Cue Editor 与时间线

Cue Editor: editing#

• Edit while the show runs: The editor never follows the show. When a deck plays this track (the Internal Player included), or a schedule item's slot is on, a red live needle marks where it really is. Your blue playhead, the scroll and the zoom stay where you put them, so you can move, add and trim cues during the show. Your own preview hides the red needle while it plays.
• FOLLOW LIVE (header, left of the transport): switch it on and, while the composition is really running, the playhead follows the red needle and the view scrolls with it, as the editor used to (the time readout turns green). The button is red when on and brighter while something is running. Off (the default) = the editor stays where you put it. Remembered as Follow Live in the Cue Editor settings.
• ◂ BACK (header, left): inside a nested cue it steps out one level; at the top it saves and goes back through the screens you came from, one step per press, like a browser's back button.
• Drop files from the Finder onto the lanes. While you drag, a see-through ghost shows exactly where the clip will land and how long it is (its real length). It sits on the lane under the pointer, or on a new lane of the right kind below the last one, with the snapped start time in the ruler, so you can see whether it fits before you let go. Several files dropped on one lane land end to end.
• Play without audio: Space still plays a track that has no audio clip. The playhead runs on a silent clock and the cues fire as usual, so you can test a cue stack before any audio is added.
• Copy / Cut / Paste follow where you last clicked: A clip, an audio or video lane or its header → clips (⌘V pastes onto that lane at the needle); a cue lane → cues. After any paste (and after C / ADD) the needle jumps to the END of what was placed, so ⌘V ⌘V ⌘V (or C C C) lays copies end to end. When the needle lands off screen, the view jumps to centre it. Pasted cues get their own node ids (their OSD / Click / actions work on their own).
• Voice Call (click a cue, then its settings): Decides whether the Cue Caller counts this cue in. On calls it always, even when its layer's discipline is switched off in the Cue Caller settings. Layer is the normal rule: The cue is called when its layer's CALL switch is on and its discipline is switched on. Off never calls it. New cues start on Layer.
• CALL (the button on every cue layer header, also Voice Call in the layer's settings): Switches voice calling for that layer's cues on (amber) or off (grey). It is on for every layer to begin with. Cues set to On or Off ignore it.
• Collapse a cue track: Click the small triangle at the left of its header (or right-click the header and pick Collapse Track). The track becomes a thin row, and every cue stays visible as a dot in its own colour at its start, with a thin line over its length. Click the triangle again to open it. Option-click a triangle (or pick Collapse / Expand All Cue Tracks) to collapse or open every cue track at once. The state is saved with the track.
• Header column width: Drag the line between the track headers and the lanes to make the headers wider or narrower (130 to 420 pixels). The width is remembered as Track Header Width in the Cue Editor settings.
• Long names: A name that does not fit (a cue, a track, a clip or a structure section) ends in "…". Hold the pointer over it to see the whole name.
• Header buttons and the settings panel stay in step: Clicking the eye, the lock or CALL on a header updates the open settings panel of that lane at once.
• C / ADD make a cue one grid cell long: One BEAT when Grid Lines is set to Beats (and the track has a beat grid), one FRAME otherwise.
• Grid Lines (Cue Editor settings → Lanes): Frames or Beats. Beats draws a line per beat of the track's beat grid with bar downbeats brighter; a track without a beat grid always shows frames. The lines fade as you zoom out and are hidden below 5 px apart.
• Zoomed in to the grid: Hovering an empty cell of a cue lane lights it; a double-click there makes a cue exactly that cell long (one frame / one beat).
• Cue marks (the triangles under the ruler): click = select that cue, drag = move it in time (never to another lane), double-click = its actions.
• The ruler matches the Master panel's clock ruler; audio / video lanes carry the same alternating backgrounds as the cue lanes; video clips show a preview frame at their in-point; the zoomed-out waveform draws the peak as a soft halo with the average level solid inside it.
• Beat grids from our own analysis are written as a steady-tempo line whenever the track has one tempo (the detected beats scatter a few ms), and a bar only changes phase when two drops agree, tracks re-analyse once when first opened after the update.

