Order the set

The order of the table is the order of the set. You move tracks by hand in the table or along the timeline, or you let Analyse set propose an order and decide whether to use it. Moving tracks and analysing the set are for people who can edit the list; everyone else sees the result within seconds.

Move tracks in the table

Drag a row

On a computer, take hold of a row (the drag handle at the end of each row shows where) and drag it up or down. A thin yellow line shows where it will land. Let go and the track takes its new place; the numbers in front of the rows count again from 1.

Or use the menu

Open the menu with three dots at the end of the row and choose Move up or Move down. This is the way on a phone and with the keyboard: tab to the menu, open it and pick the move. Move up is greyed on the first track, Move down on the last.

Every move goes in the list’s history (Carl moved it from 7 to 3, after …), and the small clock on the row shows the track’s last changes. If two of you move tracks at the same moment, the last move wins and both pages show the same order within seconds. The same menu has Move to maybe, which puts the track on the Maybe list under the set: kept, but not played. Tracks on the Maybe list do not count in the length of the set, the timeline or Analyse set. Move to the set brings one back, at the end. On a computer you can also drag a row between the set and the Maybe list.

While a proposed order is on screen with Proposed chosen, the rows cannot be moved. Choose Now to see the list as it is and move tracks there. See The proposed order.

The timeline

Once the list has two tracks or more and setlist.DJ knows something about them, The set as it stands sits above the table: the build-up of the set in one drawing.

The panel The set as it stands. A row of rounded bars from left to right, a few bars per track: red at the start, pink and magenta in the middle, bright yellow with a glow for Ferry at Five and Concrete Garden near the end, then pink again. On the left a scale from 0 to 100 for the SET score, on the right a scale from 124 to 132 for the BPM. A white line climbs from the first track to 132 BPM and drops back for the last track. Under the bars the titles, from Low Tide Theory to Afterglow Protocol, and under them the clock times 22:10, 22:20, 22:30 and 22:40. In the top right the legend, SET score with a flame and BPM. Above the middle a label for the track under the pointer: Grey Kettle Sound System - Hours Nobody Counted, 128 BPM, SET score 70, 22:17. — The timeline of a set from 22:00, with the pointer on one track. The bars are the SET score, the white line the BPM.

How to read it

What you see	What it means
A stretch of bars	One track. Time runs left to right, and each track is as wide as it is long. A track without a length takes a typical length, and its bars have a dashed edge.
The height of the bars	The track’s SET score, on the scale from 0 to 100 on the left.
The colour of the bars	The SET score again: amber for a warm-up, red to magenta through the build, yellow with a glow from 80, a track that sets the room on fire.
Short grey stubs	A track without a SET score yet. A line under the drawing says how many there are.
The white line	The BPM of each track, on its own scale on the right.
The times underneath	The set’s own time. With a start time in List settings they are clock times, such as 23:30; without one they are running times, such as 1:30. They reckon with Played per track, so three hours of tracks at 65% read as about two hours.
A dashed mark with a time	The end of the set, when the tracks run past it. The tracks that start after the end are dimmed.
A white line with a marker	Now, while the set is on: its date is today and the time is between its start and end.

Hold the pointer on a track to see its title, its BPM, its SET score and the time it starts. A click or a tap on a track opens it in the table, in its drawer, with its details and the play button.

Drag along the timeline

If you can edit the list, you can also move a track on the timeline. Press on it and drag it sideways: the drawing makes room as you go, and the track you hold is ringed in yellow. Let go and the move is made, as it would be in the table. A press without moving opens the track, as a click does. On a touch screen a sideways drag moves the track and an upright one scrolls the page.

List settings

If you can edit the list, choose List settings in the menu with three dots, or click the date and venue line under the title (on a new list it reads Add the date and venue).

Field	What it does
Date	The day of the set. It goes on the line under the title.
Venue	The club, the festival stage, the living room.
Starts and Ends	The times of the set. The length follows from them, and an end past midnight is fine: 23:00 to 01:00 is two hours (That’s 2 h.). The timeline shows clock times from the start.
Played per track	How much of a track you play on average, between 30 and 100%. 65% is usual for extended mixes with overlapping transitions.
The crowd	The first SET score dial, from Underground to Commercial.
The sound	The second SET score dial, from Deep to Driving.
Your slot	The length of the set in minutes, for a set without times yet. It shows only while one of the times is empty.

