This document provides instructions for configuring the sound setup in VirtualDJ for different hardware configurations. It begins with basic setups like using headphones with a single output or an external mixer. It then covers more advanced configurations like using multiple sound cards, ASIO drivers, or the built-in options for PRO versions. The document explains output and input routing options for different sound cards and how to assign deck audio, microphones, and other sources across the available channels. It provides screenshots to illustrate the steps for various common configurations to help users set up VirtualDJ for their specific needs and hardware.
This document provides instructions for configuring the sound setup in VirtualDJ for different hardware configurations. It begins with basic setups like using headphones with a single output or an external mixer. It then covers more advanced configurations like using multiple sound cards, ASIO drivers, or the built-in options for PRO versions. The document explains output and input routing options for different sound cards and how to assign deck audio, microphones, and other sources across the available channels. It provides screenshots to illustrate the steps for various common configurations to help users set up VirtualDJ for their specific needs and hardware.
This document provides an overview of the key interfaces and controls in VirtualDJ software. It describes the main zones of the interface including the browser, decks, mixer, and other sections. It also explains the file system navigation and options for organizing music libraries, as well as features for searching, analyzing, and mixing tracks. The document is intended to help new users understand the basic layout and functionality of VirtualDJ.
Ancient Greece was home to the first Olympic games in 776 BC, where men competed in running, wrestling, boxing, and spear throwing. Famous ancient Greeks included philosopher Aristotle, military leader Alexander the Great, and author Homer. Greek culture was centered around worshipping gods like Zeus, and influential aspects of their civilization included theatrical plays, architectural styles like columns, and establishing democracy.
1. The document summarizes research conducted on the implementation of the Schoolwide Enrichment Model for Reading (SEM-R) in a high school basic reading course.
2. Quantitative data from standardized reading tests and motivation surveys showed no significant change in reading achievement but a significant increase in students' reported value of reading.
3. Qualitative data from student interviews indicated that the SEM-R approach engaging students with self-selected reading materials increased their enjoyment of and motivation to read.
The document discusses the introduction of new digital technologies like tablets and their potential impact on teaching and learning. It notes that the iPad and iBooks were introduced in 2010 and 2011, respectively, and since then multiple tablet devices have changed learning and teaching by expanding what counts as a text. There is early evidence that portable devices and apps can positively influence student engagement and learning by providing interactive, multimodal content. However, the document also questions whether features like interactivity and portability necessarily improve learning, and notes important considerations around digital content development and copyright. Overall, it presents both promises and critiques of new technologies in education.
Vocabulary and adolescent literacy for resaDonna Murray
This document discusses strategies for teaching vocabulary to middle and high school students. It begins with an introduction to literacy and outlines an agenda. It then describes a shared language activity and discusses misconceptions about vocabulary instruction. The remainder of the document focuses on evidence-based vocabulary instruction strategies, including Marzano's five-step process, word walls, pre-assessment strategies like brain dumps and knowledge ratings, and comprehension strategies such as QAR, inner/outer circles, and breaking problems down step-by-step.
The document profiles Chairman Mao Zedong and provides key biographical and historical information about him. It notes that he was born in 1893 in Shaoshan, China, led the Communist party to victory over the Nationalists in 1949, launched the Great Leap Forward economic plan in 1958, and started the Cultural Revolution in 1966. It also lists some personal details like his interests in swimming and poetry, as well as political influences and enemies.
This document provides instructions for configuring the sound setup in VirtualDJ for different hardware configurations. It begins with basic setups like using headphones with a single output or an external mixer. It then covers more advanced configurations like using multiple sound cards, ASIO drivers, or the built-in options for PRO versions. The document explains output and input routing options for different sound cards and how to assign deck audio, microphones, and other sources across the available channels. It provides screenshots to illustrate the steps for various common configurations to help users set up VirtualDJ for their specific needs and hardware.
This document provides an overview of the key interfaces and controls in VirtualDJ software. It describes the main zones of the interface including the browser, decks, mixer, and other sections. It also explains the file system navigation and options for organizing music libraries, as well as features for searching, analyzing, and mixing tracks. The document is intended to help new users understand the basic layout and functionality of VirtualDJ.
Ancient Greece was home to the first Olympic games in 776 BC, where men competed in running, wrestling, boxing, and spear throwing. Famous ancient Greeks included philosopher Aristotle, military leader Alexander the Great, and author Homer. Greek culture was centered around worshipping gods like Zeus, and influential aspects of their civilization included theatrical plays, architectural styles like columns, and establishing democracy.
1. The document summarizes research conducted on the implementation of the Schoolwide Enrichment Model for Reading (SEM-R) in a high school basic reading course.
2. Quantitative data from standardized reading tests and motivation surveys showed no significant change in reading achievement but a significant increase in students' reported value of reading.
3. Qualitative data from student interviews indicated that the SEM-R approach engaging students with self-selected reading materials increased their enjoyment of and motivation to read.
The document discusses the introduction of new digital technologies like tablets and their potential impact on teaching and learning. It notes that the iPad and iBooks were introduced in 2010 and 2011, respectively, and since then multiple tablet devices have changed learning and teaching by expanding what counts as a text. There is early evidence that portable devices and apps can positively influence student engagement and learning by providing interactive, multimodal content. However, the document also questions whether features like interactivity and portability necessarily improve learning, and notes important considerations around digital content development and copyright. Overall, it presents both promises and critiques of new technologies in education.
Vocabulary and adolescent literacy for resaDonna Murray
This document discusses strategies for teaching vocabulary to middle and high school students. It begins with an introduction to literacy and outlines an agenda. It then describes a shared language activity and discusses misconceptions about vocabulary instruction. The remainder of the document focuses on evidence-based vocabulary instruction strategies, including Marzano's five-step process, word walls, pre-assessment strategies like brain dumps and knowledge ratings, and comprehension strategies such as QAR, inner/outer circles, and breaking problems down step-by-step.
The document profiles Chairman Mao Zedong and provides key biographical and historical information about him. It notes that he was born in 1893 in Shaoshan, China, led the Communist party to victory over the Nationalists in 1949, launched the Great Leap Forward economic plan in 1958, and started the Cultural Revolution in 1966. It also lists some personal details like his interests in swimming and poetry, as well as political influences and enemies.
Digital Audio Tape (DAT) is a recording and playback medium developed by Sony in the 1980s that uses magnetic tape similar to audio cassettes. DAT supports lossless data compression and allows sampling at various rates up to 48 kHz and 16 bits. DAT tapes range in length from 15 to 180 minutes depending on the amount of data stored. DAT was used professionally for master recordings and in the computer industry for data backups but was never widely adopted for home use.
Integrating Technology - ILT Presentation March 2012Donna Murray
This document provides an overview of integrating technology into education through a presentation from March 2012. It highlights the vast potential for technology integration and discusses how to manage it effectively in the classroom. Resources are shared for finding ideas on curriculum integration as well as open educational resources. Websites for teachers, blogs, and formative assessment tools are also listed. The presentation encourages exploring these resources to bring technology into education.
5th Adolescent Literacy Conference June 2015scasassa
This document discusses ways to support adolescent literacy using technology. It describes how Google Drive allows for easy collaboration on writing through features like multiple drafts, peer editing, and sharing. Student blogs, digital portfolios, and online response letters are suggested as ways for students to publish writing. Examples are given of students who felt their writing improved through blogging. The document also outlines uses of technology like Google Classroom and Google Keep for homework, lessons, and communication between teachers, students, and parents. Various assessment and data tracking tools are listed. Finally, engaging projects that incorporate writing, speaking, and technology like book trailers and interactive timelines are presented.
This document discusses introducing graphic novel composition to students. It provides a definition of graphic novels and their key characteristics. The document outlines teaching students to analyze images, link images to prose, and compose their own graphic novels. Students would learn literary devices and practice identifying them in graphic novels. They would then create an original graphic novel applying the literary devices and include a written summary. The document provides example student work and questions for participants.
A sound system reinforces sound produced by instruments or voices. It often includes a mixing board, amplifier, and speakers. The mixing board is the heart of the sound system, where sound signals are mixed and sent to the amplifier. The amplifier then sends the sound to the speakers. The mixing board allows the user to change various properties of the sound like volume, frequency, pitch, and mix or combine multiple sounds. Each channel strip on the mixing board includes knobs or faders to adjust properties like gain, pan, EQ, mute, and solo for the corresponding sound channel.
Vestergaard & Mortensen: The Media MixerNODEM2 2010
This document discusses the concept of a "Media Mixer" museum that aims to engage younger audiences and encourage participation in "read-write" culture through hands-on experiences with media production and remixing. It proposes several interactive studio spaces in the museum, including a green screen studio, sound booth, and editing station. The goals are to provide insights into media production processes and inspire visitors to actively engage with and transform digital content. Challenges discussed include copyright issues and gaining organizational buy-in for this new approach. Strategies proposed to address challenges include careful planning, iterative design, and outsourcing technical elements.
