Vessa Rig — User Manual

Version: 4.79 (October 2026)
Status: Living document — update this file whenever a feature is added or changed.
Platform: macOS / iPad (Mac Catalyst)

Instrument names (October 2026). The instruments are Vessa Keys (Keys for short), and Vessa Pad (Pad for short). On screen, where the full name does not fit, they wear a mark: V·KEYS and V·PAD — on the Keys module's power key, the mixer's instrument strips and the pad key in the Keys workspace — and V·Keys and V·Pad in Layout Design's module list. The mark keeps the instrument's strip from reading like the mixer's Keys bus (your songs' keyboard stems); VoiceOver says "Vessa Keys" and "Vessa Pad". The Keys module's Pads style is now Grid. Copies of your patches kept before a conversion are in Files → Vessa Rig → Vessa Keys Backups (once legacy instrument backup folder — the app moves it for you). Only the names changed: your patches, layouts and settings are as they were.

1. Introduction

Vessa Rig is a live-performance audio workstation for musicians, bands, and performers. It lets you:

• Organize your songs in a searchable library with folders.
• Play back multitrack audio stems during a live performance — background tracks, click tracks, pads, or full arrangements.
• Sync lyrics to the audio so they scroll automatically on screen or on an external display.
• Mark regions (verse, chorus, bridge, intro, etc.) in the waveform so you can loop, skip, or jump to specific sections on the fly.
• Store rich metadata for every song — key, tempo, year, MIDI triggers, and more.
• Auto-fill metadata on-device using ShazamKit, tempo analysis, and key detection — no internet search required.

Vessa Rig is designed first for iPad on stage, but runs equally well on macOS.

A note on AI features: Vessa Rig includes on-device AI tools for tempo detection, key detection, section analysis, and cue-label recognition. These features are designed to speed up the process of adding songs to your library — not to replace your judgment. Results will occasionally be wrong, incomplete, or require manual correction. Always review AI suggestions before committing them. All processing happens entirely on your device; no audio is ever uploaded.

1.1 Multicore Audio

Vessa Rig takes advantage of multicore devices automatically. For supported live multitrack playback, it spreads music-bus processing — including tempo and pitch changes — across CPU cores. This can provide more audio headroom for demanding arrangements.

Multicore playback supports up to 16 music buses, with no core-count setting to configure. On compatible audio routes, microphone effects also share multicore processing with your tracks. Microphone effects continue to work when tracks are paused or no song is loaded; their controls and routing stay the same.

Vessa Keys' native built-in sound engine can now share audio workers with music and microphone effects. This first Vessa Keys implementation is enabled automatically on supported 44.1 kHz, 20-output routes, including the verified Fireface setup. It works with tracks playing, paused or unloaded. Other routes keep the existing sound engine path.

The benefit depends on your device, song and effects. Vessa Keys' layer effects, sampler fallback and third-party instruments are not moved onto these workers by this update. Video projection has its own processing demands.

2. App Overview & Navigation

Vessa Rig uses a unified workspace model built entirely around the Go Live cockpit. You stay in Go Live for everything and shape it to suit you: it's a modular cockpit where you arrange your own control panels (see §5.0a), and your library and setlists live in a floating Library window (§3.7). The old fixed sidebar and separate Assemble tab are gone — heavy song editing now opens in place over the cockpit (see §6).

The iPad's status bar — the clock, the date, Wi-Fi and the battery — is hidden everywhere in Vessa Rig: on the cockpit, in the Pro Mixer, the editor, Settings, the Keys workspace and every other full-screen view, every time it opens. (The orange microphone dot iPadOS draws at the screen's top edge while the microphone is in use still appears; it takes no touch.)

Stage Controls — the pucks

Instead of a fixed navigation bar, the cockpit's chrome is a set of small draggable pucks that float over the canvas. Drag a puck to move it — each remembers where you put it, separately for portrait and landscape — and tap it to act. The buttons you reach for live wherever you park them. The pucks are solid keys drawn in the page's look (Stage, Dusk or Daylight — see The ••• Menu), so they read clearly over any module.

The pucks step aside while Layout Design or Module looks is open. On iPhone they also hide while a floating card (Mixer, Mic or Projection) is open, so they never sit on top of the card's own controls.

Leaving the editor: on iPad the editor has its own ‹ Live button at the top-right of the editor header to return to the cockpit; on iPhone the full-screen editor closes with its ✓ at the top-right, which keeps your changes. Once the current tab has changes, a red ✕ at the top-left discards them and closes instead (Keep & Close / Discard).

Performance mode is active the whole time you're in Go Live — background processing (AI analysis, waveform pre-generation) is suspended, and stays suspended even while the editor is open, so there's no audio disruption opening or closing it.

The ••• Menu

Tap the ••• puck for everything you set up between songs rather than during them. From the top:

The colour theme is chosen only here. Settings no longer has a theme page. A device that was set to one of the retired themes (Nebula, Florida Sunset or Sunny Day) opens on Titanium.

Module looks

Every module can wear its own look — a finish, and on some modules a style or a trim. Layout Design sets these, but to change one mid-gig without entering it, use ••• → Module looks or a two-finger press-and-hold on the module — see Module looks — without Layout Design.

Editor Tips (Show Tips)

The Regions / waveform editor teaches its controls as you use them: the first few times you use a hinted control, a small frosted banner (with a yellow 💡 icon) slides in to explain it, then it goes quiet for good. To bring the hints back, open the editor's ••• menu and tap Show Tips — this re-arms every control's banners. There is no separate lightbulb button and no Settings toggle; tips live entirely behind ••• → Show Tips.

2.1 Stage Manager Window Resizing (iPad)

Vessa Rig is fully compatible with Stage Manager on iPad. When you drag the window handle to resize the app in any direction, the layout adapts without losing any controls:

The app enforces a minimum window size of 320 × 200 pt. Below that floor, Stage Manager will not let the window shrink further.

The compact layout. Your full cockpit is too much to cram into a small window, so when the iPad window is shrunk well below full screen, Go Live switches to a compact layout — the same pocket arrangement an iPhone uses, in a portrait or landscape version to suit the window's shape. Your full-size layout is never touched: widen the window again and it comes straight back. While compact, ••• → Layout Design (it reads This window size while the window is shrunk) arranges the compact layout itself (portrait and landscape are kept separately); while you do, the preset button offers Reset this size, which puts it back to the built-in arrangement. Arranging your full-size layout, and Module looks, wait until the window is full-size again.

Practical tip: If you are performing on an iPad using Stage Manager alongside a setlist app or sheet music viewer, you can shrink Vessa Rig and still reach the full song controls — the cockpit drops to its compact layout and the panels and pucks stay within reach.

2.2 Software Keyboard Behavior (iPad)

When the on-screen keyboard appears for text editing (lyrics, song titles, region names, etc.), the app layout does not shift upward. The keyboard overlays the bottom portion of the screen while all other content remains pinned in place — the header, panels, and pucks stay exactly where they are.

Individual elements such as the waveform transport bar animate upward to sit flush against the top of the keyboard so they remain accessible while typing.

3. Your Song Library

3.1 Adding a Song

1. Open the Library window (tap the Library key — icon building.columns — at the start of the Controls module, or the floating Library key, which appears only while the Controls module is hidden).
2. Tap the + (add) button in the Library window's top row.
3. Enter a Song Title (required). If the title is already taken, the field turns orange and tells you so — your typing is kept, so you only change the word you need to.
4. Tap the Audio Files tile and select one or more audio files from your device storage. Each file becomes one track (stem) within the song. Tap the tile again to add more; each staged file appears below as a chip with an ✕ to drop it, and the ✕ on the tile itself clears them all.
   • Select the whole folder if you like. The picker takes pictures as well as audio, so you can select everything in a song's folder in one go — the audio becomes the song's tracks and a picture becomes its cover. If several pictures come in, the one whose name best matches the song (or is called something like cover, folder, artwork or front) is used, and the Cover tile says which. Anything swept up by mistake shows as a chip you can drop before saving.
5. (Optional) Tap the Cover tile to choose artwork for the song, for when the picture is not sitting in the folder with the audio. The tile shows the picture once set, with an ✕ to clear it.
6. (Optional) Tap the Lyrics tile to paste or open lyrics now — the song is created with its words already in place. A lyrics-only song is perfectly valid; audio can be added later.
7. (Optional) Set Tempo & Key:
   • BPM — enter the beats per minute manually, or use Auto-fill with AI (see below).
   • Time Sig — numerator / denominator (defaults to 4/4).
   • Key — tap to open the Key Picker (root · accidental · quality).
   • Auto-fill with AI — analyses the first imported audio file to detect tempo, time signature, and key automatically. Requires at least one audio file to be selected.
8. (Optional) Built-in Vamp — toggle on to create a synthesised groove when the song is imported. The built-in metronome handles timing (no click track needed); spoken cues are generated later in the Regions Editor once you have sections.
9. (Optional) Cue language — the language the spoken cues on your guide track were recorded in, so Detect Sections can understand them (a guide that calls out "coro" needs Spanish here). Auto-detect listens to the audio and picks the best match. This is what the app listens for — the voice it speaks with is the separate Voice picker in §5.13.
10. Tap Add to Library. The song appears in the library immediately.

Nothing is hidden. Every setting on this sheet is on screen — scroll to reach it, no drawers to open. Each section's heading also prints its own values on the right (116 · 4/4 · C♯m), so you can confirm your tempo and key while looking at something else.

What happens after you import. You don't have to tap anything for the app to make sense of a new song. It analyzes each import in the background — checking for tempo changes and leading silence — and, when it finds something worth acting on, surfaces a Song Setup banner with one-tap offers to match the tempo or align the start. See Automatic Analysis on Import.

Supported audio formats: Any format readable by AVFoundation — .m4a, .mp3, .wav, .aiff, .caf, .flac, and more.

Click and cues in one file — split for you. Many backing-track apps export the click and the spoken cues as a single stereo file: the metronome on one side, a voice calling "chorus", "bridge", "last time" on the other. Vessa Rig listens to what you import and, when it hears that, gives you two tracks instead of one — Click and Cues — each with its own fader, mute and level. Turn the voice down without touching the click; mute the cues for the second service and keep the beat. Both still go to your in-ears on the Click & Cues bus, exactly as the single file did. It works whatever the file is called, because the decision is made from the audio itself. If the two signals can't be told apart with certainty the file is left whole, so nothing is ever taken apart on a guess.

A stereo click that is really mono. Some libraries ship the click — and the guide — as a stereo file with the same thing on both sides. There is nothing to separate there, so Vessa Rig makes it a single mono track instead, under its own name, at import. Same audio, half the size, and every feature that works on a click can then see it. A stereo file that genuinely carries two different signals is never folded this way; it is either split into Click and Cues or left whole.

The two tracks replace the combined file rather than sitting alongside it — together they hold exactly the same audio, so nothing is lost, but there is no third "click and cues" track underneath and no one-tap way back to one. Your original file on your computer or in your other app is of course untouched.

Spoken-title file detection. The Spoken title switch is always on the sheet, dimmed until there is something to offer. If one of your imported files is short (under ~20 s) and named like a title cue (e.g. title, titulo, nombre, intro, voiceover), the section reads FOUND and names the file. Turn the switch on to use it as the song's Title Announcement — it is then not added as a playable track. Off by default; nothing changes unless you turn it on.

3.2 Organizing with Folders

Folders give each song one home. They live on the Library window's Library tab — tap Library again while you're on it to switch from the flat song list to your Folders. Folders nest two levels deep: top-level folders, and folders inside them. A song is in one folder at a time (Books and Topics are for songs that belong in several places — see §3.7); songs that are in no folder wait under Unfiled at the foot of the list.

Creating a Folder

On the Folders view, tap Folder (folder.badge.plus) above the list. The New Folder sheet asks for a name and a Location: ROOT puts the folder at the top level, or pick a top-level folder to create the new one inside it. Tap Create.

Accordion Navigation

An open folder lists its sub-folders first, then its songs. Every folder shows how many songs it holds.

Folder Swipe Actions

Swipe left on a folder to reveal its actions:

Folder Delete Confirmation

Tapping Delete never removes anything immediately. An alert asks Delete "<folder name>"? and says what will happen: an empty folder is simply removed; a folder with songs is removed and its songs move to Unfiled — they stay in your library. Folders that were inside it move up to the top level. Tap Delete to confirm or Cancel to keep it.

Deleting a folder never deletes a song or an audio file. To delete songs, swipe the song itself (§3.6).

Renaming a Folder

Swipe left on the folder and tap Rename, or long-press it and choose Rename. Type the new name and tap Save; Cancel keeps the old one. A blank name is ignored.

Unfiled

Songs that are in no folder appear under Unfiled (a tray icon) below the folders, with their count beside it. Tap it to open or close the list; once every song has a folder it reads Every song is filed. Drag a song onto Unfiled to take it out of its folder.

Drag-and-Drop Songs into Folders

You can move a song into a folder by dragging it from the song list and dropping it onto a folder:

1. Press and hold a song row until it lifts.
2. Drag it over the folder — the folder lights up in the theme's accent colour to show it will take the song.
3. Release to move the song into that folder.

Because a song lives in one folder, moving it takes it out of the folder it was in. You can also drop a song on a step of the breadcrumb to move it into that folder, or on the breadcrumb's FOLDERS step to take it out of every folder. To file a song without dragging, swipe it and use Add to → Move to Folder (§3.6).

3.3 Setlists

Setlists — and their folders — live in the Setlists tab of the Library window. See Section 3.8 for the full walkthrough, and the live Setlist module in Go Live (§5) for performing one.

3.4 Searching & Sorting

• A search bar sits at the top of the Library window. Typing filters the list as you type, matching a song's name, artist, or key.
• Clearing the field brings back the whole library scrolled to the song you have loaded — not to the top of the alphabet. Find a song by typing, tap it, clear the search, and it is still in front of you, ready to export or file.
• Closest match first. Results are ranked by how well they match, not listed alphabetically. A title that begins with what you typed comes first, then one where a word begins with it, then a match anywhere in the title — then the same three for the artist, and the key last. So typing Amo puts Amor Sin Condicion at the top, above Z-Celebrare Tu Amor, above Vamos A Cantar.
• The matching letters are highlighted in the title and the artist. That's what makes a result that looks unrelated explain itself: Amo also finds Anhelo Tu Presencia, because its artist is Coalo Zamorano.
• Accents are ignored, both ways. Typing confio finds Confío en Dios, and typing confío finds CONFIO EN DIOS.

Sort Order

A sort button (↑↓ arrows icon) sits at the right edge of the search bar. Tap it to open a sort picker with four options:

The selected sort option is shown with a checkmark in the theme accent color. The sort button icon fills with the accent color to indicate a non-default order is active. The choice is saved between sessions using app storage.

Sort applies after search filtering — you can combine search and sort freely. Sorting also applies when viewing songs inside a folder — the same four sort options work within any folder's contents.

Sort and search. Title is the default, and while you're searching it means closest match first (§3.4) — alphabetical order is a poor answer to a question you just asked. Pick Artist, BPM or Date Added yourself and that choice wins: results stay in the order you asked for.

3.5 Song Row Display

Each song in the Library window's list is one row. From left to right:

The loaded song says so on its row three ways: a bar in the theme's accent colour down its left edge, a tint across the whole row, and a bold title. A song that needs setup carries a teal outline around its row as well as the wand.

All metadata fields come straight from the song's Info tab. If a field is empty it is left off the row rather than shown as a placeholder.

3.5a Song Artwork

Every song has a cover. You can give it one, and until you do, the app puts its own mark in its place, so a library of songs looks like a library of songs rather than a list of empty squares.

Artwork appears on the library rows, on the Setlists tab, on the Live page's set list (§5.0b), in the Regions module's song header, and beside the song title at the top-left of the wide iPad editor. It appears as soon as a song is loaded; you do not need to open Library first.

Giving a song a cover

• From a Library song — press and hold its entry, then choose Find Cover…. This opens Find Covers for that song only, with local, automatic online and web-search choices. If it already has artwork, Replace Cover… opens the web search with a preview before replacement. Hold and drag still moves songs into collections; tapping and double-tapping keep their playback behavior.
• In the song editor — tap the square beside the title and choose Search Online, Choose from Photos or Import from Files. Once a song has a cover the same menu offers Replace from Web, Replace from Photos, Replace from Files and Remove Cover. The square is in every editor: the inline iPad one, the full-screen one, and the small panel that opens over the lyrics.
• When you create the song — use the Cover tile on the New Song sheet, or simply select the picture along with the audio and let the app sort them out.
• Drop it on a row — drag a picture from Photos or Files onto a song in the library.
• From the audio itself — many purchased or exported files carry artwork inside them. When you import one, the app uses it automatically. A picture you choose yourself always wins over one found inside a file.

Pictures are trimmed to a square and stored with the song. Pictures you import yourself travel with the song when you share it. Covers downloaded by automatic matching stay on your device and are omitted from shared song packages; the artwork service does not grant redistribution rights.

Find Covers

The library's ⋯ menu has Find Covers…. In Group Edit, select songs and use the same menu for just that selection; otherwise it uses the whole library. It first looks for artwork already on your device — a picture sitting in the song's own folder, or artwork inside its audio — and shows you what it found. Everything is ticked; untick anything wrong and apply. It never changes a song that already has a cover, and nothing is written until you say so.

It also tells you how many it found, which is the only way to know how much of your library carries artwork already.

Find missing covers online automatically

In Find Covers…, tap Find online covers…, then Find online covers. You can open this while the local scan is still running. Vessa searches song titles and artists in MusicBrainz, downloads available front covers from Cover Art Archive, and groups the results:

• Ready — matching title, artist and version. Tap Add matching covers once to apply that group.
• To review — a missing artist, similar title or different recording version needs your choice. Tap the song, check the artist and release, then Use this cover or Skip this song. You do not have to review every confident match.
• Not found — the catalog did not provide matching artwork. You can use the web search below, Photos or Files.

Stop pauses the batch. Resume / retry continues unfinished work. Completed searches and images are cached, so reopening this workflow normally reuses them. The cache can expire or be cleared by the system. Offline and service-limit errors pause the search and retain progress; they are not counted as missing covers. Keep Vessa open while searching; downloads are not guaranteed to continue in the background.

Existing covers are never replaced, including a cover assigned while a search is running. Undo last additions removes the last batch's covers while keeping covers you changed afterward; it remains available after closing and reopening the sheet. Titles, artists, lyrics and audio files are not changed. Only titles and artists are sent for the search. Catalog coverage varies, and Live, Acoustic and Remix versions may need review.

Find a cover online yourself

In Find Covers…, tap Search the web myself…, then choose a song without artwork. Or tap a song's cover in the editor and choose Search Online / Replace from Web.

The browser searches using the song title and artist. You can edit the search words. Open the picture you want at its larger size, tap Select image, then tap that picture. Check the square preview and tap Use Cover (or Replace Cover). Choose another returns to the browser. Small pictures are flagged so you can find a sharper version.

Saving from the library returns you to the remaining songs, ready for the next search. Your existing covers are kept; replacement is an explicit action from the song editor or the Library song’s Replace Cover… menu. If a song or its artwork changes while the browser is open, Vessa asks you to reopen the search instead of overwriting that change. Close leaves the cover unchanged.

An Internet connection is required. The title and artist are sent to the search website when you open the browser. You choose each image yourself; this is not automatic batch matching. Use artwork you have permission to use.

Songs without a cover

A song with no cover of its own shows the Vessa Rig mark — the app's flame on a dark square. The flame never changes; the colour of the ground beneath it comes from the song's title, so it differs from song to song and is the same every time you open the app. In the library lists and the Regions header it is drawn quietly, so it never competes with the titles beside it; in the song editor it is drawn at full strength.

The Live page's set list follows its style (chosen in the module's look — see Module looks):

Give the song a real cover whenever you like and it takes over everywhere.

3.6 Song Swipe Actions

Swipe left on any song row to reveal swipe actions. In the library list, swipe actions operate on the song itself — which ones appear depends on the tab you're on:

Edit Song Sheet

The Edit Song sheet is a compact form for fast metadata changes without leaving the Library window. Its Song Info section contains three fields (a History section below them shows when the song was last played and how many times):

Tap Save to apply or Cancel to discard. Changes are immediately reflected in the library song row.

Tip: For full song details (tempo, time signature, MIDI, and more), open the Song Editor (Editor puck) — tap the song, then use its Info tab.

Delete confirmation dialog — tapping the red trash button never deletes immediately. A sheet appears asking how much to remove:

This action is permanent. "Remove from Library" can be undone by re-importing the audio files. "Delete All" cannot be undone.

Setlist swipe actions (inside a setlist) are available in the Setlists tab — see Section 3.8.

Duplicate a prepared song

Swipe a song and choose Duplicate. Choose Duplicate again to keep its current audio, or Duplicate with New Audio… to name a copy and choose several replacement files together. Regions, lyrics, paragraph markers, timing, track settings and mixer snapshots are carried into the copy. Ordinary duplication shares the large audio files to save space; edits and subsequent replacements belong to each song independently.

The new-audio option opens a track review. Matching filenames are selected automatically; choose the destination for any unmatched file, Add as new track, or Skip this file. Create Copy saves the reviewed result. Tracks you leave alone keep their current audio. The original song remains unchanged.

3.7 The Library Window

Your whole library and all your setlists live in a floating Library window. Open it from the live cockpit — tap the Library key (the library building, building.columns), first in the Controls module, or the floating Library key while the Controls module is hidden; tap the same key again to close it. It's a movable, resizable panel (not a full-screen takeover), so you can browse and audition songs while the rest of your cockpit stays visible.

Open panels return after relaunch. Library, Mixer, Microphones and Projection remember whether you left them open or closed, along with their existing pin and position settings. Closing the app does not close these panels; closing a panel with its key or ✕ keeps it closed next time. This restores the controls, not audio playback.

Closing the Library and reopening it during the same app session keeps the tab, open setlist or folder, expanded books/topics, and search you were using. Switching briefly to another panel does too. Tap the active Setlists tab again when you want to return to its root browser. The editor's Library remembers its browsing separately from Live's.

Moving & sizing the window

The window never darkens the page or gets in its way: a tap outside it always reaches your modules. It reopens where you left it — remembered separately for portrait and landscape, and on iPad for each layout preset, so it can sit in a clear spot for every layout.

In the wide iPad Song Editor, the library building button opens Library beside the current workspace. Projection and Audio Tracks always put Library on the left, without a side-switch arrow. Info and Lyrics + Mixer start on the right and each remember their own arrow choice (§4.3). Choosing a song closes Library once it loads; pin keeps it open for more browsing. Changing editor panels or returning to Live closes Library even when pinned. The pin preference and your browsing place are remembered.

The tabs run across the top row — Library · Books · Topics · Setlists — alongside ＋ (new song), the pin, and the close button.

• Library is every song. Tap Library again while you're already on it to switch between a flat song list and your Folders.
• Books and Topics are non-exclusive collections — a song can live in several. Use Books for repertoires or venues, Topics for themes ("grace", "prayer").
• Setlists is your shows (§3.8).

