In the previous article, I covered the use of the Internet DJ Console (abbreviated as IDJC). However, in that article, the configuration options were glossed over, mainly because there are a lot of settings, and the defaults are a decent starting point. In this article, I will go into more detail over the settings, so that you can optimize your configuration for your personal needs.
The general preferences are separated into several sections: Feature Set, Meters, Replay Gain, Miscellaneous Features, Connection Management, Stream Normalizer, DJ Audio Level, Player Resample Quality, Prokyon3 Database, and Player Settings at Startup.
The fully-featured featureset is available by default; this set has all the features we discussed in the previous article, and can be used for advanced streaming stations, including twin playlists, VoIP call-in controls, DJ Controls, and more. You can see this interface described in depth in the previous article’s screenshots.
The Basic Streamer is what you’d use if you just want to stream a bunch of audio files. This interface has only a small subset of the main interface’s abilities; there is only one playlist, and no external audio controls, such as microphones, VoIP, or Aux.
The meters on the left are the pre-streamed and post-streamed audio levels, as well as the stream connections. These meters can be hidden by unchecking “Stream Audio Levels and Connections.” The meters on the right, indicating the volume levels of the connected microphones on the system are enabled and disabled with the “Microphone Meters” checkbox. The additional options determines whether you want all four microphone meters active all the time, or if you want to enable them as you enable the mics they represent.
Audio formats, such as MP3 and Ogg Vorbis, have a special “Replay Gain” value which is applied to determine the proper level for listening to a track; this value is used to normalize a collection of media files that play at different volume levels, thereby resulting in them all playing at roughly the same volume; in this way, the listener won’t need to adjust their volume after each song.
The first option, “Indicate which tracks have Replay Gain Values” causes a tiny icon to appear at the beginning of each entry in the playlist. If the file’s metadata has a Replay Gain value, the icon will be a green dot. If no replay gain value exists, the icon will be a hollow red triangle. In the example below, playlist 1 shows items with the replay gain attribute applied, while playlist 2 shows items without the replay gain attribute applied.
The “Adjust Playback Volume” setting allows you to further adjust the volume of the playlist. The first sub-option, “Gain Value for Unmarked Tracks,” will adjust the volume on those tracks without the replay gain value, so they can be equivalent to the adjusted tracks. The “Boost” option then further adjusts the volume of all tracks; this is useful if working with normally-loud music, like Pop and Rock.
The first two options allow you to end tracks early. IDJC will track the volume of a track, and once it falls beyond a certain point for a long period of time, the track will end, and the playlist will move on. This can be used with tracks with a long silence after the song, or on the “fading tracks,” so that crossfade can be applied before the volume gets too low on the first track of the crossover.
The next option, “Restrict the stream audio level to -2dB,” is a limiter. In this and other programs, 0db is considered the peak level of any speaker device; -2db means that the audio will not get any higher than 2 decibels under the point where sound starts getting distorted. When playing loud tracks, this prevents them from getting distorted, ruining the playback.
The pitch/speed controls mentioned in the previous article can be enabled using the “Enable the main-player speed/pitch controls” option. As previously mentioned, this is probably not going to be very useful unless you intend to do beatmatching. And in that situation, keep an eye out; one of the future articles on this site will be about the DJ mixing software Mixxx, which includes features this program lacks, such as EQ mixing, vinyl emulation, and beat detection.
By default, the IDJC uses one volume slider between the playlists to handle the overall volume of the main player. However, sometimes, that’s not what’s called for, and you might want to give one playlist a louder sound than the other. In this case, you can select “Separate left/right volume faders,” which will then split the one into two, which will independently control the playlists’ volume levels.
The first time you run IDJC, you might have noticed a prompt to ask which profile you want to use. If you only have one use for the IDJC, then it gives you the option to turn it off, an option to which, if you’re like me, you’ve probably availed yourself. However, perhaps you have a new idea for a stream, but it requires very different settings? In that case, by selecting “At startup ask which profile to use” will re-enable the prompt, so you can create a profile for each streaming audio project. In this way, you can have a different profile for a talk radio show and a weekend dance DJ.