The outdoor recording took place outside a college library on a main road. The recording captured significant noise interference from passing cars and surrounding environmental sounds like wind. When speech was recorded, it sounded muffled and tangled with nearby car noises due to the microphone not being held steadily in an optimal position. Future outdoor recordings would benefit from a quieter location away from traffic, better microphone placement and wind protection, as well as limiting other sounds during recording to improve audio quality and clarity.
Introduction to music production the basics of audiosaij07
This document introduces the basics of audio, including propagation, amplitude, frequency, and timbre. Propagation refers to how sound moves through a medium like air. Amplitude determines loudness and is measured in decibels. Frequency affects pitch and is measured in Hertz. Timbre is the unique combination of frequencies that makes a sound identifiable. Understanding these core audio concepts is essential for music production.
Production sound is an essential element of filmmaking that provides more employment opportunities and a higher position in the crew hierarchy than other jobs like camera, editing, or production assistant. Learning production sound helps directors understand crew capabilities to effectively communicate priorities and evaluate audio quality, and it helps those in the film industry understand sound crew roles to work as a successful team.
This document discusses text complexity and strategies for helping students access complex texts. It begins with a definition of a staircase of increasing text complexity from early grades to college. It then examines quantitative and qualitative factors in measuring text complexity and lists former and current recommended Lexile ranges by grade band. The rest of the document provides guidance on building students' ability to comprehend complex texts through close reading, using text-dependent questions, and engaging in collaborative discussions about texts.
The document discusses the key components of a basic sound system, including mixers, powered vs. unpowered mixers, channel strips, gain, pan, EQ, monitors, and mains. It explains that mixers are the central device that combines and adjusts audio signals, and there are two main types - powered mixers with built-in amplifiers and unpowered mixers without. It also provides an overview of the functions of channel strips, gain, pan, and EQ in adjusting individual channel levels and frequencies.
This document provides instructions for setting up audio and visual equipment for a presentation. It includes steps to check microphones and speakers, connect a computer to external speakers via a mixer, troubleshoot any issues, set up a Google Hangouts call for remote participants, and display the presentation on a projector screen. The process takes 20-30 minutes and involves testing equipment functionality at each stage.
1) Portable digital music players emerged in the late 1990s and early 2000s as technology advanced to allow music to be compressed and stored digitally.
2) The iPod, released in 2001, revolutionized the industry with its large storage capacity and integration with the iTunes store, making purchasing and listening to digital music much more user-friendly.
3) Digital technologies disrupted how people accessed and listened to music, moving it from physical formats like CDs to online stores and digital files that could be played on portable devices.
The document outlines six priorities for a production mixer when recording audio on set: 1) Getting usable dialogue is the top priority. 2) Maintaining proper audio perspective to match the camera viewpoint. 3) Syncing sound effects without compromising dialogue. 4) Recording wild lines and off-camera dialogue for coverage. 5) Capturing wild sound effects not available in libraries. 6) Recording ambiance and room tone to patch holes in the edited soundtrack.
Foley artists recreate everyday sound effects to enhance films, such as clothes rustling, doors shutting, and footsteps. They record these sounds either on location or select them from a library, and sound editors layer and alter them to match the visuals. Jack Foley pioneered the technique of Foley by projecting films and rerecording synchronized sounds using props, which saved the production of Spartacus from expensive reshoots when the location audio was unusable.
PDA\'s Resource Guide represents a comprehensive catalogue of lighting, audio, video, staging, sets and special effects products for event productions to include corporate meetings, weddings, concerts, nonprofit events and more.
Introduction to Music Production- Audio Basics- CourseraAspa Papadimitriou
Sound is a form of energy that propagates as pressure waves through a medium such as air. It has key properties including propagation, amplitude, frequency, and timbre. Propagation refers to how sound moves through a medium at different speeds depending on factors like temperature. Amplitude is the extent of the sound wave and is measured in decibels, relating to loudness. Frequency is how quickly the sound vibrates and is measured in Hertz, relating to pitch. Timbre is the combination of frequencies that make up an instrument's unique sound. Understanding these properties is essential for music production.
Audio Basics: Propagation, Amplitude, Frequency and TimbreLuth Oliveira
Luth Oliveira introduces the basic audio properties of propagation, amplitude, frequency, and timbre. Propagation refers to how sound travels through a medium like air or water. Amplitude represents the maximum displacement of a sound wave and is measured in decibels, with higher amplitudes relating to louder volumes. Frequency is the number of cycles per unit of time and is measured in Hertz. Timbre distinguishes different musical instrument sounds and refers to the unique tone color of each.
This document provides instructions for configuring the sound setup in VirtualDJ. It begins with an introduction to the sound configuration options and default simple configuration. It then describes the basic quick configuration options for headphones, external mixers, and microphones. This includes configurations using a single sound card, dual sound cards, 4.1 surround sound cards, and ASIO/Core Audio drivers. The document also defines the various configuration elements like inputs, outputs, and sound cards. It provides screenshots of example configurations and connection diagrams. Finally, it mentions advanced configuration options for timecode, rewire, and calibration.
The document discusses various configuration options for routing audio in and out of VirtualDJ software. It provides instructions for basic setups using a single sound card or headphones, as well as more advanced configurations for using external mixers, multiple sound cards, or surround sound cards. The options covered include routing the master output and headphones to different channels, or routing the left and right decks to separate outputs to connect to a mixer. Instructions are included for both PC and Mac versions.
Digital Audio Tape (DAT) is a recording and playback medium developed by Sony in the 1980s that uses magnetic tape similar to audio cassettes. DAT supports lossless data compression and allows sampling at various rates up to 48 kHz and 16 bits. DAT tapes range in length from 15 to 180 minutes depending on the amount of data stored. DAT was used professionally for master recordings and in the computer industry for data backups but was never widely adopted for home use.
Integrating Technology - ILT Presentation March 2012Donna Murray
This document provides an overview of integrating technology into education through a presentation from March 2012. It highlights the vast potential for technology integration and discusses how to manage it effectively in the classroom. Resources are shared for finding ideas on curriculum integration as well as open educational resources. Websites for teachers, blogs, and formative assessment tools are also listed. The presentation encourages exploring these resources to bring technology into education.
5th Adolescent Literacy Conference June 2015scasassa
This document discusses ways to support adolescent literacy using technology. It describes how Google Drive allows for easy collaboration on writing through features like multiple drafts, peer editing, and sharing. Student blogs, digital portfolios, and online response letters are suggested as ways for students to publish writing. Examples are given of students who felt their writing improved through blogging. The document also outlines uses of technology like Google Classroom and Google Keep for homework, lessons, and communication between teachers, students, and parents. Various assessment and data tracking tools are listed. Finally, engaging projects that incorporate writing, speaking, and technology like book trailers and interactive timelines are presented.
This document discusses introducing graphic novel composition to students. It provides a definition of graphic novels and their key characteristics. The document outlines teaching students to analyze images, link images to prose, and compose their own graphic novels. Students would learn literary devices and practice identifying them in graphic novels. They would then create an original graphic novel applying the literary devices and include a written summary. The document provides example student work and questions for participants.
A sound system reinforces sound produced by instruments or voices. It often includes a mixing board, amplifier, and speakers. The mixing board is the heart of the sound system, where sound signals are mixed and sent to the amplifier. The amplifier then sends the sound to the speakers. The mixing board allows the user to change various properties of the sound like volume, frequency, pitch, and mix or combine multiple sounds. Each channel strip on the mixing board includes knobs or faders to adjust properties like gain, pan, EQ, mute, and solo for the corresponding sound channel.
Vestergaard & Mortensen: The Media MixerNODEM2 2010
This document discusses the concept of a "Media Mixer" museum that aims to engage younger audiences and encourage participation in "read-write" culture through hands-on experiences with media production and remixing. It proposes several interactive studio spaces in the museum, including a green screen studio, sound booth, and editing station. The goals are to provide insights into media production processes and inspire visitors to actively engage with and transform digital content. Challenges discussed include copyright issues and gaining organizational buy-in for this new approach. Strategies proposed to address challenges include careful planning, iterative design, and outsourcing technical elements.
The outdoor recording took place outside a college library on a main road. The recording captured significant noise interference from passing cars and surrounding environmental sounds like wind. When speech was recorded, it sounded muffled and tangled with nearby car noises due to the microphone not being held steadily in an optimal position. Future outdoor recordings would benefit from a quieter location away from traffic, better microphone placement and wind protection, as well as limiting other sounds during recording to improve audio quality and clarity.
Introduction to music production the basics of audiosaij07
This document introduces the basics of audio, including propagation, amplitude, frequency, and timbre. Propagation refers to how sound moves through a medium like air. Amplitude determines loudness and is measured in decibels. Frequency affects pitch and is measured in Hertz. Timbre is the unique combination of frequencies that makes a sound identifiable. Understanding these core audio concepts is essential for music production.
Production sound is an essential element of filmmaking that provides more employment opportunities and a higher position in the crew hierarchy than other jobs like camera, editing, or production assistant. Learning production sound helps directors understand crew capabilities to effectively communicate priorities and evaluate audio quality, and it helps those in the film industry understand sound crew roles to work as a successful team.