Global search. Type in the search bar to find anything by name, artist, or key. Search reaches everywhere — a match appears even when it's filed inside a collapsed folder, book, or topic, so you never have to open a container to find something.

On Books, Topics and Folders, results keep the shape of the tab you're on. Every book (or topic, or folder) holding a match opens itself — ordered so the one holding the closest match comes first, not alphabetically — and one bucket at the foot, Not in any book, gathers the matches that are filed nowhere:

SUNDAY SET (2) DIOS DE PACTOS · DIOS ESTA AQUI NOT IN ANY BOOK (37) CUAN GRANDE ES… · DIOS DE LO IMPOSIBLE · …

So a search always tells you where each result lives, not just that it exists. Tap the bucket's header to fold it away. Because a song can be in several books, it appears under each one it's in — that's the answer to "which books is this in?". Folders are exclusive, so a folder match appears once; while searching, folders at every depth are listed, so a song inside a sub-folder still shows up. Clear the field and the tab returns exactly as you left it — nothing you collapsed is re-opened behind your back.

Creating & organizing. ＋ adds a song. On Folders, Books and Topics, a Folder / Book / Topic button creates a new one; on Setlists, the Folder and Setlist buttons do. Drag a song onto a folder / book / topic to file it. Swipe a song row for Edit · Share · Add to · Duplicate · Delete; inside a book or topic, Copy and Remove (from that book or topic only — the song stays in your library) take the place of Duplicate and Delete.

3.8 Setlists

Open the Setlists tab in the Library window to build and run your shows.

Browsing. Setlists live in folders. Tap a folder to open it inline (up to two open at once — opening a third closes the oldest); tap a nested folder to drill in, with a breadcrumb across the top and a ‹ button to jump back to the top level. Re-tap the Setlists tab to pop all the way out to the root from anywhere. The search bar here is pull-to-reveal: it stays hidden until you pull the list down; scroll back up to tuck it away.

The setlist rows. Each row shows the setlist's name (in its own colour, if you gave it one) and how many songs it holds; tap it to open the set. The set that is loaded in the live Setlist module is the highlighted one — tinted, with a bar in the theme's accent colour down its left edge and a small speaker icon; the others are plain. A yellow ★ marks a favourite, and a green chain-link badge marks a set whose automatic transitions are armed — the same symbol as the transport's AUTO key, remembered per setlist (§5.3). Swipe a setlist row for Settings · Move · Duplicate · Delete.

Inside a setlist, the header gives you:

• ‹ and the breadcrumb — back out to all setlists, or to any folder on the way.
• Add Songs — pull songs in from your library.
• ✨ Suggest — flip to a suggested alternate set (§3.9).
• LINK — a red button with circling arrows that appears when this setlist is not the one in the live Setlist module. Tap it to load this set into the module, so it's the one you perform. Once the two match it settles into a quiet check mark in the theme's accent colour. It only appears when you have a Setlist module in your cockpit, and stands aside while you're looking at suggestions. (The Setlist module reports the match with a small mark inside its selector; that mark is not a separate action.)
• Playing → — appears when a different setlist is loaded than the one you're viewing. One tap jumps straight to the loaded (playing) set — no breadcrumb hunting.
• ★ Favorite, Share (Sharing a Setlist), and a settings button (Default transition, Reverse order, Stage flow, and the setlist's name and colour).

Editing the set. Swipe a song row for Edit · Version · Loop · Delete — Loop only on songs with audio, and Versions… in place of Version on a song that has none yet (§6b-1) — and long-press-drag to reorder. To change what happens after a song, use its transition chip (§5.2a).

Stage Flow (a per-setlist option) turns the list into a live performance view: played songs grey out and move aside under a running show clock, keeping the next song front-and-center. See Section 5.21.

3.9 Suggested Sets

Tap ✨ Suggest on any setlist and the list flips in place to an alternate set the app builds for you — companion songs that fit, ranked first by shared message (what the songs are actually about — drawn from their lyrics, titles, and the Topics you've tagged them with), then by shared Books, compatible key and tempo, and how recently / often you've played them. Because it weighs what a song means rather than just matching words, ✨ Suggest can pair songs that carry the same message even when they're worded completely differently — including across languages: an English-only song and a Spanish-only song about the same thing can be suggested for each other. Each pick carries a short reason chip ("Shared message", "Same book/topic", "Compatible key", "Played recently"…).

• Tap a suggestion to check it (tap again to uncheck) — nothing is committed until you say so.
• Add N (the ✨ button turns green) adds your checked songs to the current setlist and returns.
• All checks everything; Save keeps the checked picks as a brand-new "… — Alternate" setlist.
• Tap My Set to flip back to your real list at any time.

Suggest is also on the live Setlist module — its ✨ button swaps the tiles to the suggested set so you can glance at ideas mid-show, then tap again to return.

Play history. The recency and frequency the suggester leans on are tracked automatically as you perform. To see a song's history, swipe it → Edit — the History section shows Last played and Times played.

4. The iPad Song Editor

Note (read first): This section documents the iPad song editor. On iPad you open it from Go Live with the Editor puck (square.and.pencil); it opens in place over the cockpit (audio keeps playing) as a single Regions editor — the waveform at the top, the lyrics in a panel below it, and everything else reached from the controls around them (described below). Return to the cockpit with the editor's own ‹ Live button at the top-right of the header. On iPhone the Editor puck opens a full-screen editor with four tabs (Info / Lyrics / Tracks / Editor), closed with its ✓; an iPad window narrow enough to take the iPhone layout opens a full-screen editor too — see §6.

This is your song preparation surface. Import songs, adjust the mix, write and time-sync lyrics, draw regions, and verify how a song looks and feels before you perform it.

4.1 Layout

┌──────────────────────────────────────────────────────────────────────┐
│ [art] Song title             clock (m:ss) · snap               ‹ Live │
├──────────────────────────────────────────────────────────────────────┤
│ [•••] [AI] [follow] [↩ ↪]   selected region   [+]   ⏮  ▶  metronome  │
│ ┌──────────────────────────────────────────────────────────────────┐ │
│ │ section markers · cues track       (when the song has them)      │ │
│ │ WAVEFORM — ruler on top; draw · label · tune regions             │ │
│ └──────────────────────────────────────────────────────────────────┘ │
│                  [lock] [push]  (region selected)      [− zoom +]    │
│ BOTTOM PANEL                                                         │
│ [✎ ⤓ hand ▾]    TITLE · key · BPM     Library  Projection  Info      │
│                                       Audio Tracks  Mixer            │
│ lyrics                         │ compact mixer                       │
└──────────────────────────────────────────────────────────────────────┘

There is no song-list sidebar in the editor — it spans the full width and edits the currently-loaded song. Pick a different song from the Setlist module (§5.0b) or the Library window (§3.7) — the editor has a Library window of its own (§4.3).

4.2 Header Bar

The header is a slim strip across the top of the editor:

The bottom panel also offers the song's key and tempo (§4.4). In Info, the title stays in the top header and the editable song-details card instead of repeating in the panel's toolbar.

4.2a Inline Control Row

Below the header, a row of controls sits above the waveform:

The editor's play key only ever pauses — it never stops back to the top — so you can pause, adjust and carry on from exactly where you were; ⏮ takes you back to the beginning. It plays through the same transport as Go Live: the song starts the way the Live PLAY key would start it.

When the editor is less wide — a smaller iPad held upright, or Split View — it makes room for the selected region's name: the language key drops out of the transport, and the follow-playhead button steps aside while a region is selected.

4.3 Choosing songs (no editor sidebar)

The editor has no song list of its own — it always edits the currently-loaded song. Load a different song from the Setlist module (§5.0b) or the floating Library window (§3.7), and the editor follows. The editor has a Library window of its own, too: tap the Library button (building.columns) in the bottom panel's header — it turns teal while the window is open. Organizing your library — folders, search, add-song, batch Group Edit, and double-tap a song to play / crossfade — all live in the Library window and Setlist module (see §3 and §5).

Library's placement follows the page you are using:

Info and Lyrics + Mixer each remember your chosen side across closing Library, changing songs and restarting the app. Moving Library in one does not change the other. Changing pages closes Library; reopening it uses that page's placement. Pin only keeps it open after choosing a song.

4.4 Workspace Area — Always-Edit

The iPad editor is always in editor mode — there is no separate Preview / Edit toggle, and changes save continuously. The workspace is the Regions waveform editor: draw, label and tune region boundaries on the waveform, with the waveform tools in the ••• menu above it (§4.2a).

Below the waveform sits the bottom panel. It shows the song's lyrics — tap-to-mark timing, import and editing (§6c) — and, beside them, the compact Mixer (§4.9). Its header carries:

Info fills the panel with the song's details (§6a). Audio Tracks fills it with the song's track list, and while it is open the waveform shows its trim and fade handles (§6d). Projection and Mixer are covered in §4.6 and §4.9. Tap Lyrics + Mixer to return to lyrics beside the compact mixer.

Auto-save: changes are saved continuously, so there is nothing to save when you leave — close the editor with its ‹ Live button (top-right of the header). Closing the editor also clears its undo history.

iPhone is different. On iPhone the Editor puck opens a full-screen editor with four tabs — Info / Lyrics / Tracks / Editor — with a ✓ to keep your changes and close, and a red ✕, shown only when the current tab has changes, to discard them. The underlying editors are the same; the tab set and presentation differ by device (see §6).

4.5 Tab Switching & Auto-Save

In the wide iPad editor, Lyrics + Mixer always returns to lyrics on the left and the compact mixer on the right. Info, Audio Tracks and Projection are direct destinations too; you no longer need to tap the highlighted button again to find the lyrics. Switching never discards work:

• Info and Audio Tracks save as you change them.
• Waveform edits — regions, their names and section tags — are written to the song as you make them, so they survive an app restart without any Done tap.
• Lyrics are typed in the full-screen lyrics editor (✎, or double-tap the lyrics). While it is open, the right of its header holds Cancel and Done instead of the panel tabs. Done keeps your text; Cancel throws away what you typed since you opened it. Either way the full-screen editor closes and you are back in the editor.

Undo / Redo: the ↩ ↪ pair in the control row undoes waveform edits (§4.2a); that history is cleared when you close the editor or load another song. The full-screen lyrics editor has its own ↩ ↪ in its header for the text you type.

Song switching: When you load a different song (from the Setlist module or Library window), the editor reloads everything for the newly selected song. No manual refresh is needed.

4.6 Projection Settings

Projection settings (audience fonts, colors, transitions, stage monitor options, and per-song settings) live in the External Video Panel, which opens in the bottom panel.

Tap Projection (sparkles.tv) in the bottom panel's header. The wide iPad editor remembers whether you last showed settings or lyrics beside the preview. Tap Lyrics + Mixer to return to the editing workspace. On iPhone, Projection still toggles its single-column panel.

While it is open, the middle of the panel's header shows a two-segment pill — tap Projection or Editor to switch modes (Editor styles the lyrics editor itself, not the projection). In Projection mode, an output-target row heads the settings: a solid Audience chip carries its Song | Global child pills in a recessed track beside it, and a separate Stage chip sits on the far side. Selecting Stage switches the external output to the stage-monitor view; the Audience / Stage choice is remembered as you navigate.

The settings sit beside the live projection preview — settings on the left, preview on the right. The output-target row stays pinned at the top of the settings pane; only the content below it scrolls — so the live preview stays on screen at all times. On the wide iPad editor, the amber Images button opens Region Images. The cyan Lyrics button replaces settings or images with lyrics while keeping the preview beside them; it then reads Settings, which brings the settings back. These choices survive visiting another editor panel and switching between the Editor and Projection pills. With Library open, Projection keeps Library on the left and preview on the right. Browse songs and tap Aa at the preview’s top-right to choose a theme without hiding Library. This is the same theme button as the Live projection module; it is dimmed on Stage, which does not use themes. Tap Lyrics, Settings or Images to tuck Library away and show that pane beside the preview in one step. Editor also makes room for its typography controls. The Library button reopens browsing in the same place. Pin keeps it open after choosing a song; changing panels always closes it. Closing Library restores your remembered Projection pane. On narrower toolbars the text steps aside, leaving the same distinct icons and colors.

For full details see Section 6c — External Video Panel.

In Go Live the same projection styling is in the Projection panel, opened by the Projection key (sparkles.tv) in the Controls module — or ••• → Projection when the Controls module is hidden. It is a floating card with Projection and Device tabs (Device is the lyrics you see on this screen), and the rest of the cockpit stays fully usable while it is open. See §5.10.

4.7 The Waveform & Timeline

The waveform is the editor's timeline, and it spans the full width:

• Ruler — along the top of the waveform, in bars or time (switch with the snap control's hold menu — §4.2). Tap it to move the playhead there; drag along it to scrub. While the song plays, letting go of a drag waits for the next downbeat to jump (Quantized Playhead Jump).
• Playhead — a vertical line across the waveform that moves with playback. With follow playhead on, the waveform scrolls to keep it in view while the song plays.
• Regions — drawn on the waveform in their colours. Tap one to select it, drag its handles to resize it, and press and hold it for its menu (§6b).
• Section markers — when the song has lyric section markers, they ride in a strip above the waveform and scroll and zoom with it.
• Cues track — when the song has a spoken cues track, it shows as its own row above the waveform.
• Pills — at the top right of the waveform: on a song with more than one track, a waveform pill picks what the waveform draws (Mix Down or a single track); with a region selected, a second pill sets how that region plays.
• Zoom — pinch the waveform, or use the − / + zoom buttons at the right, just below it.

When a region is selected, two buttons appear in the middle just below the waveform:

4.7a The Editor's Transport

The editor carries its own transport at the right end of the control row (§4.2a): ⏮ back to the beginning, ▶ / ⏸ play and pause from where you are, the metronome, and on a wide editor the language key. Space on a hardware keyboard plays and pauses too (§4.10).

Playback is globally shared

The editor's transport, the Pro Mixer's transport, and the Go Live PLAY key all control the same audio engine. Start playback from any one of them and it plays everywhere at once — the playhead advances at the same position in every view.

Similarly, loading a song (from the Setlist module or Library window) immediately loads that song in all other views (Mixer, Go Live, and the Song Editor). The previously selected song in those views is automatically deselected.

4.8 Section Chips (Songs Without Audio)

A song with no audio has no waveform to edit, so in its place the editor shows the song's lyric sections as a row of chips. A slideshow shows chips too: when you add the first audio to a lyrics-only song that has lyrics, the app asks Play as a song or a slideshow?, and Slideshow keeps the chips, with the audio as background music.

• Tap a chip to select that section — it is shown in Live and on the external display too.
• Long-press a chip to add or edit its cue or delete it, double-tap it to delete it, and drag it to reorder.
• The − / + under each chip sets how long that section holds before moving on: a number of bars — or of seconds, when the song advances by time. At manual it waits until you tap.

A slideshow with background music also gets a ••• menu above the chips, holding Chip Advance — By Bars (metronome) or By Seconds (timed) — and the variable-tempo tools; once it has a variable tempo, Halve and Double buttons sit beside it.

Until the song has any section markers, the area reads No Audio — Lyrics Only and explains how to mark sections from the lyrics or import audio. Live's own region chips — with looping, queueing and preselect — are in the Go Live cockpit (§5.5, §5.6).

4.9 Reaching the Mixer

The iPad editor has two mixers, both reached from within the editor:

• Compact Mixer — on the wide iPad editor, tap Lyrics + Mixer to show the mixer beside the lyrics. On iPhone, Mixer fills the panel with the Standard Pillar Mixer: a clean column-per-track mixer, each column a plain key with a real fader cap riding it (custom bus pillars follow a thin separator). See §9.12 Standard Dock Mixer for details.
• Pro Mixer (Pro upgrade) — tap PRO in the compact mixer, beside Channels / Outputs, to open the full Mixer with channel strips, EQ, mute groups, pan, and FX.

In the wide iPad editor, Lyrics + Mixer has no separate mixer-only page. Save Mix and the snapshot capsules stay in the bottom-panel header. Library can occupy either half: use its arrow to expose the lyrics or the mixer, or its building button to close it. On iPhone the Mixer button fills the panel, and the Save Mix + snapshot row sits at the top of the mixer itself.

For full Mixer documentation see Section 9 — Mixer.

4.10 Keyboard Shortcuts (iPad Editor)

With a hardware keyboard attached to an iPad:

5. Go Live — Performance Mode

The Go Live cockpit is the central workspace for everything — performing, editing songs, and managing your library. You no longer need to leave Go Live to edit lyrics, draw regions, or browse your library.

Performance optimized: Go Live maintains Performance Mode — the app suspends non-essential background work (song analysis, waveform pre-generation) for maximum audio reliability. This mode stays active even while the Song Editor is open inside Go Live.

Getting around Go Live

Go Live is a single surface — the modular cockpit (see §5.0a) — with everything reachable from the floating pucks (§2) and panels:

5.0a The Modular Cockpit

Go Live is a modular cockpit — you arrange your performance controls into a layout that suits you, and choose how each one looks. Everything on screen is a module you can move, resize, hide, bring back, and dress in its own look.

In normal play mode the cockpit is just your modules plus the floating pucks — nothing extra in the way. Three things reshape it:

• Looks — the page's look (Stage, Dusk or Daylight) and the color theme, chosen in the APPEARANCE strip at the top of the ••• menu.
• Layout Design — move, resize, hide and show modules, switch layout presets, and set each module's look (••• → Layout Design).
• Module looks — just the looks, over the page you're playing, without arranging anything (••• → Module looks, or a two-finger hold on a module).

The modules

Show or hide any module from the Modules puck in Layout Design. V·Keys and Layouts start hidden in every preset.

One Keys module. Keys used to be three modules — legacy module 1, legacy module 2 and legacy module 3, from when the instrument was called Vessa Keys. It is now one Keys module, and its two faces, Grid and Display, are styles you choose on its card. legacy module 1 is retired. Your saved layouts, and presets you import from an older version, are converted once and keep the Keys module that was showing in its place — see Layouts from earlier versions.

V·Pad is the drone-pad module (Vessa Pad), previously listed as Pad and earlier names, including Tonic. Tonic is still one of its sounds. The Keys module's patch-key style, once called Pads, is now Grid.

Looks — Stage, Dusk and Daylight

The whole page has a look — the finish that the page, every module and the floating keys are drawn in. Choose it in the APPEARANCE strip at the top of the ••• menu: under LOOK, tap Stage, Dusk or Daylight (each shown as a miniature of the page, with a lamp lit on the chosen one). The change applies at once and the menu stays open, so you watch the page change behind it. The strip's header shows what you have, e.g. Stage · Titanium.

In every look the Lyrics sit on a dark screen set into the page (The Lyric Screen), and they never go light: on a Daylight page the Lyrics are drawn in Dusk.

Each module can wear its own finish. By default every module follows the page — Match page. Give a module a finish of its own on its card (The module card) and it keeps that finish when you change the page look, while the rest follow the page. On a module's card the finishes carry the looks' own names — Stage, Dusk, Daylight — and while Match page is chosen, the finish it is giving you right now lights up too (its swatch ringed, its name lit, an outline round it), so you always see which one the page is lending. A module that can't draw the page's look shows the darker finish it actually uses.

Controls and Song Vol float straight on the page. Give either one a finish other than the page's and it gets a panel of its own to sit on.

COLOUR THEME. Below LOOK and MATERIAL, four swatches — Stage Teal, Rosewood, Golden Era and Titanium — set the app's accent colors. A tap applies at once and the menu stays open. This strip is the only place a theme is chosen; Settings no longer has a theme section. (Nebula, Florida Sunset and Sunny Day were retired — a device that was using one of them opens on Titanium.)

Material — Plain, Character and Vintage

Below LOOK, the MATERIAL row chooses how much hardware the modules wear. A tap applies at once and the menu stays open.

What Character does today:

• Transport — built as a Tape deck (the default) or a Studio rack, chosen on the Transport's card (The module card); None draws today's Transport.
  • Tape deck — a hairline-aluminium faceplate between brushed rack ears, each held by two hex screws, with a strip of plate between each ear and the keys. Each row of keys rises out of its own dark key bed, side by side like piano keys: the action keys (ARM, VAMP, Lang …) each with a deep front lip, CLICK, AUTO and REWIND as small machined keys, and PLAY a weighted bar with a chrome lip and a ribbed grip.
  • Studio rack — a bead-blasted faceplate between slotted rack ears; every key is a solid raised block with a bright top edge, a lit front edge and a deep dark front, set in a dark cut-out.
  • In both builds a key's words are arranged as on a Plain key and sit a little higher, above the lip; where they need the room the lip gets shallower instead, and a word is never cut short sooner than on Plain. SOLO ACTIVE, MUTE GROUP ACTIVE, the "Following the rig" line and the Pad controls (when they are in the Transport) are drawn between the rack ears, and each still answers a touch across exactly the area it does on a Plain page. Every key's touch area holds its Plain one; both builds have exactly the same touch areas, so switching builds never moves a key under your finger. The double-tap guard ring round REWIND and PLAY shows in every look, and on a phone the single CLICK · AUTO · REWIND · PLAY row is built the same way.
• Set list (Cards, Titles and Covers) — a road case covered in a fine, soft-touch leather grain with a soft light falling from the top, an aluminium edge strip and nickel corner caps; each card gets a thin nickel frame in the gap around it, never over its NOW or NEXT edge. The case takes its tone from the look: a black leather a step darker than the page in Stage, a midnight-indigo leather a clear step lighter than the page in Dusk (its grain visible), and a light satin-silver leather above the page in Daylight. The cards, their words, covers and NOW / NEXT edges are unchanged; a song you have already played still dims, and its nickel frame keeps it outlined against the case.
• Mix tiles — a finely brushed aluminium console plate. Each tile stands up off it with a light top edge and a dark line under it. Every level line on a tile, a group or an open bus key carries a ribbed chrome fader cap at its level. On the collapsed rail the C · S · A · M keys are rail caps: a ribbed grip across the top and the level line underneath. The bus rail sits in a recessed channel.
• Regions — a bead-blast faceplate. The song's header (cover, title, key and tempo) sits on a smooth band, and the timeline becomes a tape display behind smoked glass: the waveform and region colours, engraved ticks, a glowing playhead and the counter. Scrubbing and the region chips work exactly as before. While the segue picker is open, the arrow to the next song and the amber line round its sections are printed on the faceplate — a deeper amber in Daylight.
• Clips — the pads sit in a dark recessed bed, each with a faint velvet grain and soft pillow shading. Playing, waiting and resting keep their colours and their NEXT word.
• Mic row — a brushed faceplate behind the row. A resting input becomes a perforated grille, with its words, level ladder and lamp on small plates; TALKING stays solid cyan and MUTED solid red. NUDGE gets a knurled ring that opens a gap wherever the number needs room.
• Top Layers — a ribbed tray; each picture sits in a slide mount with its caption printed on the mount; live indicator keeps its green ring.
• Keys — the faceplate is anodised, with a fine grain. The patch keys and intensity keys (on the Display style also ‹, the display, › and SHIMMER) sit in recessed key beds: darker than the faceplate, with a lit lip along the bottom. V·KEYS and its lamp sit on an engraved name plate — a dark inlay in Stage and Dusk, a light satin plate in Daylight. The walnut cheeks, the violet display and the mod wheel are unchanged. The violet glow round the sounding key still shows on the bed; in Daylight it is a deeper violet. The full-screen workspace (§10a) is the same anodised metal: every area — the patches, the layer strips, ROOM / MASTER, the song, the keyboard, the sound browser and the drawers — sits on a raised plate of it with a machined edge, the four intensities and Arranger sit in a key bed, and CLICK, ⏮ and PLAY are built like the Transport's keys (Tape deck or Studio rack, as chosen on the Transport's card), side by side, so no word on them is cut.
• Pad — the walnut cheeks are quarter-sawn: a tighter, straighter grain in the same walnut colours. The faceplate has a fine grain, and BRT and SHM have finely knurled skirts round their caps. The display, the keys, the power key and FOLLOW keep the same layout.
• Controls — each key sits in its own recessed ring, and its face is gently dished: shaded under its top edge, catching the light along its lower edge. The glyphs, lamps, pin badges and the open panel's ring are unchanged.
• Song Vol — −, the level and + sit together in one recessed bed, and − and + have a knurled metal band along their lower edge. The level sits behind smoked glass with a row of 21 small lights under it (a bigger one every fifth), lit up to your level from −40 dB to +6 dB. Muted, the window still turns red and reads MUTE.
• Layouts — the keys sit together in one key bed, like a synth's memory bank. Each key shows its number (1–5) before its picture and name (a narrow key shows just its number), and every key has a lamp under a small glass lens: blue on the layout on screen, unlit on the others.
• Lyrics — the screen gets a thin satin bezel round its outer edge. The lyrics, the chords and the screen's colour are untouched.
• Floating panels (Microphones, Projection, Mixer, Library) — the card's surface is gently lit from above and its edge is machined. The top bar of the Library, Projection and Mixer cards becomes a brushed-aluminium name plate held by two small screws (the Microphones card keeps a plain top bar: its Live row is already its faceplate). Everything inside a panel is unchanged.
• Pro Mixer — the console (§9.0) becomes textured metal: bead-blast in Stage and Dusk, satin brushing in Daylight, with raised keys and a recessed fader bed (§9.10).
• If you give Controls, Song Vol or Layouts a look of its own (so it sits on a card), the card takes the material too; on Song Vol's card the word SONG sits in a small glass label window.
• Empty modules — whenever a module has nothing in it yet (no songs, no sections, no clips, no Top Layers, no input), its message sits in the same small glass label window: dark glass in Stage and Dusk, frosted in Daylight. An empty Clips module shows the dark pad bed the pads will sit in.

