aDJusted is still in pre-beta. Every version on this page is an early build for a small circle of testers: features may change or disappear again, and not everything is finished.
- Settings → General → Updates: at the top it now says which version and build are installed. Pointing at it adds the exact source revision, and a right-click copies it for a bug report.
- Timecode, REL: if the decoder loses the spot on the record while you scratch and finds it somewhere else, the track no longer jumps with it -- it carries on the way the record is moved. Measured on a tester's recording: twelve audible jumps in two minutes before, none now.
- Timecode: the record's speed is now read up to about twelve times normal speed instead of four (Serato record at 33 rpm; at 45 rpm about nine times, with Traktor timecode about six), also for a backspin from a standstill. Fast scratches and backspins follow more closely.
- Settings → Audio: the buffer size can now be chosen per device, from 16 to 1024 frames or, as before, whatever macOS sets. A smaller buffer clearly shortens the time between record and sound when scratching; if it crackles, pick the next size up. Without keylock 32 or 64 usually holds, with keylock and stems rather 128 or more.
- New: Reloop Neon, with a mapping and a drawing. The BANK/DECK buttons choose one of four decks; pads, mode buttons, CENSOR, SLIP and SYNC, and also loading and loop size, then act on that deck.
- Pioneer DJ and AlphaTheta: the pads now show the cue's colour. The colour numbers were measured on a DJM-S11; until now a red cue, for example, lit up blue.
- Browser: ⌘-click a column header to sort by that column as well -- for example click BPM, then ⌘-click KEY: by tempo and, within the same tempo, by key. What reads the same counts as the same: two tracks showing "170.0" are equally fast, even if their grids say 169.98 and 170.02. Further columns show their step in the header (KEY ²). The KEY column can now be sorted for this, by the Camelot wheel.
- Key: tags in Open Key ("1m", "4M", "7D", the way Serato writes them when it shows Open Key) are now read. They appear in the chosen notation instead of as raw text, sort by key and count for the harmonic auto-mix.
- Sampler panel: with three or four decks the sections sit in two rows like the decks themselves. Until now they shared one row, were cut off at the bottom and the sides with four decks, and the labels wrapped.
- Numbers inside sentences now follow the chosen language, for example "1,46 von 10,67 ms" in German. The readouts in the browser and on the deck (BPM, pitch, dB) keep the point, as in Serato and Traktor.
- Tracks can be dragged out of the list into other apps again, for example onto the desktop or into the Finder -- under macOS 27 nothing arrived there so far. Onto a deck, crate or sampler pad the track now arrives directly too, a selection as a whole.
- Timecode, ABS: under the record no button jumps any more -- not a hot cue, a cue loop, CUE or a saved loop; there the needle decides the place in the track. The pads stay lit, an empty pad sets a cue, SHIFT + pad deletes one. Until now a hot cue jumped anyway and stayed there.
- HeadacheSound OMNI: the turntable with timecode over USB is recognised. When it is plugged in, aDJusted asks which deck it should be, as for a CDJ, and its timecode goes to that deck along with it – any of the four. Both scratch faders cut that deck's sound, independently of the crossfader and with its curve. macOS reports the OMNI as two audio devices; aDJusted combines them itself, with nothing to set up in Audio MIDI Setup. A timecode device with only one input pair can now serve any deck, not only A or C.
- Traktor Kontrol Z1: aDJusted ships a mapping, every binding measured on the device – GAIN, EQ, FILTER and channel faders of both channels, CUE MIX, both cue buttons and the crossfader. The Z1 sends only in MIDI mode of Native Instruments' Controller Editor, with the template “Default”; MAIN, CUE VOL (MASTER and HP VOLUME in the Controller Editor) and MODE act on the device only.
- Traktor Kontrol X1 MK2: aDJusted ships a mapping, measured on the device – hot cues, FLUX (as Slip), SYNC, CUE and PLAY for both decks, the deck's effects on the FX section, loading and browsing, and the touch strip as needle drop for deck A. The X1 MK2 too sends only in MIDI mode of the Controller Editor, with the template “Basic”.
- Beat juggling with timecode (REL): the start point no longer wanders from round to round. A backspin over several turns, faster than the decoder can read, counted as a moved needle after a brief dropout on the way back — dust, a scratch — and the distance to the record shifted by seconds. Held, the track now stands exactly on the record's spot and starts there when you let go.
- Auto-Mix picks in key: among the tracks with a fitting tempo it first takes one that matches the playing track's key — the same key, one step on the Camelot wheel, or major and minor with the same number. If there is none, only the tempo counts, as before.