This document discusses text complexity and strategies for helping students access complex texts. It begins with a definition of a staircase of increasing text complexity from early grades to college. It then examines quantitative and qualitative factors in measuring text complexity and lists former and current recommended Lexile ranges by grade band. The rest of the document provides guidance on building students' ability to comprehend complex texts through close reading, using text-dependent questions, and engaging in collaborative discussions about texts.
The document discusses the key components of a basic sound system, including mixers, powered vs. unpowered mixers, channel strips, gain, pan, EQ, monitors, and mains. It explains that mixers are the central device that combines and adjusts audio signals, and there are two main types - powered mixers with built-in amplifiers and unpowered mixers without. It also provides an overview of the functions of channel strips, gain, pan, and EQ in adjusting individual channel levels and frequencies.
This document provides instructions for setting up audio and visual equipment for a presentation. It includes steps to check microphones and speakers, connect a computer to external speakers via a mixer, troubleshoot any issues, set up a Google Hangouts call for remote participants, and display the presentation on a projector screen. The process takes 20-30 minutes and involves testing equipment functionality at each stage.
1) Portable digital music players emerged in the late 1990s and early 2000s as technology advanced to allow music to be compressed and stored digitally.
2) The iPod, released in 2001, revolutionized the industry with its large storage capacity and integration with the iTunes store, making purchasing and listening to digital music much more user-friendly.
3) Digital technologies disrupted how people accessed and listened to music, moving it from physical formats like CDs to online stores and digital files that could be played on portable devices.
The document outlines six priorities for a production mixer when recording audio on set: 1) Getting usable dialogue is the top priority. 2) Maintaining proper audio perspective to match the camera viewpoint. 3) Syncing sound effects without compromising dialogue. 4) Recording wild lines and off-camera dialogue for coverage. 5) Capturing wild sound effects not available in libraries. 6) Recording ambiance and room tone to patch holes in the edited soundtrack.
Foley artists recreate everyday sound effects to enhance films, such as clothes rustling, doors shutting, and footsteps. They record these sounds either on location or select them from a library, and sound editors layer and alter them to match the visuals. Jack Foley pioneered the technique of Foley by projecting films and rerecording synchronized sounds using props, which saved the production of Spartacus from expensive reshoots when the location audio was unusable.
PDA\'s Resource Guide represents a comprehensive catalogue of lighting, audio, video, staging, sets and special effects products for event productions to include corporate meetings, weddings, concerts, nonprofit events and more.
Introduction to Music Production- Audio Basics- CourseraAspa Papadimitriou
Sound is a form of energy that propagates as pressure waves through a medium such as air. It has key properties including propagation, amplitude, frequency, and timbre. Propagation refers to how sound moves through a medium at different speeds depending on factors like temperature. Amplitude is the extent of the sound wave and is measured in decibels, relating to loudness. Frequency is how quickly the sound vibrates and is measured in Hertz, relating to pitch. Timbre is the combination of frequencies that make up an instrument's unique sound. Understanding these properties is essential for music production.
Audio Basics: Propagation, Amplitude, Frequency and TimbreLuth Oliveira
Luth Oliveira introduces the basic audio properties of propagation, amplitude, frequency, and timbre. Propagation refers to how sound travels through a medium like air or water. Amplitude represents the maximum displacement of a sound wave and is measured in decibels, with higher amplitudes relating to louder volumes. Frequency is the number of cycles per unit of time and is measured in Hertz. Timbre distinguishes different musical instrument sounds and refers to the unique tone color of each.
This document provides instructions for configuring the sound setup in VirtualDJ. It begins with an introduction to the sound configuration options and default simple configuration. It then describes the basic quick configuration options for headphones, external mixers, and microphones. This includes configurations using a single sound card, dual sound cards, 4.1 surround sound cards, and ASIO/Core Audio drivers. The document also defines the various configuration elements like inputs, outputs, and sound cards. It provides screenshots of example configurations and connection diagrams. Finally, it mentions advanced configuration options for timecode, rewire, and calibration.
The document discusses various configuration options for routing audio in and out of VirtualDJ software. It provides instructions for basic setups using a single sound card or headphones, as well as more advanced configurations for using external mixers, multiple sound cards, or surround sound cards. The options covered include routing the master output and headphones to different channels, or routing the left and right decks to separate outputs to connect to a mixer. Instructions are included for both PC and Mac versions.
This document provides instructions for configuring the sound setup in VirtualDJ for different hardware configurations. It describes quick configuration options for using headphones, an external mixer, or a microphone with the built-in sound card or an additional sound card. It also explains the advanced configuration option, which allows routing different elements like decks, outputs, and inputs across multiple sound cards. The advanced configuration section provides an example of routing a 6 deck skin across two sound cards to use microphone inputs on one card and a timecode input on the other.
The document discusses various configuration options for routing audio in and out of VirtualDJ software. It provides instructions for basic setups using a computer's internal sound card or external audio interfaces. These include routing the master output to speakers and a separate headphone output, or routing each virtual deck to separate outputs for an external DJ mixer. The document also covers advanced configuration options for PRO versions of VirtualDJ, including support for timecode, multiple sound cards, and external hardware controllers.
This document provides instructions for configuring different sound setups in VirtualDJ, including basic and advanced configurations. It begins with an introduction to the sound setup options in VirtualDJ and the default simple configuration. It then describes basic configuration options for headphones using different types of sound cards like mono-separated, 2-cards, 4.1 surround sound, ASIO, and Core Audio. Instructions are also provided for configuring external mixers using similar sound card options. The document outlines other advanced configuration, timecode, and legal information sections.
This document provides instructions for configuring different sound setups in VirtualDJ, including basic and advanced configurations. It begins with an introduction to the sound setup options in VirtualDJ and the default simple configuration. It then describes basic configuration options for headphones using different types of sound cards like mono-separated, 2-cards, 4.1 surround sound, ASIO, and Core Audio. Instructions are also provided for configuring external mixers using similar sound card options. The document outlines other advanced configuration, timecode, and legal information sections.
This document provides instructions for configuring VirtualDJ's sound setup for different hardware configurations. It begins with an introduction and overview of the sound configuration options. It then details several "Basic (Quick) Configurations" for headphones, external mixers, microphones, and line inputs. Next, it covers "Advanced Configurations" which allow for more complex routing options. It concludes with brief sections on timecode configuration, sound configuration error messages, and legal information. The document is intended to help users understand VirtualDJ's sound setup features and select the appropriate configuration for their specific hardware.
This document provides instructions for configuring VirtualDJ's sound setup for different hardware configurations. It begins with an introduction and overview of the sound configuration options. It then details several "Basic (Quick) Configurations" for headphones, external mixers, microphones, and line inputs. Next, it covers "Advanced Configurations" which allow for more complex routing options. It concludes with brief sections on timecode configuration, sound configuration error messages, and legal information. The document is intended to help users understand VirtualDJ's sound setup features and select the appropriate configuration for their specific hardware.
This document provides instructions for configuring VirtualDJ's sound setup for different hardware configurations. It begins with an introduction and overview of the sound configuration options. It then covers basic "quick" configurations for headphones, external mixers, microphones, and line inputs. Advanced configuration options are explained as well as settings for timecode, legal information, and troubleshooting error messages. The document provides detailed steps and screenshots to clearly illustrate the different configuration options in VirtualDJ.
This document provides instructions for configuring VirtualDJ's sound setup for different hardware configurations. It begins with an introduction and overview of the sound configuration options. It then details several "Basic (Quick) Configurations" for headphones, external mixers, microphones, and line inputs. Next, it covers "Advanced Configurations" which allow for more complex routing options. It concludes with brief sections on timecode configuration, sound configuration error messages, and legal information. The document is intended to help users understand VirtualDJ's sound setup features and select the appropriate configuration for their specific hardware.
This document provides instructions for configuring different sound setups in VirtualDJ, including basic and advanced configurations. It begins with an introduction to the sound setup options in VirtualDJ and the default simple configuration. It then describes basic configuration options for headphones using different types of sound cards like mono-separated, 2-cards, 4.1 surround sound, ASIO, and Core Audio. Instructions are also provided for configuring external mixers using similar sound card options. The document outlines other advanced configuration, timecode, and legal information sections.
This document provides instructions for configuring VirtualDJ's sound setup for different hardware configurations. It begins with an introduction and overview of the sound configuration options. It then details several "Basic (Quick) Configurations" for headphones, external mixers, microphones, and line inputs. Next, it covers "Advanced Configurations" which allow for more complex routing options. It concludes with brief sections on timecode configuration, sound configuration error messages, and legal information. The document is intended to help users understand VirtualDJ's sound setup features and select the appropriate configuration for their specific hardware.
This document provides instructions for configuring VirtualDJ's sound setup for different hardware configurations. It begins with an introduction and overview of the sound configuration options. It then details several "Basic (Quick) Configurations" for headphones, external mixers, microphones, and line inputs. Next, it covers "Advanced Configurations" which allow for more complex routing options. It concludes with brief sections on timecode configuration, sound configuration error messages, and legal information. The document is intended to help users understand VirtualDJ's sound setup features and select the appropriate configuration for their specific hardware.