The “Enlarge the time elapsed/remaining windows” option is to expand the timer box at the top of each playlist, to the left of the slider. I assume it’s to account for times beyond 10-minute track times. I can’t really see the point of disabling this option, so it’s pretty much a given to keep it enabled.
A beeping sound will be heard in the DJ headphones when you approach the end of the last song in a playlist; this is the cue to begin crossing over to the next playlist before the current track ends. To enable or disable this sound is the purpose of the option “Sound an alarm when the music is due to end.”
On systems with a 24-bit sound card, sometimes the sound of 32-bit processed audio can be less-than optimal for the listener. Some improvements can be heard with the option to “Apply dither to MP3 and FLAC playback” enabled. Or they may not. Try with both, and decide which sounds better.
It is common for MP3 streams to use the ISO 8859 character encoding for its metadata. However, it’s more common these days for the UTF-8 character encoding to be used, because it can process characters in many different languages. To ensure the tracks follow multinational language conventions, it helps to ensure that you “Use utf-8 encoding when streaming mp3 metadata.”
By default, the microphone and auxiliary buttons are able to be connected to the stream at the same time. If there’s a reason this is not desired, such as a situation where both use the same microphone, then the “Make Mic and Aux buttons mutually exclusive” option will cause the enabling of one to disable the other.
Tooltips are all over the place in this program; in fact, they were the greatest source of information I used to compile these articles; where the tooltip wasn’t clear, they usually gave me a place to start looking. Even with resources like these articles, tooltips can be useful, so there’s nothing wrong with keeping “Enable tooltips” enabled.
The Internet is not an easy place; sometimes it can get congestion, producing sufficient delays to cause connections with servers to be lost. Without the ability to manage a connection, the stream will stop and not attempt to restart, and the data from the playback will be lost.
The IDJC has a set of connection management options that will allow you to adjust the stream enough to keep the audio as steady as possible for the listener. Sometimes, you can’t avoid disconnects, but this will help you keep it from becoming a major issue.
The first option group determines how many times IDJC will attempt to reconnect, and how long it will wait before attempting each reconnect. In the above example, you can see a 3-delay example: If the connection is list, IDJC will attempt to reconnect after 10 seconds. Failing that, it will try again after another 10 seconds have passed. After the second failure, the program will wait 60 seconds before trying again. If no connection could be established, it will stop here. Keep in mind that it will continue to try for as many times as you have comma-separated numbers, so “5, 5, 10, 10, 60” means it will make 5 tries, the first two at 5 seconds, the second two at 10 seconds, and the last at 60. The second option allows the IDJC to just keep trying to reconnect, each attempt occurring 5 seconds after the last attempt failed.
The second option group determines what happens to the data in the stream buffer when it gets full. The “Discard data” assumes that, for some reason, the connection is slow, and that it will pick back up, so the buffer should just be emptied to preserve the playlist’s end time. The “Attempt reconnection” option assumes that the connection is actually stopped, and attempts immediate reconnection to ensure a clean connection is regained as quickly as possible.
The Stream Normalizer is a tool that will attempt to normalize an audio stream to a baseline volume level. This tool is an alternative to the “Replay Gain” options above, although the IDJC home page tends to recommend Replay Gain over the Stream Normalizer.
If you intend to use this tool, then you will want to make sure that it’s set to maximize the audio without going over the clipping point.
At this time, I really don’t have any definitive explanation for the options; there seems to be a lack of documentation on this at this time, so I’ll just say that you’ll need to adjust these until you’re satisfied with the result, or, as IDJC recommends, use the above replay gain options instead. I would definitely be grateful for more information if anyone has anything to offer.
DJ Audio Level
While all the normalization and adjustment can be used on the stream, this does not affect the DJ’s own audio feed; the sound in the headphones are pretty much at the original levels. So, it’s natural that a DJ working with loud source audio might want to adjust their audio levels so they can leave the mix with their hearing intact. This is the purpose of the “DJ Audio Level.” This option consists of a single number; this is the gain value applied to the DJ audio output.
