What's new

The changes in each release that you would notice using it, newest first.

0.13.1 25 October 2026

• On Windows the window has no title bar of its own, as on the Mac: the top bar takes its place, with the window's buttons at its right end. The menus (File, Edit, View, Window, Help) open from a menu button at its left.
• Drag with the right mouse button to move along the recording or the mix, with any mouse. Before, only a sideways swipe or tilt of the wheel did, which most mice on Windows do not have.
• About DJ Mix Master on Windows and Linux, at the foot of the Help menu, with the version. On a Mac it stays in the app's own menu.
• The Record view keeps the channels you chose. Channels other than 1 and 2 went back to 1 and 2 when you left the view or restarted the app.

0.13.0 23 October 2026

• The website has moved to [dmm.clysuva.com](https://dmm.clysuva.com/). The app's links to it, and to the manual, go there now; the old address still works.
• The manual opens in the app. Help → User Manual now shows it in a window of its own, light or dark as the app is, rather than in your browser. A toolbar goes back, forward and to the first page, and a search looks through every page: choose a result to go straight to that part, with the words marked. Links to the website still open in your browser. Esc puts the window away, and it comes back where you left it.
• Help for what is on screen. The ? button and F1 open the manual at the page about what you are looking at: the open dialog, the Mastering, Video or Record view, or in the template editor the kind of layer selected. A small ? beside the EQ, adjusting by hand, the check-up's fixes, the export dialog, layer styles, masks, "Moves with…" and formulas opens the part about that. They replace the sheet of shortcuts, which the manual lists page by page, and on its Shortcuts page (Help → Shortcuts).
• No title bar on the Mac. The window's own top bar takes its place, with the window's buttons in it: drag it to move the window, double-click it to zoom. The manual's window does the same.
• The microphone is let go when the app quits. Listening to an input for the Record view's meters kept going after the app had quit or crashed, holding the input, which on a Mac kept the microphone light on. It now stops with the app. A recording still carries on if the app goes down.