- MCX8000: SYNC now works on decks 3 and 4 as well. The shipped mapping assigned the button only for decks 1 and 2; a copy already installed gets it at the next start.
- Numark Mixstream Pro: the shipped mapping now assigns SYNC too, from Numark's own mapping (not yet tested at the device).
- Sync follow with a large tempo gap: the pitch fader's range grows after a quarter of a second. In 0.7.7 a deck needing +46 % still ran at ±8 % for seconds and jumped audibly several times.
- Auto-Mix no longer picks tracks over 20 minutes — continuous DJ mixes — and they are not separated into stems. A 101-minute mix took 11.8 GB of memory with stems, 18.8 GB while separating, and the audio dropped out.
- The track list sorts 15 to 35 times faster: sorting on a crate switch or a search took up to 1.4 s in a library of 30,000 tracks, now around 40 ms. Sorted by BPM, a newly detected tempo only moves its own row into place instead of re-sorting the whole list — during an analysis the list used to stutter with every finished track.
- Serato grids on LAME MP3s sit 26 ms earlier and thereby right: on these files Serato counts the info frame as audio, as rekordbox does. Measured on over 1,600 tracks with Serato grids; MP3s with a LAME header are affected, iTunes MP3s are not.
- A single SYNC press on a deck with a fluid grid now lands on the one. It reckoned with the tempo the grid carries as a whole; at the playhead it can be another, and the phase was then up to a tenth of a bar off.
- Sync follow aligns once when switched on, instead of trimming away an offset under an eighth of a bar for half a minute. On 40 real fluid grids the bar then stays within 3 ms 95 % of the time.
- SYNC right at the start of a track: before the leading deck's first downbeat, sync found no bar there, so following waited for that downbeat and then jumped by up to 77 ms. The first bar now reaches back to the start of the track, and sync aligns there already.
- Double press on SYNC with a fluid grid: the first press sets the tempo from the BPM number, following sets it from the bar under the playhead. Until the deck had reached the new tempo, following waited to align, and the bars were apart for that long — up to 58 ms for half a second at a 20 % difference. It now aligns at once when switched on, allowing for the distance the deck still covers while its tempo changes.
- SYNC beyond the pitch fader's range: the range now grows to the next step (±16, ±32, ±64 %), for this session only, as it already did for following and for the timecode record. Until now SYNC on 89 against 133 BPM put +49.4 % on a fader set to ±8 %, and the pitch display and the fader no longer matched. Beyond ±64 % SYNC matches only that far.
- Back to the record after its end: when the end of the timecode record has put the deck on INT, it returns to REL as soon as the needle sits in the first six minutes of a side and the record has run for just over a second — as in Serato. The track plays on from where it is. Until now this was by hand only.
- Pad lights in stems mode, now selectable (Settings → Library): "Classic" lights what counts — on top the stems that can be heard, below only the soloed ones. "aDJusted" stays as before: all white, a pressed one red.
- The settings window is larger and uses its space: the content was fixed at 700 × 500 points, and with some thirty sections by now scrolling was the rule. All four tabs now sit in two columns side by side, with the learn list of Controllers on the right on its own, and the long explanations live behind an ⓘ next to the section heading; warnings and readings stay in view.
- Damaged music files are now listed in Settings → Library: where a file breaks off, what sits there in the file (junk data, zero bytes, broken frames) and what the decoder reported. "Check collection" reads the whole library for it without changing anything in the files. The top bar still only says that a track could not be read.
- Phase DJ in relative mode: the track no longer jumps back by over three minutes every few minutes. Phase runs its virtual record in a loop, and aDJusted used to follow the jump back.
- The border between the decks and the browser can no longer be dragged: the decks get exactly their height and the browser the rest. A deck area dragged larger before is back to its size.
- Top bar: the waveform direction is now a "VERTICAL" switch like MIXER and FX instead of a drop-down.
- BPM column: "∅" now marks tracks in which the analysis found no steady beat — speech, audio dramas, acapellas, sound effects. aDJusted remembers this and does not work such tracks out again on the next batch run or load. Short loops under 30 seconds get a tempo from eight steady beats; a 5.5-second drum loop at 173 BPM used to stay empty.
- Timecode always comes from the output device: Settings → Audio & DVS no longer has its own input choice, only a "Read timecode" switch. Change the device and the timecode follows without a question. When a device cannot provide timecode the switch is greyed out, and on the next one that can it is on again. The signal display now shows the record even while the deck plays on INT; whether the deck follows the record is still up to INT / REL / ABS.
