Audio
Audio: input routing, DSP filters, and monitor output.
Two sub-tabs — Input and Output. Above both: Show iPhone (Continuity) mics (off by default, because probing them slows the device list down) and Refresh to re-scan.
Input
Input routing is locked while recording — stop to change devices or channels.
The routing table gives each track:
| Column | What it does |
|---|---|
| REC | Record-arm — click to exclude the track from the recording |
| NAME | Rename the track ("PGM", "Comms", "Aux"…) |
| DEVICE / CH | Which interface and channel it takes. A device that's gone shows as Missing Device |
| TRIM | −∞ to +6 dB. Double-click or right-click to reset to 0 dB; click the dB badge to type an exact value |
| LEVEL / MUTE / MON | Meter, mute, and headphone monitoring (one source at a time) |
DSP Filters
Per-track DSP is a Production-level feature.
One expandable row per track:
- Compressor — Threshold (−60…0 dB), Ratio (1:1…20:1), Attack (0.5–200 ms), Release (10–1000 ms), with a live gain-reduction bar.
- Noise gate — Threshold (−80…−10 dB), with a live open/closed indicator.
- 50 Hz / 60 Hz notch — mains hum. Mutually exclusive; pick the one your country runs on.
Monitor Output
Click the 🎧 on a track to preview that input. Choose the Output device, Out Ch and Volume here; a green Monitoring: indicator shows what you're listening to (a track, or LTC timecode).
Output
Output Routing builds the playback buses: add a bus, name it, point it at a device and channel, set its volume, and tick the matrix to say which source rows feed it. Row 4 is LTC, drawn locked and highlighted — it's the timecode, not a music track.
Each bus has an ID button: a 2-second 1 kHz tone on that bus alone, then the bus name spoken aloud,
with the meter live throughout — so you can verify the route by ear and by eye. A blank name is
announced as Output 1.
Tracks, output buses and the routing matrix are saved in the .srshow, not machine-wide — changing
them marks the project dirty.