This document provides instructions for configuring VirtualDJ's sound setup for different hardware configurations. It begins with an introduction and overview of the sound configuration options. It then details several "Basic (Quick) Configurations" for headphones, external mixers, microphones, and line inputs. Next, it covers "Advanced Configurations" which allow for more complex routing options. It concludes with brief sections on timecode configuration, sound configuration error messages, and legal information. The document is intended to help users understand VirtualDJ's sound setup features and select the appropriate configuration for their specific hardware.
This document provides instructions for configuring VirtualDJ's sound setup for different hardware configurations. It begins with an introduction and overview of the sound configuration options. It then details several "Basic (Quick) Configurations" for headphones, external mixers, microphones, and line inputs. Next, it covers "Advanced Configurations" which allow for more complex routing options. It concludes with brief sections on timecode configuration, sound configuration error messages, and legal information. The document is intended to help users understand VirtualDJ's sound setup features and select the appropriate configuration for their specific hardware.
This document provides instructions for configuring VirtualDJ's sound setup for different hardware configurations. It begins with an introduction and overview of the sound configuration options. It then details several "Basic (Quick) Configurations" for headphones, external mixers, microphones, and line inputs. Next, it covers "Advanced Configurations" which allow for more complex routing options. It concludes with brief sections on timecode configuration, sound configuration error messages, and legal information. The document is intended to help users understand VirtualDJ's sound setup features and select the appropriate configuration for their specific hardware.
This document provides instructions for configuring VirtualDJ's sound setup for different hardware configurations. It begins with an introduction and overview of the sound configuration options. It then details several "Basic (Quick) Configurations" for headphones, external mixers, microphones, and line inputs. Next, it covers "Advanced Configurations" which allow for more complex routing options. It concludes with brief sections on timecode configuration, sound configuration error messages, and legal information. The document is intended to help users understand VirtualDJ's sound setup features and select the appropriate configuration for their specific hardware.
Pioneer DJs CDJ400 Disco Hire London PA Hire www.discohire.london Disco Hire London
Pioneer DJs CDJ400 Manuals from Disco Hire London DJ Hire PA Hire & Equipment Rental http://discohire.london #DiscoHireLondon #DiscoHire #DJHireLondon #DJHire #PAHire #SoundSytemHire #DJs #DJEquipment
This document provides specifications and overview information for the Music Computing ControlBLADE production station. It details the system specifications including processor, memory, storage and audio/MIDI connection options. It also provides instructions on powering up the unit and describes the basic hardware components. The included SonicSource synth is highlighted as providing over 8GB of sound presets for creative sound design and music production.
All in One Recorder, Mixer and Audio Interface - Anytime, Anywhere. The Roland R-88 establishes a new standard in professional portable recording by providing seamless integration of a recorder, mixer and a multi-channel audio interface. With eight discrete channels of audio recording plus a stereo mix, the R-88 is ideal for demanding multi-channel applications such as location sound design, event production, event videography, and live musical performance.
Sara Saffari: Turning Underweight into Fitness Success at 23get joys
Uncover the remarkable journey of Sara Saffari, whose transformation from underweight struggles to being recognized as a fitness icon at 23 underscores the importance of perseverance, discipline, and embracing a healthy lifestyle.
The Future of Independent Filmmaking Trends and Job OpportunitiesLetsFAME
The landscape of independent filmmaking is evolving at an unprecedented pace. Technological advancements, changing consumer preferences, and new distribution models are reshaping the industry, creating new opportunities and challenges for filmmakers and film industry jobs. This article explores the future of independent filmmaking, highlighting key trends and emerging job opportunities.
Odia New Web Series at your fingerprint.mikedanoffice
Stay ahead of the curve with the latest in Odia entertainment! Our Odia new web series promise an exciting blend of fresh narratives, talented performances, and engaging plots. Immerse yourself in the evolving world of Odia storytelling with our curated selection of cutting-edge web content. for more visit: https://aaonxt.com/series
Orpah Winfrey Dwayne Johnson: Titans of Influence and Inspirationgreendigital
Introduction
In the realm of entertainment, few names resonate as Orpah Winfrey Dwayne Johnson. Both figures have carved unique paths in the industry. achieving unparalleled success and becoming iconic symbols of perseverance, resilience, and inspiration. This article delves into the lives, careers. and enduring legacies of Orpah Winfrey Dwayne Johnson. exploring how their journeys intersect and what we can learn from their remarkable stories.
Follow us on: Pinterest
Early Life and Backgrounds
Orpah Winfrey: From Humble Beginnings to Media Mogul
Orpah Winfrey, often known as Oprah due to a misspelling on her birth certificate. was born on January 29, 1954, in Kosciusko, Mississippi. Raised in poverty by her grandmother, Winfrey's early life was marked by hardship and adversity. Despite these challenges. she demonstrated a keen intellect and an early talent for public speaking.
Winfrey's journey to success began with a scholarship to Tennessee State University. where she studied communication. Her first job in media was as a co-anchor for the local evening news in Nashville. This role paved the way for her eventual transition to talk show hosting. where she found her true calling.
Dwayne Johnson: From Wrestling Royalty to Hollywood Superstar
Dwayne Johnson, also known by his ring name "The Rock," was born on May 2, 1972, in Hayward, California. He comes from a family of professional wrestlers, with both his father, Rocky Johnson. and his grandfather, Peter Maivia, being notable figures in the wrestling world. Johnson's early life was spent moving between New Zealand and the United States. experiencing a variety of cultural influences.
Before entering the world of professional wrestling. Johnson had aspirations of becoming a professional football player. He played college football at the University of Miami. where he was part of a national championship team. But, injuries curtailed his football career, leading him to follow in his family's footsteps and enter the wrestling ring.
Career Milestones
Orpah Winfrey: The Queen of All Media
Winfrey's career breakthrough came in 1986 when she launched "The Oprah Winfrey Show." The show became a cultural phenomenon. drawing millions of viewers daily and earning many awards. Winfrey's empathetic and candid interviewing style resonated with audiences. helping her tackle diverse and often challenging topics.
Beyond her talk show, Winfrey expanded her empire to include the creation of Harpo Productions. a multimedia production company. She also launched "O, The Oprah Magazine" and OWN: Oprah Winfrey Network, further solidifying her status as a media mogul.
Dwayne Johnson: From The Ring to The Big Screen
Dwayne Johnson's wrestling career took off in the late 1990s. when he became one of the most charismatic and popular figures in WWE. His larger-than-life persona and catchphrases endeared him to fans. making him a household name. But, Johnson had ambitions beyond the wrestling ring.
In the early 20
From Teacher to OnlyFans: Brianna Coppage's Story at 28get joys
At 28, Brianna Coppage left her teaching career to become an OnlyFans content creator. This bold move into digital entrepreneurship allowed her to harness her creativity and build a new identity. Brianna's experience highlights the intersection of technology and personal branding in today's economy.
Top IPTV UK Providers of A Comprehensive Review.pdfXtreame HDTV
The television landscape in the UK has evolved significantly with the rise of Internet Protocol Television (IPTV). IPTV offers a modern alternative to traditional cable and satellite TV, allowing viewers to stream live TV, on-demand videos, and other multimedia content directly to their devices over the internet. This review provides an in-depth look at the top IPTV UK providers, their features, pricing, and what sets them apart.
Leonardo DiCaprio Super Bowl: Hollywood Meets America’s Favorite Gamegreendigital
Introduction
Leonardo DiCaprio is synonymous with Hollywood stardom and acclaimed performances. has a unique connection with one of America's most beloved sports events—the Super Bowl. The "Leonardo DiCaprio Super Bowl" phenomenon combines the worlds of cinema and sports. drawing attention from fans of both domains. This article delves into the multifaceted relationship between DiCaprio and the Super Bowl. exploring his appearances at the event, His involvement in Super Bowl advertisements. and his cultural impact that bridges the gap between these two massive entertainment industries.
Follow us on: Pinterest
Leonardo DiCaprio: The Hollywood Icon
Early Life and Career Beginnings
Leonardo Wilhelm DiCaprio was born in Los Angeles, California, on November 11, 1974. His journey to stardom began at a young age with roles in television commercials and educational programs. DiCaprio's breakthrough came with his portrayal of Luke Brower in the sitcom "Growing Pains" and later as Tobias Wolff in "This Boy's Life" (1993). where he starred alongside Robert De Niro.
Rise to Stardom
DiCaprio's career skyrocketed with his performance in "What's Eating Gilbert Grape" (1993). earning him his first Academy Award nomination. He continued to gain acclaim with roles in "Romeo + Juliet" (1996) and "Titanic" (1997). the latter of which cemented his status as a global superstar. Over the years, DiCaprio has showcased his versatility in films like "The Aviator" (2004). "Start" (2010), and "The Revenant" (2015), for which he finally won an Academy Award for Best Actor.
Environmental Activism
Beyond his film career, DiCaprio is also renowned for his environmental activism. He established the Leonardo DiCaprio Foundation in 1998, focusing on global conservation efforts. His commitment to ecological issues often intersects with his public appearances. including those related to the Super Bowl.