Player Resample Quality
The Jack Audio Connection Kit operates at a specific sampling rate; this can be adjusted in the Jack Control program to suit your needs.
Something to keep in mind, however, is that while Jack can be set at one sampling rate, there’s no guarantee that a sound file will be at the same frequency; CD audio is 44.1 KHz, while a typical low-end studio runs at 48KHz; higher-end ones will often be at 96KHz or higher. The end result of playing a file with one rate in a system running at a different rate is that the sound will speed up or slow down according to the difference; for example, a 44.1KHz file playing in a 48KHz sound system will be a little fast.
To counter this issue, a media file needs to be resampled to the new sample rate. This requires more processing power the greater the difference between rates, because the system has to compute the amplitude values of the “missing” samples. The same applies when resampling into the stream format.
The problem with doing this is that when streaming audio, there is a good chance that the system will slow down, possibly introducing breaks in the stream as the processor struggles to keep up. That is the purpose of the resample quality option; it adjusts the quality of the resampling; the lower the quality, the less CPU is required, and so the faster the resampling can happen, so it can more easily keep up with the stream.
It is recommended by IDJC to avoid the “Fastest” setting if at all possible.
The IDJC can use the Prokyon3 Database software to manage the music on your stream, including the metadata information. I have not used this software at this point, since it requires prerequisites that are too involved to make the process worth it at this time, so I can’t really say more about it. The options are what you would expect from a server; hostname hosting the server, username and password to log in, specific database hosting the music used for broadcasting, and the button to finally connect to the server.
Player Settings at Startup
The first option, “Restore Previous Session,” allows the settings you change on either player to be kept on restart. It’s not for me, as I like to start with a clean slate, but tastes differ. When this option is enabled, the other options in this section are disabled.
You can see two columns, each applying to a specific player. Each column contains the same set of options. The first is the playlist mode you want at default. The second option has to do with the time entry next to the slider above the playlist; the “Count Up” option sets it to show how long the track has played, while the “Count Down” options sets it to show how much time remains on a track. The “Stream” and “DJ” options determine whether the playlist will be heard by the stream and DJ, respectively. Unchecking one will mean that the identified output will be silent. My preference is to keep the stream silent until you’re ready to broadcast the playlist.
Under the playlist options, there are two more options. “Tracks Played” determines if the “Tracks Played” list is expanded, which is pretty much a matter of taste. The other option, “Monitor Stream Mix,” determines if you want to listen to the stream in your headphones, or if you want to listen to the DJ audio instead. Since the stream isn’t going to be playing when you’re setting up the playlists, it’s better to keep this disabled, and only go over to the stream mix if you need to hear what the audience hears. This is especially the case if you enable DSP routing (in the JACK Ports section), since Jamin (the default tool used in the routing) introduces delay into the stream, which can be distracting if the microphone is active.
To help with this, the IDJC comes with a series of adjustments and filters to give the Host DJ or any of their guests the royal audio treatment, including filters and adjusters. You can also give names to each of the Microphones, which can be useful to name the microphones after the guests on them.
You can have a total of four microphones assigned to the software, each one with its own collection of filters and name.
If “Only those active” was enabled for the microphone meters in the general preferences tab, enabling the microphones here will immediately cause their volume meter to appear in the main window.
The first option in the microphone controls is the “enable” box. Checking this means that the microphone button and associated volume meter will appear in the main window. Next to the box is another box that allows you to name the microphone. By default, the first microphone is named “DJ,” while the rest are blank.
The next box determines the amount of processing required for the microphone. “Simple” will give sufficient control to adjust the volume, balance, and phase controls, while the “Full Signal Processing” option will provide you with a large collection of different filters to assist in cleaning up and strengthening the voice audio coming in from the microphones. Recent versions of the software also include another option, “Partnered with Mic <number>,” which allows the numbered microphone to be treated as a stereo microphone.
Simple Signal Processing
The simple signal processing includes a couple simple groups of settings. If you have other means to clean up the audio coming from the microphone, then this should be fine for your needs.