Keys keep their positions and touch targets in every material (the Transport's keys in Character and Vintage also take a share of the gaps between them; none gets smaller), and every word keeps its contrast. The Keys module's walnut is the same in every material; the Pad module's is quarter-sawn in Character and unchanged in Plain and Vintage. While this iPad controls another rig, every module draws Plain.

What Vintage does today — Character, re-finished and worn; every key, pad and window stays exactly where it is, and no mark ever sits under a word, a screen or a state colour. The faceplates are metal in your look's colours: brushed black aluminium on Stage, indigo hammer-tone paint on Dusk, brushed silver on Daylight.

• Regions — the song's name, key, tempo and tape display sit on the faceplate; the tape display is black glass with cream numbers. A screw holds the top-left corner, the bottom-right screw is missing and the bottom-left corner is chipped. Where Regions is tall enough to show plate below its keys, that strip is where your wrists rest: scratched, polished, its edge rubbed through. Each region key's lower edge is worn; NEXT's lamp is a jewel.
• Clips — the pads keep their dark bed; each resting pad's lower edge is worn; a waiting pad's NEXT lamp is a jewel.
• Top Layers — each picture sits in a black glass mount with its name in cream; live indicator glows green behind a jewel; long scratches cross the open plate, and one screw is the odd black one.
• Mic row — the look's metal with two screws at its top corners; the TALK and input keys are worn at their lower edges and the lamps are jewels. The card itself never wears.
• Keys — between the walnut cheeks the faceplate is your look's metal, held by nickel screws where the panel has room. It is worn only at its edges and where your hands rest: under the intensity keys, beside the mod wheel, in the gaps between the rows, and at the bottom-left corner, which is knocked bare. Every resting key is worn at its bottom edge and front corners — never under a letter. The lamps are jewels in their own colours: V·KEYS, the note lamp, the bank lamps, SHIMMER, the lock and STAY's amber. The keys sit in beds and V·KEYS on its name plate, as in Character. The violet display, the mod wheel and the walnut are untouched. The full-screen workspace is the same rack metal, worn where your hands go — along the bottom under the keyboard, up its sides and in the gaps between its areas, never in the header — with two nickel screws under the keyboard where there is room; its plates are the same metal finished a little finer, every resting key is worn at its bottom edge (never under a letter), the lamps are jewels and the transport keys are the Transport's worn keys.
• Pad — the faceplate between the walnut cheeks is the look's metal, scuffed along its front edge; the white keys are worn at their front edges and polished where fingers land. The walnut, the display, FOLLOW and the knobs keep the same layout.
• Transport — both builds become old rack gear. The faceplate is your look's metal; the rack ears are a separate piece of the same metal, held by nickel slotted screws; PLAY's lip and grip are nickel. Every resting key is worn along its front edge and rubbed at its front corners; a key that is on (PLAYING, an action key that is sounding or holding, CLICK or AUTO on) shows no wear, and a key keeps its marks when its word or icon changes (ARM to FADE OUT, CLICK to MUTED). The plate is scratched and polished where hands go — up the ears and along its foot, rubbed through to bare metal under PLAY — and its bottom-left corner is knocked bare. None still draws today's Transport.
• Set list — the leather case is aged and worn: a shade faded (on Daylight, duller), lighter where hands have worn it low on the case and darker higher up. Its edge strips, corner caps and the frame round every card are worn nickel. The case is scuffed beside and below the cards and along its foot, polished where hands rest, and its edges and caps are rubbed; leather takes no screws and does not chip. The cards themselves — words, covers, NOW / NEXT edges — are unchanged.
• Mix tiles — the console is your look's metal, with a scratch or two across the open plate (no screws: the tiles cover its corners). Every tile and rail key is worn along its front edge, and the fader caps and the rail caps' grips are nickel. The bus rail keeps its channel.
• Lamps — the state lamps are jewels, a domed lens in a chrome bezel: on the Transport's keys (an action key's lamp, PLAY's ARMED), on the tiles, groups, snapshot keys and bus rail (MUTED, SOLO), and on SOLO ACTIVE and MUTE GROUP ACTIVE. A language's colour dot and the "Following the rig" lamp stay flat.
• Controls, Song Vol and Layouts — the keys keep Character's dished faces and knurled bands but look well used: the lip worn through where thumbs drag off and the front corners rubbed, in older, darker recesses. Song Vol's level sits in black glass with cream numbers and ivory lights, and the Layouts lamps are jewels. The key of the layout on screen never shows wear, and a key's marks never move when its icon changes.
• Lyrics — the bezel is your look's faceplate metal. Nothing on the screen changes.
• Floating panels — the whole card is your look's faceplate metal, lit from above, with a machined edge and two nickel screws at the ends of the top bar. The panels never wear.

Where a module meets another module its corners are square, and so is the metal.

The wear is the same every time you open the app — it never moves or flickers. With Reduce Transparency or Increase Contrast on, the metal is plain and the scratches, rubs and polish go; the screws, the chipped corner and the keys' worn lips stay.

The page look, the material and the color theme are not part of a layout: switching presets never changes them.

The Mic card is a floating panel, not a module, so it has no module card. It has its own Look row instead — Stage · Dusk · Daylight · Match page — at the bottom of the full Mic card; with Match page chosen, the finish it gives lights up there too.

The floating panels follow the look

With MATERIAL → Character or Vintage, a panel takes the material too (Material); what the panel shows does not change.

The Microphones, Projection, Library and Mixer panels are drawn in the page's look — Stage charcoal, Dusk indigo or Daylight silver — as solid cards with a thin rim and a soft shadow. While this iPad controls another rig they are drawn in Stage, like the modules. The Microphones card keeps its own Look row.

• The top bar reads: icon, the panel's NAME, the pin and the ✕, with the pin and ✕ as keys in the look. A pinned panel shows a filled pin inside a lit ring. The grab bars on the left and right edges sit below the top bar, so they never cover the ✕; the bottom-right resize grip is a small round key, with a quieter arrow grip at the top-left.
• Projection — its tabs, buttons, pills, menus and Overlay choices are keys in the look; the chosen one is held inside a ring, with bolder words. The preview shows exactly what the projector or stage monitor shows, in every look, as a dark screen set into the card. The settings list scrolls far enough for its last row to clear the resize grip.
• Library — every song, folder, book, topic, set list and suggestion row is a key in the look. The selected tab keeps the colour theme's colour and also gets the look's ring and a bolder word. The loaded song has a bar down its left edge and a bold title. The LINK capsule is a solid deeper red. A song that still needs setup has a teal outline and a pulsing wand, in a teal that reads on every look.
• Microphones — the ALL EFFECTS drawer, the EFFECTS and HARMONY pop-ups and the delay's NOTE keys follow the card's look; TALK blue and the amber hints keep their meaning.
• Sliders — every slider in the Microphones drawer and on the Projection card (Auto Advance, the per-song sliders and the rest) runs in a track of the look, not on a dark bar.
• Mixer — the card follows the page's look like the other panels (Stage while this iPad controls another rig). Its strips, its 2×2 bus band, its Save and snapshot row and DYN are keys and faces of the look (§5.17, §9.12). Settings → General → Compact Mixer → Style chooses how much colour it shows: Vivid draws each bus's colour as a thin line along the top of its strip or card, and colours the bus number on each channel's dark badge and each bus card's name; Minimal shows no bus colour at all. No strip or card is ever filled with colour — colour is kept for state: red for a mute, amber for a solo, cyan for talk, orange for a live mic. Its top bar reads CHANNELS / OUTPUTS, the pin and the ✕.

The editor keeps Stage: its docked Library and mixer stay dark whatever look the Live page uses.

Layout Design

Tap the ••• puck → Layout Design. The performing pucks step aside, the modules' own controls stop responding, and the arranging controls appear — each one its own small puck you can drag out of the way if it covers a module:

Each module wears a cyan frame and a cyan title bar with its name:

• Drag either cyan side handle to move any module, including Lyrics. This avoids iPadOS’s top-edge window gesture. The title bar also moves the module. Selecting a module does not change its front/back order; dragging lifts it temporarily.
• Drag a corner handle — top-left or bottom-right — to resize.
• Shrink (the inward-arrows button on the title bar) steps the module smaller and pulls it in from the screen edges, so its corner handles are easy to reach. On a module that is already small it jumps back to a comfortable size.
• Eye-slash hides the module.
• Tap the module to open its card — its finish, style, trim and (on Regions) timeline. The selected module wears a ring in the page look's highlight color. See The module card.

Rearranging is live and saved into the layout on screen the moment you make each change — there is nothing to save afterwards. Discard takes back the session; Reset NAME puts a built-in layout back to how it shipped.

Presets. Tap the preset puck:

A layout remembers each module's position and size, which modules are hidden, and each module's look — its finish, style and trim — and saves each of them the moment you change it.

Layouts save themselves. Every change to the layout on screen — moving, resizing, showing or hiding a module, a finish, style or trim — is saved into that layout at once. Switching, from the presets menu, the Layouts module or the ••• menu, shows a layout exactly as you last left it, after a relaunch too; choosing the layout already on screen does nothing. To keep a version and carry on changing, use Save as New Layout…; to undo a Layout Design session, Discard; to start a built-in over, Reset NAME.

The Layouts module

Double-tap the selected layout key to open Layout Design. A tap that switches to another layout does not count toward this shortcut. You can also press and hold the selected key and choose Layout Design.

In Character and Vintage, each key also shows its number (1–5), and every key has a lamp, lit on the layout on screen.

Layouts holds up to five favourite layouts as keys, so you can change the whole page mid-song with one tap. Each key shows the layout's name and a small picture of its arrangement; the layout on screen wears the selection ring and a lit lamp.

The favourites are also listed under LAYOUTS at the top of the ••• menu, so a layout without the module can always switch back. The module starts hidden — add it from the Modules puck in Layout Design. In Layout Design it sleeps like every other module; to add layouts while arranging, use the ★ in the presets menu. Its place on the page belongs to this device rather than to any one layout, so it stays where you put it as you switch between layouts. It is not offered while the window is shrunk into the compact layout, where layouts cannot be switched.

A shrunk iPad window. When you make the iPad window small, Go Live switches to a compact layout of its own. ••• → Layout Design then opens the compact layout (the row reads This window size): it arranges that compact layout only, never your full-size one, and its preset puck offers Copy Current Layout and Reset this size. Each change there is saved into that size's compact layout as you make it. The module cards and Module looks aren't offered while the window is shrunk — looks belong to the full-size layout.

The module card

Each module's choices live on one card. It opens beside the module — above it when there's room, otherwise below, otherwise just inside its top edge — when you tap the module in Layout Design or in Module looks. (In Layout Design it also comes up when you start dragging or resizing a module; it hides while you drag and returns when you let go.)

• The name band — the module's name in capitals on a band in the page look's highlight color, the same color as the ring around the selected module, so the card and its module read as one. The ✕ at the end of the band puts the card away.
• The card is drawn in the page look and stands a step lighter than the modules (near-white on Daylight), so it is easy to find on a dark page.
• One row per choice, each with its caption and large choices. A tap applies at once, and the module behind the card shows it live.

Every choice shows a small picture of itself — a sphere of each finish, a tiny chip or card for each style, a swatch of the wood, a tiny key for each Transport build, a mini timeline — and the chosen one is filled and ringed. When the screen is too narrow for the names (on a phone), the card shows the pictures alone.

To put the card away, tap its ✕, tap the selected module again, or tap empty space on the page. (In Module looks, the ✕ and a tap on empty space also close Module looks.)

What each module offers

Every Finish row ends with Match page.

Small modules and narrow windows. The Keys module stops shrinking at the minimum its controls need. In a narrow sound-editor sheet, the header, tabs and action keys wrap onto additional rows; wide tone-control plates can be panned horizontally. The Live lyric viewport makes room for keys placed over its module, while the saved module positions stay unchanged.

Module looks — without Layout Design

Change a module or floating panel's look without opening Layout Design:

• Two-finger press-and-hold. Put two fingers on the same module or floating Library, Mixer, Microphones or Projection panel for about half a second. Its appearance card opens. The held controls do not fire.
• ••• → Module looks. Opens the first visible module's card. Tap another module or panel to switch to its options.

Tap Done on the card, or tap anywhere on the same module or panel, to close appearance editing completely. The next tap works normally. Tapping a different surface switches the card. There is no separate Done button at the top of the page. While the card is open, taps choose appearances; they do not play sounds, move panels or resize modules.

Changes save immediately. Module choices belong to the current layout. Floating panels keep their own look across layouts on this device; Match page follows the page. The microphone's existing Look row changes the same setting.

Module looks isn't offered while Layout Design is open (it has the card already) or while the iPad window is shrunk.

5.0b The Setlist Module

The Setlist module is your live set. In Layout Design or Module looks, choose Controls: Top · Left · Right. This is saved with the layout. Side controls leave the full height for songs and wrap into columns when the module is short.

At pocket height, songs use a compact title-and-number card so a whole row remains visible. Enlarge the module to return to its chosen Cards, Titles or Covers presentation.

On a narrow module, or with controls at the side, the selector shows the setlist symbol in a square key. Tap it to see the full name and choose a setlist. Wider top controls can show the name beside the symbol. The controls are:

• The set's name key — opens the Setlists picker: the current set, Favorites, Recent, New Setlist and Settings (§5.1a). With no setlist loaded the wide key reads Library, the compact key keeps the setlist symbol, and the module shows your whole library.
• A mark on the selector — while the Library window is open on a setlist, a small ✓ means both show the same set; circular arrows mean they show different sets. This is an indicator inside the existing key, with no separate button. Use the picker to choose a set, or the Library window’s LINK action to load its set here.
• ✨ — flips the songs to a suggested alternate set (§3.9); while it's on, the key wears a ring and shows a list glyph — tap it again to return. Only with a setlist loaded.
• ＋ — quick-adds songs to the set.

Playing the set:

• Tap a song to load it; double-tap to load and start (double-tap the current song to pause/resume or stop/start, matching the transport).
• While a song is playing, tapping another song lines it up next — it arms a segue to it (§5.20); tap it again to cancel. Double-tapping a different song while one plays switches straight to it, crossfading where it can.
• Press and hold a song for Remove from Setlist (the song stays in your library).
• Press and hold a song, drag it to a new position, then release to reorder the loaded setlist. The song you're over is outlined as the drop target. The order is saved on drop and updates in both the module and the Library window.
• Between two songs sits a transition chip — what happens when the first song ends (§5.2a). It straddles the gap between two songs in a row, and hangs off the last song of a row when the next song is on the row below.

The songs are drawn as Cards (the default), Titles or Covers — choose on the module's card (§5.1b).

The Setlist module and the Library window's Setlists tab (§3.8) are the two ways to run and organize your shows.

5.1 Layout

Go Live is a single modular cockpit (§5.0a) — you choose which modules (Lyrics, Setlist, Mixer Tiles, Transport, Regions, Clips, Pad, Top Layers, Keys…) appear, where, and in which look. The jobs a fixed sidebar would do are spread across:

• Setlist + transport — the Setlist module (§5.0b) plus the Transport and Controls modules and the Live Action Buttons.
• Library — the floating Library window (§3.7), opened from the Library key in the Controls module, or the floating Library key while the Controls module is hidden.
• Song editor — opened by the Editor puck; a single waveform/Regions editor on iPad (return with ‹ Live), Info / Lyrics / Tracks / Editor tabs on iPhone (close with ✓). It auto-saves and opens without disrupting audio or the metronome.

5.1a Setlist Module — Choosing a Setlist

Tap the Setlist module’s name or setlist-symbol key to open its picker. With a setlist loaded, the module shows that set. With none, it shows your whole library — without set numbers, transition chips or reordering, since the library has no running order.

The name key's picker

The compact green Current setlist card shows what is loaded and its song count. Tap its star to favorite or unfavorite it; the picker stays open so you can see the change. A filled gold star means favorite; an outlined neutral star means not favorited. The current set appears only in the top card, keeping its favorite status without a duplicate Favorites row. Favorites and Recent have compact rows with readable names and song counts. The downward load symbol means the set will load into the module. Tap a row to load that set while keeping the picker open to compare its songs with another set. Tap Done or outside the picker to close it. On iPad, the picker sits outside the module wherever screen space allows, keeping its songs visible. The solid dark surface stays readable in every Look, including Daylight.

There is no Delete here — too easy to hit mid-show. Delete a setlist in the Library window's Setlists tab, where it asks you to confirm.

Loading a set from the Library window. Open a setlist in the Library window's Setlists tab (§3.8) and tap its red LINK badge to send it to the Setlist module (the badge appears only when the Setlist module is on your page). The module’s small matching-set mark only reports whether the two sets agree (§5.0b).

Organizing setlists — folders, renaming, moving, duplicating, deleting, sharing, and each setlist's settings — happens in the Library window's Setlists tab (§3.8). Swipe a setlist there for Settings · Move · Duplicate · Delete; swipe a folder for Rename · Move · Delete.

5.1b Setlist Module — Cards, Titles and Covers

Choose the style on the Setlist module's card (The module card). Every style is drawn in the module's finish.

Reading a card

• Info line — e.g. ✓ 01·A·127: a tick when the song has been played (Stage Flow), its place in the set, its key and its tempo. Only what's known is shown, and the place only with a setlist loaded. On a narrow card the tempo goes first, then the key — the text never shrinks.
• Title — in condensed capitals over up to two lines, broken only between whole words — a word is never split across lines. When space is short a title shrinks (never below the 15 pt floor), and only then ends in …. A title is never cut short to make room for NOW or NEXT: on a card the word moves up to the info line, on a cover it sits on the art. The Covers title plate follows the same rule, across the plate's full width.
• Initials — a song with no art shows the first letters of its title's first and last words (Build My Life → BL), or the first two letters of a one-word title, on a quiet colored tile. A song always gets the same tile color, wherever it sits in the set, and the tiles never use red, amber or green, which mean something else on this page. Cards and Covers both use initials (on a cover they are drawn large, clear of the pad dot and the state tag); Titles shows no art.
• Pad dot — a small filled dot in the theme color, on the cover's corner (at the start of the info line in Titles), means the song brings its pad in by itself when it loads.
• Version segments — a row of segments along the foot, one per section (solid where it plays, hollow where it was taken out), when the song plays as a shortened version (§6b-1).

Song states

A state is always said with a word or a mark as well as a color. When a song is both loaded and lined up, NEXT wins.

Suggestions. With ✨ on, the module shows the suggested songs as cards — a sparkle where the cover would be, and why each was suggested. Tap one to load it, or, while a song is playing, to line it up next.

An empty set says Empty setlist — tap + to add songs.

5.1c Edit Setlist Settings

Open Setlist settings from the setlist module’s name menu, or from the Library window’s Setlists tab (§3.8): swipe left on the setlist and tap Settings, or open the setlist and tap the sliders button in its header. The Edit Setlist sheet holds the setlist's name, how it behaves on stage, and its name color.

The switches apply the moment you tap them. Cancel only discards a changed name or color; Save keeps those.

Mix Down (snowflake, beside the name) opens freeze and unfreeze options for this setlist. Freezing combines eligible buses using the saved mix and keeps the original tracks. The options window explains which controls remain available before you start.

Buses needed for language switching or song versions stay separate. Within a frozen bus, individual track levels and mutes are locked; the bus fader, mute, solo and output still work, and snapshots can adjust the whole bus. Unfreeze to edit its individual tracks, language assignments or song versions again.

Default transition

Default transition sets the usual join for this setlist: No Transition, Cue Next, Play Next, Overlap, or Crossfade. Choose it directly from any transition button between songs: the Use setlist default row shows Currently: [mode], with Change beside it. The same choice is in Setlist settings → Playback & order.

Only gaps set to Use setlist default follow it. Individually assigned transitions keep their choices. The transition window shows the actual default by name; No Transition always means finish this song and stay here. AUTO off still prevents every automatic transition.

Existing setlists retain their behavior: the former Advance on finish switch maps to Cue Next when on, or No Transition when off. You can now choose any of the five transitions.

Reverse order

When Reverse order is ON, the setlist's list in the Library window runs bottom-up: the first song at the bottom, closer to the transport, and new songs added to the top. Each song keeps its number in the set — song 1 is at the bottom. The order the set plays in does not change.

Stage flow

When Stage flow is ON, played songs are dimmed and upcoming songs stay front and center as the set plays. See §5.21 Stage Flow for full behavior.

While it is on, Mark as played controls when a song counts as played:

Defaults

Save as default… opens the native Save these defaults? dialog. Choose New setlists only to make these playback and display settings the starting point for new setlists, or New + existing setlists to copy them to existing setlists too. Saved as your default. confirms it. Each setlist can still be changed on its own.

