You stop the recording after 90 minutes of mixing. The file is done. The tracklist is not.

Figuring out what played is a second job, separate from the recording itself. It means digging up IDs for tracks you can’t name from memory, checking a photo of the display you took mid-set or a note you typed between tracks, and scrubbing the audio for anything that still won’t place. For a long session, that cleanup takes longer than the set did. And it starts from scratch every time you record.

Ohm removes it. When you record from a USB mixer, Ohm reads the channel fader positions from that mixer in real time and places named track markers onto the waveform while you play. When the set ends, the structured tracklist is already there.

What the USB connection actually does

One USB cable, two streams: audio and MIDI. The MIDI side reports the position of every channel fader, updated continuously throughout the session.

None of this involves listening to the audio. Ohm reads the physical position of the channel faders from the mixer hardware, over the same cable you’re already using for audio capture — no second connection, nothing extra to configure.

Supported mixers with hardware-confirmed transition detection include the Pioneer DJM-750MK2 and DJM-900NXS2. Ohm also supports the DJM-450, DJM-A9, DJM-V10, and DJM-TOUR1. The Rane MP2015 and Allen & Heath XONE:96 are supported in the current version; check the app’s release notes for your specific model.

One constraint: crossfader-only transitions do not trigger markers. The algorithm reads channel faders. A transition that happens entirely on the crossfader — both channel faders staying up throughout — won’t register. Blends that pull a channel fader down cover most DJ styles on a DJM or similar mixer, so for most sets this is a non-issue.

This feature requires a USB connection. Internal microphone recordings receive no transition markers.

What happens when a fader moves

The track-in marker logic starts the moment a fader crosses upward past a threshold. Ohm watches that fader for a short period — long enough to confirm the move isn’t a pump or an uncommitted nudge. When the fader holds, the marker goes down, but its timestamp is set to that initial crossing, not to the end of the watch period.

Going out follows the same pattern. A channel fader pulling down to near-silence triggers a confirmation window. When the drop holds, Ohm writes a track-out marker — its timestamp tied to when the fader moved, not when the window closed.

Both markers appear on the waveform as the session runs. Blue is incoming. Orange marks the outgoing channel dropping to silence. They accumulate while you play, and the track count in the recording interface ticks up each time a new incoming track is confirmed — so you can see where you are in the set without watching the waveform.

None of this requires any action from you. It runs while you mix.

When recording starts, Ohm places a Track 1 marker at timestamp zero regardless of fader position. Every recording has at least one entry.

What you have when the set stops

Stopping the recording triggers two things: Ohm finalises the WAV file and assembles the tracklist from the marker list.

Ohm converts the markers into sequentially numbered track entries — Track 1, Track 2, Track 3 — in the order transitions occurred. An identification pass runs on each entry. Identified tracks get the full metadata: title, artist, label, artwork, BPM, key, genre. Anything that doesn’t identify stays numbered, and an ‘Add track details’ prompt lets you fill those in manually after the set.

The tracklist appears in Ohm’s Library as part of the set detail. Each entry is timestamped and seekable — jump to any track in the recording directly from the list.

The transition timestamps also become WAV cue points. Ohm writes them into the file using standard RIFF format: a cue chunk carrying one entry per transition, paired with a labl adtl list that attaches the track title to each cue point ID.

The timestamp choice matters. Rather than anchoring a cue to the incoming fader crossing, Ohm places it at the final moment of the outgoing track — the last frame before that channel fell silent. Jump to any cue in an editor and you land in clean audio, not mid-blend.

Adobe Audition and Reaper both display these cue points with their labels. The file is standard WAV, so any application that supports named cue markers should read them.

The time you don’t spend afterward

A 90-minute set typically contains 20 to 30-plus transitions, depending on style. After the fact, manually timestamping and identifying each one is real work. It repeats every session. The fader-based approach shifts that work to the moment it costs nothing — the mixer already knows when each track came in.

The tracklist travels with the recording. Open the file in a DAW six months later, and the structure is already there — embedded in the audio, not stored in a sidecar that could get separated.

The recording is done when it’s done.