These options are for special controls over the microphones. The “Group” option, when checked, allows you to assign the microphone to one of two groups. This group is then assigned a microphone button on the main window, instead of the individual microphone. This can be useful for disabling the microphones for all guests at one time, or disabling all mics at once when it’s time to go to the playlist.
The next option, “Automatic Open,” will cause the microphone to be enabled automatically when the playlist is stopped, or when an “Announcement” item is encountered in the playlist. You can still manually activate the microphone when needed.
Microphones are generally mono, meaning that they only have one channel of sound. However, the basic music stream contains stereo data, so it is sometimes decided by DJs and their guests to each have a location in the stereo area. As long as this is subtly done, it can have a very good effect on the listener. However, one thing to avoid is putting one person in one channel, and one in the other, as this can be severely distracting to someone wearing earphones.
To enable the stereo positioning adjustment, check the box and move the slider slightly; it should never go more than a third of the way to any one end. The tiny button at the bottom is the “center” control; it resets the panner to return the sound back to center.
The first option, “Boost/Gain (dB)”, adjusts the volume level of the microphone accordingly. This can be useful when the pre-amplification is not enough.
The second option, “Invert Signal,” requires a little explanation. In the audio conversion article, I explained that audio is simply the expansion and compression of air within the radius of the sound source. Whether a specific location in the air is expanded or compressed is determined by the phase of the waveform. If two waves meet at the same location in opposite phases (one is expanded, while the other is compressed), they cancel each other out, causing the sound to be muddy in that area. This effect also applies to audio in a mix; when mixing one signal at the peak of its wave, to another at the valley, for example, the sounds can cancel each other out.
In order to compensate this, the “Invert Signal” option is implemented. If one of the microphones is canceling the other one out, then enabling this in one of the microphones will cause the waveform to invert, causing the software to treat peaks as valleys, and vice versa. This causes the two signals to share the phase, eliminating the effect altogether.
Finally, “In the DJ’s Mix” means that any adjustments made here will not only be heard by the audience, but also by the DJs in their headsets.
Full Signal Processing
Just like the simple processing, the Open/Unmute and Stereo Panning sections are here, and they operate in the exact same way.
The following filters are pretty simplistic; I would recommend not using these unless no other options are available, and instead opening a LADSPA or LV2 host with their more-flexible filtering plugins instead. Note that the filters following the noise gate
High Pass Filter
The high pass filter is a frequency filter; what this does is allow frequencies higher than a certain level to be heard, while blocking what’s underneath. What this means is that any sound deeper than the “Cutoff frequency” is not heard at all. This option is useful when your microphone is one that makes use of an internal sound device that can produce a deep humming noise; by silencing the low frequencies, the humming will be gone, leaving your voice clean and clear. However, keep in mind that this will also silence parts of your voice that are deeper than this frequency; this can cause them to sound a little thin, especially in the case of a deeper male voice.
The high frequency detail filter can boost the volume of this high frequency portions of the voice. This high frequencies are where the sibilants (“s” and “sh”) and plosives (“p”, “t”, “d”, “b”, etc.) live; strengthening this helps the sounds to become clearer. Too much of this can overpower the rest of the voice, however, and it should not be used as an alternative for proper enunciation.
This option can strengthen the deeper parts of the voice. This is very useful in cheaper microphones with smaller diaphragms, since they don’t pick up the low frequencies as well, which can give a voice the warm, full-bodied sound you’d expect from a radio announcer or show host. Boost this too high, however, and you risk making the voice difficult to understand, as the higher frequencies actually provide the details to differentiate sounds.
The effects of both HF Detail and LF Detail can be duplicated with equalization; as they simply boost specific areas in the frequency spectrum.
Dynamic range compression reduces the difference between the quietest part of a sound and the loudest; it does that by taking the input audio, and after a certain volume, dividing the volume increase by a specific ratio (for every two decibels, for example, increase the volume by only one decibel). The “limit” is the volume level where you want the change to start applying, and the “Boost/Gain (dB)” determines by how many decibels the volume is adjusted.