- Controllers: any learned control can be reassigned, say the stems to ROLL instead of loop roll. In the binding list and in the schema, the address is a menu with every function. A question says what the control will then do instead, and the control's lamp follows. If the function already sits on another control, it stays there too. Until now this was only possible by learning again, and the control silently lost its old function.
- Serato Lucid on drum & bass: a tempo map that jumps between 87 and 174 no longer reaches the deck. Serato's classic grid of the same file applies instead, constant on the higher level. In the Bristol crate this affects 10 of 29 maps, four of them with an intro that climbs between the levels.
- Controller schema: horizontal controls such as needle search, touch strips and contour are now drawn lying down. Until now a large grey box sat across the device in 33 drawings, the MCX8000's over its jog wheels among them. The MCX8000's background areas are back in place.
- Auto-Mix by bars: the next track now starts so that its first one — bar 1, beat 1 — lands exactly on the one where the crossfade begins, with 16 bars on the 16th-last bar of the playing track. Until now some bar of its intro landed there.
- A pitch fader that sends the same value again without being touched no longer ends sync. The MCX8000's fader does this on its own, and each time the deck fell back to the fader position in the middle of an Auto-Mix — the bar lines drifted apart. A real movement takes over the tempo as before.
- For older grid corrections the track list and the deck now show the same subdivision: where a correction does not say whether the track is counted at half tempo, it is counted in full everywhere — the way the deck has always loaded it. New corrections always store it.
- The scratch layer engages and leaves without a click, also on an empty deck and when switching to another pad mid-scratch.
- The “What's New” window shows every change in full and scrolls when there are many — until now it cut off after two lines, mid-sentence.
- SYNC blinks on the controller while a deck follows the other (SYNC pressed twice quickly, or in Auto-Mix); plain sync stays lit as before.
- rekordbox export: a grid that came from rekordbox now goes back exactly as rekordbox wrote it — also when you only changed the tempo. When its one sat just past the first bar, it used to come out one bar early. rekordbox's own cue times go back unchanged as well: a cue at 0.024 s used to come out as 0.051 s.
- Editing an own crate or dragging a track into one while the library is loading no longer loses tracks: tracks that were only in own crates used to be missing from the list until the next load.
- Shipped mappings: “differs from the shipped version” now appears only when your copy really assigns a control differently or is missing one — no longer for controls you taught it on top, nor for what the app fills in by itself at start. The note is larger and carries a warning sign.
- Pitch fader on a controller with pickup: it takes over the tempo only once you move it to the deck's position — no more jump when hardware and software disagree, after SYNC for instance. The on-screen pitch fader shows where the hardware fader sits as a faint line.
- Long titles and artists in the deck header scroll instead of ending in “…” — so you can always see which track is loaded.
- DVS in relative mode follows the needle: stopping, pulling back and backspins no longer shift the place in the track against the record — it stays within a few milliseconds of the needle, so beat juggling lands. Until now it wandered further off with every move.
- Fire hot cues in time (Settings → Library → Hot cues, default off): on a playing deck a hot cue waits until the other track is at the same place in the bar, then starts exactly at its place — the grids line up. The resolution is adjustable, from 1 bar to 1/16 bar. A cue is still set exactly where you set it.
- SYNC with timecode: a deck the record is moving now counts as playing — an internal deck can sync to a record deck and takes the record's tempo. SYNC on a record deck aligns the bar to the other deck once; the tempo stays with the record. Until now SYNC did nothing under DVS.
- Sync following no longer jumps back to 0 in a loop shortly after the start of a track — after a hot cue at the start that was heard as a short stutter.
- Set hot cues light at full strength on the controller again; they are dimmed only on screen. On the MCX8000 many cue colours used to light one step darker.
- New drafts for the Pioneer DJ DDJ-REV1 and DDJ-REV5, read from Pioneer's MIDI lists (not yet tested at the device). On the DDJ-FLX4 the browse knob now scrolls the list when turned instead of pressing — in copies already installed, too.
- New device without a mapping: aDJusted asks when you plug it in — offering a shipped mapping to install, or the new quick learn. You move around twenty controls, faders and knobs only from their starting position, and aDJusted derives the rest (decks 2 to 4, all pads, low EQ). Derived assignments are marked yellow in the settings. At the end you can send us the mapping in a prepared email, so an update can bring it to everyone with the same device.
- Sync follow: if the other deck needs more tempo than the pitch fader's range allows, the range now grows to the next step instead of silently stopping at ±8 % — the deck used to drift apart despite SYNC ⟳. It grows only once the extra demand has held for a second; a scratch or a record running down on the other deck changes neither the range nor the pitch. Your own range stays stored.