Cue Editor: audio lanes out, video lanes on screen#

The frame grid runs through every lane: The cue tracks and the audio and video tracks alike, so a clip and a cue read against the same verticals (whole seconds brighter, frames fainter, from the track's frame rate).

Audio lane → its own output. Click a lane's header (or its name in the track menu) and the panel now has an Output group:

• Output Device: The interface this lane is played on (System Default = wherever the Mac plays).
• Channels: Which pair of that device's outputs carries it: 1-2, 3-4, 5-6 … A stem, a voice-over or a click track can go to its own pair of a multi-channel interface. A pair the device does not have falls back to 1-2.

Lanes that share a device AND a channel pair are played by one engine, so they stay locked to each other. The setting applies to the deck-follow player, the internal players and the editor's own preview.

The whole track on this Mac. Settings → Audio → Deck Audio → Play Whole Track for Decks (on by default): when a CDJ plays a Catalog track, this Mac plays the track's whole arrangement in sync with it, Audio 1 (the song) included, so the Mac is the sound. Off: only lanes with DECK on are played here, as overdubs, and the song comes from the CDJ through the mixer, turn it off when the CDJs feed the DJM, or the song is heard twice.

Structure lane. Under the audio and video lanes, above the cue lanes, the STRUCTURE lane shows the track's analysed sections (Intro, Buildup, Drop, Break, Groove, Fake Drop, Outro) in the same colours as the Master window (Drop red, Buildup amber, Break blue …), at their place on the timeline. It follows the audio clips when they are moved or trimmed, and the section under the playhead is drawn full bright. A track whose audio has not been analysed says so in the lane.

Video lanes. Right-click a lane header (or the lane area) → Add Video Layer / Add Video Track. A video lane holds clips exactly like an audio lane (drop a movie on it with Add Clip…, drag it, trim it, fade it) and the block reads as a strip of film with its length on it (the V1, V2 … badge tells the two kinds apart). The lane's panel says where the picture goes:

• Screen: Main Display, All Displays, a numbered display, NDI Output (the lane becomes an NDI source of its own: NDI Source Name, empty = ShowKontrol V1, V2 …: And NDI Size 720p / 1080p / 2160p / Film Size; the film is scaled on the GPU and sent as it is, a gap on the lane sends black), or Graphic: <name>, one entry per Graphic node in the Patch. Then the video is drawn inside that node's render instead of on a screen: it shows in the node's preview and goes out wherever the node goes (its Screen / NDI output, an OSD node's Video Node). Size, Position, Fit, Opacity, Backdrop and the fades work inside the node's frame the same way. In The Node picks Over Drawing (video on top of the node's text / waveform / artwork) or Under Drawing (the drawing on top, a clear in the drawing then covers the video).
• Fit: Fit (whole picture, aspect kept, at Size % and Position), Fill (covers the screen, aspect kept, overflow cropped) or Stretch.
• Opacity, Backdrop (Solid + colour for a clean video wall, or Transparent so whatever is behind shows through), Fade In / Fade Out.
• Follow Fader: Off by default. On: the channel fader of the deck running the video sets its opacity, fader down, the picture is gone; fader up, it is at Opacity. Read from the DJM on the network; with no mixer (or a deck that has no mixer channel) the picture stays at full Opacity. Works on screens and Graphic nodes; NDI Output is sent as it is.
• Play Sound: Off by default: the film is silent and the show's audio comes from the audio lanes.
• Keep On Pause: Off by default: the picture goes dark whenever the deck is not playing. On: it stays up on the deck's frame while the deck is paused, cued or scratched, and scrubs with the needle, for cueing a clip to its frame. A deck parked on a CUE point just before a clip (rekordbox's grid and ours can sit a few ms apart) shows that clip's first frame. Whenever a hand is on the platter or the deck runs backwards, every video lane scrubs frame-accurately with the needle instead of running on.
• DECK (the chip on the lane header, same as the audio lanes), with it on the lane shows its video whenever any deck runs the track, a CDJ included, in sync with the deck and riding its pitch. Off = only a local player shows it. Video lanes default to ON.