Background noise is a fact of recording. No matter how much you may wish otherwise, things happen in the world all the time, and unless you’re in an airtight room, sound is going to reach you. There are ways to filter it out, and doing so before it ever reaches the microphone is the best way to ensure it doesn’t pollute your recordings, but there may just be a little sound from the computer hosting your microphone (unless you are in an isolation booth with someone else manning the controls).
The noise gate is a tool that can mitigate the effects of noise. The idea is that noise, if properly managed before reaching the microphone, can only be heard when nothing else is being heard at the same time. This means that if you were to drop the volume once nobody’s talking, then the noise becomes a complete non-issue, as it won’t be heard over the words, and it won’t be heard between the words. However, this isn’t always the case, and if the noise not properly managed before reaching the mic, the use of the gate becomes glaringly obvious.
Once you have managed noise in the environment as best you can, you can set this gate using the two values associated: The threshold determines the “noise floor;” all sound above this volume is considered audio, while any sound below this threshold is considered noise. When the sound is below the threshold, the gain is applied; this will further reduce the volume by the gain’s amount. This will make the quiet parts quieter, while leaving the actual audio at the same volume level.
Of all voice effects, sibilants (the “S” sound) can have the sharpest effect on many microphones, especially condenser, due to their extremely high frequencies and sudden occurrence. For this reason the “De-esser” filter was designed to reduce the force behind the sibilant. It also can dull the sounds of typing and clicking when used while recording. All in all, a pretty good tool to have.
The De-esser has two values to them. First is the bias, a value to determine just how wide a spectrum the program will check for the “s” frequencies. The smaller the number, the more exacting it is. The wider the number, the more permissive the filter, but the more sounds it will deem as filterable. The second value is the gain to adjust the “s” frequency spectrum by.
Ducking is a process used in audio production where one signal is softened when another one is entered into the mix. This is commonly associated with radio, streams, and podcasts where the opening music quiets down as the host begins to speak, and then strengthens once they stop speaking.
The ducker used by the IDJC will automatically reduce the volume when the DJ begins to speak. The volume is then kept down for a specified amount of milliseconds, indicated by the “Hold” value, and then gradually returned to its full volume over the period of milliseconds identified by the “Release” value.
You will notice a checkbox next to the Ducker control. This is because some DJs don’t like the immediate volume-drop when they talk, and they would rather have the drop happen more gradually. In this case, they can turn off the ducker and manually duck by adjusting the playlist volume before they speak.
You will probably recognize “Invert Signal” and “In the DJ’s Mix” entries in this final box, but what about this phase rotator? A phase rotator alters the phase (compression/expansion) on a regular basis, resulting in a cleaner, more clear sound, since the phase changes on a regular basis; the frequency at which the phase alters means that what might have been canceled one moment would be strengthened the next. The net effect is that the voice sounds more even; this is especially the case of male voices, since their voices tend to reside in the lower frequencies, where changes are more noticeable.
Partnered with Another Microphone
A new option has appeared with newer versions of IDJC that includes the ability to partner multiple microphones together to treat the final result as a multichannel signal. In this way, you can arrange two microphones in different locations to produce a stereo signal to be sent to the stream.
None of the options available here are new, although there are some things you will need to be aware of.
First, to get the full effect of stereo microphones, you will need to pan each to their intended side; the left microphone will be panned to the left, and the right microphone will be panned to the right. Otherwise, regardless of their positions, you will still be presented with a centralized audio signal, as they both will be channeled to both speakers equally.
In the case you’re using two different types of microphones or simply two microphones with different response patterns, you can adjust the relative gain on the additional microphones to make sure everything has a balanced gain. Additionally, you may want to invert the signal if the two microphones are out of phase, to make sure the heard sound is as clean as possible.
At the bottom of the microphone options tab, this contains one option. The headroom is a minor form of ducking; when the microphones are turned on, the main player will soften by the option’s decibel amount; if you want to use the microphone buttons to indicate ducking, this is the option you’d use to make the adjustment as to how soft the music will be.
You can set up a website to track the stream, in order to announce new tracks, but for some people, that’s just not geeky enough. In fact, that is so mainstream that I’m surprised the indie artists even do it.