- Timecode: the Play LED on the controller now stays lit exactly as long as the channel meter. It used to have a threshold of its own and could go dark while the meter was still running.
- Beat grids at half tempo (drum & bass at 87, say): compared with Serato's grid, our own was measured differently from the file's — sometimes it lost although it sat just as well, sometimes it replaced Serato's grid although it sat on the off-beat. Both are now measured at the same resolution.
- CUE as on a CDJ, with a cue point of its own instead of hot cue 1: at 0 s after loading, set only on a paused track, held to preview — on the controller and with the on-screen CUE button. CUE used to jump to the first hot cue, often in the middle of the track.
- Sync following: if the other deck jumps, stops or loops, this deck is no longer moved — it only keeps the tempo. A hot cue in time on the other deck does not move it either. What you do on this deck itself — a hot cue, a restart — puts it back on the one, and a held pad plays from its cue meanwhile. When the deck SYNC is set to loads a new track, SYNC goes off without changing the pitch.
- Timecode: a hot cue under a turning record now only jumps. It used to play the track from the cue twice, with a short stutter.
- Empty hot cue pads on the MCX8000 now glow dark grey instead of pale yellow, and no cue colour looks like an empty pad any more.
- The BPM in the platter and the pitch on the device displays show the tempo a standing deck will start at again. When a track stood at its end, the tempo of the slowing brake used to stay there — say 93.0 BPM for a 133.6 BPM track.
- Apple Music: a hand-exported library is now preferred only when it is more than seven days newer than the automatic Library.xml — otherwise the automatic one is used.
- A jump on a standing deck no longer clicks — a click into the waveform, a released cue: the sound glides to the new place in about a tenth of a second. If the deck starts at the same time, say with a hot cue, the transition takes a few milliseconds.
- The headphones have the same soft limiter as the master and no longer go past full scale when cued loud.
- Scratch layer under timecode: stop the record and the sample stands while the track runs on underneath at its tempo. Before, the sample ran on and the track braked.
- After a start with spin-up at 0 % pitch, highs were missing (−3.5 dB at 15 kHz) because playback sat half a sample off the grid. It now moves into place inaudibly.
- Auto-mix by bars: instead of a time you can choose 16, 32, 48 or 64 bars (Settings → Library → Auto-Mix). The crossfade then starts on the one of the outgoing track and lasts at least 30 seconds.
- A little space with a fine line in the deck colour now separates each deck's transport buttons from its cue pads.
- Set cue pads show their colour toned down (65 %) so they no longer dominate the deck.
- DVS: at some needle drops absolute mode took long to find the place on the record, or never found it. The decoder now picks the point in the signal where it can read the position reliably. And with the needle in the lead-in before the track, a short dropout no longer starts the track.
- ABS: a new track loaded onto a running deck now takes the record's place instead of playing from the start.
- After “Prepare beat grids …” the track list now shows the BPM also for tracks analysed in an earlier run, wherever aDJusted's beat grid is the only one — for instance after Serato and rekordbox grids were switched off. Preparing the folder once more is enough.
- DVS: “swap channels” can now be saved permanently. After switching it, aDJusted asks whether it should also apply after a restart — until now the switch was back off after every start.
- Less memory: after beat analysis aDJusted kept about 1.5 GB occupied that was already free. Now just over 200 MB of it remain.
- Scratch layer under timecode: the scratched record no longer drags the track underneath along — in REL and ABS it runs on at its own tempo and, once the layer lets go, stays where it has run to. Engage just after stopping the record and it stands; stop the record and the sample stands at once.
- A jump of the track under the scratch layer (cue, censor) no longer clicks in the layer when the EQ is turned.
- Level meters: after “Stop the engine” every meter goes dark, including the channel meter and the play LED on the controller. The scratch layer's meter goes dark with the deck as it runs down, and very short loops and rolls show their level even when their length fits the audio buffer exactly.
- CDJ-3000X: its own mapping and drawing, from AlphaTheta's MIDI list. Until now the CDJ-3000 mapping took it.
- When the remembered timecode interface comes back, the header now says so (“is back — chosen as the timecode input again”) instead of reporting it as a new device.
- “Look for devices again” starts a stopped engine — also after a failed start.
- Mappings: an older version of aDJusted in the same folder no longer brings deleted controls back.
- Hot cues from Serato and rekordbox, and Serato's saved loops, now sit on the same beat on MP3s as they do in those programs. Until now they were 24 ms late (51 ms for rekordbox with LAME-encoded files), because only the beat grids were moved onto aDJusted's timeline. Likewise, cues in the rekordbox export now land in the right place instead of that much too early.