Name colour

Pick a color for the setlist's name from the palette, choose no color (the default text color), or set a Custom color. A preview shows the name as it will read in the list.

5.2 Selecting and Loading a Song

Tap any song in the Setlist module to select and load it. The waveform and regions update immediately. (While a song is playing, a single tap on another song arms a SEGUE to it instead — see §5.20.)

Double-tapping a song in the Setlist module controls playback directly:

When a double-tap is refused. With a SEGUE armed, double-tapping a different target says "Cancel the SEGUE first" — the two would be contradictory instructions, so the rig asks rather than guesses. While a vamp is holding the song it says "End the VAMP first". Double-tapping the current song acts like the transport button, including ending an active vamp or segue. Double-tapping the cued song starts it while its cue is still waiting; it does not interrupt a segue already under way.

Song buttons in Transport

Turn on Song buttons in Transport in Setlist Settings to replace Play with the selected song and the following song in that setlist. Loading a setlist does not select a song: tap one first. Selecting a different song updates both buttons; the final song stands alone. The option starts off and is included in Save as default…, with New setlists only or New + existing setlists, along with the other setlist settings.

Double-tap the current song to play, pause/resume or stop, matching the transport mode. Tap the next song to cue it; double-tap to start it. While playing, double-tapping the same song you have cued starts its crossfade. With the pad's controls in a compact Transport, only the current song appears, beside the pad controls. Taller layouts can show both songs above the pad's controls; wide layouts can fit all three alongside. The outlined song is the current one. A newly loaded song reads READY, even if the previous song was paused or had ended. PAUSED belongs to the song you actually paused; choosing that same song again keeps its paused position. When both songs are visible, tap the transition symbol between them to edit their transition.

Library Window Sync

Whenever you tap a song in the Setlist module, the Library window automatically mirrors that selection:

• The Library window's song list highlights the same song entry.
• The list scrolls to it, centred, so a highlighted song is never sitting off-screen. This happens whenever the list is rebuilt under you: opening the window, switching tabs, clearing the search, or loading a different song from anywhere else — the Setlist module, a remote, or autoplay moving on.
• On Books and Topics, arriving at the tab opens the books the song is filed in so it has somewhere to appear. Sections you closed yourself are never re-opened for any other reason.
• Tapping a row in the library's own list deliberately doesn't re-centre it — it's already under your finger.

This means that if you want to quickly edit a song you've just been rehearsing, open the Library window and the right song is already there in front of you — no scrolling, no searching.

Note. A song filed in a nested folder is the one case the Library window won't travel to: it will highlight the song, but the Folders tab reveals a child folder only when you drill into it, so you still open the folder yourself. Books and Topics have no nesting and are handled fully.

5.2a Song Transitions — the chip between two songs

Every gap between two songs carries a small round transition chip, straddling the boundary between them — between two songs in the Setlist module (whichever style it is drawn in: Cards, Titles or Covers), between two rows in the Library window. Tap it to choose what happens when the first song ends.

There are five choices. Two decide whether the set moves; three decide how the next song starts.

              ALA ends here
                    │
 NO TRANSITION  ████│                   nothing advances. ALA stays loaded.
                    │
 CUE NEXT       ████│                   FUEGO loads, silent. You press PLAY.
                    │····
 PLAY NEXT      ████│████████           FUEGO starts as ALA ends. No gap.
                    │
 OVERLAP    ████████│███                ALA rings out at its own level…
                ████│████████           …under FUEGO, already playing.
                    │
 CROSSFADE  ███▓▓▒▒░│                   ALA is ridden DOWN…
                ░▒▒▓│▓███████           …as FUEGO comes UP. Curves cross.
                    │
                └───┴── the overlap window

Overlap and Crossfade differ in what happens to the song that is ending — and both now clear the low end first.

Two complete arrangements at full level is a lot of noise: songs either side of a gap are usually unrelated material, so you get two kick patterns and two basslines in different keys and tempos colliding. So the foundation — drums and bass — always moves first.

• Crossfade trades both songs. The outgoing foundation clears as the incoming one arrives, then everything melodic trades in the second half, and the outgoing song ends silent. A managed handover.
• Overlap trades nothing. The incoming song arrives whole and immediately authoritative; the outgoing song loses only its drums and bass, and everything else rings out to its own end. A tail, not a fade.

Neither cuts a song short, and a premixed song (one stem) gets a plain whole-song crossfade instead — there's nothing to separate.

In menu order — which escalates by how much the rig does at the seam, starting with the default:

One row is always selected. Use setlist default has its own row and shows what the default currently does: No Transition, Cue Next, Play Next, Overlap, or Crossfade. Choose No Transition to make this gap always stay here, even if the setlist default changes later. Tapping an already selected choice keeps it selected; choose Use setlist default explicitly to follow the set again.

The transition panel separates Song transition from the next song’s pad timing. The selected transition is highlighted with a checkmark. Choices stay open until you tap Done or outside. If AUTO is off, the panel says AUTO off · transitions disabled. AUTO disables transitions globally; the saved choices remain and apply again when AUTO is armed.

The rig’s transition panel shows Song transition and the active mode at the top, then Next: [song] and Done. Use setlist default is a selectable button with the current default’s transition symbol, Currently: [mode], and a checkmark when selected. The separate Change button beside it edits the default for gaps that follow this setlist. Individually assigned transitions stay as they are. The same setting is also available as Default transition in Setlist settings (§5.1c).

How soon the next song starts

Both lengths are sliders, 1–8 s: long-press the AUTO key in the transport (§5.3). They are global — the chip picks which join, these say how much of it.

Crossfade is the longer default on purpose. A crossfade holds its level as it lengthens, so more time simply means smoother. An overlap leaves the outgoing song at full level, so more time means more of two full songs at once — more time is muddier, not smoother. Play Next has no length; it waits for the song to finish.

The number you set is a request, not a promise. It is shortened automatically when the two songs cannot fit it — never starting before now, and never taking more than half the incoming song's length, so a 3-second overlap into a 2-second tag is trimmed rather than having the new song end before the old one does.

Reading a chip at a glance

The icon shows the configured transition, including when AUTO is off. With AUTO on, the colour says whether this gap has its own choice:

A gap can inherit No Transition or have it explicitly assigned. Both show the broken link; the dashed or solid ring distinguishes following the default from a saved choice.

While AUTO is off, each chip keeps its saved glyph—Crossfade, Overlap, Play Next, Cue Next, or the broken link—but loses its accent colour. Transitions are inactive globally. This lets you distinguish a configured transition from a gap with no transition. The transition panel says AUTO off · transitions disabled.

Pad timing for the next song

On the rig, the transition panel’s lower card shows Next song: [title] and Pad set to: [timing]. The timing is what will apply in this setlist. Tap Change beside the pad timing to reveal Manual, With playback, and When selected. The panel scrolls to bring those choices into view; Done collapses them. The song’s default is marked (song default); selecting that mode follows the default, while either other mode overrides it for this incoming song in this setlist.

Use When selected when you want the incoming song's pad to carry the transition and remain under speaking after playback stops. Use With playback when the pad belongs under the song itself, after its count-in.

Existing Continue Pad settings are still read: the incoming song behaves as When selected in that set until you edit it. Editing the new choice replaces that old gap switch; there is no second local switch to keep in agreement.

What the joins need

They need audio. A lyrics-only next song has nothing to pre-roll, so the gap quietly falls back to loading it normally.

They land on the beat. If the incoming song runs at the same tempo and time signature as the outgoing one, the click keeps running straight through the seam and the new song's downbeat is placed exactly on it. If the tempo changes, the seam becomes the new song's bar 1 and the click re-phases there — once.

A vamp outranks them. While you are holding a song open with FADE or VAMP, nothing advances underneath you.

The song-transition controls appear in the Setlist module on the rig, the Library window's setlist list (on the trailing edge of each row), and the Stage screen on a connected remote (director tiers only). The rig’s two surfaces also offer the new pad timing menu. Remote Stage still shows the older Continue Pad control; use the rig to choose all three pad timing modes.

5.3 Playback Controls

The Transport module carries the song's playback keys. Like every module it draws in the page look — Stage, Dusk or Daylight, chosen under ••• → APPEARANCE → LOOK — unless you give it a finish of its own (Module looks — without Layout Design). You move through the song itself with the region chips (§5.5) and the scrubber in the Regions module's song header.

From top to bottom, on iPad:

On iPhone — and on iPad in a narrow window — CLICK, AUTO, rewind and PLAY share one row, and the status keys show their state-coloured icon without the word. Drag the Transport module taller and the keys grow into the room; make it shorter than the keys need and the whole deck scales down to fit.

Reading the keys

Keys keep neutral backgrounds. ARM/FADE, VAMP, CLICK and AUTO show their state on the icon, leaving the large words clear. Green means active; amber means waiting or entering. Pending ARM/VAMP icons pulse unless Reduce Motion is on. PLAYING keeps its green background.

The transport keys

The PLAY key

• Stopped — a key one step lighter than the ones around it, with a green ▶ and PLAY.
• Playing — the key turns green and reads PLAYING. Its icon is what a tap will do now: ⏸ in Play / Pause mode, ■ otherwise.
• ARMED — with an audible metronome a start waits for the next downbeat: an amber ring, a blinking amber lamp and ARMED. Tap again to cancel.
• STOP — while a vamp segue is parked in its held vamp, the key reads STOP (in Play / Pause mode too, beside ⏮): tap it to abandon the held vamp. With Stage Safety's Require double tap to Stop on, it takes two taps.

PLAY is there for every song, including a lyrics-only one.

Two taps, when you want them. Settings → General → Stage Safety → Require double tap to Start and Require double tap to Stop guard PLAY. A guarded PLAY wears a ring outside its edge; after the first tap an amber ring shows inside it for a moment — tap again to confirm. On the green PLAYING key in Stage and Dusk, a dark inner edge keeps that amber ring clear. The rewind key follows the Stop setting and shows the same two rings. In Daylight that amber — and NEXT, ARMED and the other waiting states — is a deeper amber, so it shows on the silver keys and on the green PLAYING key.

Play / Pause mode (Settings → General → Stage Safety → Play / Pause mode): PLAY pauses instead of stopping, and the playhead stays where it is. While the song plays, or once the playhead is away from the top, the rewind key appears on the status row to take it back to the beginning. With the mode off, stopping rewinds to the start and there is no rewind key. The Song Editor's own play key always pauses rather than stops, whatever this setting says (§4.7a). While the editor is open on iPad, a connected remote's play key pauses too.

AUTO — the transition killswitch

The AUTO status key arms or disarms every automatic transition in the set at once. It is shown only while a setlist is loaded and at least one of its songs has audio.

Disarming does not edit your set. Every chip keeps its setting and comes straight back when you re-arm — and while it is disarmed, all the chips show a hold, so the setlist never promises a transition the rig will not perform. Connected remotes show the same thing.

AUTO is guarded by Stage Safety, and it is guarded ON by default. The first tap puts an amber ring inside the key's edge; a second tap within a moment does it. Both directions are guarded, because neither is the safe one: turning it off silently stops your crossfades and overlaps from happening, and turning it on can start a song you meant to start by hand. A mis-tap on Start or Stop is obvious the instant it happens; a mis-tap on AUTO is silent until the next gap arrives, which is exactly why it defaults to guarded. Turn it off in Settings → General → Stage Safety → Require double tap for AUTO.

Long-press AUTO for TRANSITION LENGTHS: the Overlap (3 s) and Crossfade (5 s) lengths, 1–8 seconds each in half-second steps. These are the lengths used by the Overlap and Crossfade choices on any chip — see §5.2a for why the crossfade is the longer of the two. Play Next has no length; the next song starts as this one ends.

The armed / disarmed state is remembered per setlist — each setlist keeps its own.

Metronome & quantized transport

The metronome is the app's timing reference. When it's audible, its click defines the bar grid that PLAY, FADE and VAMP snap to.

CLICK — the metronome's key on the transport — doubles as the metronome's mixer control:

• Tap — engage or bypass. From Silent it lights up (temporary on); tapping a running metronome bypasses it (standby — its lamp goes out to a ring) so the heartbeat keeps counting silently; tap again to re-engage. Standby also stops the visual pulse flashing — your quick way to quiet the screen while you work with the song stopped — except while the song is playing on its own imported click track: standby hands the click to that track, and the pulse keeps going (their click for the ear, our beat for the eye).
• Double-tap — mute the click audio only (the on-screen beat visual keeps flashing). Double-tapping while bypassed lifts the bypass and mutes, so the key clearly shows the running-but-muted state — a red lamp and MUTED (on the phone's compact key, where there is no word, the icon becomes a speaker-slash) — instead of a silent surprise later.
• Swipe up / down — metronome level ±2 dB; the new level shows in place of the word for a moment.
• Long-press — the full picker (mode, Visual Pulse, offset).

Visual Pulse — where you see the beat. Each song's Visual Pulse (long-press picker) decides whether and where the beat flashes. It is separate from Mode, which only decides when you hear the click — so you can, for example, hear the click while stopped to count yourself in and see a silent pulse while the band plays.

• Off — no pulse for this song.
• Transport — the transport panel border flashes on the beat, stopped and playing.
• Current Region (default) — the transport border flashes while the song is stopped; while it plays, the playing region's chip flashes instead and the transport border goes quiet. If no region chip is on screen (no Regions module in the layout, or no region playing), the pulse stays on the transport.

The first beat of the bar flashes green, drawn a little thicker; the other beats flash white. On the transport in the Daylight look the other beats flash a dark grey instead, because white disappears on that light panel. The colors are fixed. A device following your rig pulses where the rig's song says.

In 6/8, 9/8 and 12/8 the border flashes on the beat you feel — the dotted beat — not on every eighth. A 6/8 bar flashes twice, on 1 and 4, while the click still sounds all six. Six flashes a bar is a strobe; two is the pulse you are counting.

The beat in the editor. Inside the Song Editor the metronome button blinks with the click — a small beat dot in its top-left corner on iPad, a ring flashing around the button in the full-screen (iPhone) editor — red on the first beat of the bar, white on the others, and in 6/8, 9/8 and 12/8 only on the dotted beats. It is a simple "the metronome is running" cue that mirrors the audible click, independent of the Visual Pulse setting (that drives the separate border and chip flash). So it pulses while the song is playing, and also on Live-Style stopped clicks (Mode Always or When Stopped). It stays dark whenever the metronome makes no click — Editor Style while stopped, Mode Silent, or in standby.

Metronome modes (long-press picker) — when you hear the click (the pulse is the Visual Pulse's job):

• Silent — never heard. The clock keeps running underneath, so Start, clips, count-offs and the visual pulse stay in time.
• When Stopped — clicks while the song is idle (rehearsal pulse).
• When Playing — clicks during playback only.
• Always — clicks continuously through play, vamp, and stop.

Subdivision (long-press picker, saved per song). Adds softer ticks between the beats — for a slow song where you want to hear the eighths, or to put a specific feel under the band.

Which pills you get depends on the meter, because an option that can't be musical in a meter isn't offered in it.

In 4/4 and other simple meters — OFF · 2 · 3 · 4. These divide the beat you hear clicking:

In 6/8, 9/8 and 12/8 — OFF · 2 · 2:3. The click is already on the eighths, so 3 and 4 would be hundreds of hits a minute; they're hidden rather than left as a trap.

• 2 splits each eighth in half — twelve hits in a 6/8 bar.
• 2:3 is the two-against-three. Across a 6/8 bar you hear four evenly spaced attacks: the click on 1, a tick between 2 and 3, the click on 4, a tick between 5 and 6.

click:   1     2     3     4     5     6
2:3:     ●        ○        ●        ○
         └ the metronome's own click ─┘ └─ the 2:3 tick ─┘

The two "ones" are the metronome's own clicks. The first note of each pair falls exactly where the click already is, so the click plays it — the 2:3 layer only fills the two gaps. It has a lower, drier sound of its own so you can hear it as a separate hand rather than a thicker click.

Tick level (under the picker) sets how loud those ticks sit beneath the beats. It is saved per song, and every song you haven't touched reads 50% — so a value that isn't 50% means you set it. Moving it changes only the song in front of you. The beats themselves never move: they keep their loudness and their accents whatever you do here.

Subdivisions are heard, not seen — the on-screen flash always stays on the beat.

Accents in compound meter. In 6/8, 9/8 and 12/8 the head of each group of three is marked as well as the bar's first beat, so 6/8 reads ONE two three four five six rather than six identical ticks. The bar's ONE is clearly the highest; the later group heads are only a whisker above the plain beats — a signpost inside the bar, not a rival to its top. Nothing changes in 4/4, 3/4 or any other meter.

"[Song] counts in threes." When a song is analysed, the app also listens to how its beat divides. If it divides in three — the feel behind 6/8 — the Song Setup banner offers Set 6/8, with Leave 4/4 beside it. It only asks about songs whose meter nobody has set, it only asks once, and it never changes the meter on its own: a beat dividing in three is either a compound meter or a 4/4 shuffle, and only your ear can say which. Accepting sets 6/8 and the click follows immediately.

Time signature (long-press picker, saved per song). Set the song's meter right here, while it plays — you find out a meter is wrong by listening, and this is the sheet you already have open when you notice.

It matters more than it looks. Songs imported from apps that carry no time signature arrive as 4/4, so a song you hear in 6/8 is telling the app it's in 4/4 — and everything the metronome does for compound meter, including the ONE two three FOUR five six accents, is switched off until the meter says otherwise.

What the tempo number means. BPM counts quarter notes, the way your chart, your DAW and every other musician means it — so a 6/8 song a chart calls ♩=74 is entered here as 6/8 at 74. The metronome works out the rest: the bottom number sets what it clicks, so that song clicks its eighths, 148 a minute, six to a bar. A 4/4 song clicks its quarters exactly as it always did.

The bottom number also sets the accents — 6, 9 and 12 group in threes, giving ONE two three FOUR five six.

Quantized PLAY, FADE and VAMP. When the metronome is audible, a start aligns to the next bar's first downbeat:

• PLAY mid-bar → the song begins on the next downbeat. The key reads ARMED, with an amber ring and a blinking amber lamp. Tap again to cancel.
• FADE or VAMP while stopped → arm, choose a region, enter (§5.13); the way in is announced, counted off and lands on a downbeat.
• FADE or VAMP while playing → engages immediately (no arming). You control the timing in real time during playback.
• When the metronome is silent, PLAY fires immediately, as before.

Quantized clip launches and stops. Clips set to launch on bar wait for the next bar before starting and before stopping — both during playback (using the song's grid) and while stopped with the metronome audible (using the metronome's grid). Launch immediately clips are unaffected.

Sample-accurate alignment. A start, a FADE or VAMP entry, and bar-quantized clips all land on the same audible downbeat as the click — they fire together as one musical event.

Quantized Playhead Jump (drag while playing)

When the song is playing and you drag the playhead — on the scrubber in the Regions module's song header, the song strip in the Keys workspace, or the Song Editor's timeline ruler and waveforms — the playhead stays where you drop it (snapped to the nearest bar) instead of springing back. The music keeps playing to the end of the current bar, then jumps to your target on the next downbeat, landing in time with the beat. There's no back-and-forth flicker of the playhead or the lyrics: your target holds still, and the audio catches up to it.

The jump rides the heartbeat's bar grid, so it doesn't need the click to be audible. (On variable-tempo songs it catches up right away rather than waiting for a bar.) Dragging while stopped simply seeks — the playhead follows your finger, and the section, lyrics, and waveform settle when you release. Tapping a region chip, arming a Segue or Vamp, or pressing Stop cancels a pending jump.

On the Live page's own scrubber (in the Regions module's song header) and the Keys song strip, a drag while playing needs Settings → General → Stage Safety → Scrub the timeline while playing. It is off by default, which locks the playhead while the song plays so a stray finger can't move it; dragging while stopped always works.

The Controls module and the floating keys

In Character and Vintage, each key in the Controls module sits in its own recessed ring with a gently dished face; the floating keys don't change.

The Controls module is a strip of keys for the panels — Library, Projection, Mixer, Microphones (once you have live mic channels), the song's key (only when no Regions module is on the page) and an external-display status key. A panel turned off in Layout Design → Modules → PANELS has no key here (Layout Design). It lays itself out across or down to suit the shape you give it, and draws in the page look unless you give it a finish of its own. When the module is too short for its keys in one line, they wrap into a second column (or row) — a third or more if they need it — and stay finger-sized; only a module too small for any arrangement shrinks them, and then every key stays in sight. Each key is described in Controls Module Keys. With the Controls module hidden, ••• offers Mixer, Microphones and Projection instead (each one still on in PANELS) and the floating Library key appears, so no panel you use is ever out of reach.

A panel's key wears a ring while its panel is open and a small pin badge on its corner while the panel is pinned. Opening a panel from a key closes any other panel that isn't pinned — one unpinned panel at a time, while pinned ones stay open.

The floating keys — Editor (square.and.pencil), ••• and Library (building.columns, only while the Controls module is hidden, whether or not the Setlist module is on the page) — are solid keys in the page look, with nothing see-through behind them. Drag one to move it; tap it to act (§2). The ••• and Library keys wear the same outside ring while their menu or window is open, and the Library key the pin badge while the Library is pinned.

Changing a module's look mid-set

A two-finger press-and-hold on a module, or ••• → Module looks, opens that module's card over the performing page without entering Layout Design — a two-finger hold on PLAY opens the Transport card without starting the song. See Module looks — without Layout Design.

5.4 Editor Puck — Open Song Editor

Tap the Editor puck (square.and.pencil) — the floating key described in §5.3 — to open the Song Editor. How it opens depends on your device and window size.

On iPad — in a full-screen or wide Split View window — it opens in place over the cockpit: the modules give way to it until you return. It is a single waveform (Regions) editor, with no Mixer / Regions / Audio mode pills. You are always on the waveform; everything else is reached from the controls around it:

Return to the cockpit with the editor's ‹ Live button, at the right end of its header. Your open Library, Mixer, Microphones and Projection panels return with you, with their pins and positions unchanged. Entering Edit does not close them.

On iPhone — and on iPad in a narrow Split View window — it opens full-screen with four tabs along the bottom — Info (Song Information), Lyrics (Lyrics Editor), Tracks (Audio Tracks), and Editor (Waveform Editor) — with a ✓ at the top right to keep your changes and close, and, once you have changed something, a red ✕ at the top left to discard it. On an iPhone's Editor tab, the ✕, the ✓ and the other three tabs move to a rail down the right-hand side.

Audio continues playing while the editor is open — the metronome is not disrupted.

Opening the full editor vs. quick lyric edits

The full Song Editor is opened with the Editor puck (above); the Live page has no other editor button.

For a quick fix to the words, double-tap the lyrics in the Lyrics module while the song is stopped. That opens a quick editor for text, chords and linked section names, in the page’s Stage, Dusk or Daylight look. Timing and marker positions stay unchanged. Use it for fast typo fixes mid-rehearsal without entering the full editor. While the song is playing a double-tap does nothing, so a stray tap can never open it mid-song. A faint Double-tap to edit hint in the bottom-left corner of the lyrics teaches the gesture, and retires for good after you have used it four times (Quick Edit Lyrics).