The Super Bowl: An American Institution
History and Significance
The Super Bowl is the National Football League (NFL) championship game. is one of the most-watched sporting events in the world. First played in 1967, the Super Bowl has evolved into a cultural phenomenon. featuring high-profile halftime shows, memorable advertisements, and significant media coverage. The event attracts a diverse audience, from avid sports fans to casual viewers. making it a prime platform for celebrities to appear.
Entertainment and Advertisements
The Super Bowl is not only about football but also about entertainment. The halftime show features performances by some of the biggest names in the music industry. while the commercials are often as anticipated as the game itself. Companies invest millions in Super Bowl ads. creating iconic and sometimes controversial commercials that capture public attention.
Leonardo DiCaprio's Super Bowl Appearances
A Celebrity Among the Fans
Leonardo DiCaprio's presence at the Super Bowl has noted several times. As a high-profile celebrity. DiCaprio attracts
The Unbelievable Tale of Dwayne Johnson Kidnapping: A Riveting Sagagreendigital
Introduction
The notion of Dwayne Johnson kidnapping seems straight out of a Hollywood thriller. Dwayne "The Rock" Johnson, known for his larger-than-life persona, immense popularity. and action-packed filmography, is the last person anyone would envision being a victim of kidnapping. Yet, the bizarre and riveting tale of such an incident, filled with twists and turns. has captured the imagination of many. In this article, we delve into the intricate details of this astonishing event. exploring every aspect, from the dramatic rescue operation to the aftermath and the lessons learned.
Follow us on: Pinterest
The Origins of the Dwayne Johnson Kidnapping Saga
Dwayne Johnson: A Brief Background
Before discussing the specifics of the kidnapping. it is crucial to understand who Dwayne Johnson is and why his kidnapping would be so significant. Born May 2, 1972, Dwayne Douglas Johnson is an American actor, producer, businessman. and former professional wrestler. Known by his ring name, "The Rock," he gained fame in the World Wrestling Federation (WWF, now WWE) before transitioning to a successful career in Hollywood.
Johnson's filmography includes blockbuster hits such as "The Fast and the Furious" series, "Jumanji," "Moana," and "San Andreas." His charismatic personality, impressive physique. and action-star status have made him a beloved figure worldwide. Thus, the news of his kidnapping would send shockwaves across the globe.
Setting the Scene: The Day of the Kidnapping
The incident of Dwayne Johnson's kidnapping began on an ordinary day. Johnson was filming his latest high-octane action film set to break box office records. The location was a remote yet scenic area. chosen for its rugged terrain and breathtaking vistas. perfect for the film's climactic scenes.
But, beneath the veneer of normalcy, a sinister plot was unfolding. Unbeknownst to Johnson and his team, a group of criminals had planned his abduction. hoping to leverage his celebrity status for a hefty ransom. The stage was set for an event that would soon dominate worldwide headlines and social media feeds.
The Abduction: Unfolding the Dwayne Johnson Kidnapping
The Moment of Capture
On the day of the kidnapping, everything seemed to be proceeding as usual on set. Johnson and his co-stars and crew were engrossed in shooting a particularly demanding scene. As the day wore on, the production team took a short break. providing the kidnappers with the perfect opportunity to strike.
The abduction was executed with military precision. A group of masked men, armed and organized, infiltrated the set. They created chaos, taking advantage of the confusion to isolate Johnson. Johnson was outnumbered and caught off guard despite his formidable strength and fighting skills. The kidnappers overpowered him, bundled him into a waiting vehicle. and sped away, leaving everyone on set in a state of shock and disbelief.
The Immediate Aftermath
The immediate aftermath of the Dwayne Johnson kidnappin
At Digidev, we are working to be the leader in interactive streaming platforms of choice by smart device users worldwide.
Our goal is to become the ultimate distribution service of entertainment content. The Digidev application will offer the next generation television highway for users to discover and engage in a variety of content. While also providing a fresh and
innovative approach towards advertainment with vast revenue opportunities. Designed and developed by Joe Q. Bretz
The Evolution of the Leonardo DiCaprio Haircut: A Journey Through Style and C...greendigital
Leonardo DiCaprio, a name synonymous with Hollywood stardom and acting excellence. has captivated audiences for decades with his talent and charisma. But, the Leonardo DiCaprio haircut is one aspect of his public persona that has garnered attention. From his early days as a teenage heartthrob to his current status as a seasoned actor and environmental activist. DiCaprio's hairstyles have evolved. reflecting both his personal growth and the changing trends in fashion. This article delves into the many phases of the Leonardo DiCaprio haircut. exploring its significance and impact on pop culture.
Leonardo DiCaprio House: A Journey Through His Extravagant Real Estate Portfoliogreendigital
Introduction
Leonardo DiCaprio, A name synonymous with Hollywood excellence. is not only known for his stellar acting career but also for his impressive real estate investments. The "Leonardo DiCaprio house" is a topic that piques the interest of many. as the Oscar-winning actor has amassed a diverse portfolio of luxurious properties. DiCaprio's homes reflect his varied tastes and commitment to sustainability. from retreats to historic mansions. This article will delve into the fascinating world of Leonardo DiCaprio's real estate. Exploring the details of his most notable residences. and the unique aspects that make them stand out.
Follow us on: Pinterest
Leonardo DiCaprio House: Malibu Beachfront Retreat
A Prime Location
His Malibu beachfront house is one of the most famous properties in Leonardo DiCaprio's real estate portfolio. Situated in the exclusive Carbon Beach. also known as "Billionaire's Beach," this property boasts stunning ocean views and private beach access. The "Leonardo DiCaprio house" in Malibu is a testament to the actor's love for the sea and his penchant for luxurious living.
Architectural Highlights
The Malibu house features a modern design with clean lines, large windows. and open spaces blending indoor and outdoor living. The expansive deck and patio areas provide ample space for entertaining guests or enjoying a quiet sunset. The house has state-of-the-art amenities. including a gourmet kitchen, a home theatre, and many guest suites.
Sustainable Features
Leonardo DiCaprio is a well-known environmental activist. whose Malibu house reflects his commitment to sustainability. The property incorporates solar panels, energy-efficient appliances, and sustainable building materials. The landscaping around the house is also designed to be water-efficient. featuring drought-resistant plants and intelligent irrigation systems.
Leonardo DiCaprio House: Hollywood Hills Hideaway
Privacy and Seclusion
Another remarkable property in Leonardo DiCaprio's collection is his Hollywood Hills house. This secluded retreat offers privacy and tranquility. making it an ideal escape from the hustle and bustle of Los Angeles. The "Leonardo DiCaprio house" in Hollywood Hills nestled among lush greenery. and offers panoramic views of the city and surrounding landscapes.
Design and Amenities
The Hollywood Hills house is a mid-century modern gem characterized by its sleek design and floor-to-ceiling windows. The open-concept living space is perfect for entertaining. while the cozy bedrooms provide a comfortable retreat. The property also features a swimming pool, and outdoor dining area. and a spacious deck that overlooks the cityscape.
Environmental Initiatives
The Hollywood Hills house incorporates several green features that are in line with DiCaprio's environmental values. The home has solar panels, energy-efficient lighting, and a rainwater harvesting system. Additionally, the landscaping designed to support local wildlife and promote
2. 2
INTRODUCTION 3
HOME and BROADCASTER VERSION SETUPS 3
CONFIGURATION OPTIONS DEFINED 4
BASIC (QUICK) CONFIGURATIONS 5
HEADPHONES 5
EXTERNAL MIXERS 8
MICROPHONE 11
LINE INPUTS 12
ADVANCED CONFIGURATION 13
BASIC (QUICK) CONFIGURATIONS 13
ADVANCED 14
REWIRE 18
RECORD LOOPBACK 19
TIMECODE 20
BASIC (QUICK) CONFIGURATION 20
ADVANCED CONFIGURATION 21
CALIBRATION 22
SOUND CONFIGURATION ERROR MESSAGES 26
LEGAL INFORMATION 28
TABLE OF CONTENTS
3. 3
VirtualDJ‟s sound configuration options can be found in the Configuration (Settings) dialog under the
tab labeled “Sound Setup”. Depending on platform version you are running there are different options
you may have to choose from.
By default, when VirtualDJ is first installed, the SIMPLE configuration setup is used. Simple
configuration uses the system identified “Primary Sound Driver” as the Master Output. Typically, this
is the built-in sound card of the computer system as seen in the figures below.
For HOME and BROADCASTER versions the options are kept simple for quick configuration.
Simple Output – no Headphones
(default installation option)
Simple Headphones configuration
using
o Desktop - 4.1 sound card
o Laptop - USB sound card
o Laptop - Split signal with a Y-
cable
With the Headphone options please consider
the following:
Desktop - 4.1 Sound card – use the standard speaker line out (FRONT) for the main output
mix and the REAR Channel for the headphones
Laptop - USB Sound card – use the headphone line out for the main mix and the speaker out
(Channels 1&2) of the USB device for the headphone mix
Laptop - Y-cable – with a Y-cable plugged into the headphone line out, the Left channel (white)
is the main mix and the Right channel (red) is the headphone mix
For PRO BASIC and PRO FULL versions there are more options available to customize VirtualDJ to
your hardware –
Basic (Simple) setup
Quick select advance setups
Timecode Configuration
Advanced Configurations
Rewire Support Setup
**Note: these options are available in
HOME and BROADCASTER versions for a
limited period of use by clicking on the
[More…] button.