Esc = video kill. Pressing Esc (with ShowKontrol in front, not while typing in a text field) takes every video lane off at once, screens, Graphic nodes and NDI. Each deck's video comes back the next time that deck starts playing (a deck that was already playing stays dark until it is paused and played again); the editor preview comes back on its next play. Ctrl+Esc is still the machine lock. A pedal or clicker that sends Esc does the same.

The clip's own fade handles dim the picture in and out. M blacks the lane out, S solos, the eye hides it in the editor (and on screen), and pressing play in the editor previews the video with the audio.

Dropping a video on the Catalog / Set List. An MP4 / MOV / M4V dropped from the Finder becomes a track with both lanes: Its audio is split off into a plain 16-bit PCM WAV (kept in ShowKontrol's cache, VIDEO AUDIO) on Audio 1, analysed like any audio drop, and it is the track's media, so a player (internal, or a real CDJ loading from the rekordbox library) plays that audio, and the video itself on Video 1, from the same start. Load the track and the video plays with it. A video without sound becomes a video-only track. No player is ever handed the video file itself, the internal players and the shared library always load the split-off WAV. A track loaded on a real CDJ (from the shared library or its own USB) opens and follows in the Cue Editor like any other track. Short clips get a beat grid too (from about 5 s of audio); a video track without a grid is analysed again when you drop the video once more.

Cue Editor: REAPER import / export#

The REAPER button (Cue Editor, right sidebar, under PRESETS) imports a REAPER session into the open track, or exports the track back to REAPER. You can also drop a .RPP, a marker .csv or a .mid file from the Finder onto the timeline. Nothing changes until you press IMPORT in the panel that opens on the right, and the whole import is one ⌘Z.

What it reads

How it lands

• Markers & Regions: A marker becomes a cue one frame long, or a cue that runs to the next marker (Marker Length). A region becomes a cue with the region's length. The name becomes the cue label and the REAPER colour becomes the cue colour. They go Into a new layer (default name REAPER Markers, with a Discipline you choose) or into one of the track's existing layers, or they are skipped.
• Tracks: Every REAPER track that has items gets one row: Skip, Cue Layer, Audio Lane or Video Lane. The row is pre-set from the track's items.
  • Cue Layer: Every item becomes a cue. This covers empty items, items with notes and MIDI items. The label comes from the item's notes (first line), else the take name, else the track name. The colour comes from the item, else the track. The layer is named and coloured after the track. Its Discipline is guessed from the name, and you can change it: LX / Light → Lighting, Laser → Lasers, Pyro / Flame → Pyro, SFX / CO2 / Confetti → SFX, Video / VX / LED → Video, TC / Stems / Playback → Media. With markers present, Cue Tracks Go can put them all on the markers' layer instead.
  • Audio Lane: Each audio item becomes a clip at the same position, with the same source offset, length, fades and take volume. For a multi-take item, the active take is used. The file is looked for as written, next to the .RPP, in the project's record path and in Audio / Media / Video folders. Missing files are listed: Their clips are still placed (silent), so the arrangement is complete. Each file is analysed once (wave, beat grid, structure), however many items REAPER cut it into.
  • Video Lane: Video items become video clips.
  • Audio and video lanes are only imported at the top level, not inside a nested cue list.
• Timing:
  • Align picks which REAPER moment lands at Lands At: The project start (REAPER's 0; a project whose ruler starts at 01:00:00:00 still lands at 0), the first imported event, or a REAPER time you type as the ruler shows it.
  • Anything that would land before 0 is skipped.
  • Snap Cues to Frames locks cue starts and ends to the track's frame grid. Audio clips always keep REAPER's exact position.
• Existing Cues: Merge skips a cue that already sits on the same layer at the same time with the same name, so importing the same file twice does nothing new. Replace Target Layers first empties every layer and lane the import writes to. Layers and lanes are found again by name. Empty default layers (Layer 1…) and lanes (Audio 1) are reused before new ones are added.
• Colours: REAPER saves colours in the byte order of the computer that wrote the project. The order is detected from the file. If reds come in blue, pick the other order.
• After an import, the status line counts what came in, plus any duplicates, muted items and missing files.

