Level 1
God mode
The agents play alone.
They choose the order, write every blend, ride every stem and synthesise what the mix is missing, like a hummed hook or a noise riser. Offline as a finished set, or live.
Build a set00 — Live
The real editor
Pick two tracks and press Mix. What opens is an actual GIAD transition. Real stems, the real automation plan, and the checks GIAD ran on its own work. Watch the vocals swap at bar 26 and the crossfader follow whoever has the volume.
Deck A · starterPick it below
Deck B · nextThen what comes next
Step 1 of 3
Pick your starter
The track that's playing when GIAD takes over.
Step 2 of 3
Pick what comes next
GIAD brings it in over your starter, stem by stem.
Step 3 of 3
Let GIAD mix it
Uh Oh Ah Ih plays at 124 BPM (−4.61%) · 7B over 8A
Reading the tracks…0.0s
step 1 of 3 · pick the starter▶ play runs the full mixstems: A cool · B warm, stacked kick → vocalsStems / RGB / 3-Band switch above the lanes ·
01 — Modes
Four modes and a box
Let it play, learn from it, or drive it. The same agents run every mode. What changes is how much of the mix stays in your hands.
Level 2
Hero mode
Mix it like a game.
A transition becomes a handful of cues on four lanes: drums, bass, melody and FX. Hit them on the beat and the moves are yours; miss one and the agents cover it, so it always sounds good.
Play a blendLevel 3
Teacher mode
Bring the idea. It shows you its hands.
Hand it your songs and the blend you hear in your head. It mixes them, then shows you the waves and every control move, bar by bar, so you can play it yourself. A music theory course is built in: keys and the Camelot wheel, phrasing in 8s and 16s, EQ swaps, why two basslines fight.
Learn a blendLevel 4
Pro mode
Program the next six tracks while this one plays.
Live on the decks, line up the next five or six blends, branch any of them and run experiments side by side, all in seconds. A board of agents reviews every branch: one knows your style, one knows the theory, one listens to the dance floor.
Branch a blendHardware
The box
The mixer, rebuilt around a screen.
A standalone mixer with a huge screen at its centre: the stems, the branches and the agents' notes, right where your hands already are. Every mode, no laptop.
Get on the list02 — Crew
Version control for a set
Compose a set the way a crew writes code. Every idea gets its own branch. Explore them in parallel, argue about any bar, merge what works and keep the crew’s favourite. Nobody’s take overwrites anyone else’s.
Curate
One of you fills the crate and sketches blends, two songs at a time.
Learn
Another opens the same blend in Teacher mode and learns to play it, move by move.
Branch
Every idea runs on its own branch, drawn as a graph. Discuss any bar, merge what works, pick the favourite.
Export
Take the set into your favourite DJ software, every track labelled and tagged: key, BPM, energy, cue points and the crew’s notes.
- mainRaul
Crate: 24 tracks, keyed and tagged
- mainRaul
Order v1: one hour, one energy arc
- organ-pumpRaul
Vocal hits over the organ
- darker-peakLugo
Hologram at the peak
- organ-pumpLugo
Hold the takeover full
- darker-peak · parkedRaul
“Too dark at 13:07: happy falls to obscure.”
- crew’s pickRaul
v3: organ-pump merged into main
- renzo/learnRenzomove 3 of 6
Teacher mode: the bass swap
- + new branchTry an idea without touching v3
3 branches1 merged1 parkedwaves: a lane per stem, vocals to hats · A cool over B warm
03 — Inside
The nerd sheet
Every fact is measured twice. No single model decides. Tempo from three sources, the key from seven votes, beat one from three. Then a board of agents argues with the numbers, and your ears get the last word.
Key
7 votes
Key by committee. Three key profiles (EDMA, Temperley, Krumhansl) on the full mix, the same three on the harmonic stems alone, and the catalogue's own tag. Intros and outros get keys of their own, because that's where two tracks overlap.
Chromatic distance
12 bins
Harmony, note by note. Every pair is scored in Camelot steps from A's outro to B's intro, and by 12-bin chroma correlation. Two bars whose notes disagree (r < 0.5) within 10 dB of each other get flagged.
Colour
0.996
Sound colour, measured. Audio embeddings (CLAP) score each track from dark to bright: Kackvogel reads 0.996, a dark techno hymn 0.695. The order pays for every fall from happy to obscure.
Grid
±40 ms
Downbeats by vote. One tempo per track, fitted over 32-beat windows. Beat one is voted by the beat tracker, the harmony change and the drums' return, then nudged onto the kick.
Stems
5 lanes
Every layer gets a fader. Vocals, bass, synths, and the drums split at 150 Hz into kick and hats. B creeps in on its hats; the low end swaps on a single downbeat.
Energy
1–10
An arc, not a playlist. Per-bar energy from loudness, low end, spectral flux, hats above 5 kHz and brightness. A beam search orders the set along the arc: never two levels down, or three up, at once.
Mashups
92 %
Layers that stay in key. It finds a sung phrase in a vocal stem, in English or Spanish, then fits each note to the host's chords at every semitone shift. A semitone down, one hook spent 92% of its note time on the host's notes; a semitone up, 35%.