0.12.0 22 October 2026

• Record the night in the app. A new Record view, beside Mastering and Video, records from a DJ mixer's sound card or any other input. It has been tried most on macOS; on Windows and Linux, make a test recording before a night that matters. Choosing the device starts listening, so you can set the level before you press Start; then watch the level, the time and the room left on the drive. Any two of a sound card's inputs can be recorded, such as a mixer's record output on 3 and 4. The sound goes to files in parts of half an hour by a program of its own, so the recording carries on even if the app closes or crashes, and is picked up again when it is opened. When you stop, it opens as one recording, ready to master.
• Choose where you hear it. Settings has a Sound output choice: headphones, speakers, an audio interface, or the system's default. It is kept for next time; if that output is not plugged in, you hear the default until it is, and the app goes back to it by itself.
• Start a template from nothing. The ⋯ menu beside the templates in the Video view has Create new, which makes an empty template of your own, with no layers, and opens it in the editor.
• Double-click a slider to reset it. Any slider, in the settings, the EQ, a video's fields or the template editor, goes back to its default when you double-click it. Undo brings back where it was.
• A corrective EQ for each mix. The settings have a new EQ section: a rumble filter, and bass, low mids, high mids and treble, each up or down by as much as 6 dB at a frequency you choose, with a drawing of what they add up to. It is for putting right how a mix was recorded, such as a turntable's phono stage that sounds dull or harsh, or a PA mixer's EQ, and it is heard before the levelling, which measures the mix as the EQ makes it sound. Each mix has its own, as one DJ of a night may have played records and the next CDJs; Copy to gives it to another mix, or to all of them. Behind the EQ's curve are this mix's average spectrum, the other mixes' and an analyser of what is playing, so a set that sounds unlike the rest of the night can be brought in line with it by eye as well as by ear. Recordings are analysed again once, the first time they are opened, which takes a little longer than before.
• A light look. Settings has a new Appearance choice, Dark or Light. The app stays dark unless you choose Light, whatever your system is set to; Light is for when the screen is hard to see in bright daylight. The curves, the meter and the video's strip change with it, and the choice is remembered.
• A gear for Settings. The Settings button showed what looked like a sun; it is now a gear.
• In the Microsoft Store. On Windows, DJ Mix Master can now be installed from the Microsoft Store, which updates it for you. The website links to it.
• Calmer tooltips. A tooltip now waits until the pointer rests on a control, rather than popping up on everything it passes over. Moving along a row of buttons still shows each one's at once.
• Fifty-seven LUTs come with the app. Every list of LUTs now offers a set of looks without your having to find any: forty-three imitations of real films (Kodak Portra and Tri-X, Fuji Velvia and Provia, Ilford HP5, Polaroid and more), made from Pat David's free film emulation collection, and fourteen looks of the app's own, such as Teal & Orange, Bleach Bypass, Neon Duotone and Night Blue. Step through them with ↑ and ↓ to see each on the picture. Your own LUT folder is still listed first.
• A colour picker with opacity. Every colour in the template editor and in a template's fields now opens the app's own colour picker: hue, saturation, brightness and opacity together, the hex code and red, green, blue and opacity as numbers, and an eyedropper. A gradient's stops open it too, so the see-through end of the noise layer's gradient can finally be changed.
• smooth() takes the time it is given. In a template's settings, smooth(value, rise, fall) rose and fell twice as fast as its seconds said. It now takes those seconds, so a template that uses it moves more slowly than before; halve its rise and fall to get the old feel back.
• Keyed clips are fast. A video clip with its green or black keyed out made a video export several times slower and could make the preview stutter. The key is now worked out by the graphics card, and such a clip costs about what it does without one. The key now looks at the clip's own colours, before its brightness and saturation are changed, and its edges are smoother on a clip shown larger than it was filmed.
• Videos with clips export faster. A template's video clips, and a filmed set's own picture, are now decoded by the computer's video decoder, on the graphics card where there is one, rather than frame by frame by ffmpeg. On an M1, an export showing a 1080p video takes less than half as long as before, and one showing a 4K video, which took longer than the mix itself, is about seven times faster. Clips in H.264, HEVC, VP9 and AV1 are decoded this way; others, such as ProRes, as before. A clip that does not say which colours it is in now keeps the colours other players show it in.
• Grids and mosaics are fast at any cell size. A grid of checks, a honeycomb, hex cells or dots, and the mosaic effect, are now drawn by the graphics card, and a perspective floor no longer draws its far distance line by line. Small hex cells took seconds a frame and now take a few milliseconds, the same as large ones; on an M1 every grid and mosaic draws a 1080p frame in a few milliseconds. The smallest dots and honeycombs, which could fail to show at all, now show. A mosaic's cells each take the exact average of the picture under them, which can change the shade of a cell beside a sharp edge a little.