Keep & Close / Discard

The full-screen editor saves as you work. Its ✓ (top-right) closes it and keeps your changes. The red ✕ (top-left) appears only when the current tab has changes since you opened it; tap it to put that tab back as it was and close (full details in §6). The inline editor auto-saves continuously; tap ‹ Live to close it.

Waveform & Transport Buttons in the Song Editor

On the full-screen editor's Info, Lyrics and Tracks tabs, a waveform bar sits at the bottom of the screen, just above the tabs:

• The song's waveform, with each region's colour along it, a pin for every lyric section marker, and a red playhead line. This bar has no time ruler.
• A square ▶ / ■ key at its left edge — green while stopped, red while playing. It drives the same shared audio engine as every other play control in the app, and starts the song the way PLAY does — start it here and it is playing in Go Live too.
• Drag along the waveform to scrub; the song seeks when you lift — while it plays, the move waits for the next downbeat (Quantized Playhead Jump). Tap a region and it acts as its region chip would (§5.5), and the lyrics scroll to it.
• When the software keyboard is open (e.g. while editing a lyric line), the waveform and the big key fold away and a slim strip docks on top of the keyboard instead: a small ▶ / ■ key and the regions' colours, which you can drag to scrub. The full bar comes back when the keyboard goes.
• The Lyrics tab in this editor shows only the single bottom bar — the internal waveform transport that the Lyrics editor normally renders when shown standalone is suppressed to avoid duplication.
• On the Editor tab, the bottom waveform bar is not shown — the waveform editor manages its own full-size waveform. That waveform also includes the lyric section marker banner (see §6b) — always at full height and fully interactive (drag to reposition, double-tap to zoom, long-press for the marker menu). Long-press behavior depends on regions: with no regions the markers are your section drivers, so long-press opens a cue editor; once the song has regions, the markers are secondary and long-press is delete-only (cues then live in the region names — see §6b). The banner is viewport-aware, scrolling and zooming in sync with the waveform.

No-audio songs in the full-screen editor

When the current song has no audio tracks imported at all, the bottom bar changes its content:

• The waveform is replaced by a row of the song's section marker chips (if it has any stamped markers), each tinted in its section's colour. Press and hold a chip for Add Cue Text (or Edit Cue Text) and Delete Marker; a double-tap deletes it too.
• Below the chip row, a visual grid area (dark background with horizontal dB-style grid lines) fills the same height as the waveform — giving the editor visual weight and making it clear that the song does not yet have audio.
• The ▶ / ■ key is hidden, since there is nothing to play.

Full editor vs. quick lyric edits:

• For deep edits (mix, regions, audio, lyric timing): open the full Song Editor with the Editor puck.
• For quick word fixes between songs: double-tap the lyrics while the song is stopped — the quick editor corrects text, chords and linked section names without moving timing or markers.

5.5 Region Chips — Go Live

The Regions module shows the loaded song's header (§5.8) and, under it, a horizontally scrolling row of region chips — one per region in the song. The chips implement the full Region Loop Coordinator logic: what a tap does depends on whether audio is playing.

Each chip is labeled with the region's title — the name you gave it in the editor (e.g. "I Will Worship"). Rename a region in the editor and its live chip updates immediately, and the name you typed is kept exactly as you typed it.

Press and hold a chip to open its small edit panel. Choose Rename…, enter the name and tap Save, or choose Color and tap a swatch. The panel follows the module's look. These edits preserve the region's timing, section link and playback behavior.

A region you never named shows its section instead — Chorus 1, Bridge — written in the song's language, so a Spanish song reads Coro 1 and Puente. Regions the app never named — imports often arrive as a row of identical "Region" entries — show their section too, whenever the app worked one out.

Every chip also carries the section's colour and the region's playback-mode glyph after its name (Repeat Once, Loop, Skip or Pause — a loop or repeat already used up on this pass drops its glyph), and chips show a slice of the song's waveform for their region — every chip in the Dot style; in the others, the playing chip when it has no state word to show (§5.7). The colours are drawn as softened stage shades, so a warm section never turns muddy on a dark page; the colour you chose in the editor is never changed.

If the song has no regions and no section markers, the module shows a single line instead: No sections — add Regions in the editor.

Chip Styles — Dot, Stripe and Tab

The chips come in three styles. Choose one on the Regions module's card: ••• → Layout Design, tap the Regions module, then pick from the Style row. To change it mid-gig without entering Layout Design, use ••• → Module looks (then tap the Regions module) or a two-finger press-and-hold on the Regions module — the same card opens over the performing page (Module looks).

The style is stored with the layout, beside the module's finish: each layout keeps its own chip style, saved the moment you choose it; Save as New Layout…, Export My Presets… and Import Presets… carry it with the arrangement, and Discard puts back the style you had when you opened Layout Design. The same card's Finish row (Stage · Dusk · Daylight · Match page) and Timeline row (§5.8) apply to the Regions module as well. The segue picker (§5.20) draws its chips in whichever style you chose.

Song is stopped

Song is playing

While you choose a segue to the next song, the chip row becomes the segue picker — see §5.20.

Press and Hold a Chip

A press-and-hold opens a menu for quick edits, made in place without opening the editor:

Neither edit disturbs a loop or a queue that is already running. A single tap still selects the chip as usual.

Visual states at a glance

5.6 Section Marker Chips — No Regions / No Audio

When a song has no regions defined (or no audio imported at all), the region chip row is replaced by a section marker chip bar — a horizontally scrolling row of chips with a dashed outline that represent the lyric section markers stamped in the Lyrics editor. They are drawn in the Regions module's look, like the region chips.

This bar only appears when both of the following are true:

• The song has no regions (there are no region chips to show).
• The song has at least one lyric section marker stamped.

Visual design

Each chip shows:

Chips show no time number. For these markers — especially no-audio songs, where positions are just sequential slots — a number carried no useful meaning.

This visual treatment immediately tells you these are markers, not regions — same tap behavior, but no loop/queue logic.

Tap behavior

When multiple markers share the same section label

A letter suffix distinguishes them so you know which paragraph you're jumping to — CHa, CHb, CHc for three stamped markers on "Chorus". Letters follow the standard song-section convention and read clearly at a glance.

5.7 Waveform Display

On the Go Live page the song's waveform appears in two places, and both are always drawn — there is no setting to hide them:

• The scrubber in the song header — the whole song, left to right (§5.8).
• The region chips — each chip carries its own region's slice of the song: along the bottom of every chip in the Dot style, and on the playing chip (when it has no state word to show) in the Stripe and Tab styles (§5.5).

Both are drawn from a mix of the song's musical stems only — click, cue and vamp tracks are left out — so the shape you see is the music, not the metronome.

Zooming, panning, double-tap region zoom and Follow Playhead belong to the waveform in the Song Editor — see Zoom & Navigation in §6b.

5.8 Go Live Header — Song, Key, Tempo & Timeline

The top row of the Regions module is the song header — what is loaded, and where the song is. Left to right:

The header is drawn in the Regions module's look, like its chips.

The Tempo Popover

A song with no tempo yet says No tempo yet — set or detect one first.

The Scrubber

• The song's waveform runs across the header. The part already played is veiled — it sinks toward the panel on a dark look and pales on Daylight — while the part still to come stays at full strength, so you can always read where you are going.
• A thin playhead line marks the current position.
• Stopped: drag anywhere on it to scrub. The region chips follow your finger, and the song seeks once, when you lift.
• Playing: the scrubber is locked, so a stray finger can't move the song — unless Settings → General → Stage Safety → Scrub the timeline while playing is on. Then the release arms a Quantized Playhead Jump.

Region colours on the timeline. The Regions module's card has a Timeline row: Off (default), Full (each region's colour behind the waveform) or Line (a thin colour strip along the top edge, leaving the waveform clear). Unlike the finish and the chip style, this is one setting for the whole app — it is not stored with a layout, and the song strip in the Keys workspace follows it too. It is chosen here only — there is no Settings row for it.

The NEXT Song

While the song plays and you are choosing or have armed a segue (§5.20), the next song joins the header: an amber lamp, NEXT, its title, its key and its tempo. The scrubber shortens to make room but stays on screen.

Phone and Small Windows

On a phone, and in a shrunk iPad window, the header goes compact so the title still has room: a smaller cover and title, the tempo without the word "BPM", and no song time.

The song's level is not in the header — it has a module of its own, Song Vol (Song Vol — the song level module).

5.9 Live Lyrics

Lyrics synchronized to the audio scroll automatically in the Lyrics module. The current line is highlighted. No action is needed — lyrics sync runs in the background as audio plays. The top and bottom edges of the lyrics fade smoothly into the screen behind them, so a line never clips hard at the frame.

When the active section changes, the lyrics list scrolls smoothly to center the new section using a spring animation, and the region chip row scrolls to keep the active chip visible — both with the same fluid, critically-damped motion (no bounce).

The Lyric Screen

The lyrics sit on the look's lyric screen — a darker panel set into the page with a fine edge, in every look: near-black on Stage, a deep blue-black on Dusk. The Lyrics module offers only the Dark and Dusk finishes — a light lyrics panel would glare on a dark stage — so on a Daylight page the lyrics take Dusk's screen.

The background behind the words is your choice, on the Projection panel's Device tab under Background → Lyrics Module Background (§5.10):

While FADE or VAMP is holding the song on its vamp — from the moment the band has faded out, through the announcement and the re-entry — the background turns black in every look, whichever background you chose, so the hold reads at a glance; it returns the moment the song lands. A Simple Fade (§5.13) and a vamp segue into the next song leave the background as it is.

Section names. The current section's name sits on a neutral pill, with a short bar in the section's colour beside it — the colour marks the section rather than flooding it. Other sections show a quieter name beside a quieter bar. When the current section has several paragraphs, a counter such as 2/3 follows its name.

Markers Drive Section Detection

The active section (the one that is highlighted and scrolled to) is determined by lyric section markers first, then by regions as a fallback. Because markers are typically placed a few beats before the region boundary (via the CUE offset), the lyrics begin scrolling into the new section before the music's downbeat — giving the performer a natural visual lead-in.

Multi-Paragraph Spacing

Blank lines within a lyric section are preserved as visual paragraph spacing. If the Lyrics editor contains blank lines between groups of lyric lines (e.g. separating verse paragraphs), those gaps appear as a small spacer in the Live View, the Song Editor lyrics, and on the external projection screen — keeping the songwriter's intended structure intact.

Per-Paragraph Highlighting

When a section has multiple paragraphs (separated by blank lines), the Live View highlights one paragraph at a time instead of lighting up the entire section. As the playhead advances through the region, paragraphs switch automatically:

• Marker-based switching (default): Multi-paragraph regions automatically get a paragraph-break marker (see below), so each paragraph turns over at that marker's position — a spot you can drag to the exact moment the paragraph is sung. No manual setup required.
• Time-based fallback: If a region has no paragraph-break marker, its duration is instead divided evenly among the paragraphs.

Only the active paragraph is highlighted; other paragraphs in the same section remain unlit. When your Active Section Highlight uses a background (BG Stripe, or the Background stripe switch), the highlight is a neutral wash behind the paragraph — the section's colour stays in the bar beside its name. The view auto-scrolls to the active paragraph.

With Fade others on, every other section dims, and its colour bar and chords turn a quiet neutral rather than a dimmed colour.

Auto-Generated Paragraph Markers

When you create regions via AI Detect Sections — and again whenever you open the Song Editor — the app automatically drops a paragraph-break marker inside any region whose lyrics section contains multiple paragraphs. Each one lands a couple of beats before the middle of its region — an early, musical default that brings the next paragraph up slightly before you reach it — and keeps its timing when you resize a boundary or re-detect tempo. Moving the whole region carries its paragraph markers by the same distance, keeping their spacing. Undo/redo restores the region and markers together.

To divide a section quickly, place the playhead inside it, press and hold the region, then tap Split at Playhead. The right-hand region is selected; no rename field opens automatically. Change its Tag/ID whenever you are ready to give it a different lyric section. That new section starts at its first paragraph and gets its own paragraph cues. Until you change the tag, the existing lyrics keep their timing across the cut instead of restarting.

Paragraph markers also auto-sync when you edit lyrics — if you add or remove a blank line that changes the paragraph count, the markers are regenerated automatically to match. Split parts preserve their existing timing; place any newly added paragraph cues where you want them.

Paragraph-break markers appear on the timeline as a labelled ¶ capsule (¶1, ¶2, …) with a grabbable stem, in the section's color — clearly visible and distinct from regular section markers, and draggable: grab the stem and slide the marker to the exact moment that paragraph is sung.

Tip: The auto-placed spot (a couple of beats before the region's middle) is only a starting point. For precise timing, drag the ¶ marker to where the paragraph is actually sung — it keeps that timing through boundary edits and travels with the region when you move the whole region. You can also delete it and place your own with Mark Mode. A marker you've dragged is never re-positioned by the auto-placement again.

Playhead-Drag Lyrics Sync

Dragging the playhead (scrubbing) in Go Live or the Regions Editor previews which lyrics are tied to any point in the song — but the on-screen lyrics follow the music, not your finger. While you drag, the displayed section and paragraph hold; they update when you release:

• Stopped: on release, the lyrics move to the section — and the exact paragraph — at the drop point. In the Song Editor, the lyrics pane scrolls so that paragraph is fully in view.
• Playing (in Go Live only when Scrub the timeline while playing is on — see The Scrubber): the music keeps showing its own lyrics as you drag; when you release, the Quantized Playhead Jump carries the lyrics to the new spot as the audio lands on the downbeat.

Because the lyrics track the audio rather than the finger, the audience projection stays calm — it never shows lyrics scrubbing back and forth while you find your spot.

Regions Without Lyrics

A region can name a part of the song that has no lyrics — an instrumental, an interlude, a worship-leader moment. This happens whenever a region's section tag doesn't match any section in your Lyrics (either on purpose, or because the names don't line up — e.g. a region tagged worship leader but no Worship Leader section). When the playhead moves into such a region, the app doesn't leave the previous section's lyrics stranded on screen:

• Audience projection (external screen and both preview windows): the lyrics clear and the screen falls back to the song's background — no stale words, no half-shown paragraphs.
• Performer view (the Go Live lyrics): shows a dim, centered label of the region (e.g. WORSHIP LEADER) so you always know where you are and that nothing is broken.
• Lyrics editor: the whole song stays visible for editing, the section highlight simply turns off, and a small note appears — "Region 'worship leader' has no matching section" — so if the mismatch was an accident (a typo, or a section you meant to write), you can spot and fix it. Rename the section (or the region tag) so the two match, and lyrics appear over that region again automatically.

  A difference of language is not a mismatch: a lyric section headed Coro 1 and a region tagged Chorus 1 are the same section, and link automatically. The same holds for Verso / Verse, Puente / Bridge, Salida / Outro and their equivalents in Portuguese, French, Italian, German and Dutch — so a sheet you pasted from a Spanish site works without renaming anything.

Tap a Section to Select It

In the Live View lyrics scroll, tapping a section header label or any lyric line under a section selects that section — the same behavior as tapping its region chip in the chip row. If the section isn't fully on screen it scrolls to the top; tap it again and it scrolls back to the top.

Tapping a paragraph inside a section selects that paragraph, so on a long verse you can put the exact block you're singing at the top of the screen.

This works from the lyrics alone and needs nothing else set up — no regions, no markers, no cues. A song that is only labelled lyrics behaves the same as a fully produced one; the playhead and loop behaviour in the table below simply apply to songs that have regions.

Mirror of chip behavior. The section header pill and the lyric lines block under it both respond identically to tap, and the whole line area — including the empty space beside the words — is tappable, not just the text. Use whichever is easier to reach on stage.

The same tap works in the editor. Tapping a section or paragraph in the Lyrics editor selects and scrolls it there too, and the choice carries through to the projection preview and the external screens — so what you pick while editing is what everyone else sees.

Quick Edit Lyrics

Double-tap the lyrics while the song is stopped to open the Quick Edit Lyrics sheet — an editor for text, chords and section names that follows the page’s Stage, Dusk or Daylight look; timing and marker positions stay unchanged (see §5.4). It never opens while the song is playing, so a stray double-tap on stage can't interrupt you.

Use Text for wording fixes. Chords appear above the lyrics, in a distinct color; tap the words to edit them. The [Dm] button beside Dual Lyrics shows the current display: Above or Inline. Tap it to choose Above lyrics or Inline; the highlighted row and checkmark show your choice. Choosing a display opens Text and affects Quick Edit only. Inline chord tokens stay colored while editing. Word edits keep chords attached to unchanged words after the edit. Measure rows such as || D | A | Em | G || keep their chords between the bar lines, on one line.

Use Chords to tap the chord you want to correct. The controls stay below the scrolling lyrics: left/right arrows move the chord one character; up/down arrows select the previous or next chord. You can also scroll and tap another chord directly, without closing an editor. Chords use the song’s written key, before performance transpose or section modulation. Changing only the chord name keeps its position. Changes stay in a draft until Save; Cancel lets you discard them.

Quick Edit follows the main editor’s Line Spacing setting: chords sit directly above their words, with a normal blank line between sections and at paragraph breaks. It adds no extra padding between lyric lines.

For bilingual lyrics, tap the outlined language button beside Text and Chords to open Editor Displays: and filter the list. All languages and each language are selectable rows; the current choice has a colored highlight and checkmark. Switching languages keeps your place in the matching section (for example, Chorus 2), clamping to its last line if the translation is shorter. Untagged lines remain visible. Switching keeps unsaved edits and never changes the language being performed. Language settings in that menu opens song language setup; it omits the full editor’s unrelated Show one language at a time preference.

Tap a section heading to rename it. The matching lyric sections, region tags and lyric-marker labels change together, including linked repeats and translations. Custom region-chip titles stay as written. A name that would merge separate sections is refused. Save while stopped; a failed save leaves the draft open.

Dual Lyrics in the sheet’s top-right corner switches between one and two columns on Live. It takes effect immediately and stays saved separately from text edits; cancelling text edits does not undo this layout preference. The Controls module no longer carries this button.

A faint Double-tap to edit hint sits at the bottom-left of the lyrics while the song is stopped and has lyrics. It grows fainter each time you use the gesture and retires for good after the fourth.

Controls Module Keys

The panel controls live in the Controls module — solid keys in the module's look, laid out in a row or a column to suit the module's shape. When the module is too short for its keys in one line, they wrap into a second column (or row) — a third or more if they need it — and stay finger-sized; only a module too small for any arrangement shrinks them, and then every key stays visible. Left to right (or top to bottom):

A key whose panel is open wears a selection ring outside its edge. Tap a panel key again to close its panel. A key whose panel is pinned wears a small pin badge on its top-left corner. Opening a panel closes every other panel that isn't pinned; pinned panels stay open.

If you hide the Controls module, its panels are still reachable: ••• → Mixer, ••• → Microphones (once mic channels exist) and ••• → Projection appear in the ••• menu while the module is hidden — except a panel turned off in Layout Design → Modules → PANELS (Layout Design), though Microphones still appears while a mic is talking — and the floating Library key stands in for the Library key.

Dual-Column Layout

Double-tap the Lyrics module while stopped, then tap Dual Lyrics at the top-right of Quick Edit Lyrics. It highlights when two-column mode is on; tap again for one column. Your selected section stays in view when the layout changes.

Sections are always displayed in chronological (song performance) order — determined by each section's region start time — regardless of the order they were typed or saved in the Lyrics editor.

Highlight in dual-column mode: The active-section highlight is a tight rounded rectangle drawn directly inside the section's own content block. It highlights the active column only; the adjacent column remains unlit.

Tip: The setting persists across app restarts.

Single-Column Centering

In single-column mode (default), lyric lines and chord symbols are center-aligned, giving lyrics the feel of a natural performance prompt rather than a left-aligned document. Switching to dual-column automatically reverts to left-aligned so each column reads as its own distinct block.

5.10 External Lyrics Projection

Lyrics are projected to a connected external display automatically — see Section 7 for the full projection system. To style what's projected without leaving the cockpit, tap the Projection key (sparkles.tv) in the Controls module — or ••• → Projection when the Controls module is hidden. It opens the Projection panel, and the key wears a selection ring while the panel is open. If you never style the projection from here, turn Projection off for this device in Layout Design → Modules → PANELS (Layout Design): its key and its ••• row go, on every layout.

The Projection Panel

The panel is the same floating card on iPhone as on iPad — place it anywhere over the cockpit. The card's chrome:

Use either side grabber or drag the header to move the card. The Mixer, MIC and Library panels work the same way.

The card's position and size are remembered across app launches — on iPad separately for each layout preset and orientation, on iPhone (and in a shrunk iPad window) for each orientation — and so is the pin. On iPhone, where the card covers most of the screen, the floating pucks step aside while it's open.

Editor hand-off: opening the Song Editor closes the panel automatically — the editor carries its own projection settings beside the lyrics (§6c External Video Panel).

Projection and Device Tabs

A pill at the top of the panel switches between two views:

• Projection (tv.fill) — settings for the projected screens. When an external display is connected, the tv icon turns green and the pill shows the detected resolution (e.g. 1920 × 1080) in place of the word "Projection".
• Device (ipad on iPad, iphone on iPhone — the icon matches the device in your hands) — the lyrics you see on this screen: Typography (font design, Lyrics / Chords / Sections sizes, line Spacing), Chords colors, the Active Section Highlight style with its Brighten active / Fade others focus aids, the Background behind the Live lyrics (Theme Tint or None — see The Lyric Screen), and the Cue Overlay settings (Cue Overlay). Each color setting is a single swatch — tap it to pick from a palette popover.

The Projection tab leads with a live preview of the projected output, then the output-target row: an Audience chip carrying its Song | Global sub-views, with a separate Stage chip on the far side — the same target row as the editor's projection settings (Section 7).

Region media — the photo button (photo.on.rectangle.angled) beside the tab pill opens the Projection Images sheet right from Live: per-region backgrounds and top layers, plus on-demand top layers (see Per-Region Projection Images).

Shrinking the Card to Just the Preview

Once everything is set, the settings are in the way — what you want on screen is a small window showing what the audience is actually seeing. Drag the corner handle upwards and the card gives things up as it shortens, in this order:

The preview's theme button stays available after the settings list hides. Projection, Device and the images button stay visible longest.

And the preview holds its size. It sits at its full 16:9 size for the card's width and stays there, right down until the card is smaller than the picture itself. It never grows as you shrink the card, and never falls below a readable size.

Below the last rung there is nothing left to absorb the spare height, so the preview centres — the leftover becomes margin above and below it rather than a gap underneath.

Pull the card back down and each piece returns in reverse order. Nothing is lost or reset — the tab and target you had selected are still selected when they come back.

Two keys stay on the picture at every size. At its top-left, the chevron that applies what the preview shows to the whole set list. At its top-right, a theme key — Aa drawn in the chosen look's own font and colours — that opens the same theme list as the THEME row, for the screen the card is showing, so a card shrunk to just the picture can still change the look. On the Stage target, whose picture shows no theme, the key stands dimmed in Stage's font and does nothing. Neither key covers the section arrows at the bottom corners.