Render
R3
Stretched, not smeared. Rubber Band's R3 engine moves each stem to the set's tempo and keeps its pitch. Our own DSP adds filter sweeps, echo throws, a seeded reverb (same plan, same bytes) and noise risers.
04 — God mode
Set builder
Describe the night. Get the whole set. GIAD reads the brief, matches keys and tempos, and shapes an energy curve that peaks exactly when you asked it to.
Reading the brief
Matching keys and tempos
Shaping the energy curve
Writing the transitions
Your set lands here. Pick a preset or write your own brief.
Set for “Sunset rooftop. Deep house into disco, 2 hours, peak around 1:30.”
0:00 · energy2:00
↵ buildpresets rebuild instantlydemo tracks · not real releases
05 — Hero mode
Mix it like a game
Fewer decisions. It always sounds good. Hero mode turns a transition into a handful of cues on four lanes, timed to the real plan. Hit them on the beat and the moves are yours; miss one and GIAD plays it for you.
How to play
Cues fall toward the line on four lanes. Hit each one as it crosses it: D F J K, or tap the lane.
Miss one and GIAD plays it for you. The mix stays right either way; you just get to drive.
- your cues
- 0 / –
- perfect
- 0
- GIAD covered
- 0
Bars 80–112: the drums build, the chorus comes back, the hand-back.
cues: the real plan’s movescolour: the deck and stem each one changesa miss never changes the mix
06 — Teacher mode
Learn the console
It doesn’t just mix. It shows its hands. Every blend becomes a move list for a real two-channel mixer: which knob, which bar, how far. Step through it, then play it yourself.
Move 1 of 6 · bar 1
Cue it
Load B on CH2. Fader down, LOW killed. Find the beat in your headphones.
CH1 · A
HI
0 dB
MID
0 dB
LOW
0 dB
FILTER
off
fader 100%
CH2 · B
HI
0 dB
MID
0 dB
LOW
−∞
FILTER
off
fader 0%
AcrossfaderB
step through, or let it playorange ring = touch this nowworks on any 2-channel mixer
07 — Pro mode
Branch any bar
Don’t like a bar? Circle it and say why. Select any section of the blend, leave a note, and GIAD rewrites just those bars. Every version stays, so you can flip back and compare. Pro mode runs the same loop live, five or six tracks ahead.
Deck A · playing
Copper Hours
Deck B · pick what’s next
Glass Pavilion — B is +1.7% · 9A → 10A, one step up the wheel · bass swap on bar 9
Hit “Mix it” to write the blend.
Lining up downbeats · checking key clash · placing the bass swap…
BAR
PLAN
B hats creep in
B drums ride up
Bass swap
Filter A out
B alone
NOTES
click a bar, then another, to select a section
Versions
click bars to select↵ regenerate dot = changed in this version
08 — Review
Your set, critiqued
Record a set. The critics show you what the floor heard. Feed GIAD a recording and a panel of critics marks every transition on the waves: what worked, what to fix, what to try next time. Each one hears it differently, a ghost of you included.
Hears the whole blend as one long move: one bass at a time, the next track audible while it creeps in, a low-cut and a little reverb, never a jump.
Listens for the melodies and the keys: what each hook says, and whether the next one agrees with it.
Trained on your own sets and notes. It mixes like you, on a good night.
- fix2:56 · bar 90
Uh Oh comes back 4.5 LU louder within a bar. Start it two bars early behind a low-cut and ride it up: one direction, no jump.
- try0:36 · bar 18
Uh Oh creeps in on percussion alone. Tease its lyric once, in a pause of Veins, before the swap at bar 26, so the floor hears it coming.
- good1:23 · bar 42
The mesh lays Uh Oh’s chorus over Veins’ synths. A minor and F major differ by one note, B against B♭, so they agree. Hold it 8 bars longer.
- try0:52 · bar 26
Uh Oh’s vocal enters the moment it arrives. A vocal track wants a longer entry: hold its first lyric until after the swap.
- try1:54 · bar 58
Veins plays alone for 24 bars. In your sets the next track’s percussion lives with the old one for longer: start Uh Oh’s drums at bar 74.
- good3:11 · bar 98
You answered the hand-back with a low-cut and an echo instead of a cut. It’s your best move in this set; keep it.
an example review of a real renderfix · try · goodplay hears the moment
09 — Checks
Graded before you hear it
GIAD listens back to its own work. Every transition is scored on the things a crowd notices first, and anything borderline gets flagged with the bar it happens on.
Beat lag
−1.5 ms
Kicks land together. Max 8.7 ms, drift 0.02 per bar.
Clash bars
0
No fighting. Two vocals or two basslines never share a bar.
Peak
1.33
Headroom kept. Pre-limiter peak stays under 1.4 through the handoff.
Loudness step
4.5 LU
Flagged at bar 90. Ride it on the fader, or regenerate those bars.
God is a DJ. Now so are you.
Join the early access list for mygiad.com. Bring a crate, leave with a set.
my GIAD! You’re on the list. See you behind the decks.