- DVS in absolute mode: holding the record for more than a third of a second no longer counts as a lifted needle. If the record comes back at the same place, the track stays where it was — also after a cue or the scratch layer. Dropping the needle somewhere else still takes the track there.
- “Show half tempo” now also applies to aDJusted Remote on the iPad — to the decks and to the track lists.
- Every action on a deck makes it the active deck for the space bar — on a controller and on the iPad now also pitch, loops, filter and effects. Only letting go of a button does not count.
- Auto-Mix: a negative tempo corridor (−3 or −6 BPM) now actually lets the tempo fall. Until now it stayed at the starting tempo.
- Schemas for 144 more controllers and mixers aDJusted does not ship a mapping for yet, the Hercules DJControl T10 among them. “Create empty mapping” in the schema creates a mapping whose controls you learn on the picture. Newly drawn too: DDJ-FLX2, DDJ-FLX6, DDJ-SB, MC6000MK2 and Mixstream Pro, whose mappings were already there.
- DVS in absolute mode: a record stopped in the lead-in no longer lets the start of the track play briefly when pushed off, and a short dropout in a loop at the end of the track no longer throws the track out of the loop.
- When the remembered timecode interface comes back while “System output” is chosen, the header now also says that sound goes through it again — it already did, the notice did not say so.
- Serato and rekordbox grids now sit right on MP3 files: they were a few hundredths of a second off the beat, because those programs count the start of an MP3 differently from aDJusted. A grid that would land before the start of the track moves on by whole bars.
- The grid editor can show every grid at once: aDJusted red, Serato blue, rekordbox green, each in its own strip. A click on a name in the legend picks that grid for the deck.
- New columns in the track list: KBPS (bit rate) and ADDED (date added). Right-click the header to show or hide columns.
- While preparing, the space bar controls the deck 1 or 2 you touched last instead of always deck 1, marked by a thick frame in the deck colour. A click into the deck is enough; while an Auto button is lit, its deck wins.
- INT, REL or ABS is remembered per deck across a restart. If the timecode interface is missing at start-up, those decks run on INT until it is chosen as output and timecode input again; a deck that is playing, and every deck while Auto-Mix runs, then stays on INT. After a brief dropout of the interface (up to about 30 s) a REL or ABS deck follows the record again.
- The echo when a stem is switched off can be turned off per stem kind (Settings → Stems: echo when switched off).
- Half tempo can be switched off in the display: drum & bass then shows 175 instead of 87.5 (Settings → Tempo display). Grids, sync and loops are unchanged.
- The pitch faders in the decks and in aDJusted Remote now read as on the hardware: down is faster, up is slower. The − and + range buttons swapped places to match.
- A deck's meter goes dark as soon as the waveform stops moving, in the app and on the controller. It used to keep showing the sound under the playhead.
- Jog wheels on the Reloop Mixon 8 Pro (measured) and on Pioneer and AlphaTheta controllers with step jogs (measured on the DDJ-FLX10, derived for the other models) ran backwards and far too fast. Controller mappings already installed are completed at start-up; your own assignments stay.
- More controls for the Reloop Mixon 8 Pro (tempo fader, key lock, slip, pad modes, mixer for decks 3 and 4), DDJ-FLX10, XDJ-RX3 and DDJ-SX2, measured on the devices.
- Pioneer and AlphaTheta controllers get Pioneer's colour numbers for the pad lamps instead of the MCX8000's (reported on a DJM-S11). The shades are not yet confirmed on the device.
- After switching Auto-Mix off, every track is eligible again the next time it is switched on.
- Sound and timecode input belong on the same device: if you switch only one of them to another device in “Audio & DVS”, you are asked, and then both switch together. The audio engine used to fail to start.
- After letting go of a cue the deck sits exactly on the cue point again, with spin-up too — it used to brake away from the cue and could stop several seconds behind it.
- Older controller mappings for Hercules DJControl Inpulse 200/300 and Numark Mixtrack Go are corrected at start-up: controls on the wrong deck, pitch on the fine half, swapped buttons.
- The phaser is rebalanced: averaged over a whole sweep the channel stays almost as loud at half MIX (it used to be a little over 1 dB quieter), the notches are as deep as before, and it lifts the level by at most 1.6 dB.
- A loop survives the roll pads. Pressing a roll pad while in a loop used to lose it: the loop was off afterwards and the track ran on.
- Changed auto-mix settings show at once. Transition time, minimum length, tempo step, corridor and step interval kept showing the old value until the settings were reopened.