The chevron opens Apply to Setlist in both Live and the editor preview. Choose Theme, Overlay and/or Bg Clip, then tap the setlist name to apply those choices to its songs. If the two setlist views show different sets, the menu offers both names so you can choose the destination.

The card still moves with its title bar gone. Drag either side grabber, or the thin strip left where the title bar stood (it carries no handle). And the Projection key in the Controls module still closes it, so a card shrunk to a preview is never stuck on screen.

5.11 Live Action Buttons

The Transport module holds the song's action keys — FADE, VAMP and the language key — in a stable order, in rows of three, above the CLICK · AUTO · rewind keys and PLAY (§5.3). The keys are worked out from the song each time it loads, so they follow your edits.

VAMP and the language key always hold their place. Rather than disappearing when the current song can't use them, they stay put — grayed (no vamp source / only one language) — so their position never shifts and your muscle memory holds. A press-and-hold on a grayed VAMP still opens Vamp Settings so you can set up a vamp source and bring it to life.

Mixer snapshots are not transport keys. In Go Live they are the snapshot keys at the head of the Mixer Tiles grid and the chips in the Mixer panel — see §5.12.

Button Types

What the Keys Say

Line 1 is the verb — what a tap does right now. FADE and VAMP add a second line naming the region they will land on, when there is one.

Some moments override the verb: ARMED (the key's action waits for the next bar), SEGUE·FADE / SEGUE·VAMP (an armed segue will land with this key), and → FADE OUT / → VAMP (a segue is armed and this key can land it). The language key reads EN→ES while a switch is waiting.

Smart Defaults

Which keys come alive depends on the song:

On a lyrics-only song VAMP — and FADE, where it shows — is grayed: there is nothing to fade or loop.

Visual States

Keys are neutral in every look. FADE and VAMP use a coloured icon, a ring and the state word; language and snapshot keys retain their small lamps.

5.12 Mixer Snapshots

A Mixer Snapshot saves every track's fader level and pan, and lets you recall it with a smooth, staggered ramp.

Snapshot Keys in Go Live

In Go Live, snapshots appear in two places:

• Mixer Tiles — the snapshot keys lead the tile grid (§5.16). Each is a key with the mixer icon (slider.horizontal.3) and the snapshot's name. The active one is lit, wears a white lamp and reads Reset Mix with a reset icon — tap it again to return to your saved mix.
• The Mixer panel — as chips in its Save row (Inline Snapshot Capsules, below).

Press and hold a snapshot key for Overwrite with Current Mix, Rename, and Delete.

Drag a snapshot onto another snapshot to move it to that position. The order is saved with the song and shared by Mixer Tiles, the compact mixer, and the Pro mixer. Reordering keeps the current mix playing. In a narrow Pro mixer, open More snapshots to reorder the snapshots listed there.

How It Works

1. Tap a snapshot → all faders ramp smoothly from their current positions to the snapshot's saved values. Any solo is cleared; mutes are left as they are.
2. The ramp uses staggered timing — instruments fade in/out at different speeds so the transition sounds natural, like a live band shifting dynamics.
3. The active snapshot stays lit while its levels are applied.
4. Moving any fader manually clears the active snapshot indicator.

Bidirectional Stagger

Snapshot transitions use bidirectional stagger — tracks fading up and tracks fading down are staggered independently and run at the same time. This eliminates silence gaps when switching between very different snapshots (e.g. a Drums-only snapshot → a Vocals-only snapshot).

Tracks ramping UP (fade-in order):

Tracks ramping DOWN (fade-out order):

Both groups start at time 0 simultaneously. Each track's individual ramp uses smoothstep easing (~2 seconds). The beats are counted at the song's tempo — and when you have changed the song's speed they arrive sooner, so the stagger keeps pace with the music. The result is a natural crossfade — outgoing instruments peel away while incoming instruments build up, overlapping in the middle.

Locked Channels & Snapshots

Locked (hard-muted) channels are immune to snapshots. If you lock a channel — a long-press on its tile (§5.16), or a double-tap on its Mute in the mixer — Reset never moves that channel's fader, and neither does recalling a snapshot while you are performing: a setlist loaded in Go Live, or RAMP on in the Pro Mixer (§9.9). It stays at 0. This lets you unlock the channel later with a smooth ramp-up at the moment you choose.

Smart Default Snapshots

When a song has at least two real audio tracks of its own (click and cue tracks don't count), the app generates smart snapshot presets from your song's track names and saves them to the song the first time it is opened on the Live page:

Track classification matches keywords at the start of a word in the track name (e.g. "Acoustic Guitar" → acoustic group, "Drum Kit" → drums group). Like any snapshot, the defaults can be overwritten, renamed or deleted.

Inline Snapshot Capsules

Snapshots are displayed as chips in a horizontal row wherever the mixer appears — the Go Live floating Mixer panel (§5.17), the editor's mixer, and the Pro Mixer's header. Every chip shows the snapshot's name. In the Go Live Mixer panel the chips are keys of the page's look, and the active one is held inside a ring; in the Pro Mixer the recalled one keeps its name, lit and ringed in blue, with ↺ (§9.0).

Fixed-width chips: In the Mixer panel a chip keeps its width when its label changes to "Reset", and a Pro Mixer snapshot key always keeps room for its ↺, so neither row shifts under your finger.

Capturing a Custom Snapshot

Tap the + button at the end of the snapshot row to capture the current fader positions as a new snapshot. It is named automatically ("Snap 1", "Snap 2", etc.) — long-press it to rename.

You can store up to 3 snapshots per song. When the cap is reached, the + button is hidden.

Save Mix

Tap MIX (the sliders button before the snapshots) in the compact mixer, editor or Pro Mixer. The save icon appears only beside Save Mix inside the menu. Choose an action; it runs immediately, without another confirmation.

Channel mute and solo gestures never save themselves, whether or not a setlist is open. Switching away from a song and returning restores its saved channel mix; a mute remains only if you deliberately saved it. Solo never returns with a song. Opening another mixer or editor for the same song keeps your current working choices.

Recall Mix restores the whole saved channel mix. A snapshot's Reset still respects locked channels, so it can be used during performance without releasing those locks. Output-bus mutes stay in place across song changes—for example, when a live drummer replaces the drum bus for the service.

The Master rail remembers its level across app restarts, including 0 dB, a lowered level, or full silence. Recall Mix never resets it.

5.13 Fade Tracks — Vamp/Hold System

Fade Tracks — the transport's FADE key — is a live-performance "vamp" system. One tap fades all instrument tracks to silence (click stays), loops the current region, and holds there until you're ready to re-enter.

Two Modes

Full Vamp Mode — Flow

Phase A — Fade Out:

1. Tap FADE mid-song.
2. The song keeps playing at full volume until the fade has to begin — it is timed to finish two bars before the end of the current region.
3. Staggered fade-out (vocals first, drums last).
4. The current region then loops: at its end the playhead goes back to its first bar. The loop is the whole region, snapped to bar lines, less any Trim End bars set in Vamp Settings.
5. From the tap the key is lit, with a green icon, and says what is happening: FADING OUT (on VAMP, VAMPING), naming the region it is closing on — then BACK IN once the fade is done, naming the region it will re-enter.

Late fade-tap protection: If you tap FADE too close to the end of a region for the full fade to fit, the vamp loop is engaged at once (so the next region is never pre-scheduled) and the fade is compressed into the time that is left — all faders reach zero before the loop wraps, so the audience never hears the tail music being looped. Vocals, keys and guitar then start fading together; bass and drums keep their stagger (bass first), compressed to fit. A tap in the last split second before the boundary (under about 0.4 s) is ignored — tap again in the next region.

Phase B — Looping (Vamp):

• The region loops indefinitely. Only the click is audible — on VAMP, the vamp too: its bed, clips or Built-in Vamp (Vamp Settings).
• The performer can talk to the crowd, give instructions, etc.
• The app tracks exactly where in the song you are.

Phase C — Re-Entry:

1. (Optional) Tap a region chip to choose where to come back in (e.g. "Chorus 1"). The vamp moves there: when the pass that is playing ends, it jumps to that region and keeps looping it. Nothing is announced; the chip takes the CUE at once, and the key's second line names the region once the vamp has moved. (Tapped during the fade-out, the chip only sets where you will come back in.)
2. Tap the FADE / VAMP key — it reads BACK IN — to come back into the song at the region named under it.
3. The system plays a voice announcement of the target section name through the click/cues bus (in-ears only).
4. In the last bar before re-entry, a count-off plays: "1, 2, 3, 4" (4/4) or "1, 2, 3, 4, 5, 6" (6/8).
5. At the loop boundary: playhead jumps to the target region and instruments fade back in with staggered timing (drums first, vocals last).

From the moment the re-entry is committed until the song is back, the key reads ENTERING with the target region under it, and its lamp turns a steady amber. A region tap from then on is ignored — the landing is already on its way.

Phase D — Changing your mind:

• Tap the key again while it still reads FADING OUT (on VAMP, VAMPING) → the fade is cancelled: the band ramps back up from wherever it had got to, and the song carries on.
• Once the key reads BACK IN, a tap re-enters (Phase C) — if you never chose a region, the one you were holding, from the top.

Staggered Fade Groups

Tracks are auto-classified into fade groups by matching words at the start of a word in the track name. The groups are tried in the order below, and the first match wins:

Tracks marked as percussive are always classified as Drums.

Fade-Out Order (melodic drops first, rhythm last)

Fade-In Order (rhythm anchors first, melodic builds)

Voice Cues — Multi-Language Bundled Audio

The system includes pre-recorded section announcements in six voice packs:

The voice pack is set per song via the Voice picker in the AI menu → Cues Track section. The selection is saved with the song and also used for live vamp announcements.

Section names are fuzzy-matched — "Chorus 1", "Ch1", "C1", "Cho", "Pre-Chorus", and similar abbreviations all resolve to the correct audio cue in any language. Hyphens and spaces are treated identically ("Pre-Chorus" and "Pre Chorus" both work). Labels like "Worship Leader" automatically use the Exhortation audio cue. Numbered variants like "Instrumental 1" fall back to the generic recording when no numbered file exists. When the selected language doesn't have a matching file for a section name, the system falls back to the English (Female) file, then to TTS as a last resort. See Voice Cue Section Labels — Full Reference in the Appendix for the complete list of recognized section names, abbreviations, and per-language translations.

Count-off audio provides beat-accurate spoken numbers ("1, 2, 3, 4" for 4/4; "1, 2, 3, 4, 5, 6" for 6/8) scheduled sample-accurately to the beat grid.

Vamp Track Roles

Each track has a vamp role that controls how it behaves during a vamp. A track whose role is not Normal carries a small badge — in purple on its row in the Audio tab, and on its mix tile:

You choose the Vamp tracks in Vamp Settings → Vamp Bed (below). Vamp Only cannot be chosen anywhere in the app; a track that already carries it still behaves as described.

Exclusive vamp clips: Clips used only for the vamp load in the background when you request it, then start together on one bar. If their audio is still loading when the scheduled fade must begin, the app cancels that VAMP and shows “VAMP wasn’t ready in time. The song continues.” The song keeps playing; you can request the VAMP again. Stop, a song change, or cancelling the request prevents its waiting clips from starting later.

Vamp Settings

Press and hold FADE or VAMP in the transport and choose Vamp Settings… — both keys open the same sheet. It is per song:

Where to Set Vamp Roles

The Vamp Bed in Vamp Settings is the place: ticking a track there gives it the Vamp role, unticking puts it back to Normal. The V / V∞ badges — purple in the Audio tab, on a small plate on the mix tiles — only report the role.

FADE and VAMP while stopped — arm, choose, enter

Stopped, both keys work in steps — arm, choose a region, enter — and the key always says which step you are on. You can take the steps in either order:

Moving and releasing a vamp

A region chip says where; the key says now:

• Tap a different region chip → the vamp moves there at the end of the pass that is playing and keeps looping — no announcement, and the song does not come back in yet. Handy for moving a held bridge vamp onto the final chorus before you bring the band back. (A Simple Fade has no loop to move, so there the chip only sets where you will come back in.)
• Tap the FADE / VAMP key (it reads BACK IN, with the region under it) → re-enter that region from the top with the normal voice announcement + count-off.

Song Vol — the song level module

In Character and Vintage, the line under the value becomes a row of 21 small lights that light up to the level; on its own card, SONG sits in a small glass label window.

The Song Vol module is the song-level stepper — − <dB> + with a live dB readout — and it controls the SONG bus. Big keys you can hit without looking are easier on stage than a fader, and the precise fader is still one long-press away. Add it to your layout like any module (§5.0a); it carries a SONG tag on top, lies across in a wide slot and stands upright in a tall one (+ on top, louder upward).

The value sits in a dark well: the signed level (0 dB, +2 dB, -3 dB), or OFF at silence, with a thin line under it showing where the level sits on the fader. Muted, the well turns red and reads MUTE. Range is −40 dB to +6 dB. Adjusting the level while muted automatically un-mutes (you are clearly using it).

One SONG fader at a time. While the Song Vol module is on the page, the Bus Rail beside the mix tiles drops its SONG key, so there are never two song faders that could disagree; hide the module and SONG returns to the rail. The rail keeps C&C, MAIN 2 and MASTER either way (§5.16).

5.13a Language Switch — Live Vocal & Lyric Swap

Sing the same song in two languages and switch between them mid-performance. When you switch, the app swaps the vocal stems for the chosen language and swaps the on-screen lyrics to match — the instruments (drums, bass, keys) keep playing untouched. The change lands cleanly at the next section boundary, so it never chops a line off mid-verse.

Setting a Song Up for Languages

Open the song's Quick Edit Lyrics sheet (double-tap the Live lyrics while the song is stopped — see Quick Edit Lyrics) and choose Language settings from its language menu. This opens the Languages panel, available for any song:

The compact window follows the Live page’s Stage, Dusk or Daylight look, with Done in the header. The song languages, track assignments and lyric check each have their own card; scroll for additional tracks.

You don't have to assign the vocal stems yourself: until you do, the panel opens with the assignments already filled in from language markers in your stem / file names (e.g. Lead Vox ES, PRAISE VOX ESP) — English, Spanish, Portuguese, French, German and Italian are recognised.

You can also adjust a track's language later from the Audio tab — each track row shows a Language chip once the song has two languages.

Exactly two: the live language key comes alive once a song has two languages, and two is also the maximum. With one language the key stays greyed; a third can't be added. Two keeps the live switch a single predictable tap — which is what you want on stage.

Switching Live

The language key (character.bubble) always sits among the transport's action keys (§5.3). On a multilingual song it reads the language the song is in now — SPANISH, ENGLISH (a long name is cut to its first four letters) — with a small dot in that language's cue colour, the same colour its banner flashes over the lyrics. On a song with only one language it reads Lang, greyed. This is the same control everywhere: the Go Live key, the Pro Mixer's language pill, and the language key in the editor transport cluster all arm/switch identically and stay in sync.

In the Mixers

The language state also shows in the Pro Mixer and the compact dock mixer — and the Pro Mixer can switch it — so a sound engineer can see and drive it too:

• Every vocal stem the switch swaps shows a small speech-bubble (character.bubble) badge.
• The off-language vocal strips dim, so it's clear which vocals the language is currently silencing. Their faders stay at their saved positions — the switch silences by volume, never by moving your faders, so your mix is never lost.
• A language key in the Pro Mixer's header, after the snapshots — the speech bubble and the language's name — switches the language too (it is not shown on a song with one language). It's the same control as the live language key — arming while playing, when it reads e.g. EN→ES, immediate while stopped — so the Mixer and the Go Live view always agree.

Per song, always resets to default. The language returns to the song's default whenever you load or SEGUE into it — it never carries the previous song's choice over.

Switching to a Language With No Lyrics

A song can have vocal stems for two languages but words for only one. Switch to the language you have no lyrics for and the app shows nothing — it will not fall back to the other language's words.

That is deliberate. Displaying English on the screens while the band sings Spanish is worse than an empty screen: the room reads the wrong thing and nobody on stage can tell. An empty screen you can simply speak to — "we'll take this one in Spanish."

So you are never left wondering whether something broke, both performer screens — the Go Live lyrics and the stage monitor — show a faint line naming the language, e.g. "No Spanish lyrics for this song." The audience screen shows only your background; the congregation is never shown app messages.

The song still opens in a language it has lyrics for (see below), so you only reach this state by choosing it.

Which Language a Song Opens In

A song loads in its default language — the one the language key shows before you touch anything, and the vocal stem you hear on the first downbeat.

The app picks it from your lyrics: whichever language you wrote first is the one the song opens in. That matters most when a song has vocal stems for two languages but lyrics for only one — for example an ESPAÑOL and an INGLES stem with a Spanish lyric sheet. Such a song opens in Spanish, with the Spanish vocal, because that is the language the words are in.

Use Make default in the Languages panel to override this whenever you want the other language to lead. Your choice is remembered per song and always wins.

Previewing Languages in the Editor

To preview each language while editing a multilingual song, use the language key on the editor transport (character.bubble, showing the language's name) — it broadcasts the choice, so the editor lyrics, Go Live, and the audience/stage screens all follow along. How the editor shows them is set by Show one language at a time on the Info tab's Language card. GLOBAL beside the switch identifies this as an editor preference for all songs:

• Off (default): the editor shows all languages' lyrics together and scrolls to the selected one (to the highlighted section, if any).
• On: the editor shows only the selected language and swaps which one is shown.

This is a preview only — it doesn't change which language the song loads with (still the default set in the Languages panel).

5.13b Section Names in Your Language

Section names read in the language the song is written in. A song whose lyrics are headed Verso 1 and Coro 1 shows its regions as Verso 1 and Coro 1 — on the waveform, on the Live chips, in arrangement rows, and on a player's phone. An English song is unchanged.

Which language it picks. Your lyric section headers decide it. If you pasted a sheet headed Verso / Coro / Puente, that is the language, whatever else the song is set to — those headers are what you chose to keep. Only when the lyrics say nothing (no headers, or no lyrics at all) does the app fall back to the song's cue voice, then to the cue language, then to English. Section names in mixed languages are decided by majority, and the answer never changes between one launch and the next.

Names you type are yours. Rename a region and that name is shown exactly as you typed it, from then on — including a name that happens to match a section word. Name a region Intro on a Spanish song and it stays Intro. Only names the app wrote are translated, and only names the app wrote can be replaced by a section name. A mark of your own, such as "???", is never touched either.

Timeline marker labels are larger without increasing the strip height: section labels are 14 pt, with compact C1/C2 chorus labels and V1/V2 verse labels.

Section badges on the timeline do not change with the language: a chorus reads C1 whether it is labelled Chorus 1 or Coro 1. A badge is a position marker you read at a glance under lights, so it stays the same shape in every song.

Sections are matched across languages too — see Regions Without Lyrics in §5.9. The languages covered are English, Spanish, Portuguese, French, Italian, German and Dutch.

Chorus in French, German and Dutch. In those languages the everyday word for a chorus is Refrain / Refrein — but this app treats Refrain as its own kind of section, separate from a chorus. So a chorus is shown as Chorus in those three languages rather than as a word that would mean a different section. Verses, bridges, intros and outros translate normally.

5.14 Click & Cues Bus

The audio engine routes tracks to two separate buses:

Two moments are the exception, and in both the app is protecting you from hearing two different things at once:

• During a vamp, your imported click and cues are muted and the built-in metronome takes over on the downbeat of a bar. The cues are the reason: a two-bar loop would repeat a spoken section announcement at the audience every lap.
• During a segue, the spoken cues are muted so they cannot talk over the app's own announcement. Your click now keeps playing wherever it can be separated from those cues — which is any song whose click and cues are on their own tracks, and any combined stereo export where they are on their own channels. When your click is carrying the join, the metronome shows the beat but stays quiet rather than doubling it. If the two cannot be separated — a single mono file with cues baked into the click — the whole stem is muted for the window and the metronome clicks, as before.

Only one click at a time. If a song carries its own click track and the built-in metronome is also going to be heard, you would otherwise have two clicks in your ears at slightly different volumes. Vessa Rig turns the imported one down for you and lets the metronome own the beat. It is one-directional — the app never silences its own metronome to make room for yours — and it is not saved into the song: the stem's own fader and mute are untouched, so the moment the metronome stops being audible your click comes straight back.

It leaves your click alone whenever taking it away would leave you with less to follow than you had:

A song whose tempo changes counts as having a tempo, and so does one whose tempo lives only in its beat map: on those the metronome follows the map, which makes it the more accurate reference of the two.

The Click & Cues bus has its own independent C&C fader in the mixer — and a C&C key on the Bus Rail beside the mix tiles — so performers can adjust their in-ear click level without affecting the house mix.

Click and cues are separate channels on it. A click file that arrives with the beat on one side and spoken cues on the other is split into a Click track and a Cues track when you import it (see Adding a Song), so each gets its own strip, fader and mute inside the bus — ride the click up in a loud song and leave the voice where it is, or mute the cues and keep the beat. The C&C fader still controls both together, and both are protected from song fades and vamp fade-outs in the same way.

A MONO pill beneath the C&C fader collapses stereo click/cues files to mono — useful when routing to a single in-ear. The MONO button is always visible regardless of channel count.

Key benefit: When you use Fade Tracks or crossfade between songs, the click track and voice cues remain at full volume in your in-ears while the audience hears the instruments fade to silence.

5.15 AUX & C&C Output Routing

On the console (§9.0), Tracks to audience is the TRACKS TO AUDIENCE key in SETUP's column (double-tap it), and SONG's status row says AUDIENCE OFF while the tracks are private.

MAIN 2 is your monitor feed: tracks, Vessa Keys and Vessa Pad remain audible there when you lower or mute MASTER. C&C has its own fader for click and spoken cues.

Audience and ears

The mixer places Tracks to audience beside the SONG / MASTER controls, in both the compact and Pro mixers. Double-tap to turn it off or on; a single tap never changes the audience feed.

When the tracks are private, the button turns amber and reads Tracks: ears only. Tap it again to send tracks to the audience. This choice survives song changes and app restarts; it does not alter saved mixes. A backup rig mirrors the host's choice when both run a version supporting it.

MASTER controls the audience level. MAIN 2 controls your ears. Ordinary SONG, track and instrument faders/mutes still affect both feeds. C&C keeps its separate routing and mute. Output EQ, compression and limiting retain their existing shared processing; these controls separate the feeds' levels and mutes.

Use separate physical outputs for the audience and your ears, or Split as described below. In ordinary stereo Main mode there is no separate monitor feed; the button instead says Tracks: audience off.

Signal Flow

Tracks → track/SONG level ─┬─► audience switch → MASTER → PA
                          └─► MAIN 2 → ears
V·KEYS / V·PAD → own level ─┬─► MASTER → PA
                          └─► MAIN 2 → ears
C&C → own level / route ────────────────────► click & cues output

Every music track is split (fan-out) so a copy goes to the AUX bus. MAIN 2 controls the music level in the monitors; C&C controls the click/cues level independently. Both channels connect directly to the main mixer but are panned/routed according to the output mode.

On screen, AUX is MAIN 2. The mixers and the Bus Rail label this output MAIN 2, and so does the rest of this section — AUX survives only in its title. Where the desk locks its fader (see Main mode below), the Bus Rail draws its name greyed and, where the key is tall enough, a lock and LOCKED — its mute still works.