INTRODUCTION
4. 4
When working with the PRO BASIC and PRO FULL versions, it is important to understand the various
elements of the Sound Setup tab as these become important in getting to the more advanced setups.
Inputs – select the type of input devices to be used
o None
o Single Timecode
o Timecodes
o Line Ins
o Microphone
Outputs – select the output paths to be used
o Single output
o Headphones
o External Mixer
o 3-Ch External Mixer
o Advanced Config
Sound card – select the sound card type (drivers) to be used
o Simple (Only available when Single Output is selected)
o Mono-separated
o 2-cards
o 4.1 capable sound card
o ASIO (PC Only)
o 4-out (Mac Only)
*** Screen captures throughout this guide are from the PC version of VirtualDJ and are identical to
those when using the Mac version. Where necessary to show unique differences on the Mac version,
additional screen captures are provided. ***
CONFIGURATION OPTIONS DEFINED
5. 5
Basic computer setups are configured for using one Master output and a Microphone input. So the
default SIMPLE configuration will get you started initially. But, if you wish to use headphones or an
external mixer, so that you can play one track to the crowd and listen to the next track in headphones;
you will need to utilize one of the following configurations.
HEADPHONES WITH 1 OUTPUT
Change the Outputs option from Single Output to Headphones. You will see that the Sound card
option automatically changes to Mono Separated. This configuration requires the use of a 3.5MM
(1/8”) splitter (pictured below) from your headphone jack.
The Left channel output is connected to your
speaker‟s and the headphones are connected
to the Right channel output.
After making the connections they are
reversed, then easily correct this within
VirtualDJ by changing the output assignments.
Use the drop-down to the right of the
Headphones selection and change to Master:
Right chan / Headphones: Left chan.
This configuration is most common when using standard computer speakers and not connecting to a
PA system or external mixer.
HEADPHONES USING TWO (2) SOUND CARDS
Similar to the Mono Separated, but with 2
sound cards you will not need a splitter.
VirtualDJ splits the output based on the
selection of the sound cards.
To the right of the sound card option drop-
down, the 2 additional drop-down identify first
and second cards. Top option is the first card
and bottom option is the second.
Again, if the connections made are backwards,
use VirtualDJ to swap the connections by
changing the Output options to Master:
Second card / Headphones: First card.
BASIC (QUICK) CONFIGURATIONS - HEADPHONES
3.5MM Male to
Female Splitter
6. 6
HEADPHONES USING 4.1 SURROUND (or better) SOUND CARD
With surround sound capable cards, VirtualDJ can use the Front, Center, and/or Rear channel
assignments for routing the Master and Headphone outputs. When using this configuration, it is
important to ensure that the sound card is properly configured to use the multiple outputs. By default,
most surround sound cards are only setup for one Master output (Headphones/Speakers) and a
single input (Microphone). Please consult your sound card documentation to properly setup the card
with your operating system for 4.1 or better surround sound settings.
With the card properly configured in the
operating system, select the 4.1 Card option
from the sound card drop-down.
The output options for Headphones will
change to Master: Front output / Headphones:
Rear Output. Make the appropriate
connections of the speakers to the designated
Front output of your sound card (typically the
same as you normally plug your speakers into,
the „green‟ output jack) and connect the
headphones to the designated Rear output of
your sound card (typically the „black‟ colored
output jack).
If you need to swap the outputs then the following options can be selected from the drop-down:
Master: Front output / Headphones: Rear Output
Master: Rear output / Headphones: Front Output
Master: Front output / Headphones: Center Output
HEADPHONES USING ASIO SOUND CARDS (PC Only)
Typically, ASIO sound cards are used when
connecting the system to external mixers or
when a hardware controller has a built-in sound
card that provides Master output and
Headphones or separate deck channel output.
Similar to the prior configurations, choose the
ASIO soundcard option and appropriate card
driver. The Headphones option will change to
Master: Chan 1&2 / Headphones: Chan 3&4. If
they are reversed after making the
connections, use VirtualDJ to swap the
assignments by selecting Master: Chan 3&4 /
Headphones 1&2.
BASIC (QUICK) CONFIGURATIONS - HEADPHONES
7. 7
HEADPHONES USING Core Audio SOUND CARDS (Mac Only)
In most cases to properly use a multi-channel sound card in OSX, you first need to create an
aggregate device for that sound device. Depending on the OSX version you are using the Aggregate
Device setup is slightly different, so please search the Apple support pages for your OSX version and
correct Aggregate Device setup instructions.
The options for setting up Headphones in the Mac version are similar to those of the PC version. The
following screen captures show setups using the Hercules DeeJay Trim and an Aggregate Device.
BASIC (QUICK) CONFIGURATIONS - HEADPHONES
8. 8
When planning to use and external mixer, one of the following configurations might be used. All are
very similar to the Headphone options just covered. However; instead of splitting the signal to have
Master and Headphone outputs, the two virtual decks are routed to their own audio channels which
are then mixed together by the external mixer.
You can see in the following screen captures that Mono-Separated, 2-card, and 4.1 Surround sound
cards the options are not much different. Instead of the Master and Headphone outputs, VirtualDJ is
now sending the audio from Left Deck and Right Deck to the selected options.
In all these situations, it is important to understand that when using an external mixer; VirtualDJ‟s
internal mixer is not necessary. Most importantly, you should disable VirtualDJ‟s internal crossfader
to ensure 100% output is provided to each of the assigned deck outputs. Disabling the internal
crossfader is done by selecting the Options tab from the configuration dialog, then clicking on the
Crossfader option button until the word “Disabled” appears.
BASIC (QUICK) CONFIGURATIONS – EXTERNAL MIXER
Mac OSX with 4-Out Card
9. 9
The most common External Mixer configuration is using the ASIO driver (PC) or 4-out Card (Mac)
option.
In this configuration, the sound card of choice typically has multiple stereo out combinations. Most
common are 2 stereo (4 mono) outputs. In the following examples, we use the Hercules DeeJay Trim
4&6 sound card for the various external mixer combinations.
EXTERNAL MIXER – LEFT DECK AND RIGHT DECK ON SEPARATE OUTPUTS
With Inputs set to None, Outputs set to External Mixer, and Sound card set to ASIO Driver; this is the
most common configuration that will be used. For the Outputs the assignment is Left Deck: Chan
1&2 and Right Deck: Chan 3&4. In this configuration, connections from the 1&2 and 3&4 outputs of
the DeeJay Trim are connected to the appropriate Line level input channels on the mixer.
The left deck of VirtualDJ will play out the
channel 1&2 stereo output while the right
deck will play out the channel 3&4 stereo
output.
Just like with the Headphone setups, if
you get the connections backwards; use VirtualDJ to reverse the assignment by changing the output
drop-down to Left Deck: Chan 3&4 / Right Deck: 1&2.
3-CHANNEL EXTERNAL MIXER – LEFT AND RIGHT DECKS WITH SAMPLER
Similar to the standard 2 channel output, the
3-Lines Mixer option allows for the output of
the sampler and track preview deck to be
sent on a separate channel.
By default the options are Chan 1&2: Left
Deck / Chan 3&4: Right Deck / Chan 5&6:
Sampler/Preview. From the output drop-
down (shown at the right) there are several
different choices to select, should the
connections be incorrectly connected to the
mixer.
BASIC (QUICK) CONFIGURATIONS – EXTERNAL MIXER
Hercules DeeJay Trim (back)
10. 10
EXTERNAL MIXER – LEFT DECK AND RIGHT DECK ON SEPARATE OUTPUTS
With the Mac version, the same options as before; Inputs set to None, Outputs set to External Mixer,
and Sound card is set to 4-out Card. For the Outputs the assignment is Left Deck: Chan 1&2 and
Right Deck: Chan 3&4. Again with this configuration, connections of the 1&2 and 3&4 outputs of the
DeeJay Trim are connected to the appropriate Line level input channels on the mixer.
And as previous mentioned, if the
connections end up reversed; use
VirtualDJ to correct the assignment by
changing the output drop-down to Left
Deck: Chan 3&4 / Right Deck: 1&2.
3-CHANNEL EXTERNAL MIXER – LEFT AND RIGHT DECKS WITH SAMPLER
Again, similar to the standard 2 channel output, however; the 3-Lines Mixer option allows for the
output of the sampler and track preview deck to be sent on a separate channel.
By default the options are Chan 1&2: Left Deck / Chan 3&4: Right Deck / Chan 5&6:
Sampler/Preview. From the output drop-down (shown at the right) there are several different choices
to select, should the connections be incorrectly connected to the mixer.
BASIC (QUICK) CONFIGURATIONS – EXTERNAL MIXER
Hercules DeeJay Trim (back)
11. 11
With some sound cards or hardware controllers with built-in sound card capabilities, there may be the
need to route the microphone input through VirtualDJ. This can be done by selecting the Microphone
option from the Inputs drop-down.