0.11.0 20 October 2026

• The manual comes with the app. Help → User Manual opens the copy the app carries, which describes exactly the version you have and works without an internet connection.
• Templates from this version need this version. Templates made before are brought over by themselves when opened. But a template saved or exported with this version can no longer be opened by an older one, which says it was made for a newer version: whoever you share one with needs this version too.
• Groups move. A group can be moved, turned and sized as one, in its settings or by dragging its outline on the picture, and its place can follow the music. Layers in a turned group are still dragged the way the pointer goes.
• Masks. Any layer, or a group, can be used as a mask, by its shape or by its brightness: it is not drawn, but decides where the layers above it in its group show. A shape makes a mask of any outline, text shows a video through its letters, a gradient a soft wipe, noise a dissolve through clouds. A mask can be inverted, grown or shrunk and feathered, and an effect above one changes only what it shows.
• A Grid layer. Lines, a checkerboard, a honeycomb of lines or of coloured cells, dots or stripes, over the whole picture, turned and scrolling as you like; or a floor of lines running to the horizon and rolling towards you, as in a synthwave video.
• A Mosaic layer. Breaks the picture beneath into cells, each the colour under it: squares (pixels), hexagons, circles, halftone dots that grow with the brightness, or triangles, with an optional gap between them. With fewer colours, it looks like an old computer's.
• Gradients of up to five colours, set on a bar. The Gradient, Noise, Spectrum and Shape layers take a gradient of up to five stops, set on a bar in the editor as in a photo editor: drag a stop to move it, click the bar to add one, drag one away to take it out. Each stop's colour and place can also follow the music. Colours blend evenly, or round the colour wheel through the hues between them, as the spectrum always did. Templates made before are brought over by themselves; gradients' middles may look a little brighter and richer.
• A Gradient map layer. Recolours everything beneath it by brightness, from shadows to highlights, through up to five colours: a duotone, or any palette. The colours can slide along it, or each follow the music.
• A Displace layer. Moves the picture beneath about: wobbling with noise, waving like a flag, rippling out from a point, swirled round it, or bulged and pinched as through a lens, with an optional colour split. Its amount can follow the music, so the picture can shake on every kick. Near the edges, the picture is mirrored to fill in what moves in; or Hold the edges keeps the frame's edges still and eases the movement in from them.
• A Noise layer. Patterns that slowly change and drift: clouds, turbulence, ridges, cells, cell edges, marble and plasma, coloured by a gradient. Warp bends them into smoke and liquid; Coverage cuts them down to patches, such as scattered clouds; and a see-through colour lets what is beneath show, so clouds can float over a video.
• A White balance layer. Warms or cools the colours beneath it and moves them towards green or magenta, to correct a photo or video taken under the wrong light. Put it in a group with a picture to change only that picture.
• Amounts go from 0 to 1. Opacities, a tint's amount, brightness, saturation, a glow's strength and the other settings that say how much, rather than where or how big, are now fractions instead of percentages: an opacity of 0.5 is half seen, a brightness of 1 leaves the picture as it is. A music value can be put straight into one, such as an opacity of level. Templates made before are brought over by themselves and look the same.
• A Shape layer. Templates can draw rectangles, ellipses, rings, triangles, diamonds, polygons, stars, crosses, arrows and hearts, with rounded corners, a fill of one colour or a gradient, and a solid, dashed or dotted outline. Only part of a shape need be drawn, filling across, up or round, with the rest in a colour of its own: set Drawn to progress for a progress bar or a ring that fills over the mix.
• trackProgress in formulas. How far through the track playing, from 0 to 1, starting again at each track marker: a progress bar per track.
• ffmpeg's licence comes with the Windows app. The Windows installer left out the licence of the ffmpeg it carries; it is now beside it, as on the Mac and Linux.
• A change made just before quitting is kept. The app now finishes saving before it quits, and saves each file whole, so a change made a moment before closing the window is there next time, and no saved file is left half written.