Export (REAPER ▸ Export to REAPER…):

• REAPER Project (.rpp):
  • The cues of Markers From become REAPER markers (one-frame cues) and regions (longer cues).
  • Every other cue layer becomes a track of empty items. Each item has the cue's label in its notes and the cue's colour.
  • Audio and video lanes become media tracks.
  • Project Starts At sets REAPER's time offset, e.g. 01:00:00:00.
  • Open the file in REAPER, or insert it as a subproject.
• Marker CSV: Import it in REAPER's Region/Marker Manager.
• The exported project imports back here unchanged, so cue edits can go round trip.

Timing: one offset for everything#

The Source's Latency Compensation (ProDJ Link) is the ONE timing value: the cue audio lanes, video lanes, cues, the Click and the Cue Caller all use the compensated position. Tune it by ear in 10 ms steps while a track plays, changes apply immediately (the audio lanes re-align at once). Expect a small positive value (tens of ms). The audio lanes lock to the deck with an inaudible ±1 % speed trim; only a real jump (hot cue, loop, beat jump) restarts them. The Cue Caller counts in on the deck's own beat grid (the Click's beats) and quietly re-anchors its audio stream so it cannot drift. Pausing a deck stops its outputs: Click, audio lanes and video lanes.

Master panel header#

Inside the Master timeline panel (right of the gear column, above the clock ruler), Cue-Editor style: the master deck's title (+ artist · deck), under it NEXT = the predicted next track (another deck holding a track that has not been on air from that deck (a playing one beats a cued one) else the next entry of the Set List), the smart cue countdown (the master deck's next section of a type switched on in Smart Cues, in its colour) and the time readout (green while the master plays, / length, fps).

The NOW line moves like the Live and Viewer needles: point at it (the move arrows appear) and drag it anywhere between 10 % and 90 % of the lanes' width. It carries the red triangle on top; every lane (program, master wave, smart cues, decks) follows it. Stored as Master Timeline → Playhead Position (0.2 = the classic spot).

The blue marker (click the Master ruler right of NOW to place it; at or left of NOW clears it) is a countdown for the whole app:

• Drag it left / right (the move arrows show on hover); it never goes behind NOW.
• Double-click it: its panel, Time (type HH:MM or HH:MM:SS), Clear Marker, the values a trigger reads, and the TRIGGERS drawer, exactly like a Smart Cue type. Wire Marker → Trigger → Action: marker.done State On = the countdown reached zero; marker.remainingS lets a trigger fire earlier (e.g. < 10). Moving the marker into the future re-arms it. A ring round the marker's head = triggers are attached. The graph is saved as Marker.skmk with the show content.
• Info decks: New slot type Marker (Live, Viewer, Master, and the web viewer / Stream Deck Info key): MARKER hh:mm:ss above the countdown, --:--:-- with no marker, alert colour inside Alert Inside (s).

Schedule items play their audio#

A Schedule (programme) item runs on the wall clock: its position is the time of day minus the item's start. Audio clips added in its Cue Editor now play while the item is current, from its start until the next item starts.

• All of the item's audio lanes play (there is no deck here playing lane 1), each out of its own lane output, locked to the wall clock.
• Edits made while the item runs are picked up straight away.
• E-STOP silences it.