Press Save. The line under the title then says whether the tracks fill the set. It reckons with Played per track: Played at 65% a track, that covers 1 h 57 of the 2 h., followed by 3 min still to fill., That fits, to the minute. or 36 min to spare: room to read the floor.

The SET score

The SET score says how hot a track makes the room, from 0 to 100. It is the SET column with the flame in the table, the height and colour of the bars in the timeline, and what Analyse set builds the set with. The flame turns yellow from 80. setlist.DJ works it out from what it knows about the track: its energy, its groove (how danceable it is), how popular it is, how loud the master is, how fast it is compared with the rest of the set, and its mood, dark or euphoric. BPM, key and energy are found for you when the track is known; they are estimates, so trust your ears over the number. The two dials in List settings decide how much each part counts, for this list only:

The crowd, from Underground to Commercial, decides how much it matters that people know the track. For a commercial crowd the room singing along is a large part of the heat; for an underground one it hardly counts.
The sound, from Deep to Driving, moves the weight from the groove to the push. A deep, hypnotic set rates the groove; a driving set rates energy, loudness and tempo.

Then the crew’s stars nudge it: five stars lift a track’s score a little, one star lowers it, three stars leave it as it is. The nudge counts in full once three people have rated the track. Turn a dial or give stars, and the scores change with it. A part setlist.DJ does not know is left out, and the score rests on the rest. A track it knows nothing about yet has no score: the column shows a dash and the timeline a grey stub. For the other columns, see Read the list.

Analyse the set

Analyse set, at the top of the list beside Add tracks, puts the set in an order that mixes well along the build-up you choose. It shows that order as a proposal first. Nothing moves until someone with edit rights accepts it. The button is there for people who can edit, once the list has two tracks or more.

What it goes by

setlist.DJ orders the set by rules, with what it knows about each track: the BPM, the key and the SET score.

Tempo first. A build-up is a tempo build. Where the build-up rises or holds, the order keeps the tempo from dropping back: no track more than one BPM under the fastest one since the climb began. Where the build-up comes down (a closer, a cooler, a breather), the tempo may come down with it, gently. Half and double time count as the same tempo, so a 70 BPM track sits with the 140s.
Then the key. Tracks in the same key, one step round the Camelot wheel, or the relative major or minor follow each other where they can. Every other change is a key jump.
Then the energy. Small steps in energy flow; big ones lurch. The SET score of each track is fitted to the height the build-up asks for at that point in the set.

The same tracks with the same build-up give the same order every time. Only the set is ordered; the Maybe list stays as it is.

Choose a build-up

Open the dialog

Press Analyse set. The dialog Analyse the set says how many tracks it will analyse, and that the old order can be put back from the history.

Pick the build-up

Under The build-up, pick how the set should rise and fall. Each card shows the curve and its phases. The dialog opens on the build-up the list was analysed for last time, by whoever asked, and on Peak time the first time.

Press Analyse

Press Analyse. It says Analysing. for a moment, then the dialog closes and the proposed order takes the place of the timeline. Cancel closes the dialog without doing anything.

The dialog Analyse the set with a close button. The line: Analyses all 10 tracks and changes the order once you accept it. The old order can be put back from the history. Under The build-up, nine cards in two columns, each with a small curve, a name and its phases: Full night, Opener to Builder to Riser to Peak; Peak time, chosen and white; Straight up, Opener, Riser, Peak; Warm-up, Opener, Builder, Riser; Two peaks, Opener, Riser, Peak, Breather; All peak, Riser, Peak, Peak, Peak; Cool-down, Peak, Closer, Cooler; Flat, Steady all the way; and Your own, Opener, Builder, Riser, Peak. At the foot a yellow Analyse button and Cancel. — The build-ups to choose from. Peak time is chosen, as it is the first time.

Build-up	The phases	For
Full night	Opener, Builder, Riser, Peak, Closer, Cooler	The whole arc, from the first track to the last of the night.
Peak time	Opener, Builder, Riser, Peak, Closer	A set that builds to the peak about three quarters in, then closes.
Straight up	Opener, Riser, Peak	A set that ends on the peak.
Warm-up	Opener, Builder, Riser	A set before someone else. It leaves the peak for the next DJ.
Two peaks	Opener, Riser, Peak, Breather, Peak, Closer	Up to a peak, a breather, a second peak, a closer.
All peak	Riser, Peak, Peak, Peak	The headliner: a short rise, then the peak to the end.
Cool-down	Peak, Closer, Cooler	From the peak down, at the end of the night.
Flat	Steady all the way	A set that holds its level. It orders for smooth mixing only, with no tempo rule.
Your own	The phases you choose	Any other shape.