0.10.0 18 October 2026

• A manual. Every part of the app explained, with pictures, on the website: from installing and marking mixes to every kind of layer and every function a template's formulas can use. Open it from Help → User Manual, or from the shortcuts sheet.
• Video layers in templates. A template can show a video clip: a loop behind the music, a clip of the club. It loops, plays once and holds its last frame or disappears, at a speed of your choosing, and can use part of the clip. A video can also be a field, chosen per mix. Small videos (up to 25 MB) are copied into the app's own folder when added, so they stay with the template; larger ones are used where they are.
• The recording's own picture in a template. For a set that was filmed, a video layer can show the recording itself, in step with the music, and the new "Original video" template does just that, with the artist and the track playing over it. A video opens with that template chosen. If the picture runs ahead of the sound or behind it, "Picture delay" in the Video view puts them in step, for the view and every video export.
• Videos open as recordings. Open or drop an MP4, MOV, MKV or WebM of a set and master its sound as you would a recording.
• Export with the original picture. For a video, the export dialog offers "Original video": the video's own picture with the mastered sound. The picture is copied rather than encoded again, so it is quick and loses nothing, and it starts on the very frame the mix does.
• Vertical and square videos. Three small buttons beside the template in the Video view choose the shape: landscape for YouTube, vertical for phones, square for feeds. Every template works in each, its title and its shapes keeping their size across the picture.
• Layer styles: drop shadow, stroke, outer glow, inner shadow and inner glow. Any layer that draws, or a group, can have them, as in an image editor: open one in its settings and switch it on. A dot beside the heading shows which are on. Like every setting, they can follow the music.
• Transform layer. Moves, turns, sizes and flips everything beneath it as one, as Resolve's Transform does. Choose what shows past the edges: nothing, the picture repeated, mirrored without seams, or its edges drawn out. Drag its outline on the picture to move and size it.
• Trails. A trails layer leaves what moves beneath it behind, fading over as long as you choose: as an echo, or only the bright parts (light trails on a dark picture) or the dark ones. Zoom and turn the trail to make it stream outwards or spiral. Trails show while the music plays; when paused, the picture is shown as it is.
• LUTs in video templates. A LUT layer gives everything beneath it a look from a .cube file, as made in Resolve, Premiere and the like. The file is kept inside the template, so it travels when the template is shared. A LUT field lets whoever uses the template choose a look of their own for each mix. Put your collection of LUTs in the LUT folder (shown, or chosen, in Settings) and they are all in the list, ready to pick. Go up and down the list with the arrow keys to see each look on the picture at once. A template exported to share takes the LUTs it uses from the folder along with it.
• Solid colour and vignette layers. A solid colour fills the picture in one colour, a quick background or a tint with a blend. A vignette darkens the edges towards a colour of your choice, as an oval of the picture's shape or a circle; move its centre on the picture.
• Clips that keep time. A video layer can start its clip again on every beat, every 2, 4, 8 or 16 beats, or at each track. A clip made on a green screen or on black can have that keyed out, with a tolerance and a softness.
• Ping-pong clips, up to a minute long, play forwards and then backwards. Clips in formats the window cannot play itself, such as ProRes, are shown from a copy the app makes the first time.
• Template files carry their videos. A .djmtemplate is now a ZIP holding the template and the videos it shows, so it can be shared whole. Template files from earlier versions still open; earlier versions cannot open the new ones.
• A folder for template videos. Settings chooses where small videos added to templates, and those in template files imported, are kept. A video that has moved is found again, or can be located, and the template's other videos in the same folder are found with it.
• Try blends with the arrow keys. A layer's blend is chosen from a list like the LUTs': press ↑ or ↓ on it, or go through the open list, and the picture shows each blend as you reach it. The blends are sorted by what they do (lighten, darken, contrast and so on), and you can type to find one.
• Shift+⌘N adds a layer while you edit a template (Shift+Ctrl+N on Windows and Linux): the list of layers opens with its search ready, so type a few letters and press Return.
• Fields are dragged into order. In the template editor's Fields tab, drag a field's card up or down to change the order fields are filled in. Click a card and press Delete to remove it. The name and the kind of a field now sit side by side at the same size.
• "Moves with…" follows a formula you type. With its panel open, a formula typed into the setting shows in it at once.
• A fixed gain instead of levelling. The switch at the top of the settings, "Even out tracks" or "Fixed gain", turns the whole mix up or down by one amount and leaves the tracks as they are. Loudness still chooses how much: as loud as fits, a preset, or a gain in dB set by hand. Hand adjustments, fades and the limiter work as before. On the command line: --no-levelling and --gain.
• Bypass is one button, and hard to miss. The Original/Levelled switch is now a bypass button, left of the play controls. While it is on, it pulses, and a note above the settings says that you are hearing the recording as it is, with a button to turn it off. Before, the A key could switch to the original unnoticed, and the settings then seemed to do nothing.
• One-click fixes for the channels. When the check-up finds one channel quieter than the other, one silent, or one out of phase, its report offers to put it right: evened out, filled from the other side, or flipped. You hear it at once, the levelling works from the fixed sound, and every export carries it.
• Settings. The choices that belong to the app, rather than to a recording, are now in one place, each with a word on what it does: the folder for template videos, the LUT folder, and the check for updates. Open it with the gear at the top of the window, or ⌘, (Ctrl+, on Windows and Linux). They have left the File and Help menus.
• The app opens in the view you left. Mastering, Video, or editing a template: the next time the app starts with a recording, it is where you were.
• Templates stay out of your recent files. A template opened from Finder or Explorer no longer shows up among the recordings in the Dock menu or the taskbar's jump list.
• Typing in the Video view while paused. A name typed into a text field now appears in full at once. Before, the last letter stayed missing until the music played.
• Searching for a layer no longer sets off shortcuts. Typing in the editor's layer search, or in its other boxes, no longer switches bypass on or starts playback.
• Messages stay while the music is listened to. In the Video view, a message in the status line, such as a template added, no longer gives way to the count of the first listening; the count is over the picture.