OSD: in a cue, on the web, text variables#

• Follow Cue Length (OSD → Timing, on by default): an OSD inside a cue is up for the cue's length, it fades in at the cue's start (after Delay In) and its fade-out FINISHES on the cue's end. It needs a live, playing input: pausing the deck or stopping the editor preview takes it down.
• Show On Web Viewer (OSD → Screen, on by default): the text also appears on every browser showing the web viewer, same words, colours, position and fades (images / video stay on the Mac).
• OSD text always stays above Cue Editor video lanes on the same display.
• Text variables (follow the master deck, like $TITLE): $TIMECODE (HH:MM:SS:FF at the project frame rate (Timeline Frame Grid) with the track's SMPTE offset, like the LTC output), $ELAPSED, $BEAT (1–4), $PITCH, $CUE (running cue), $NEXTCUE, $CUEIN (time to the next cue), $SECTION (Intro / Break / Drop …), on top of $TIME $DATE $BPM $TITLE $ARTIST $KEY $DECK $REMAIN $PROGRAM $NEXT $VENUE $STAGE $SHOW.

Transitions (planning / rehearsal)#

Plan how one set-list track mixes into the next, DJ-Studio style. This is for planning and rehearsal only. A live show still follows the decks exactly as before. Nothing here changes a track, its cues or the set list.

Open it from the Set List: Right-click a track, then Plan Transition to Next Track…. The editor opens as a panel of the program group, just like the Cue Editor, with the same sidebars, header and player bar. A track with a plan shows ⇄ preset in its row. Remove Transition deletes the plan.

• Header (the Cue Editor's): ◂ BACK (back through the screens you came from, one step per press), A → B as the title, and the plan (preset · bars · tempo) on the line below.
  • On the right is the transport: |◀ two bars before the overlap, ◀◀ / ▶▶ one bar back / on, ▶ / ❚❚ play, ▶| the end of the overlap.
  • Next to it are MUTE and the big time: the set time at the playhead, where this moment falls in the whole DJ set, counted the way REHEARSE plays it (track 1 from 0; each planned transition brings the next track in on its plan, including the tempo mode; without a plan, or with TRANSITIONS OFF, the next track follows the previous one's end). Under it: the whole set's length, the playhead as bar.beat (bar 1 = the mix IN point) and which pair of the set this is (e.g. 4→5 of 12).
• Right column:
  • ◀ PREV / NEXT ▶ step to the neighbouring transition in the set.
  • AUTO PLACE puts the overlap back on A's Outro and B's first downbeat.
  • REMOVE deletes the plan and goes back to the Set List.

• The two tracks are stacked on one bar ruler. Bar 1 is where the overlap starts; negative bars are A before the overlap. Each track sits on its own beat grid, so their beats line up.
  • Drag A sideways to change where in A the overlap starts.
  • Drag B to change where B comes in.
  • A drag moves in whole bars; hold ⇧ for single beats and ⌥ for free, fine alignment by ear. A track can be pushed to start later than the playhead: the preview waits for it.
  • The mix zone has two orange tabs on the ruler, IN and OUT. The orange edge lines on the track lanes can be dragged too (the pointer turns ↔). Whole bars; hold ⇧ for beats.
    • Drag OUT to change the length (the lanes stretch with it).
    • Drag IN to move where the mix starts. Neither track moves,

only the zone edge does: B simply comes in at the new IN point (in the middle of its own audio if you drag later). The OUT point stays put and the lanes stretch to fill the zone. Bar 1 always marks the IN point. (To change where B starts playing from, drag B itself.)

• Each track's own cues show on its lane (read-only), so you can plan around them.
• Speed: The BPM box on a track card is its tempo fader, drag it up / down (0.05 % per pixel, ⇧ = 0.01 %, ±50 %), double-click = 0 %. The card shows the BPM it plays at and the % in the track's colour. The key stays (time-stretch). Speeds are saved with the transition and also play in REHEARSE.
• SYNC: On B = B is locked to A's tempo, before, through and after the mix, like a CDJ's SYNC (TEMPO Follow A); on A = A locked to B's (Follow B). A synced track's BPM box shows the tempo it actually plays at (the master's) and the % it is stretched by; dragging it moves the shared tempo (the master's speed), so both follow. Pressing SYNC also snaps that track's beat phase onto the other's grid, so the beats fall together. A lit SYNC pressed again = off (each at its own speed).
• M on a track card mutes that track in the preview (the wave greys out, MUTED on it), to hear the other one alone. The header's MUTE silences both.
• Each track's volume is drawn INTO its wave: the area under the volume curve is washed in the track's colour (fading to the floor), the curve is a bright line and its points are handles. With the Selection tool, drag a handle to move the point, click on the line to add one, double-click a handle for a step; ⌫ deletes the selected one. The rest of the wave still drags the track.
• The mix zone (the overlap) is the orange band, with its length written on the ruler.
• Each track's own time at the playhead, the position in its AUDIO FILE (MM:SS.cc; 00:00 = where its wave starts), shows in a tag beside the playhead on its wave and on its card, with the file's length. It reads − (dim) while the track has not come in yet and END once it is over.