- A track from the list can be dragged onto a sampler pad again. The pad had been refusing silently; from the Finder it still worked.
- On the MCX8000 the effects follow the deck on show: in the view of deck 3 or 4 you used to operate deck 1's or 2's effects.
- Large collections no longer stutter. In a crate of thirty thousand tracks the main thread stood still for seconds at a time — on a crate change, while metadata was filled in, and above all during analysis: for every finished file the app walked the whole collection, normalising each file path on the way. A hundred finished files cost forty-three seconds during which nothing else ran; a pass over a full crate came to hours. A track now finds its place at once. The audio dropouts that came with it are gone too.
- The waveform runs evenly again. Two independent clocks were running against each other — one fetched the data, one drew — and where they fell apart the picture stood still once and then jumped twice as far. The engine now says when new data is ready. On top of that, the fraction by which the curve belongs shifted between two grid steps was being computed but never handed to the drawer: the wave snapped to whole steps instead of moving smoothly.
- In the grid editor the wave now sits where it belongs. It was systematically offset to the right by up to thirty-three milliseconds while the grid lines beneath it were drawn exactly — the very amount one corrects by there.
- The track list no longer yanks you back. Scrolling by hand during a background pass kept pulling the view to the highlighted row.
- On controllers without a back button of their own (DDJ-400, DDJ-FLX4, DJM-T1, Inpulse 200 and 300, Kaoss DJ, Omnis Duo) pressing the browser encoder in the track list steps back into the crate tree instead of loading a track. Loading happens there with the load buttons, which every one of these has more than one of.
- The small white dot that circled the platter's rim is gone.
- In Auto-Mix the pitch fader no longer tugs at the track that is playing. After every handoff it pulled the tempo to the corridor's target within twenty seconds — measured at up to fifteen percent, until the fader stood at its stop, in the middle of a track. Half a BPM per handoff was meant, and that is what it does now. The evening's tempo moves as slowly as the corridor says — back as well, if you drop in a track at a quite different tempo by hand.
- Switching a deck to REL no longer moves everything below it. The header grew eleven points taller because the signal field reported a different baseline as soon as the scope sat in it — and the jump happened under the finger that had just switched.
- Tracks that would not load now load. Whether a file arrived depended on the output device’s sample rate: the same file played on one device and was refused as unreadable on another. It affected anything whose declared length runs past the actual audio — an ID3v1 tag at the end of the file, for instance, which two in three tracks in the crate carry.
- Two appearances: alongside the familiar aDJusted there is now “Classic” — a grey chassis, bevelled keys, black displays with green type. Switch in Settings under “Appearance”.
- The decks are rearranged: eject and title on the outside, signal, BPM and grid on the inside — mirrored on decks 2 and 4. The loop grid now sits flush under the pads.
- New: Auto-Play. The “Auto button” switch in Settings turns Auto into a plain player: the left list from top to bottom, no crossfade, the crossfader stays in the middle.
- The grid editor shows the cue points and moves them by the square at the top. Drag moves the view, ⌘ drag the grid, ⇧ click starts there. Nothing snaps cues to the beat any more, on the deck either.
- aDJusted now requires macOS 15.0 (Sequoia). Stem separation runs on the Apple GPU and its shaders cannot be built below 15 — on older Macs that could quit the app shortly after launch.
- A mapping of your own no longer overwrites another one whose name differs only in spaces, hyphens or capitals — “DDJ 400” and “DDJ-400” became the same file.
- The window after an update stays short: four items, at most two lines each. For one tester it had grown so long that the OK button sat below the edge of the screen. Everything else is behind the link under it.
- The settings stay put when the language changes instead of being built again. That could leave the MIDI monitor switched off while it was open.
- The language list is alphabetical now. “System language” stays at the top, and below it the twenty-three entries are ordered by their own names — until now they stood in the order they were written in, which to a reader was no order at all.
- Auto-Mix now has a tempo corridor: the target tempo rises by half a BPM every three tracks, up to a settable limit above (or below) the tempo the night started at. Until now an Auto-Mix night ran into a funnel, because it always took the track closest in tempo and then pulled it to the tempo already playing: measured over two and a half hours, 35 of 38 tracks sat between 119 and 122 BPM. Auto-Mix also holds the two decks together for the whole crossfade now instead of matching them once — with a fluid beat grid they audibly drifted apart over a long blend.
