M Audio DJ Equipment Torq 15 User Manual
1.5  
user guide  
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Torq 1.5 User Guide  
Table of Contents  
Chapter 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49  
Built-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70  
Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70  
Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71  
Flanger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72  
Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72  
Dual-Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73  
Distortion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74  
Strobe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75  
Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75  
Brake. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76  
Repeat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76  
VST Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77  
Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77  
Selecting Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77  
Assigning Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78  
VST Crash Guard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78  
VST Preset Management. . . . . . . . . . . . . . . . . . . . . . . . . 78  
Browser/Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49  
Browser Pane. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49  
Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50  
File List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52  
Editing Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52  
Loading Songs into the Decks . . . . . . . . . . . . . . . . . . . . . . 52  
Unloading Songs from the Decks . . . . . . . . . . . . . . . . . . . . 52  
Sorting the List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53  
Searching the List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53  
Playlists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54  
Session Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57  
iTunes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58  
iPods. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59  
Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59  
Audio CDs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59  
Chapter 10. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60  
Chapter 14. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79  
Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60  
Mixer Architecture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60  
Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60  
Gain/Mute. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61  
EQ/Kills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61  
PFL/Headphone Cue. . . . . . . . . . . . . . . . . . . . . . . . . . . 62  
Channel Volume Faders . . . . . . . . . . . . . . . . . . . . . . . . . 62  
Line Input Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62  
Crossfader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62  
ReWire. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79  
Global Tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79  
Audio Routing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80  
Chapter 15. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81  
Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81  
Audio Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81  
Torq Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82  
Timestretching Quality . . . . . . . . . . . . . . . . . . . . . . . . . . 82  
Auto Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82  
Audio Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82  
Sample Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82  
Buffer Size. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83  
Mixer Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84  
MIDI Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85  
Auto-Detect M-Audio Devices ([On]/Off). . . . . . . . . . . . . . . . 85  
MIDI Soft Takeover . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85  
Scratch Sensitivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86  
Nudge Sensitivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86  
Crossfader Curve Control . . . . . . . . . . . . . . . . . . . . . . . . 86  
MIDI SHIFT Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86  
Instant Doubles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86  
MIDI Clock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87  
MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88  
External Control Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89  
External Control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89  
AMPutate Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89  
Lead In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89  
Skip Protection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90  
Plug-ins Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91  
System VST Plug-in Directory . . . . . . . . . . . . . . . . . . . . . . 91  
Custom VST Plug-in Directory . . . . . . . . . . . . . . . . . . . . . . 91  
Chapter 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64  
PFL/Headphone Cue. . . . . . . . . . . . . . . . . . . . . . . . . . . 64  
Volume Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64  
Split Button and Source Knob. . . . . . . . . . . . . . . . . . . . . . . . . 64  
Chapter 12. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65  
Master Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65  
Volume Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65  
Level Meter and Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65  
Master Recorder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66  
Filename . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66  
Setting the Record Level . . . . . . . . . . . . . . . . . . . . . . . . . 66  
Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66  
Chapter 13. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67  
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67  
Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67  
Effect Slot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67  
Enable Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67  
Mix Knob. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68  
Routing Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68  
Tweak Knob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68  
Tweak Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69  
Saving Effect Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . 69  
Loading Effect Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . 69  
Bypassing the Effects . . . . . . . . . . . . . . . . . . . . . . . . . . 69  
Clearing all Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69  
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Miscellaneous Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92  
Skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92  
Tooltips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92  
Search iTunes Library with Database . . . . . . . . . . . . . . . . . . 92  
Search iPod with Database . . . . . . . . . . . . . . . . . . . . . . . 92  
Transport Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93  
Reset Speed on New Track . . . . . . . . . . . . . . . . . . . . . . . 93  
Cue Exclusivity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93  
Schaffel Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93  
Sync Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93  
Loop/Cue Quantize. . . . . . . . . . . . . . . . . . . . . . . . . . . . 94  
Loop Out Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94  
QuickLoop Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94  
QuickLoop Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94  
Beat Detection Style . . . . . . . . . . . . . . . . . . . . . . . . . . . 95  
Beat Detection Limits. . . . . . . . . . . . . . . . . . . . . . . . . . . 95  
Sample Counter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95  
Chapter 16. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96  
Appendix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96  
Preset Key Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96  
Global Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . 96  
Ortofon: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96  
Shure: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96  
Stanton: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96  
Windows Key Commands . . . . . . . . . . . . . . . . . . . . . . . . 96  
Mac Key Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . 96  
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4
WELCOME  
CHAPTER  
Congratulations on your purchase of a Torq-based performance system, one of the  
finest DJ tools available today. Each qualified M-Audio hardware product works with  
Torq in a unique fashion, and those methods are outlined in each of their user manuals.  