• Beat markers: Each track's own beat grid shows on its wave, short ticks on the beats, the downbeats full height. While you drag a track or the mix IN / OUT they glow in the track's colour; where A's and B's beats coincide a green glow runs through both lanes, and a readout on top says BEATS ✓ (or the error in ms) and BARS ✓ / ✕.
• Snap (toolbar SNAP Bar · Beat · Free) applies to every drag: tracks, the mix IN / OUT, points, the playhead. Hold ⇧ for one step finer (bar → beat → free) or ⌥ for free, just for that drag.
• Zoom: + / − keys, the − + FIT buttons above the track cards, the wheel (around the pointer) or the Zoom tool. Every zoom glides.
• Tool palette (the Cue Editor's, right of the timeline; same letters):
  • Selection (V): Everything described here. Esc always goes back to it; any other tool shows its name (blue) above the track cards. The letters only count without ⌘ / ⌃ / ⌥ (so ⌘Z never picks Zoom).
  • Razor (B): Click a beat for a hard cut: A drops out and B is at full volume on that beat.
  • Slip (Y): On a track: move it. In the edit lane: slide the whole edited curve sideways.
  • Hand (H): Drag to pan. Zoom (Z), click in, ⌥-click out; on a track a drag still moves the track.
  • Pen (P): Draw points: in the edit lane for the chosen lane, on a track's wave for that track's volume.
• EQ on the waves: Every Low / Mid / High / Filter / Echo lane of a track that has points is drawn as a thin coloured line on that track's wave (LOW red, MID yellow, HI white, FLT purple, ECHO green; tagged at the left edge).
• Cues by discipline: The first tab, CUES (key 1), turns the big lane into one row per discipline that has cues (Lighting, Lasers, Video, Pyro, …) with both tracks' cues on the mix axis in their own colours; an orange (A) or blue (B) edge tells whose. Read-only, edit cues in the Cue Editor.
• Automation: Five lanes, Low, Mid, High (down to kill), Filter (low-pass ← off → high-pass) and Echo; volume is edited on the waves themselves, shown as lane tabs 2–6 under the tracks. Each tab is a small picture of A's (orange) and B's (blue) curve, with a dot when it has been edited. Click a tab (or press 1–6) to open that lane in the big edit lane below.
  • The edit lane shows both curves full height. EDIT A / EDIT B in its header (or Tab) picks which one the mouse edits; the header also shows both values at the playhead.
  • Click to add a point. Points snap to the beat; hold ⇧ to place freely.
  • Drag a point to move it.
  • Double-click a point to make it a step: It holds its value until the next point. A step point is square; a ramp point is round.
  • Right-click to delete a point or clear a lane. ⌫ deletes the selected point. The selected point shows its value beside it.
• Channel strips (right-hand column, MIX AT PLAYHEAD): A and B as two mixer channels, HI / MID / LOW, FILTER and ECHO knobs and the volume fader: Showing every lane's value at the playhead; they move while the preview plays. They are also controls: Drag a knob up / down (⇧ = fine) or the fader to set that lane's point at the blue playhead, the point already there is changed, else a new one is made. Double-click or right-click a knob or fader for neutral (0 dB, filter off, no echo, full volume; pitch 0 %). Next to each volume fader is a PITCH fader: the track's speed (the same setting as its card's BPM box, a synced track's moves the shared tempo). 0 % in the middle, ±10 % over its height, up = faster; it moves from where it is (⇧ = fine), double-click = 0 %. Unlike the knobs it is not a point at the playhead: it sets the whole track. The EQ knobs rest in the middle (0 dB) like a mixer's: left = kill, right = +6 dB; a killed band turns red. The EQ lanes use the same scale, 0 dB on the middle line.
• Toolbar:
  • Preset cards: Fade, Swap, Cut, Bass swap, Filter sweep and Echo out, each with a small picture of its A / B volume curves (and the bass, filter or echo move that makes it). Click one to apply it; a preset replaces all the lanes. On a narrow screen the cards fold into one PRESET ▾ menu.
  • BARS: 1 · 2 · 4 · 8 · 16 · 32, one click. Changing it stretches the lanes with it. Other lengths (up to 64 bars) come from dragging the overlap-end tab on the ruler.
  • TEMPO: Follow A (B locked to A's tempo), Follow B (A locked to B's), Glide (the tempo moves from A's to B's across the overlap) or Off (each at its own speed), the first two are the tracks' SYNC buttons. Tempo changes are time-stretched, so the pitch stays the same.
  • A | B SPLIT: Track A on the LEFT output, B on the RIGHT (each folded to mono), to hear the two apart on headphones while you line up the beats. A listening aid: works live while the preview plays, not saved with the plan, does not affect REHEARSE.
  • TRANSITIONS ON / OFF: The global switch for rehearsal playback (click to toggle).
• Preview: Space or the header's ▶ plays from the playhead; click or drag in the ruler to move the playhead. Leaving the screen stops the preview.
  • Lane edits are heard straight away. Moving a track restarts the preview at the same spot.
  • The preview plays anywhere, like any editor: both tracks run over their whole audio and the volume lanes decide what you hear, before the IN and after the OUT too.
  • The preview has its own audio engine on the system's default output; the decks and the Cue Editor are not involved.
  • Both tracks need their audio (media). Without a beat grid, 120 BPM is assumed.
• Undo / redo: ⌘Z undoes, ⌘R or ⇧⌘Z redoes, every edit (a whole drag is one step): moving tracks, the mix IN / OUT, points, razor cuts, pen strokes, presets, bars, tempo, AUTO PLACE. 120 steps, per transition (opening another pair starts a fresh history).
• The wheel zooms around the pointer and a sideways swipe scrolls. Right-click an empty area and choose Fit Overlap In View to reset the view.