- Auto-Mix now only takes tracks that sync can actually reach with the pitch fader: at most six percent away from the tempo playing, with half and double tempo counting as the same. During the endurance run Auto-Mix ran out of unplayed tracks around 133 BPM, and the closest one left was at 89 — sync pulled it up to 133 with nearly fifty percent of pitch, and the six tracks after it played at one-and-a-half times their own tempo for twenty minutes. Auto-Mix would now rather pick nothing: the track playing runs out and the deck stops.
- Next to the BPM figure there is now a dot saying where the grid came from: grey from the file, half red and half petrol from our own analysis, orange corrected by hand. Dot and figure are always written together and so cannot contradict each other. A batch analysis over a folder enters its result straight away for files that bring no grid of their own — otherwise it stays true that loading decides it against the audio.
- Settings now show, next to each source, what you want to take from it: cue points and beat grid for Serato and for rekordbox, and the BPM from the tag for the Music app. Anyone who sets their own grids can refuse foreign information outright — then only our own analysis counts, along with whatever was corrected by hand. Every change re-reads the library, so it applies after the fact as well; a deck already loaded keeps its grid.
- Serato's loudness analysis is part of that: refuse it and aDJusted measures the level itself, across the whole track, once per file and remembered afterwards.
- aDJusted now works the key out from the audio itself — on loading onto a deck and in a batch over a folder, once per file and remembered afterwards. Until now it came only from the file's tag, which is to say from another program's work; anyone whose files nobody had tagged saw an empty column. The notation is yours to choose: classic, Camelot, or both side by side.
- It fills gaps only: where the tag already carries a key, that key stays. Measured across 34 tagged files, our own detection got ten exactly right and put another ten a fifth out — a tag from Mixed In Key or Serato beats that.
- The reading is matched against the church modes rather than major and minor alone: drum and bass is often modal, and the usual profiles miss there. Measured across 34 tagged files that lifts exact agreement from nine to thirteen and brings the fifth errors down from ten to six.
- The chosen notation now applies to keys from the tag as well: with Camelot selected you see “8A” instead of “Am” even where the figure came with the file. Anything that cannot be read stays exactly as it stands.
- Settings now have a page for the licence: its state, activating with an e-mail address and an order number, a field for entering a ready-made licence, and the days of grace left. Only those two fields leave the Mac; the checking that follows needs no network. Nothing is blocked yet.
- A licence covers two Macs — the laptop for the club, the machine at home. The licence service counts them by a checksum of the hardware identifier, from which neither the device nor its name can be worked back out; its name is never transmitted. Settings show how many seats are taken and free one up with “Release the other Mac”. The seat is available again at once; the released Mac keeps access until its own licence runs out — at the latest at the end of the period paid for, plus the fourteen days of grace. Immediately would only be possible if the app had to ask at every start, and in a club it must not.
- The beat grid editor now uses the window it stands in instead of always being 1040 points wide: on a large screen it gets wider and the waveform taller, up to 1800 × 520 points. At sixteen bars there used to be some 65 points to a bar — too few to hit an edge. The lower bound stays where it was, so it still fits entirely into the smallest permitted window (1120 × 760).
- Under “Enter a licence by hand” you now find this Mac's identifier, with a button to copy it. Press and friend licences do not go through the licence service but can still be bound to one Mac — for that the issuer needs this checksum, and until now there was no way to tell it to them. It stays the same for the same Mac and says nothing about the device and nothing about you.
- After paying, a link leads back into the app: it opens Settings at the licence and fills the order number in straight away. You still type the e-mail address yourself — it is deliberately not in the link, because a link passed on would otherwise be the whole licence. Anything that does not look like an order number is discarded rather than written into the field.
- The licence now sits under Settings → General instead of Library: it belongs to the program, not to the collection.
- A licence now ends with the period that was paid for, not sixty days after it was issued. Cancel and you keep everything to the end of your month or year — the second Mac included — and after that it is over, with no grace. The fourteen days of grace stay for what they are meant for: a renewal that could not get through for want of a network.
- Twenty-two languages. Besides German and English, aDJusted now speaks Spanish, French, Italian, Dutch, Portuguese in both flavours, Polish, Czech, Danish, Swedish, Norwegian, Finnish, Icelandic, Irish, Greek, Turkish, Japanese, Korean and Chinese in both scripts. Switch under Settings → General, at once and without a restart; “System language” follows the computer, as long as aDJusted speaks it.
- New: a base level for the decks (Settings → Audio & DVS). A track mastered today comes out of the file within a hair of full scale, and two of them drive the meters into the red before anyone has touched a fader — −3 to −12 dB leaves room. The automatic gain when a track loads is unchanged.