Output Modes

The mixer adapts its controls based on the connected audio interface's channel count:

Stereo output (≤ 2 channels)

A SPLIT button toggles the global Cue Split mode. It sits on MAIN 2 — its card in the compact mixer, its strip on the console:

When Cue Split is active, the strips show the routing direction:

Multi-channel output (> 2 channels)

When a multi-channel audio interface is connected (e.g. RME Fireface UCX II), the SPLIT buttons are replaced by per-bus output routing:

• C&C and MAIN 2 strips show an output port selector to pick a dedicated output pair (e.g. 3–4, 5–6). The selected pair is remembered per interface UID.
• MAIN 2 strip shows a MONO button that mono-sums its output — useful when routing to a single monitor wedge or in-ear.
• C&C strip always shows its MONO button (both stereo and multi-channel); it is dimmed while C&C is routed to a single output, where there is nothing to sum.

Per-Interface Memory

When you connect different audio interfaces (e.g. a 2-channel interface at rehearsal vs. an 8-channel interface at the gig), the app remembers the selected output pair for each interface by its unique hardware UID. Switching interfaces automatically recalls your preferred output pair and adapts the mixer strip controls.

Global Settings

The C&C level, MAIN 2 level, C&C mono, MAIN 2 mono, output mode, and Tracks to audience are global preferences (not per-song). They persist across songs and app restarts so your monitor mix stays consistent throughout a set. Tracks to audience starts on until you change it.

5.16 Performance Grid

The Performance Grid is what the Mixer Tiles module shows on the Go Live page: a touch-optimized tile grid in place of a channel-strip mixer, where everything the audience hears is visible at once, every target is large enough to hit without looking, and the primary workflow is snapshots + mute toggles — not fader manipulation.

Philosophy: The mix was done at soundcheck. Snapshots hold your presets. On stage you just need to know: what's playing, what's muted, and how to switch scenes fast.

Layout

┌──────────────────────────────────────────────────────┬──────────────┐
│ ┌─────────┐ ┌─────────┐ ┌─────────┐ ┌─────────┐      │ ┌──────────┐ │
│ │    ≡    │ │VOCALS   │ │Drums    │ │Bass     │      │ │    ›     │ │
│ │Acoustic │ │GROUP  3 │ │● MUTED  │ │● SOLO   │      │ └──────────┘ │
│ │         │ │──────  ▮│ │──────  ▮│ │──────  ▮│      │ ┌──────────┐ │
│ └─────────┘ └─────────┘ └─────────┘ └─────────┘      │ │C&C      ▮│ │
│ ┌─────────┐ ┌────┬────┐ ┌─────────┐                  │ ├──────────┤ │
│ │Keys     │ │ ♫  │ ♪  │ │Loops    │                  │ │SONG     ▮│ │
│ │         │ │    │    │ │         │                  │ ├──────────┤ │
│ │──────  ▮│ │   ▮│   ▮│ │──────  ▮│                  │ │MAIN 2   ▮│ │
│ └─────────┘ └────┴────┘ └─────────┘                  │ ├──────────┤ │
│                                                      │ │MASTER   ▮│ │
│                     TRACK GRID                       │ └──────────┘ │
│    (snapshot keys first, then one tile per bus)      │   BUS RAIL   │
└──────────────────────────────────────────────────────┴──────────────┘

• Track Grid (left) — your snapshot keys first, then one tile for each bus the song uses: a bus with a single track shows that track's tile, and a bus with several tracks shows one group tile (see Tile Groups).
• Bus Rail (right edge) — the C&C, SONG, MAIN 2 and MASTER keys, with a chevron key at the top that folds the rail to a narrow column of letters. See Bus Rail.

The grid sizes its tiles to fill the module: tiles stay close to square, between 56 and 90 pt wide, and the rows always reach the bottom of the module. Make the module very short and the tiles shrink rather than being cut off. When there are more than 20 tiles, the grid pages: ‹ and › buttons and a row of page dots sit under it. (They are buttons rather than a swipe, because a sideways swipe on a tile is its half-size gesture.)

Click, cues and the metronome have no tiles. They belong to the C&C key on the bus rail (and to the mixer), so the grid's space goes to what the audience hears.

Looks

The grid, its tiles and the bus rail are drawn in the Mixer Tiles module's finish — Stage, Dusk or Daylight, or Match page, which follows the page look. Choose it on the module's look card — in Layout Design, from ••• → Module looks, or with a two-finger hold on the module (see §5.0a). Every finish says the same things the same way: a tile is a neutral key, and a state is always a lamp and a word, never a coloured or faded tile.

Tile Anatomy

Each track tile is a rounded key showing:

On a very short module the tiles get less room: below 56 pt the state shows as just its lamp and glyph, and the dB takes the name's place while you swipe; below 48 pt the meter and level line are hidden.

Tile States

Locked = Muted: A locked tile is a hard-muted channel. The fader is at −∞, the channel is marked as muted in all mixer views, and the tile shows MUTED with a padlock. A channel you muted in the mixer shows the same way. Locked channels are immune to snapshot recalls — they stay muted until you unlock them.

Tile Gestures

Single-tap unlock: In live performance, you need to bring a channel back fast. A single tap on a locked tile unlocks it and raises the fader — no need to long-press. Long-press is only used for locking (silencing).

Individual channel tiles show the same red MUTED / green ON notice as grouped tiles. A language-gated tile does not announce a change when its tap does nothing. The persistent SOLO / CLEAR notice remains at the transport; while it is visible, the transport keeps its full width.

Tile Colors

Colour on the grid is kept for state: red for a mute, amber for a solo. The tiles themselves are neutral keys in the module's finish.

With the Vivid tile style, each tile also carries its track's colour as a thin edge along the top. The colour comes from the track's color group — Rhythm, Instruments, Vocals, Utility or Other — as set in the Theme window (§6d), so changing a group's colour there changes every matching tile. On the Live page each colour is drawn as a softened stage hue, so a track never wears the red or amber that the page keeps for a mute and a solo. A group tile wears its bus's colour the same way.

Tile Style

Tile style is in Settings → General → Tiles. It is independent of the Compact Mixer style setting beside it.

The states read the same in both: MUTED in red, SOLO in amber, the padlock on a locked tile.

Independent from the Compact Mixer style: You can use any combination — Vivid mixer + Minimal tiles, Minimal mixer + Vivid tiles, or both Minimal.

Snapshot Tiles

Your mixer snapshots lead the grid as keys: a mixer icon over the snapshot's name. Tap one to recall it. The snapshot you last recalled is lit, with a white lamp, and reads Reset Mix — tap it to return to your saved mix. Long-press a snapshot key for Overwrite with Current Mix, Rename and Delete. See §5.12 Mixer Snapshots.

Tile Groups

A group tile is a bus. Every bus that has two or more of the song's tracks on it shows as one group tile, named after the bus in capitals — ELECTRIC GUITARS, VOCALS. A bus with a single track shows that track's own tile.

• Membership comes from the routing. Move a track to another bus in the mixer and its tile moves with it. There is no separate grouping to build or maintain.
• Vocals are one tile, even in a bilingual song. A mute on the vocals tile reaches the stems of every language, so switching the language never brings a guide vocal back into a room you handed the song to.
• Ungroup in the group's menu explains how to split a tile: move one of its channels to another bus in the mixer.
• Expanding a group is a working view, not something saved with the song.

Group Tile Anatomy

The group tile follows the same layout as a track tile:

Group Membership Banner

When a group is expanded, its members appear as their own tiles right after the group tile, each tied back to its group:

• A small dot at the tile's top-left corner — in the bus's colour with Vivid tiles, in the key's ink with Minimal.
• The top 18% of the tile is a banner strip, with a hairline divider separating it from the tile below.
• Three left-pointing chevrons (‹‹‹) sit at the right of the banner on the last member only, so the group reads as one block with a clear end.

Half-Size Tiles

Swipe left on a tile to make it half size; swipe right on a half tile to restore it. Two half tiles next to each other share one grid cell, doubling density for buses that need less visual weight.

• Half size belongs to the bus, for the whole rig — set it once and every song shows that bus's tile at half size. The same setting is on a bus strip's long-press menu in the Standard Mixer (the Mixer panel's OUTPUTS half): Tile in Live → Full tile · Half tile · No tile (§9.12).
• A half tile with no partner beside it is normally shown full size.
• A half tile shows glyphs only: its bus glyph (or the language badge on a language track), its state's lamp and glyph, and its meter. Its name is still read by VoiceOver.
• A half-size group tile opens or closes the group when you tap it, rather than muting it, and its long-press menu has no bus picker. Swipe it back to full size to mute the whole group with one tap.
• A member of an expanded group can't be resized on its own — swipe the group tile instead.

Hidden Tiles

A bus can be taken off the grid without silencing it — the channels keep playing.

• Long-press a group tile → Hide Group, or choose Tile in Live → No tile on the bus strip in the Standard Mixer.
• To bring a bus back, set its Tile in Live to Full tile or Half tile in the Standard Mixer.
• Like half size, this is a setting of the bus, for every song.
• The Sync / Failover bus never has a tile.

Tile Order

Tiles follow the same left-to-right order as the mixers: the global Order preset (see §6d Order). A stem therefore sits in the same place on the grid, in the Standard Dock Mixer and in the Pro Mixer — and in every song.

There is no edit mode on the grid. Grouping comes from the buses, half size and hiding are bus settings, and order comes from the Order preset — so there is nothing left to arrange tile by tile.

Bus Rail

The Bus Rail is a slim vertical column on the right edge of the grid. From the top: a chevron key that folds or unfolds the rail, then the bus keys C&C → SONG → MAIN 2 → MASTER.

SONG appears only when the Song Vol module is not on the page. With the Song Vol module showing, the rail drops its SONG key and the other three take the room, so there are never two live controls for one level.

Each bus is a neutral key, the same as a tile:

MAIN 2 can be locked. On a two-output interface in Main mode, MAIN 2 would double the front of house, so its level is locked: its name is greyed and, where the key is tall enough, it says LOCKED with a padlock. Its mute still works.

Note: MONO, SPLIT, and output routing controls are available in the Pro Mixer (§4.9) and the Standard Dock Mixer (§9.12), not in the Bus Rail. The Bus Rail is intentionally simplified for live performance — just level and mute.

Bus gestures:

Open vs. folded:

• Open: 94 pt wide — the chevron key at the top, then the bus keys with their full names, each with its level line and live meter. The keys share the rail's height between them.
• Folded: 38 pt wide — the chevron key, then one key per bus showing a single letter: C, S, A (MAIN 2) and M. Each letter key keeps its level line and meter; a muted one shows its red lamp and a red letter. The letter key is also the mute toggle. Flick up or down for ±1 dB, or right or left for ±2 dB; long-press to reset to 0 dB.

The rail remembers whether it was open or folded.

5.17 Floating Mixer Panel

The Mixer panel is an on-demand floating card that puts the full Standard Mixer over the cockpit — channel-strip pillars, the 2×2 bus band, and the Save Mix + snapshot row — without leaving your performance layout.

Opening the Mixer

Opening the Mixer closes any other panel that isn't pinned. Turn Mixer off in PANELS (Layout Design) and both ways in go, on every layout of this device.

What the Card Contains

Top to bottom:

1. Header — the CHANNELS / OUTPUTS switch, the pin button, and the ✕ close button.
2. MIX + snapshots row — PRO (opens the Pro Mixer), DYN (lit inside a ring while the master dynamics are showing; they then take the bus band's place, on a dark screen set into the card), MIX (tap for Save Mix, Recall Saved Mix, or Set Faders to 0 dB; see Save Mix), your snapshots (the one you recalled is held inside a ring and reads Reset), and + to capture a new one (see §5.12 Mixer Snapshots). Every key is a key of the page's look.
3. 2×2 bus band — C&C · MAIN 2 on the top row, SONG · MASTER below; hold and drag across a bus’s dark well to set its level, or flick right/left or up/down for a single ±1 dB step. Double-tap the well to reset to 0 dB (see §9.12).
4. Strips — whichever half the switch is showing: a pillar for every track, or all sixteen outputs.

CHANNELS and OUTPUTS

The mixer shows one half of the desk at a time, and the switch is the panel's title, at the left of its header.

The 2×2 band (C&C · MAIN 2 · SONG · MASTER) and the mute groups stay put in both halves. They belong to the desk rather than to either side of it, so they never move under your finger.

Your choice is remembered, and it is shared with the Pro Mixer — set it in one and the other opens the same way.

Outputs You Are Not Using

All sixteen outputs are always present, whether the loaded song uses them or not. An output no track is routed to collapses to a narrow spine showing its number and name, so you can see it exists without it taking a strip's worth of room.

A collapsed output keeps only its number, its name and its mute dot. It has no fader, meter, SOLO or long-press menu, because there is nothing on it to ride or to isolate.

Muting an empty output is deliberate and useful: mute Drums before the song with drum stems comes up, and it is already right when it arrives.

A muted output stays muted. An output's mute survives changing songs and restarting the app, alongside its level, name and routing. That is the point: if a live drummer is playing tonight you mute the drum output once, and it is still muted when the set resumes — including after a relaunch. A SOLO is the opposite: it clears itself the moment no loaded track is on that output, so a solo you forgot cannot silence the next song.

Output 16 is the Sync / Failover output. It always shows as a locked SYNC spine — no fader and no mute — and it cannot be chosen as a destination for a track. What it carries (Off, Failover tone or SMPTE timecode) and which physical output it goes to are set in Settings → Hardware → Sync Signal (§11).

Moving, Resizing, Pinning

The strips scroll far enough for the last one to clear the resize grip in the corner.

No grab handle along the top. Near the top of the screen, iOS takes a drag that starts there and shrinks the whole app — so the card has no top grabber. Move it by its header or by the side grabbers.

Docking a Panel

Every floating panel — Mixer, Microphones, Projection and the Library — docks. While you drag or resize one, an edge that comes within a short distance of a module's edge (a module on its own card, or the Lyrics' screen) or of the screen's edge snaps to it, at the same small gap modules keep from each other, and edges line up with a neighbour's matching edge. The same pink guide line as Layout Design shows where it will snap. Keep dragging past the snap and it lets go — you can still place a panel anywhere.

A docked panel takes the shape of the arrangement: the corners that sit against a module go square, the ones against the screen's edge take a module's corner, and the free ones stay round. The shadow is dropped along the docked stretch only. Docking is remembered with the panel's position, so it is still docked after a relaunch.

A panel goes back to where you put it when the window grows again. In a smaller window (Stage Manager, Split View, or a second window of the app) a panel is pushed inside the window rather than squeezed, and only your own drag or resize changes where it lives, so widening the window returns it exactly. Each window keeps its own panels where you put them.

Shrinking the Card for Longer Faders

Drag the card shorter and it gives up furniture — and every point it gives up becomes fader throw. The order is what a performer misses least:

At its smallest the card is its top bar and a row of strips, and every point the bands gave up has gone into fader throw. Pull it back down and each band returns in reverse order; nothing is lost or reset.

The top bar never goes. CHANNELS/OUTPUTS, the pin and ✕ all stay at every size. Removing them would free almost nothing — the bar is a fixed height — while costing you the only way to switch halves and the pin that keeps a parked card from closing when another panel opens.

Saving a mix needs the card taller. Save and the + capture button are the only way to write a mix or create a snapshot from the Live screen, so when they've shed, pull the card down to reach them. Recalling a saved snapshot is unaffected.

Short strips hide a mic's setup chips. When the strips are short, a microphone strip hides its input (FROM) and output chips, so its fader keeps its travel and its MUTED word has room; V·PAD and V·KEYS hide their output chip only on the shortest strips. To choose a mic's input, make the card taller or use the Pro Mixer (§9.4b); its output is also in the strip's long-press menu on a multi-channel interface.

The card remembers its position, size, and pin state, and reopens exactly where you left it. Position and size are kept separately for each orientation — and, on a full-size iPad, for each layout preset — so a card parked for one layout doesn't land on top of another.

iPhone: the same floating card, with the same header, side grabbers, corner resize, and pin — it just opens sized to the smaller screen, and the floating pucks are hidden while it's open, so they never sit over the card's controls.

Editor hand-off: opening the Song Editor closes the panel automatically — the editor has its own mixer beside the lyrics (§4.9).

5.18 Clip Launcher

The Clip Launcher is the Clips module on the Go Live page: a grid of pads you can fire instantly without touching the song timeline. Clips are short one-shots or loops — FX hits, stingers, pad beds, backing vocals, atmospheres.

Each clip is a standalone audio file. Clips do not move the playhead, do not affect regions, and do not interrupt the song. They run on their own player and mix into the Clips mixer channel so you can ride their level just like any other track.

The pads are drawn in the module's finish — Stage, Dusk, Daylight or Match page — chosen on its look card (§5.0a). A pad is lit in its clip's own colour in every finish.

The Module Header

An empty module shows No clips yet with a big + key in the middle.

Adding a Clip

Tap +. Pick one or more audio files — each becomes its own pad, as a one-shot that starts on the next bar. New pads take the palette's colours in turn, carrying on from the last coloured pad the module already shows (global clips included): red, orange, yellow, green, teal, blue, indigo, purple, pink, brown. Pads you already have keep their colours. The file is copied into the song's own folder so it travels with the song.

Clips are stored with a song: with no song open, the module tells you to open a song first.

Reading a Pad

The glyph row says how the clip behaves, in every state:

Names are 17 pt, on two lines when the pad is tall enough, and are never shrunk to fit. A name has the pad's full width in every state and breaks only between words; a name too long for the pad is set in a narrower face, and only then ends in …. On a narrow pad, ⚡ and the drum give way first, then the mode glyph; NEXT stays.

Playing a Clip

Clips that need loading prepare their audio in the background. Tap the pad again while it is preparing to cancel that launch. Launch timing is applied once the audio is ready; already-loaded clips keep their usual timing. Bar quantization follows the song’s current playback speed. A tap too close to the bar line waits for the next legal bar, so the clip can be scheduled in time.

Clip Context Menu

Global Clips

A global clip is a clip that automatically appears in every song. Turn on Persist across songs in the clip's Edit Clip sheet when you have staples that belong everywhere — a count-in, a reverse cymbal, a pad wash, an "amen" hit.

Key behaviours:

• Globals live forever, independent of songs. Once a clip is made global, its audio file is moved to a shared folder outside any song. Deleting a song never destroys a clip that was ever global.
• Turning Persist across songs off again does not delete anything. The file stays in the shared folder; only the setting changes, and the clip goes back to belonging to the song that is open. You can make it global again later with no loss.
• Delete only when you mean it. Deleting a global clip removes it from every song.

Clip Edit Sheet

Opened with Edit Clip… from the clip's menu. The sheet is titled Edit Clip; Done saves your changes and Cancel closes it. Fields:

5.19 Vessa Pad

Vessa Pad is the drone/pad instrument — the Pad module on the Go Live page. Tap a key and it holds that pad for as long as you need — under spoken word, between songs, or to give the room a key to land in before a song starts.

The pad belongs to the app, not a module or layout. Hiding the Pad module does not stop it. Song selection and transport follow the timing choice below.

The same pad is reachable from inside Vessa Keys with the V·PAD button (§10a), which shows this same instrument drawn on the Vessa Keys faceplate as one row, and appears in the mixer as the V·PAD strip. All three are one pad.

The instrument face

The module is drawn as an instrument: a faceplate with three plates on it — the power key, display and FOLLOW; the two tone knobs; and the keyboard. It follows the module's finish (Stage, Dusk, Daylight or Match page) and wears Walnut cheeks at each end unless you choose None on the module's Trim row. Both are on the module's look card (§5.0a).

The face rearranges itself to fit the module:

• Wide — the power key, display and FOLLOW beside the tone knobs, with the keyboard underneath.
• Narrower — the power key, display and FOLLOW on one row, the tone knobs under them, then the keyboard.
• Narrowest — the display on a row of its own, the power key and FOLLOW sharing the row below.
• Tall — when the keyboard's area is about as tall as it is wide, or taller, the keyboard turns on its side, with C at the bottom and the pitch rising up the module.

A module made smaller than the face can fit is cut off rather than shrunk, so nothing ever drops below a readable size.

Power, display and FOLLOW

The display, left to right:

Drag sideways across the display to set the pad's level — the level follows your finger across the glass. The drag only starts once your finger has moved sideways a little, so a tap on the name or an arrow never nudges your level.

Choosing a sound while a key is sounding re-voices that key at once; choosing one while the pad is silent remembers it for the next key.

The keyboard

Twelve keys in two tiers, like a piano laid flat: the seven naturals along the front, and the five flats — D♭ E♭ G♭ A♭ B♭ — on a tier of their own behind them, each over the gap between its two neighbours, so no key hides another.

Tap a key to start that pad; tap the lit key again to stop it — the pad stays on, ready. Tapping a different key changes key without stopping — the two crossfade. If the pad is off, tapping a key turns it on in that key.

A key shows one of two states, and they mean different things:

Loading a song points the pad at that song's key. Manual and With playback stage it silently; When selected brings it in. Tap a key or turn Power on for a manual start. If Power is already on but the pad is stopped, tap the ringed key or use Play Pad.

Stopping a pad leaves its key ringed, so one more tap brings it straight back.

Choosing when the pad plays

Starting defaults: a new song uses Manual, and every song in a new setlist follows its song default. Nothing starts automatically until you choose otherwise. Your later choices are saved; copying or importing a song or setlist preserves its saved pad settings.

One menu controls the song's pad timing:

A cold launch, browsing without choosing a song, or preloading a standby song never starts the pad. Opening the app restores the choice, silently. An automatic start powers the pad as needed; there is no second power switch you must remember to arm.

The window is headed Pad for [song], with two cards:

• In this setlist: [name] comes first and shows the timing you will get here. Choose Manual, With playback, or When selected. The song’s default carries a quieter (song default) label. Selecting that mode follows the default; selecting a different mode shows Overrides song default.
• Default for [song] changes the song’s usual timing. Setlists following the default follow your change; genuinely different setlist choices stay in place. If a setlist choice matches the new default, it follows the default again.

There is no separate “Use song default” choice. Older saved choices that match the default are treated as matching, and redundant overrides are cleared when you edit timing. Without a current setlist, only the song-default card appears. Highlighted rows and checkmarks show the selected timing. Choices save immediately and the window stays open; tap Done or outside to close it. Its dark, high-contrast surface stays readable in Daylight too. Changing timing does not play a note immediately.

Play Pad / Stop Pad acts now, without rewriting the saved timing. A pad started manually remains independent of song Stop. The next automatic playback start can take over under With playback. The status reads Preparing…, Waiting for Play, Starting…, Playing · key, Stopped, or Pad unavailable, separately from the saved mode. A cold sound may need time to load before it fades in. With playback never brings it in before the song.

Selecting a different song releases the outgoing pad unless the incoming song uses When selected, which brings in its key. Old Start with this song choices keep their selection-time meaning as When selected.