Plans are saved in TIMELINE/Transitions.sktr next to the set list, and show files and adopted machines carry them.

Rehearsing the whole set#

The Set List's right column plays the active set from start to finish, through your planned transitions:

• LISTEN: Audio only. It starts at the selected track, or at the top if nothing is selected.
• REHEARSE: The same, and the playing tracks are fed into the cue engine as rehearsal decks 7 and 8. Their cue stacks, smart cues and OSD fire on the real outputs, as if the set were being played.
  • Click REHEARSE, then CONFIRM within 5 s.
  • It is refused while a real deck is on air, and stops if one goes on air.
  • It is never written to the play log. E-STOP silences its cues as usual.
• While it runs:
  • LISTEN becomes ■ STOP, and REHEARSE becomes SKIP ▶▶, which jumps to 2 bars before the next transition.
  • The playing track's row shows ▶ PLAYING and the track mixing in shows ▶ MIX IN.
  • The header shows the track, its time and "⇄ in N bars".
• Each pair of tracks:
  • With a plan (and TRANSITIONS ON), the next track comes in exactly on the overlap start, with the plan's tempo and automation. It sounds the same as the editor's preview.
  • Without a plan, or with TRANSITIONS OFF, the next track simply starts where the previous one ends.
• It plays each track's main audio (its first audio clip) on the system's default output. Other audio lanes of a track are not part of the rehearsal mix.