No, to really be in with the geek set, you need to use chat. And not, AIM, MSN, or Facebook chat. No, Internet Relay Chat. IRC. And in Linux, one of the more popular IRC chat clients is XChat. With this tab, you can actually connect the IDJC program to XChat, and when the track changes, it will announce the track change to the channel.
Besides the option to enable it, the track announcer also has a latency value. Transmitted audio takes a few seconds to be heard on the stream, this allows you to time the transmission of the new track announcement with the start of the track itself. Aside from those options, there is the nickname for the announcer, the channels the announcer connects to, and the message the announcer sends to those channels. Remember to include “%s” somewhere in the message; this will be replaced by IDJC with the current track.
The IRC Message Timer is almost identical to the announcer, except that, instead of making a notification at the beginning of each song, it will, instead, send the message to the chat room on a regular basis, separated by the number of seconds identified in the “interval” option.
The first four input jacks are for microphones. These don’t have to be plugged directly into microphones, either; you can first connect the microphone to a filter host, and then pass the host’s output out to this program for much higher-quality filtering than IDJC can provide for itself.
The next two jacks are for an auxiliary connection. It could be a chat program, like TeamSpeak or Mumble (you may need to prepare the Jack Bridges, first), a DJ mixing application like Mixxx, or any other Jack-capable program that can output audio. To get even more meta, you could even connect it to a second IDJC program. Of course, in that case, you need to make sure they each use a different profile; only one instance of a profile can be run at once.
The MIDI control input is probably the best part of this program; this allows you to connect control surfaces to be used with the IDJC, so that instead of using a mouse to do any adjustments or controls, you can use knobs, buttons, switches, or levers on an actual physical control surface.
The next two allows you to connect your headphones to the IDJC; this is the main way the DJ can listen to the stream, or work on the next playlist as the first one is currently playing, or even to talk to a caller while the music is still playing.
The next two connections are the stream connections; this is where the ultimate stream will be output. By default it will then be connected to the stream connector, which sends the stream to the shoutcast and icecast servers. Alternately, this can be linked to a different program in order to be broadcast in other ways, including a radio encoder, video streamer, or other forms of broadcasting technology, today, or in the future (as new broadcasting technologies are made available for Jack, all Jack-based technologies are instantly capable of the technologies).
Finally, we have two DSP outputs and two DSP inputs. These allow you to apply cleanup and mastering processes to the stream before it is output to the broadcast; by default, these will send the stream through Jamin, an excellent mastering program that I have recently made an article explaining. Keep in mind, however, that the only way to use the DSP cleanup is by checking the box at the top; otherwise, the DSP will be skipped.
Using a mouse is probably the most unproductive way of using anything; for every click, time is wasted moving the pointer to the desired button. As such, bindings (known in the Windows world as “Keyboard Shortcuts) can be set for every single feature in the program. And by “every,” I don’t just mean everything in this list; new controls can be added as you go.
The defaults can allow for a good, flexible system. Until you’re ready to start making changes, it’s probably a good idea to get the hang of the default interface.
In the first column, you can see the source of the control. The control has one of four symbols, a key for a keyboard binding, a musical note for a midi note (if you plan to use a MIDI keyboard to control the program), a wheel for a MIDI pitch wheel control, and a slider for a midi control. Next to the symbol, you will see the information, whether it is the MIDI note, MIDI control code, or the keyboard letter.
The second column is the action name. This is associated with an action caused by a button, slider, or other interactions with the main program. If the command associates a number to something (say a volume level or position in a slider, that number will be shown in parentheses in this column.
Finally, the third column is the target; some commands make a change to one of the subsystems in the program, such as one of the playlists, one of the microphones, one of the streams, etc. In this case, the same command can be made for multiple targets, such as the above F-keys that launch one of 12 pre-made jingles at will.
The three buttons at the bottom will allow you to create brand new bindings, delete existing bindings, or change the highlighted binding. Alternatively, if you want to change a binding, you can just double-click on the entry you wish to change.