0.9.1 16 October 2026

• WAV exports upload to SoundCloud. A WAV under 4 GB, which is nearly every one, is now written as a plain WAV. Before, it carried a placeholder that lets a WAV grow past 4 GB, which is allowed but which SoundCloud refused, failing to process the upload. Only a WAV that may be larger keeps it.

0.9.0 16 October 2026

• Make your own video templates. A template editor opens beside the picture, and every change shows straight away:
  • Layers, front-most at the top, are added, hidden, reordered, renamed, duplicated (⌘J) and deleted, and picked, moved and resized on the picture itself. Several can be selected at once (⌘-click, Shift-click).
  • Groups (⌘G) fade, blend or hide layers together, or keep an effect to just them.
  • Each layer's colours, sizes, texts, fonts and pictures are set beside the list; blend and opacity sit above it, as in an image editor. Any number box can be dragged sideways to change it.
  • Any number or colour can follow the music: by choosing what it moves with (the bass, the beat, a slow wave) and how much, or with an expression, checked as you type.
  • The fields a template asks for (a colour, a logo, a font) are added, renamed and given defaults in a tab of their own, and an About tab says who made the template and what it is.
• Share templates as files, with their pictures packed inside: export from the editor or the ⋯ beside the list of templates, and add one by importing it, dropping it on the window, or double-clicking it in Finder or Explorer. The templates that come with the app stay as they are; editing one makes a copy that is yours.
• New effects: a colour split, straight or growing towards the edges like a lens; a digital glitch; a kaleidoscope; brightness and contrast; hue and saturation; and blur.
• More ways to blend a layer into what is beneath it: colour dodge and burn, linear burn, lighten and darken, soft and hard light, exclusion, and hue, saturation, colour and luminosity.
• The video's picture stands still while the music is paused, and is drawn again only when something changes, sparing the computer.
• Exporting a single mix with "Export all" no longer says "1 mixes".

0.8.0 15 October 2026

• Videos for YouTube. A Video view, beside the mastering view, shows the selected mix as a video: a template that moves to the music (its beats, its spectrum, how much energy it has), showing the mix's artist, with a colour and a logo to fill in. It fades in and out from black with the mix's fades. Exporting as MP4 video makes the file, in 1080p. Four templates come with it, one of them over a photo of your own, and fourteen fonts for the text, from clean to techno to neon; any font installed on the computer can be used as well.
• The tracks in a mix. M marks where a track starts; markers are named and dragged on the mix timeline. A track list exported from DJ software (such as a rekordbox history) can be imported and spread over the mix to drag into place. The list copies ready for a YouTube description, the tracks become chapters in MP3, AAC and MP4 files, and the video shows what is playing.
• An Artist field beside the mix's name, for the exported file's tags and for the video.
• The time beside the transport now counts into the mix, over its length. The Start and End fields are gone: the mix's edges are set on the timeline, with I and O, or by splitting.
• Quiet recordings are easier to see. The recording's timeline, and the mix's strip under the video, draw a quietly recorded wave as large as a loud one. The mix's own waveform still shows the true level, against the levelled result.