This manual will outline the use of the Torq application itself, and we recommend that  
you read this manual first in order to familiarize yourself with the architecture of Torq.  
It will then be easier to understand how your hardware works in conjunction with the  
software.  
1
TORQ OVERVIEW  
Torq is a software extrapolation and extension of tried-and-true DJ tools and techniques  
for your Mac OS X, Windows XP or Vista computer. Torq is not bound by the limits  
of hardware—it embraces the technology of today’s most advanced audio production  
applications and integrates with them in a fashion that makes you part of the music.  
Exercising this level of control upon your collection of songs is a task that has many  
facets, and Torq addresses each of these with a specialized array of controls and features  
that are cleverly arranged and accessed throughout the user interface. This section will  
give you an overview of these features and how they contribute to your arsenal of digital  
mixing tools and techniques.  
English  
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Torq 1.5 User Guide  
Chapter 1  
5
Decks  
DJing begins with music, so you will get to know Torq’s Decks very well. A Deck is what  
Torq uses to play back a single digital music file and is analogous to the turntable or CD  
player used by DJs. The Deck allows you to play a track, change its speed and its key,  
as well as rearrange it by looping and jumping to new locations within the song. Torq is  
equipped with two of these Decks—one on each side of the screen.  
Main Waveform Display  
One of the wonderful benefits of computer technology is the ability to visualize audio. While being interesting to the eyes  
in their own right, waveform displays can be an invaluable tool when DJing. Torq’s user interface is dominated by two such  
waveforms at the top-center of the screen, one corresponding to each of the Decks. Use these scrolling waveforms to check  
the synchronization of tracks, locate sounds, predict breakdowns, edit Tempo Anchors, and much more.  
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Torq 1.5 User Guide  
Chapter 1  
6
Mixer  
It’s all in the mix, or so they say, and Torq’s Mixer delivers the goods. The Mixer  
takes the audio from the two Decks and gives you control over what can be  
heard by means of volume controls, audio equalizers, and a crossfader. Two  
Decks and a Mixer: the essential tools for a DJ.  
PFL/Headphone Cue  
DJs commonly listen to a track on their headphones without letting their audience hear it. This allows them to match the  
tempo of the new song to the current one, along with finding the correct starting position for the song. Torq will allow you  
to monitor either Deck on headphones, preview music from the Browser, and also features a stereo headphone split normally  
reserved for high-quality DJ mixers.  
Browser/Database  
There is a third ingredient to DJing, and that’s music—lots of music. To help you stay on top of your massive music collection,  
Torq features a Database for cataloging and searching tracks. It will monitor your favorite folders and allow you to create  
playlists for future performances.  
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Torq 1.5 User Guide  
Chapter 1  
7
Effect Racks  
Effects are a great way for you to manipulate (or mangle) your music in unique  
ways to enhance your mix. Torq has a collection of built-in effects that are  
specifically designed for DJ use: Tempo-synced delays and strobes. Shimmering  
phasers and flangers. Glitchy repeats and distortions. Ten effects are ready to  
go and full of creative potential. You can use up to three of these effects on each  
Deck, and you can also expand your collection using widely-available VST plug-ins.  
Sampler  
A Sampler can be thought of as a miniature tape recorder. It can record a short segment of sound, and then play it back on  
command at varying speeds and volumes. DJs use samplers to add additional sounds into their mix like vocal drops, crash  
cymbals, boomy bass drums, and sound effects. Torq has a 16-cell sampler that can play audio files and record loops that play in  
perfect sync with your mix.  
Snapshots  
DJing is done with the hands, but you may find that your mind wants to hear more than your two hands are capable of. To  
surmount this obstacle, Torq allows you to combine multiple movements, such as button presses and knob tweaks, into one  
grand gesture called a Snapshot that can be triggered by a single keypress. Torq manages a collection of Snapshots that can be  
recalled interchangeably, even in rapid succession. The Snapshots can even be layered together to create massive changes in  
your mix.  
Master Module  
When all is tweaked and mixed to perfection, the resultant audio is sent to the Master Output. Torq features an automatic  
output limiter that will keep your music from distorting as well as a module for recording the final mix to a file as you play. You  
can then burn the results onto a CD or convert them to MP3 for Podcasts.  