This is only necessary when the device
containing the microphone input requires the
software to provide the routing of the input to the
software‟s master output.
For example, using the American Audio DP2,
the unit contains a built-in microphone that relies
on the software for configuration and routing to
the Master Output. In this situation, simply
choose from the Input drop-down the
Microphone option.
Additionally, a keyboard shortcut (as shown
below) for enabling/disabling the microphone
input will need to be configured using the
VDJScript action „mic‟. This action can also be mapped to a button on the controller, if available.
When the mic action is enabled, it will open the microphone‟s input to be routed to the Master Ouput.
The VDJScript action mic_volume can be used to control the level of the microphone‟s output, as
shown below.
BASIC (QUICK) CONFIGURATIONS – MICROPHONE
12. 12
VirtualDJ can also be configured to pass the line inputs of the sound card through software interface.
As depicted in the below images, the sound configuration being used is with the Inputs set to the
LINE-INs option.
Then by assigning the VDJScript action „linein‟ to an available deck, the audio sent in on the line input
will pass through VirtualDJ providing a rhythm wave display and dynamic BPM display on the deck.
The appropriate VDJScript syntax is “deck # linein #” – replacing the # symbols with the appropriate
deck and line numbers. The example below is using a 6 deck skin and assigning decks 5 and 6 to
line inputs 1 and 2 respectively.
BASIC (QUICK) CONFIGURATIONS – LINE INPUTS
13. 13
Advanced Configuration is accessed by changing the Outputs selection to Advanced Config choice.
In this configuration mode, you are able to select multiple configurations using a single or multiple
sound cards with VirtualDJ. It is recommended to use the Quick Setup options if possible.
First take a look at how some of the prior Quick Setups are configured, if using the Advanced Config
options.
HEADPHONES WITH 1 OUTPUT - Using your built-in headphones jack. Key here is using the
MONO check box in the top left so you can „split‟ the single stereo output into separate Left and Right
outputs.
HEADPHONES USING TWO (2) SOUND CARDS
ADVANCED CONFIGURATIONS
14. 14
EXTERNAL MIXER – LEFT DECK AND RIGHT DECK ON SEPARATE OUTPUTS
USING WDM DRIVERS USING ASIO DRIVERS
3-CHANNEL EXTERNAL MIXER – LEFT AND RIGHT DECKS WITH SAMPLER
USING HERCULES DEEJAY TRIM IN 2IN/6OUT MODE
TIMECODE (SINGLE DECK) CONFIGURATION
The above examples are just some of the Quick Setup options to demonstrate how easy the choices
translate when using the Advanced Config option.
ADVANCED CONFIGURATIONS
15. 15
With the Advanced Config, you can route some more complex options based on your available sound
card outputs and inputs or in the case of using multi-deck skins. As shown in the prior screen
captures, it is first important to understand the options that are available for assignment of the
Outputs and Inputs. Based on selection of skin the choices of Outputs and Inputs will vary for routing
of the skin elements displayed. And, depending on the sound card‟s capabilities routing of the
element to an Output or Input will vary.
For the traditional 2 deck skin the elements to output are:
Master
Headphones
Deck 1
Deck 2
Sampler
Booth
And, the elements to use for Input are:
Microphone
Timecode 1
Timecode 2
LineIn 1
LineIn 2
Record Loopback
The Deck, Timecode, LineIn options will increase to match the number of decks that a skin provides
access to for routing.
SOUND CARD
Depending on the sound cards registered abilities by the
driver the routing options will vary. For the Hercules
DeeJay Trim in 2IN/6OUT mode the options will be:
Output to Channels 1&2, 3&4, 5&6
Inputs from Channel 1&2
With the Hercules DeeJay Trim is set to the
4IN/4OUT mode, the options are:
Output to Channels 1&2, 3&4
Inputs from Channel 1&2, 3&4
ADVANCED CONFIGURATIONS
16. 16
Now take a look at how a 6 deck skin could be setup using the Hercules DeeJay Trim in 4IN/4OUT
mode along with a second card. This setup will include the ability to use the 2 stereo (4IN) inputs for
routing the microphone and using a single deck timecode or line in and route those two inputs to the
second sound card. The control of the inputs will use Decks 5 and 6, while the remaining 4 decks are
used for regular track playback.
The Hercules Control panel below shows Line 1&2 are in Mic mode and Line 3&4 are used as Phono
or Line (the switch on the back is on Line). And, the sound card is in 4IN/4OUT configuration.
While the second sound card is a simple USB device that is identified as a USB Sound Device
(Generic USB Audio) and has just 1 output.
In VirtualDJ the following Advanced Config selections are made:
- Deck 1 / Hercules DeeJay Trim (ASIO) / Output 1&2
- Deck 2 / Hercules DeeJay Trim (ASIO) / Output 3&4
- Deck 3 / Hercules DeeJay Trim (ASIO) / Output 1&2
- Deck 4 / Hercules DeeJay Trim (ASIO) / Output 3&4
- Deck 5 / Speakers (USB Sound Device) / Output 1&2
- Deck 6 / Speakers (USB Sound Device) / Output 1&2
- Microphone / Hercules DeeJay Trim (ASIO) / Input 1&2
- Timecode 1 / Hercules DeeJay Trim (ASIO) / Input 3&4
- LineIn 2 / Hercules DeeJay Trim (ASIO) / Input 3&4
These options provide the ability to have the output go to 3 separate channels on the mixer. Two
outputs from the DeeJay Trim with one from the second sound card. The Inputs of the DeeJay Trim
allow for the use of the Microphone using the deck volume controls and effects on the microphone‟s
output. The Input for the Timecode could be used as a normal line in to play regular CDs/Vinyl
depending on the type of player used. This also gives the ability to apply VirtualDJ effects to the line
in when play normal tracks.
ADVANCED CONFIGURATIONS
17. 17
To make this all work correctly, a couple keyboard
shortcuts will need to be made. The example to the
right shows CTRL+C and CTRL+V, but you can
choose any key combination best for you.
Assign one shortcut to the VDJScript of – deck 5
linein „mic‟ and the other the VDJScript of – deck 6
linein 2.
This will assign the two decks the respective inputs
so VirtualDJ‟s volume controls and effects can be
applied to the inputs.
When looking at the 6 deck skin and after activating the shortcuts, the Microphone is being passed
through Deck 5 and LineIn 2 is being passed through Deck 6. Decks 1 through 4 are left to be used
like normal decks.
To disconnect (deactivate) the Microphone and/or LineIn 2 from their respective decks, press the
shortcut keys again and then decks become free to use for normal playback.
In this example, a six (6) deck skin was use but you can do the same with any skin with any number
of decks when using the Advanced Config for setting up the routing of the Inputs and Outputs used by
VirtualDJ.
ADVANCED CONFIGURATIONS
18. 18
VirtualDJ can interface with ReWire capable applications. Setting up VirtualDJ to use ReWire is the
same as routing a sound card‟s input to be used with an available deck, expect you are routing the
ReWire output (usually the Master Out) of the application; through one of VirtualDJ‟s decks.
Before setting up the ReWire routing in VirtualDJ, install and configure the ReWire capable
application first.
Before using ReWire with VirtualDJ, VirtualDJ needs to be configured and open before running
the ReWire application as VirtualDJ works as the Master application.
To setup the ReWire capabilities in VirtualDJ, first configure a LineIn channel using the ReWire
application as the source. In the following example, Ableton LIVE is the ReWire source, with input
from channels 1&2 and assigned to LineIn 1 as the VirtualDJ source.
Now, create the keyboard shortcut to assign LineIn 1 to
a specific deck – in this example Deck 6 is being used.
Now activate the shortcut so Deck 6 is using
LineIn 1 as the source.
Then open Ableton LIVE and look at the Audio Preferences. The
preferences will show that Ableton LIVE is working as a ReWire slave
application.
With everything set in place, you can
now load beats, tracks, or any other
production material into Ableton LIVE
and have it routed through VirtualDJ for
playback.
ADVANCED CONFIGURATION - ReWire
19. 19
With the setup complete, VirtualDJ can
be used to perform the following
actions using the assigned deck:
Control Play/Pause of the
playback
Apply VirtualDJ effects to the
playback signal
Use the Pitch control to change
the pitch of the incoming source
Sync the playback deck‟s pitch
to other decks
VirtualDJ has the ability to record your mixes when using the internal mixer capabilities. However,
when using an external mixer VirtualDJ‟s internal crossfader is not used. So, within the Advanced
Config, you have the ability to route an input of a sound card to VirtualDJ‟s recording engine.
On the Advanced Config dialog, select the option „Record Loopback‟ in the first drop-down. Select
the sound card with the Line Input from the second drop-down. And, select the Input channel
combination from the last drop-down.
Now, just setup the „Record Audio‟ options using the Config… button and press the „Start Recording‟.
For instructions on using the „Record Audio‟ features, see the „Recording and Broadcasting‟ section
within the User Guide.