- A track that has been analysed before no longer waits: its grid is there as the track lands, instead of jumping seconds later. Loudness is measured once per file and kept, and the tempo index is ready at startup.
- The pads on the MCX8000 hit the colours the hardware actually knows — read out of the maker's own colour table. An empty hot cue pad waits in pale yellow instead of staying dark.
- New mappings from the makers' own MIDI lists: DDJ-FLX6, DDJ-FLX2, DDJ-SB, Denon MC6000MK2, Numark Mixstream Pro and XDJ-700. A CDJ-3000 drives one deck, and the port decides which — you are asked once when it is plugged in.
- MCX8000: SHIFT finally carries what is printed on it — cue loop, clearing a cue, loop in and loop out on decks 1 and 2.
- Two quick presses on SYNC: the deck keeps following the other one, bar by bar, until pitch or jog lets it go.
- A held hot cue pad previews a stopped deck and stops it again on release. Press PLAY while holding it and the track runs on instead of stopping.
- Playing decks can be locked, so a misplaced press cannot replace the track in the audience's ears (Settings → General). Without the lock, the playing track now fades out instead of vanishing mid-bar.
- An iPad has to be allowed on the Mac before it may control the mixer; both show the same code. After that it connects without asking.
- Beat grid editor: the playhead runs through the window, the view stays put, and the click stops when the editor closes. A track counts as steady up to 0.3 beats from a straight line — measured against the corrections that had to be made by hand.
- Small things: the settings keep their tabs after a language switch, the search field has an × to clear it, the deck clock no longer shows 0:60.00 at the turn of a minute, and older builds and manuals move into build/Archive when a new one is built.
- Devices are followed while the app runs: an unplugged audio output falls back to the system output and returns when the device is back; “Search again” registers MIDI afresh.
- The space bar reacts reliably: held down it toggles once, and the search lets go of the keyboard.
- Logs only with consent: a new “Record a log” switch under Settings → General → Diagnostics, off by default.
- iPad app “aDJusted Remote”: VINYL, TAP, pitch ±0.5 %, English and the new logo.
- The schema view grows with the window.
- “Spin up and run down like a platter”: switched off, the deck also stands still the moment it is stopped, not only at speed at once when started.
- TAP: a tapped tempo for the effects, or for the grid while the beat grid editor is open (MCX8000, DJM-S11).
- Bluetooth controllers such as the Numark MixTrack Go can be paired right in the settings.
- The space bar starts deck 1 with the beat grid editor open too.
- A clickable schema for every shipped controller, plus 14 new mapping drafts read from the makers' MIDI lists.
- The controller settings remember the device last chosen or plugged in.
- The space bar also works with “System output”.
- The Numark MixTrack Go reliably wakes up when plugged in.
- The welcome dialog asks about updates.
- The names of the library sources follow a language switch.
- Updates: a check at launch and automatic downloading, each switchable on its own.
- Timecode vinyl follows the needle on the record, and beat grids can be listened to in the editor.
- A mapping for the Numark MixTrack Go with VINYL mode, the space bar as transport while preparing, the new aDJusted logo.
- The controller settings open on the device that is plugged in.
- The ruler button says where the beat grid came from.
- Shipped mappings for eleven controllers, chosen by device at the first start.
- Read and export a rekordbox library; every source gets its own root in the tree.
- Stem separation: choose its thoroughness, one button per stem.
- Our own beat grid analysis with Beat This!: the audio decides which grid applies.
- The app is now called aDJusted.
- Sync treats double the tempo as the same tempo.
- Crossfader contour on one knob, from slow cut to fast cut.
- Timecode readouts with signal strength and quality, input pairs assigned freely to the decks.
- “Collect diagnostics” for bug reports.
- External mixing: every deck on its own output pair for hardware mixers.
- Controller LEDs: transport, channel meters and the platter ring on the MCX8000.
- Your own crates and folders with drag and drop, from the iPad too.
- Steadier under load: a smoother mixer during Auto Mix, a safer loading path.
- rekordbox export of playlists and your own crates, with cues and beat grid.
- SHIFT modes of the MCX8000 pads: cue loop, saved loop, slicer loop, velocity sampler.
- iPad app with jog wheels, pitch faders and a file browser.
- A mapping for the Pioneer DJM-T1 and Traktor Scratch timecode.
- New pad modes: slicer, loop roll and a sampler per deck.
- Automatic loudness matching, keylock in Auto Mix, an eject button.
- Stem separation with mute and solo on the pads, three effect slots per deck, four decks.
- German and English, a help mode and a guided mapping wizard.
Versions before 0.5.6 were still called “BassAssassins Player”.