Adding or Changing Bindings
If you don’t like how these bindings work for you, they can be easily changed from the control binding editor window. This window contains two columns itself, one is the input description, and the second is the command description. Unlike the main preferences window, however, the settings here do not change until you click “OK,” so you don’t need to worry about messing up an existing binding.
The first control under input is the most important control; you click this, and then press a button, turn a knob, adjust a slider… whatever you wish to control the command on the right. At that point, the source, channel, and control will all be changed to reflect the control you set.
If you wish to manually set the control, however, you can add the information to the input side. The source brings up a menu to determine if the input is a MIDI or keyboard command; the MIDI controls will be split based on what you’re using. Control surfaces will have the MIDI control, while MIDI keyboards and drum machines will have the MIDI note and pitch-wheel.
The “Shifting” box identified what, if any, key you would need to press and hold while pressing another key. Common shifting keys are Shift (shown as “⇑”), Ctrl (shown as “^”), Alt (Shown as “†”), and the Windows Logo key (shown as “⌘”). Other key items appear, but since I only have the above, I couldn’t really find associations. The easiest way to adjust this without the Listen button above is to use the triangle buttons to the right of the box.
The “Key” box would be the non-shift key you would use such as letters, numbers, and symbols. The escape and menu keys are considered by the program to be keys.
MIDI Control Bindings
The MIDI control has two different entries for values. The channel is the MIDI channel of the device (the MIDI standard has support for 16), while the control number is the actual number of the control used. If in doubt, check with the equipment documentation to determine which controls apply to which control numbers.
MIDI Note Bindings
When using a musical MIDI device to control the software, such as a keyboard or drum machine, this is the source you will need to use. As before, the Channel is one of the 16 available channels; if this is being used in combination with another device, then the keyboard or drum machine may have a different channel number from the other. The note value is in musical notation, which is similar to the above “Shifting” option in that it’s easiest selected using the small triangles to the right.
MIDI Pitch-Wheel Bindings
Unlike the other options, the MIDI pitch-wheel option only has a channel; the control entry will be grayed out. This is because keyboards will only have one pitch wheel (usually the mod wheel that comes on some keyboards is considered a MIDI control, which is defined above).
Now that you have selected the appropriate binding for your new action, you need to determine the actual behavior that will occur when that binding is adjusted or pressed. The action settings to the right will determine what will happen. Only the first option will remain the same; the rest of the options change depending on which command you have selected.
In order to select the command, you click the box, and then put the mouse over the category of commands available. In the example, the “Both Players” category is selected, and they show the different options, including main window controls and even the preference options from other tabs, that has to do with options affecting both playlists at once.
To go through all the different options would expand this article much futher than it already is, and is pretty pointless, as we have already covered every single one of them over the course of these two articles. However, keep in mind that each action has an appropriate group of options you can select from in order to set it correctly. A little experimentation can yield excellent results.
The last tab with options on it is the one for event preferences. Events are simply shell commands to launch other programs when certain events occur. The IDJC has six events in three categories that can launch other programs.
The first two events are starting and stopping IDJC itself. This can be useful for also launching Jamin upon startup (with the command “jamin &“), thereby ensuring that the links for the mastering software will be firmly in place for the stream to scrub the audio before sending. After closing IDJC, it can also issue a command to close jamin as well (“killall jamin“).
The second and third pair of events are for times when a microphone or the auxiliary is activated and deactivated; a command can be given when it’s opened, or when it’s closed. This can be useful in situations where a sound card can only have one audio input active at a time (mic or line in); the command can launch the appropriate mixer commands to assign the capture source to microphone or line in, thereby allowing the management of both. In this case, it is best to make sure that the Mic and Aux buttons are mutually exclusive.
Well, there you are, every option in all the different tabs of the Internet DJ Console. Hopefully, you can take all this information I gathered together, and go out to make an excellent stream, podcast, or show, and show those SAM users that we can probably give them a run for their money!
My thanks goes to all those developers for their hard work in making such an excellent streaming source program, and I wish them many years of happiness and sunshine… well maybe not all sunshine… even that gets boring after the first few years.
As always, have fun, and make something good!
Update: Added information on the new “Partnered with…” option in the Microphone settings.