0.7.0 14 October 2026

• A Linux version, as an AppImage that runs on most 64-bit distributions.
• Recordings that come in several files open as one. Recorders often split a long recording at 2 or 4 GB; select all the parts, or drop them on the window together. Parts the recorder numbered are joined in the order of their numbers, others in the order they were written. The recording shows as one entry, named like "REC00*.WAV (3 files)".

0.6.0 14 October 2026

• Mark a mix by ear. I and O put the start and the end of the mix at the playhead, and Cmd/Ctrl+E splits it there. Buttons in the mix row do the same.
• Cuts to the millisecond. Edges and splits land exactly on the playhead, in the app and in the exported files.
• The real waveform close up. Zoom in down to half a second across the window; from 20 seconds inwards the waveform is drawn from the sound itself, so single beats and bass notes can be seen.
• Run through a mix at speed with J, K and L: L plays forwards and each press doubles the speed, J runs backwards (silently), K stops.
• Double-click a free part of the recording to fill it with a new mix.
• Deleting the only mix sets it back to the whole recording.
• Marking and cutting keep the zoom where it is. Playback stops at the end of a mix; pressing play there starts the mix over.
• A recording that has been moved or renamed keeps its mixes, and is not analysed again.
• Long mixes respond about twice as fast to a change of setting.

0.5.0 14 October 2026

• A level meter beside the curves: left and right with the peak held, a column that lights when the limiter works, a lamp for clipping in the recording, and the loudness, gain and bass change at the playhead.
• Starts where you left off, with the recording that was open last. File → Open Recent and the start screen list the recordings you used lately; File → Close Recording puts one away.
• The check-up also finds mains hum (50 or 60 Hz), rumble and a DC offset.
• A row of transport buttons, quicker tooltips, and a sheet of all gestures and shortcuts (the ? button, or ? or F1).
• Smaller icon buttons for undo, redo and the mix tools. Backspace deletes the selected mix, or the hand adjustment under the pointer.
• Peaks the limiter holds down are shown in amber; red is kept for clipping.
• The legends on the curves stay faint until pointed at.

0.4.0 12 October 2026

• A check-up of the recording when it is opened: clipping, a missing, weak or out-of-phase channel, a recording that is really mono, possible dropouts, a very quiet recording, and a source that was compressed.
• Lets you know when a newer version is out. It looks at most once a day, gives up quickly without an internet connection, and can be switched off in the Help menu. Nothing about your recordings leaves the computer.
• "Apply to all mixes" gives every mix in a recording the same settings.

0.3.0 12 October 2026

• Fades at the start and end of a mix: drag a corner of the waveform inwards.
• Loudness presets for where a mix is going: Loud (-9 LUFS) for places that play files as they are, Streaming (-14), Podcast or radio show (-16) and Broadcast (-23).
• DJ Mix Master is now free software, under the GPL, with a website.

0.2.0 11 October 2026

• An export dialog: WAV, FLAC, MP3 or AAC, with the bit depth, bitrate and sample rate. 16-bit files are dithered.
• Exports carry a title, artist, album and track number, and MP3 and AAC files get a little room so that they do not clip when played.
• Hand adjustments can move the bass alone.

0.1.0 11 October 2026

The first release.

• Evens out the loudness between the tracks of a recorded DJ mix: louder tracks come down, quieter ones come up, and breakdowns keep their dip.
• Bass correction levels the kick and bass between tracks separately from everything above them.
• Made for whole nights: mark several mixes in one recording, zoom and scroll through hours of it, and split it at the silences between sets.
• As loud as fits: the automatic level stays clear of the limiter, even on a recording that was made too hot.
• Hear it first: the preview uses the same true-peak limiter as the export, and switches between the original and the levelled sound.
• Raise or lower any stretch by hand.
• Your mixes, settings and adjustments are remembered per recording, with undo and redo.
• Exports are named after their mix; analysing and exporting can be cancelled.
• Installers for Macs with Apple Silicon and for Windows.