The phases, from quiet to loud: Opener is the quietest part of the set, Cooler the room winding down, Builder the build, Breather a dip between two peaks, Closer after the peak and still up, Riser the climb, Peak the highest. The levels are those of your own tracks, so a peak in a deep set is still deep.

Your own build-up

Choose Your own and tap the phases in the order you want them, two to eight. Each phase you tap goes on the end of the chain, and any phase may come more than once. The chain starts from the build-up you had chosen, so you adjust rather than start from nothing. The × on a phase takes it out, and Start again empties the chain. Once you have analysed with it, the dialog opens on your chain the next time.

When it cannot analyse

It says	What to do
Two tracks at least, or there is nothing to order.	Add a track.
The analysis orders 100 tracks at most; this list has 120.	Move some tracks to the Maybe list, then analyse again.
1 of these 12 tracks have a BPM, key or energy so far, and it takes two. …	The BPM, key and energy of new tracks arrive within a minute. Try again shortly, or fill in a BPM or key yourself with Edit title and artist in the row’s menu.
Two phases at least.	Your own chain needs a second phase.
The analysis didn’t come back. Try again in a minute.	Try again in a minute.

A track setlist.DJ knows nothing about (no BPM, no key, no energy) is not placed. It keeps its order at the end, and the proposal says how many: 1 track not placed, at the end. To place it, choose Edit title and artist in the row’s menu and fill in its BPM or key, or move it where you want it after using the order.

The proposed order

The proposal stands where the timeline was, for everyone on the list.

The list page of Friday at Garage Noord: the notice The link is this list with Sign in, the title and description, the line Thu 12 Nov · 22:00 to 02:00 · Garage Noord · 10 tracks · 1 h 09 long, the initials CA, AN and JU, and the toolbar Analyse set, Add tracks, Share and the menu with three dots. Under it the panel The proposed order: Ordered for peak time: flow 85 of 100. Asked by You, just now. Two pills, Now and Proposed, with Proposed chosen. Below, the timeline in the proposed order: bars from red through pink and magenta to bright yellow for Ferry at Five and Concrete Garden, then pink again, a white BPM line rising from the first track to 132, and a dashed grey line over the bars for the shape of peak time. Under the bars the titles and the times 22:10 to 22:40. At the foot a yellow Use this order button and Keep mine. — A proposal for peak time. Proposed is chosen, and the dashed line is the shape the order follows.

The first line names the build-up and the flow: Ordered for peak time: flow 85 of 100. The flow says how well each track mixes into the next, on key, tempo and energy, as an average from 0 to 100. Under it, who asked and when.
Now and Proposed switch the timeline and the table between the list as it is and the proposed order. Proposed is chosen first. In the timeline a dashed grey line shows the shape of the build-up.
In the table, in Proposed, every track shows how far it moved: ▲ 4 for a track that climbs four places, ▼ 1 for one that drops. Under each title but the first is one line about the step into it, such as Mix 88 · 7A → 6A · +6 BPM · energy +14: how well it mixes, from 0 to 100, then the change of key, tempo and energy from the track before. Stars, reactions, comments, the drawer and the player keep working.
Use this order writes the proposed order to the list (Done. The old order is in the history.). A track added since the analysis goes at the end.
Keep mine closes the proposal, and the list stays as it is (Kept your order.).

The two buttons are for people who can edit the list; the others see the proposal and switch between Now and Proposed. If tracks were added or removed after the analysis, the panel says The list changed since. Analyse again for a fresh order. You can still use it; the new tracks go at the end. A new analysis replaces a proposal nobody has used yet.

You do not have to take the whole proposal. Use it, then drag the few tracks you disagree with. Or keep yours and borrow the idea.

Put the old order back

Open History in the menu with three dots. The line Carl used the analysed order for peak time, flow 82 of 100 has Put the old order back beside it, for people who can edit. Press it and the list is back in its old order (The order is back as it was. Tracks added since sit at the end.). Moves made by hand since then are undone too. The button stands only beside the latest analysed order that has not been put back yet.

What next

Play tracks: listen through the set in its new order.
Share and collaborate: who may move tracks and analyse the set.

Get started

Your set

With your crew

At the gig

Help

Move tracks in the table