ADVANCED CONFIGURATION - ReWire
ADVANCED CONFIGURATION – RECORD LOOPBACK
20. 20
Timecode setup can be used with either the External or 3-Lines Mixer option. To setup VirtualDJ for
use with Timecode Vinyl or CDs, change the Inputs option to Timecode.
TIMECODE (SINGLE DECK) CONFIGURATION
For use with a single timecode source, chose the
Single Timecode option from the Input drop-down.
TIMECODE (DUAL DECK) CONFIGURATION
For use with 2 Timecode input sources, choose the
Timecodes option from the Input drop-down.
Just like in changing the outputs around if the
connections to the input sources are incorrectly
connected, you can choose to reverse the settings
from the input drop-down from Chan 1&2: Left Deck
/ Chan 3&4: Right Deck to Chan 1&2: Right Deck /
Chan 3&4: Left Deck.
** ADDITIONAL NOTES **
Setting up additional manufacture sound cards are done in the same manner as described above.
The limitations on choices will be based on features of the sound cards and the operating systems
supported.
Some important notes about using ASIO cards:
In order to use VirtualDJ‟s timecode capabilities, the sound card must be able to provide a
stereo signal on the appropriate input channels. Mono input of a timecode signal is not
supported.
During configuration of your sound setup, if the message “Not enough channels” is displayed
then you have selected a configuration that cannot be supported by your sound card. If you
find this to be incorrect, then consult the manual for your card to ensure that all settings are
properly made within the card‟s configuration before attempting to setup your card in VirtualDJ.
While configuring your ASIO card, if the message “Error in ASIO driver” is displayed then
VirtualDJ is unable to connect to the selected ASIO card. This can be a result of the card
incorrectly being connected to different USB port, card is not connected, or the cards
configuration has changed since last use.
TIMECODES
21. 21
With VirtualDJ‟s Multi-Deck features, you may want to use a single sound card or multiple sound
cards providing multiple inputs. Using the Advanced Config, you can setup each timecode input to be
used by VirtualDJ. Just like the Deck output options the Timecode input options will vary based on
the number of decks available on the used skin. The following example uses a 4 deck skin to
configure a Timecode source for each deck.
In the Advanced Config, select from the left column the 4 deck assignments and then the 4 timecode
assignments. From the center column select the appropriate sound card(s) that will provide the
output and inputs for the decks. The far right column select the appropriate output and inputs for
each.
To configure and calibrate each Timecode listed, click on the Timecode Config button to show the
Timecode Config dialog.
The Timecode Config dialog will have an individual tab for each Timecode entry listed.
TIMECODES – ADVANCE CONFIG
22. 22
After clicking on the Timecode Config, you will see the configuration dialog below. Start playing your
Vinyl or CD to see the signal level information in the configuration display.
For a 100% quality signal, you may need to adjust the following options:
Vinyl – Select what kind of timecode control record you
will be using.
Mode – Select what timecode mode you want to use.
Options available are –
Smart Relative (default)
Relative
Absolute
Left/Right – If the graphic shows an flatten circle (egg
shape) instead of a concentric circle adjust this setting
until the signal graphic is more circular.
Phase/Anti – Use this knob to adjust the phasing of the
signal. If the graphic shows a tilted egg instead of a
concentric circle adjust this setting until it is vertical.
Gain – This option is used to adjust the signal graphic if the concentric circles are small or too large in
the display window. Adjusting the setting does not change the level of the signal being received by
VirtualDJ from the DVS control vinyl or CD this must be done at the sound card.
Silence – Use this knob to adjust the gray zone on the graphic, so that it doesn't touch the green
circle while in normal operation, but completely covers the green lines when you stop the turntable.
If necessary you can select the individual deck tabs to fine tune each deck with the same options.
TIMECODE SETUP AND CALIBRATION
23. 23
DEBUG
The Debug button provides access to additional fine tuning options for gaining a better quality signal
of your DVS and its control of the VirtualDJ interface. The following visuals are available and features
that can be adjusted to obtain better DVS performance.
Signal Grid – displays the DVS signal being read by VirtualDJ. By adjusting the various settings you
should see concentric circles displayed in this area.
Data Stream – displays the data stream being sent as dotted lines, you should see two lines outside
the center zone and one or two lines (depending on timecode being used) within the center zone near
the green line.
Stereo Waves – shows a received signal from the DVS in a sine wave with the silence zone in the
center. If either channel is not properly sending a signal, you may see a flat line or sine wave smaller
than the other channel.
CONFIGURATION OPTIONS
Invert Signal Stereo – check if the input cables
are crossed and the track moves in reverse when
the DVS signal is played.
Invert Signal Phase – check if the cables are
correctly connected, but the phasing of the signal
is reversed.
Apply RIAA phono filter – if your soundcard
does not provide a RIAA pre-amp capability, use
VirtualDJ‟s software RIAA pre-amp to attain a
stronger signal when using a vinyl record for the
DVS. If using a CD DVS signal this should not be
checked.
Apply noise LP filter – use VirtualDJ‟s Low Pass
filter for removing the low end signals from
disrupting the DVS signals quality.
Adjust for 45 RPM – when check VirtualDJ will
compensate reading of the control signal if a
speed of 45 RPM is used.
Disable Pitch – If you disable SmartPitch, the
pitch slider inside VirtualDJ will not move to reflect
the pitch on your turntable, and the BPM of your
song will not reflect the pitch change on the skin‟s interface.
TIMECODE SETUP AND CALIBRATION
24. 24
Disable ClearSound – ClearSound uses a technology that gives a better sound when you don't
scratch, at the expense of a very small delay when you scratch. When playing certain types of heavy
tremolo music pitch changes with the DVS can cause artifacts in the sound quality.
Disable AntiSkip – uses a technology that will ensure that VirtualDJ will not skip even if your needle
skips on your record. Skipping of a DVS control vinyl can occur do to various reasons, if minor skips
occur while using the DVS control vinyl, VirtualDJ will compensate for the minor occurances. This
feature can typically be disabled (checked) if using DVS control CDs.
Pitch Sensibility – The Pitch Sensibility is used to adjust how much the pitch slider in VirtualDJ
should follow the turntable speed. If set too low, the pitch slider will take some time to adjust. If set too
high, the pitch slider will move when you just want to scratch.n(remember, with the Timecode
technology, a software has no clear way to know the difference between a disc turning faster because
of the turntable's pitch being moved, or because of the disc being nudged or scratched. both result in
the timecode signal coming faster.)
Lead Time – Adjusts how much lead time is used on the vinyl before the start of the song. This is
used so that VirtualDJ can track timecode movement before the actual start of the song.
Save capture … – Use this button to save a .bmp file (see below) of timecode config dialog. You can
then upload this image on www.virtualdj.com forums if you need to ask for help to configure/optimize
your timecode signal.
TIMECODE SETUP AND CALIBRATION
25. 25
VirtualDJ supports other manufactured DVS formats. Here are a couple screen captures using the
Serato DVS Vinyl or CD format. The left is vinyl the right is CD.
TIMECODE SETUP AND CALIBRATION
26. 26
Here are some examples of poor signal setups that may be encountered.
Poor cable signal – left cable unplugged or not sending a signal
Poor cable signal – right cable unplugged or not sending a signal
Gain to high – if the signal is box shaped then the input signal from the sound card is too high. Adjust
the sound card‟s gain level until the signal changes to concentric circles.
TIMECODE SETUP AND CALIBRATION
27. 27
When configuring VirtualDJ there are some common messages you may encounter when things are
not properly configured. Here we explain what those messages mean and how to get VirtualDJ
properly configured.
The most common is when VirtualDJ cannot find the selected sound card or, if using the Advanced
Config; you have selected an invalid Ouput or Input for the card.
For cards using DirectX/WDM (Windows Direct Media) drivers, you will receive the following error
dialog.
For cards using ASIO drivers the following similar error dialog is displayed.
A common skin interface response to an incorrectly configured card is where the track loads to the
deck but when you try to play the track the Play button shows active but nothing beings to play.
SOUND CONFIGURATION ERROR MESSAGES
28. 28
http://www.atomixproductions.com
http://www.virtualdj.com
Atomix Productions Inc.
Los Angeles CA 90036, USA
VirtualDJ Copyright:
Copyright 1997-2010 Atomix Productions
All Rights Reserved
Number IDDN.FR.001.040012.01.R.C.2000.000.31400.
Trademarks:
The VirtualDJ Logo is a registered trademark of Atomix Productions
VirtualDJ is a registered trademark of Atomix Productions
License and restrictions:
According to the EULA (End User License Agreement) accepted by every user upon installation of VirtualDJ:
You MAY NOT make or distribute copies of VirtualDJ, or electronically transfer VirtualDJ from one computer to another
over a network.
You MAY NOT decompile, reverse engineer, disassemble, or otherwise reduce VirtualDJ to less than human perceivable
form.
You MAY NOT modify or create derivate works from VirtualDJ.
You MAY NOT sell, to rent, to transfer or sublicense the software. You may not sell, to rent, to transfer or sublicense
hardware on which the software is installed, without written prior agreement of Atomix Productions.
Reproduction of this manual in full or in part without written permission from Atomix
Productions is prohibited.
LEGAL INFORMATION