. Test only the selected cabinet before raising the main system's gains.

The fixed festival's main PA and tower outputs throw sound forward beyond the perimeter with a soft distance transition; rear and side attenuation follow the cabinets' orientation. This does not extend every ordinary club or boombox to the same range.

Independent DJ booth mix

Audio & system → DJ booth has its own saved level, mute, source and three-band EQ.

Click Save booth mix to persist and apply these fields. At least one output must be routed to DJ booth to hear this bus; changing the booth source does not reroute a Main PA speaker automatically.

Deck trim, channel level and deck EQ still apply. Main PA master level, master mute and power fades do not control the booth bus. Booth level/mute affect only its own assigned outputs, with the shared final limiter retained.

The booth bus is spatial sound heard by nearby players. PFL headphones are private monitoring on the DJ's own client; these are different listening paths.

Private PFL headphones

Use a deck's Cue/PFL button to enable or disable private monitoring of that deck. The headphone level runs from 0–100% and starts at 35% on a fresh client. It does not change the booth level, Main PA or another player's output.

PFL follows the selected deck's transport, tempo, loops and EQ while using its own listening level instead of the public channel/master gain. Closing the DJ UI ends the private preview. This is for the local DJ; it is not a second physical speaker bus.

Synchronization and soundcheck

Shared playback follows server time and corrects decoder drift with protected transitions. This does not promise sample-exact playback between computers. Compare two clients under your actual network conditions, including joining an already playing club, seeking, loops and tempo changes.

Keep sensible input levels: a limiter can reduce loud peaks, but cannot restore clipped or poor-quality source audio. Start with neutral deck EQ, then tune speaker roles, room boundaries, output delays and booth level. See Troubleshooting for crackling, silence and delivery checks.