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8
SYSTEM REQUIREMENTS  
CHAPTER  
Windows XP  
Minimum System Requirements1  
Recommended System Specifications  
OS: Windows XP (SP3)  
CPU: Pentium IV 2.4 GHz (or greater)  
RAM: 2 GB  
OS: Windows XP (SP3)  
CPU: Pentium IV 1.4 GHz  
RAM: 512 MB  
USB: One available port  
USB: One available port  
(for use by approved  
2
(for use by approved M-Audio Hardware Device)  
M-Audio Hardware Device)  
System Disk: 7200RPM or faster  
Secondary Dedicated Audio Hard Drive:  
7200RPM or faster  
Windows Vista (32 bit / 64 bit)  
Minimum System Requirements1  
OS: Windows Vista (32 bit / 64 bit)  
CPU: Pentium IV 1.8 GHz  
RAM: 1 GB  
Recommended System Specifications  
OS: Winodws Vista (32 bit / 64 bit)  
CPU: Pentium IV 2.8 GHz (or greater)  
RAM (32 bit Vista): 2 GB  
RAM (64 bit Vista): 4 GB  
USB: One available port  
(for use by approved M-Audio  
Hardware Device)  
USB: One available port  
(for use by approved M-Audio Hardware Device)  
Windows Experience Index of 3.0 or better  
System Disk: 7200RPM or faster  
Secondary Dedicated Audio Hard Drive:  
7200RPM or faster  
Windows Experience Index of 4.2 or better  
2
Mac  
Minimum System Requirements1  
OS: Mac OS X 10.4.11  
CPU: G4 1.67 GHz  
RAM: 512 MB  
USB: One available port (for use by approved M-Audio Hardware Device)  
Recommended System Specifications  
Laptop:  
OS: Mac OS X 10.5.5  
CPU: Mac/Intel Core 2 Duo 2.4 GHz (or greater)  
RAM: 2 GB  
USB: One available port  
(for use by approved M-Audio Hardware Device)  
Secondary Dedicated Audio Hard Drive:  
7200RPM or faster  
1 Minimum System Requirements reflect the ability to run Torq using a basic feature set. Some advanced or intensive  
features will require increased system specifications.  
2 Mac User Known Issues:  
• Mac users are strongly advised to pre-analyze all audio files prior to use in Torq.  
• Mac G4 users are advised to not open the Timecode Preferences Dialog while streaming more than one  
Timecode source into Torq, as this may degrade G4 performance. The user is advised to calibrate before  
performing, one Timecode source at a time.  
English  
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Torq 1.5 User Guide  
Chapter2
9
INSTALLATION  
✓ Note: The following directions are for installing the Torq software onto your computer. Torq will not run, however, unless an  
appropriate M-Audio hardware device (such as the Conectiv interface) is installed and plugged in to your computer. Please follow  
the installation instructions provided with your hardware device before launching Torq.  
Windows XP and Vista  
1. Place the Torq disc in your CD/DVD drive.  
2. Windows will automatically launch the install screen. (If you are using Windows Vista and see an Autoplay dialog  
window, click “Run autorun.exe” to launch the installer.) If the install screen fails to launch, you can manually start it  
by clicking on Start > My Computer3 > Torq CD-ROM.  
3. Select Torq from the drop-down menu and click “Install.”  
4. The Installation Wizard will appear. Choose “Next.”  
5. The License Agreement window will appear. Select “I accept the agreement” then choose “Next.”  
6. Windows will prompt you to select a destination folder. The default path is C:\Program Files\Torq. If you would like  
to install Torq in another location, click the “Browse” button and choose a new location.  
7. When you have chosen an install folder, click “Next.”  
8. You will be asked where Torq should install the application shortcuts in the Windows Start menu. If you are not  
familiar with this, leave the default selection and choose “Next.”  
9. The installer will give you the option of creating a desktop icon. This icon is used to quickly launch Torq directly from  
your desktop. Make your selection and choose “Next.”  