Integrated or compact controls

By default the quick timing menu and status sit inside the Pad module; its existing Power/key controls play and stop the pad. To put the controls beside Transport or elsewhere, show Pad Controls in Layout Design's module list. It contains the same timing menu and status plus Play Pad / Stop Pad, and can be moved and resized like other modules.

For controls built into the transport, open Layout Design → Modules → Pad controls in Transport. On iPad they share the bottom row with the song’s Play key; on a phone they get a row below it. This choice saves with the current layout (and separately in each compact-window orientation). Existing layouts leave it off.

The top row separates Manual / With Play / On select ▾ (pad timing) from a small key display using the pad's LCD lettering. It shows the sounding key brightly, or the selected key more softly when silent; — means no key is selected. Tap the display to open the full Vessa Pad keyboard, sound, level, Follow, brightness and shimmer controls when the Pad module is hidden. Pin beside × keeps this floating panel open while you change songs or use other controls. Drag its title to move it; × always closes it. Unpinned, tapping outside or changing songs closes it. Pinning holds only the window: the pad still follows its usual song and playback settings. If the Pad module is already visible, the display briefly outlines that module instead. The separate Pad Controls module has the same shortcut.

Only one quick control surface is shown: Transport takes priority, then the separate Pad Controls module, then the Pad module's integrated row. Turning Transport placement off restores the separate module at its saved position if it was visible before; otherwise the row returns to the Pad module. Showing Pad Controls in the module list also turns Transport placement off. If Transport is hidden, the other controls remain available.

A narrow Pad Controls module stacks three full-width controls: timing at the top, the LCD key display in the middle, and Play Pad / Stop Pad at the bottom. The timing name no longer squeezes beside the display. Larger modules also show the status. The small module adapts to its shape: a wide, short module puts the pad Play/Stop key beside the timing and status; a tall module stacks them. The compact labels With Play, On select, and Ready mean With playback, When selected, and Waiting for Play. No layout or placement change starts, stops or reconnects audio, or changes the saved timing.

Tone — BRT and SHM

Two knobs beside the display (or under it, on a narrower module):

Drag up or down on a knob to turn it: up raises, down lowers, starting from wherever the knob is — it never jumps to where your finger lands. The knobs turn only while the pad is on; while it is off their arcs are grey but still show where they are set.

Pad Sound sheet

Tap the sound's name on the pad's display. The sheet opens with everything visible — no scrolling — and Close at the top.

Under the presets, Level is the pad's own level, with its readout in dB — the same level a sideways drag across the display sets.

The same sheet holds two time controls, and they are deliberately separate — starting a pad and swapping one key for another are different musical moves.

A long Key Change Crossfade — the full 12 seconds — is what you want for drifting between slow songs. Fade stays free for a quick start when you need one.

The shimmer deliberately trails the pad — it blooms in a little slower and takes noticeably longer to decay, so it behaves like a reverb tail rather than a second pad switching on and off with the first.

The sheet carries the same Manual / With playback / When selected menu as the quick controls, with song-default and setlist-only choices. The help text explains each choice.

Marking songs in the setlist

Songs using With playback or When selected show a small filled dot in the Setlist module — on the cover's corner in Cards, at the head of the info line in Titles, in the art's top corner in Covers — and on the song's row in the Library window's Setlists tab. One glance down a set tells you which ones bring a pad in by themselves. The dot reports the effective timing choice for that set, not whether the pad is currently sounding; it does not edit anything.

Songs without a dot behave normally: they arm their key and wait. Only the exception is marked, which is why the dot means something.

The dot is an indicator, not a button — a single tap on a song loads it, so nothing small enough to sit on a tile is safe to make tappable.

Changing key

Two keys crossfade over the Key Change Crossfade time, and how they overlap inside it depends on the interval between them. A move by a fourth or fifth is allowed to bloom, because two consonant keys briefly together sound like a chord change. A clashing move — a semitone, or a tritone such as A to E♭ — gets the old key out of the way quickly and brings the new one in more gradually, so it arrives gently instead of colliding.

What each song remembers

Manual sound, level, brightness and shimmer adjustments save to the loaded song. Follow’s temporary choices do not overwrite those settings. Load the song again and those settings come back, easing in rather than jumping.

Pad timing saves separately, as the Song default or an override for the current setlist. A different setlist choice takes priority; select the mode marked (song default) to follow the song again.

The key is not one of them — it always comes from the song itself. Tapping a key plays it now; it does not redefine what that song is in. So a song in G always brings up G, however much you played around during the last one.

A song with no pad settings of its own falls back to its key: a song in C minor stages the Minor preset in C, a song in E major stages Major in E. If the song's key is unknown, it falls back to Tonic, which cannot clash with anything.

The pad follows the key you are playing in, so transposing a song moves the pad with it.

FOLLOW

Tap FOLLOW beside the display to accompany a keyboard. The first time, choose the MIDI input and channel to listen to, or the on-screen keyboard. Press and hold Follow to change those choices later. Double-tapping the small LCD in Pad Controls or Transport also toggles Follow; one tap still opens Vessa Pad.

Start the pad normally. Follow does not start a stopped pad or the song. The selected key supplies the baseline without waiting for a complete chord; its sound prepares and fades in normally. Song key, section modulation and timed chart chords add context; the live keyboard takes priority. Open fifths such as G–D–G are useful input too. It works before Play, with only a click, or while freely playing without tracks. The listening-input choices are shared with Arranger.

Vessa Pad holds the music together. It keeps a compatible note across chord changes and through keyboard silence, rather than following every new root. A needed change waits for settled harmony; expressive movement waits longer and responds to sustained playing strength. For example, in G, a D drone can connect G, D, E minor and B minor. The recordings’ actual pitch height matters too: Vessa Pad’s G is lower than its D, so stronger sustained playing can earn that higher D without adding a new note on every chord.

A Major or Minor recording contains a whole triad. Follow checks that whole sound; when no compatible triad fits, it can temporarily use a Tonic recording to keep the drone sounding. This does not overwrite your saved preset. Turning Follow off restores the manual selection.

The optional second note needs no separate switch. Arming Follow makes it available automatically; it is not guaranteed on every chord. Sustained, confident playing with at least two distinct pitches can add a quieter companion. That companion always uses the single-note Tonic sound, whether the main sound is Tonic, Major or Minor. “Tonic” here names the recording type: the companion may be a useful played chord tone, not necessarily the song’s root. Softer, sparse or busy playing lets the companion fade away. Both sounding roots appear in the LCD. Vessa Pad never exceeds two roots, including release tails; the companion releases before another main root enters.

Follow uses your Fade and Key Change Crossfade settings, including long changes such as a 3-second fade and 4.5-second crossfade. Shimmer keeps its longer bloom and tail. A new target can wait for an existing tail to finish instead of cutting it short. Lifting your hands or playing uncertain harmony does not stop the main drone. Stop Pad, power off, loss of its listening connection and the pad’s song/playback timing still govern when it stops.

Brightness and shimmer develop gently around your settings. Turning either knob takes control of that parameter until you rearm Follow. Tapping one of the pad's keys exits Follow and honors your key immediately. Pad volume remains yours. Play Pad / Stop Pad keeps its ordinary immediate action.

Vessa Pad’s former Lock has been removed. Manual edits keep the normal song-saving behavior; automatic Follow changes are temporary.

5.20 SEGUE — Live Song Transition

SEGUE is the live song-to-song transition system. It lets you arm a jump into a different song while the current song is still playing, so the switch feels immediate and deliberate on stage.

How it works

1. Arm — Tap any song in the Setlist module while a song is playing. That song shows NEXT with a blinking amber lamp — this is Song B — and the Regions module's header shows it too: an amber lamp, NEXT, and Song B's title, key and tempo. A tap on a song in the Library window's Setlists tab arms it the same way; there the row turns orange with a ⇄ in its number badge.
2. Pick where to land — The SEGUE picker takes the place of the Regions module's chip row (see below). Tap a section of Song B to choose where the transition lands.
3. Trigger — The SEGUE fires at the configured transition point, jumping into Song B at the chosen section.
4. Cancel — Tap the armed song again to disarm and cancel the SEGUE.
5. Retarget — Tap a different song while one is already armed to switch Song B without cancelling.

The SEGUE picker — one inline row

The picker is a single row in the Regions module, the same height as the chip row it replaces, so opening it never moves anything. It reads left-to-right, the way the transition itself flows:

• Left — Song A. Your current song's currently-playing region, as a playing chip with its live progress. This side is pinned; it does not scroll. (Song A's title stays in the header above.)
• Middle. A bold amber → arrow.
• Right — Song B. Its reachable sections as tappable chips in a horizontally-scrollable tray, inside a thin amber outline. (Song B's title is in the header, beside NEXT.)

The chips are drawn in the Regions module's chip style — Dot, Stripe or Tab — exactly like the chip row.

Only reachable sections appear — a section is reachable if it sits far enough into Song B to leave room for the pre-roll run-up. If a song's sections all start too early to transition into, the picker says so in place of the chips; if no song in the setlist has regions, it tells you that instead.

Each Song B chip is labeled with the region's title — the name you gave it in the editor (e.g. "I Will Worship"), or, for a region you never named, its section in the song's language (Coro 1). Rename a region and its chip updates to match.

Choosing the feel — Relaxed vs Brave

How you tap a Song B chip chooses the feel of the switch:

• Relaxed — single-tap a chip. The standard, unhurried transition: a short run-out of the current song and a counted hand-off, giving the band room to breathe before Song B lands. The chip flashes once in white.
• Brave — double-tap a chip. A faster, more theatrical attack — Song B arrives sooner with a tighter count, for high-energy back-to-back changes. The chip flashes twice in amber.

The armed-target badge — NEXT · VAMP · CLICK

Once a target is armed, that chip shows it the way a queued region does: an amber ring, an amber lamp, and a word telling you how it will transition:

While a SEGUE is armed, the FADE and VAMP keys on the transport wear an amber ring and read → FADE OUT and → VAMP — either can land it. The one you choose reads SEGUE·FADE or SEGUE·VAMP with a blinking amber lamp until the transition happens.

The Vamp landing — entering and canceling

When you VAMP (or FADE) into Song B, the transport holds a vamp at Song B's tempo. The app auto-cues the first section the crowd would actually sing — skipping any title, count-in, or instrumental intro — and that region chip wears the CUE marker so you can see where you'll land.

From the held vamp you have three moves:

• Enter at the cued region — tap the VAMP key again. The song breaks out of the vamp into the cued section with a count-off.
• Enter at a different region — tap any region chip. The song enters there instead.
• Cancel — while the vamp is held (with Play / Pause mode off), the transport's PLAY key reads STOP (§5.3). Tap it to abort and stay stopped on Song B.

When VAMP isn't available

A VAMP landing needs something for the crowd to hear. If Song B has no vamp source ticked in its Vamp Settings — neither the Built-in Vamp nor a clip under Clips — the VAMP key is drawn disabled with a no-entry sign, because a VAMP would be silent for the audience. Song B's Vamp Bed on its own does not count here. Use the FADE key instead (a musicians-only click at Song B's tempo), or tick the Built-in Vamp or a clip in Song B's Vamp Settings. If you tap the disabled VAMP anyway, the app performs a silent FADE and tells you why.

One interaction model

There is no separate SEGUE button or banner. A tap on a song while one is playing — in the Setlist module or in the Library window's song list — is the single entry point: arm, retarget, and cancel all flow through the same gesture.

5.21 Stage Flow

On a Character or Vintage page, the show clock and the played count stand on the set list's plain card (the clock's slot in Cards and Titles, its divider in Covers), never on the leather or its wear.

Stage Flow is a performance-focus mode for a setlist. As the show goes on it marks the songs you have played, so your attention stays on what is still to come — without deleting or reordering anything.

Turn it on per setlist with the Stage flow switch in the Edit Setlist sheet. Under it, Mark as played chooses when a song counts as played (see Mark as played below, and §5.1c Edit Setlist Settings).

In the Setlist module

The module shares the Library’s show clock and played history. When a song is marked played, the clock takes its card or cover slot and keeps that song’s transition button accessible. Earlier played songs tuck away, leaving upcoming songs in view. 2 Songs ✓ below the timer means two songs played; the Library spells this out as 2 Songs Played. Tap that count (or swipe down on the divider) to reveal history; swipe up to hide it. Double-tap the divider to reset the show in both places.

The module always displays songs in forward order; Reverse order applies only to the Library. In Cards and Titles, the clock occupies one grid cell, so it takes no extra row. Covers place it in the same horizontal row as the songs. Tap the played count to reveal all played songs before the timer, keeping their original relative order. Played cards and covers are dimmed, while their transition buttons remain fully visible. Revealed played songs keep these marks:

The song that is loaded (NOW) and the song lined up for a SEGUE (NEXT) always show as such, even if they were played earlier in the show.

In the Library window

When the setlist with Stage flow on is the one loaded, its song list in the Library window's Setlists tab (§3.8) becomes a running show view:

• Before the first song plays, the songs are listed in order.
• Once the show starts, a show clock divider appears between the songs you have played and the ones still to come, and the played songs are tucked away on their side of it:

• The list keeps the divider and the next songs in view — at its top in normal order, at its bottom in reverse order.

The timer shows the count once at least one song is marked played, for example 2 Songs Played; no zero count is displayed in either setlist. The count follows your At start / At finish choice and resets with the show.

Accessing played history

Played songs are never removed. Tap the chevron in the Library, the played count in the module, or swipe down on the divider to show them; tap again or swipe up to tuck them away. Shown, they sit on their side of the divider in their original order, greyed out (except the song that is playing or armed for a SEGUE). They are tappable — you can reload a played song at any time.

Starting a new show

There is no reset button. Double-tap the show-clock divider to start a new show: every song's played mark is cleared and the clock goes back to zero — useful at the start of a second set or a repeat performance.

Mark as played — recap

Set with Mark as played in the Edit Setlist sheet:

6. Song Editor

The Song Editor is where you build and refine a song — its info, mix, regions, lyrics, and audio. You open it from Go Live with the Editor puck (square.and.pencil); it edits the currently-loaded song, so load the song you want (tap it in the Setlist module or the Library window) first. Audio keeps playing while the editor is open.

iPhone and iPad Editors

The editor opens differently on each device — the same underlying tools, a different layout:

iPad in a narrow Split View window. When the app shares the screen at compact width, the cockpit switches to the iPhone layout — and the Editor puck opens the same full-screen editor as on iPhone (four tabs, ✓ to keep and close, ✕ to discard) instead of the in-place iPad editor. To reclaim width, the cover hides a couple of controls the genuine iPhone keeps: the lyrics Import button and the ↩ ↪ undo/redo pair show only while you're editing lyrics. (Like the iPhone — and unlike the wide iPad inline editor — the cover also swaps the AI pill and Follow Playhead button by play state; see Toolbar Buttons.)

The detail sections below — §6a Info, §6b Regions, §6c Lyrics, §6d Audio Editor Tools — document these tools. They are reached as tabs on iPhone and as the Regions editor + a header tab + the bottom panel on iPad, but the editors themselves are the same.

On iPhone the editor saves as you work — ✓ keeps your changes and closes, and ✕ rolls back the current tab and closes (see below). On iPad the editor auto-saves; tap ‹ Live to close it.

The iPad editor's own controls. The in-place editor carries a few controls of its own. They stay where they are — nothing here is dragged:

• Transport — fixed at the top right of the waveform, on the toolbar row beside the +: ⏮ Rewind · ▶ / ⏸ Play·Pause · Metronome · Language. Play is Play/Pause from the current position (never stop-to-start); Rewind returns to the top. The Language button switches the language the way the Go Live language key does — it arms at the next bar while playing (turning orange here), switches immediately when stopped, and grays out when the song has only one language; when the editor is narrow it is left out to give the region name room. The Metronome button is tuned for editing — by default it stays silent while the song is stopped and clicks only during playback (see The editor metronome below).
• Library (building.columns) — in the header of the lyrics panel below the waveform. It opens the editor’s docked Library on either side of the bottom panel and turns teal while visible; tap outside an unpinned window to dismiss it.
• ‹ Live — at the right end of the header, returns you to the cockpit. The compact mixer has its own PRO button, beside Channels / Outputs.

The editor metronome. In the song editor the metronome is built for tracking your edits, so it works a little differently from the live show. This applies on both iPhone and iPad.

• Editor Style (the default) — silent while the song is stopped; it clicks only while playing, keeping the room quiet while you scrub, trim, and place regions.
• Live Style — makes the editor metronome behave exactly like Go Live, including clicking while the song is stopped when its mode is When Stopped or Always. Switch between the two with the Style row (Editor / Live) at the top of the metronome's long-press picker. (This is the metronome's own Editor / Live Style — a completely separate setting from the lyrics "Editor" typography tab described in §6c.)
• Single tap puts the metronome in standby — the click turns fully off (both the audio and the beat dot go dark); tap again to bring it back.
• Double-tap mutes the metronome's audio channel while the metronome keeps running.
• Long-press opens the picker: Style (Editor / Live), Mode, Visual Pulse, and Offset (this song).

Keep & Close (✓) and Discard (✕)

The editor saves your work continuously as you go — there is no separate Save step. On iPhone, two header controls decide what happens when you close it (on iPad the inline editor auto-saves the same way; tap ‹ Live to close it):

Key behaviours to know:

• Per-tab, not session-wide. ✕ reverts only the tab you are currently on, back to how it looked when you arrived at it. Each time you switch tabs the app commits that tab's work, so the ✕ "baseline" is re-captured every time you enter a tab. Discarding affects only the current tab — never your work on the others.
• No confirmation dialog. The ✕ only appears when discarding is actually meaningful, so it acts immediately.
• Track deletion is permanent. On the Tracks tab, a track you imported this visit can be rolled back by ✕, but a track you deleted is not brought back — a delete-confirmation dialog warns you of this first.
• Audio live preview. Trim, fade, and pitch adjustments are applied to playback immediately so you can hear the result in real time; discarding the tab reverts them.

Undo / Redo are separate from ✕. The Lyrics editor and the Editor (waveform) tab each keep their own Undo / Redo history that survives switching between tabs and is cleared when you close the editor. The Info and Tracks tabs have no undo — they save as you change them.

Orientation & the Landscape Waveform Editor (iPhone)

On iPhone the editor rotates itself to suit each tab:

• Info, Lyrics, and Tracks are shown in portrait (upright).
• The Editor (waveform) tab switches the phone to landscape — the timeline needs the width. Moving to the Editor tab rotates to landscape automatically; switching back to any other tab returns to portrait. Closing the editor restores normal free rotation.
• Either landscape works. Turn the phone whichever way you like — the Editor follows your grip rather than forcing one side. Opening it while you hold the phone upright settles on camera-left. When a switch does have to turn the screen, it fades briefly through black instead of swinging.

In the landscape Editor there is no top navigation bar — the full-height waveform fills the screen, with its own header. At the left of that header sit the ••• Timeline Tools button and the AI pill, side by side. The ••• opens a Timeline Tools action sheet — Zoom In / Zoom Out, Beat Align, Trim & Fade, the Show Tips action (re-arms the tip banners), and, for tempo-changing songs, the variable-tempo detection/correction tools. Beside them the header carries the playhead clock (with the snap control), undo/redo and delete-region; the AI pill and Follow Playhead button swap by play state — see Toolbar Buttons.

One slim rail sits on the right edge:

• Keep and discard (top) — the blue ✓ (keep and close), with a red ✕ (discard) to its left shown only when the tab has unsaved changes. The two are set well apart so a reach for the ✓ can't catch the ✕.
• Tab jump (below) — quick-jump buttons to the other tabs: Info · Lyrics · Tracks. (The Editor button is omitted — you are already in it.)

The bottom four-tab bar and the slim play bar are hidden in landscape; use the right rail to move between tabs.

(This per-tab rotation is iPhone-only; iPad does not rotate.)

Key & Transpose

The editor header shows a tappable Key chip — a colored capsule with the song's current key in short form (e.g. G, Gm, A♭) and a small chevron. It does non-destructive performance transpose: it changes how the song sounds and/or how the chart reads for performance, without rewriting the song's stored key. The chip uses the theme accent normally (white in the iPad bottom panel) and turns orange while a transpose is active. (For a song with no written key it shows the shift amount instead, e.g. +2, or a music-note icon when nothing is applied — still tappable.)

Tapping the chip opens the Transpose popover:

Changes apply live on every tap. This is separate from Rewrite Key, which permanently changes the song.

Rewrite Key (permanent)

Two places let you permanently transpose a song's written chords — this is destructive and changes the stored chart, unlike the performance transpose above:

• Info tab → Key field. Pick a new key; if the song has chords, a dialog offers Rewrite Chords (transpose every chord in the lyrics to the new key) or Just Relabel (only change the key label, leave the chords as they are). The recording's pitch is never affected.
• Lyrics editor → Rewrite Key. Opens a tall Rewrite Into Key picker — all 12 keys with a Major / Minor toggle — and rewrites the song's chords into the chosen key. On iPad and iPhone alike it is a music-notes button in the lyrics header while you are editing the lyrics.

6a. Info — Song Details

The Info tab is the central record for everything you know about a song.

Header Badge (Inline Editing)

The top of the Info tab shows a header badge containing the song's most essential fields — editable directly inline, without navigating to a separate section:

Changes are saved automatically as you type (800 ms debounce).

Key Picker

Opens in a three-column sheet:

• Note column — C, D, E, F, G, A, B
• Accidental column — ♮ (natural), ♯ (sharp), ♭ (flat)
• Quality column — Major, Minor

Tap Done to apply or Clear to remove the key.

Title Color Picker

Tapping the color swatch opens a compact popover that floats directly next to the button. It dismisses when you tap anywhere outside it — no Done button needed.

The palette is a 2-column grid of rounded squares: a clear cell, Theme Accent, and the four theme colours. The active selection shows a checkmark:

Tap the top-left neutral cell (with an ✕) to clear the color and restore the default. Theme Accent is the default for new songs.

Tempo & Meter

All tempo and meter values are saved and used by the metronome / beat grid engine.

MIDI Info

On iPad, the MIDI › heading opens global song devices and channels. The two fields below remain per-song: Send on load is the Trigger; Load song is the Index. Supporting Info text is 18 pt, with concise rows so the three cards fit without scrolling.

After a MIDI file is loaded, the card shows its format (Type 0/1/2), file size, and PPQN (ticks per quarter note) resolution.

Important distinction:

• MIDI Trigger = outgoing — the app sends this command the moment a song is loaded, to sync external gear.
• MIDI Index = incoming — when the app receives this command from an external controller, it navigates to this song.

Manual Input Format Reference

If you prefer to type a MIDI command directly instead of using Learn, use the exact formats below. All formats are case-insensitive.

Notes on manual format:

• <n> is the MIDI channel, 1–16.
• Note names use standard letter notation: C, D, E, F, G, A, B. Sharps: C# or C♯. Flats: Bb or B♭.
• Octave numbers follow middle-C = C4 (MIDI note 60).
• CC and PC numbers are 0–127.
• nRPN MSB and LSB are each 0–127.
• SysEx bytes are space-separated hex pairs; always start with F0 and end with F7.
• The Learn button is the fastest and most accurate method — it eliminates typos and guarantees the exact byte values your controller sends.