10. Confirm your install settings and choose “Install.”  
11. Torq will begin installing, its process indicated by a Windows progress bar.  
12. When Torq is finished installing, choose “Finish.”  
13. Close the installer screen.  
14. Double-click the Torq application icon to launch the program.  
3 If you are using Windows Vista, “My Computer” will be labeled “Computer” in this step.  
Macintosh OS X  
1. Place the Torq disc in your CD/DVD drive.  
2. Double-click the Torq CD icon on your desktop. This will display the contents of the CD.  
3. Double-click the “Open Me” icon.  
4. Select Torq from the drop-down menu and click “Install.”  
5. The Torq installer welcome screen will appear. Click “Continue.”  
6. The Software License Agreement window will appear. Click “Continue.”  
7. Choose “Agree” from the drop-down dialog box.  
8. Select a drive on which to install Torq and click “Continue.”  
✓ Note: By default, the “Applications” folder on your main hard drive will be selected; if you would like to select another  
folder, click “Choose” and make a selection.  
9. Click “Install” to begin the installation.  
10. When installation has completed, select “Close.”  
11. A Torq shortcut icon will be displayed on your desktop. Double-click the icon to launch the program.  
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Torq 1.5 User Guide  
Chapter2
10  
AUTHORIZATION  
1. Launch Torq. You will be presented with a dialog box asking for your serial number.  
2. Your serial number is on a printed card (included in boxed versions of Torq) or was sent to you electronically (for on-  
line upgrades). If you have not purchased a serial number, click the “Buy” button and Torq will point your default web  
browser to the M-Audio Webstore.  
3. Type your serial number into the dialog box and click OK.  
4. Torq is now unlocked and ready to use.  
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11  
DECKS  
CHAPTER  
When DJing, everything begins with the Decks.  
The Decks will play the music that you’ll mix and  
effect using all the tools in Torq. Traditionally, a DJ’s  
decks will be turntables or CD players. Therefore,  
the Decks in Torq have been designed to emulate  
both turntables and CD players, as well as offering a  
special hybrid mode only possible with software.  
3
Displays  
Each Deck has various informational displays  
throughout the interface. These are mostly for  
relaying information to you, such as which song is  
playing, how long it’s been playing, and how much  
time is remaining.  
Song Name  
At the top of the Deck is the name of the  
current song. The name is taken from the song  
category (seen in the File List). If there is no  
song name listed in the File List, the name of  
the actual file will be shown instead.  
Artist Name  
Below the Song Name is the Artist Name. Like  
the Song Name, above, this field will be empty  
if there is no entry in the Artist category of  
the file.  
Time Elapsed  
This is the current location of the song, marked by the yellow Now Line in the  
Overview Waveform Display. The Time Elapsed is expressed in hours/minutes/  
seconds/frames (30 fps). When the Current Position Marker is at the beginning of  
the song, the Time Elapsed will be 0:0:0.0.  
Instant Doubles  
Using the mouse, you can click and drag the song name from one Deck to the  
other. Doing this will copy the song to the other Deck and will match playback  
locations and speed, thus allowing you to juggle the two songs. This function can  
also be triggered using the computer keyboard or an external MIDI controller.  
Please see Chapter 15 “MIDI Tab” for information on making these assignments.  
English  
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Torq 1.5 User Guide  
Chapter3
12  
Time Remain  
This field indicates how much time is left before the song ends. At the beginning of the song, the Time Remaining will be  
the same as the entire length of the song. When the Deck is playing, the Time Remaining will count down.  
✓ Note: The Overview and Scrolling Waveform displays will begin to flash red when there is less than 30 seconds remaining  
in the song. This is to notify you that you’d better get ready with another song to play!  
Overview Waveform  
Each Deck includes an Overview Waveform display which shows a miniaturized version of the song’s waveform in its  
entirety. This display serves several purposes:  
1. It allows you to see where the breaks and builds are in a song before they happen.  
2. The yellow Now Line indicates your current location within the song.  
3. White QuickCue points and green Tempo Anchors (described later) will be superimposed over this waveform.  
4. You can click anywhere in this waveform and playback will jump to that location.  
Controls  
As mentioned before, the purpose of the Deck is to play a music file, similar to how iTunes  
or WinAmp plays files on your computer. However, in the scope of DJing, things don’t stop  
there. A DJ needs to be able to control the playback of the music with greater detail, such  
as changing the speed and/or key of the song, looping sections of audio, and jumping to  
other locations within the song. This allows the DJ to match tempos of various songs during  
a mix, or to re-arrange the song (in essence, creating a live remix of the song). The Torq  
Decks accomplish these tasks using the controls described below.  
Play/Pause  
Songs are played and stopped by clicking the Play/Pause button. Simply load a song  
into the Deck and press Play/Pause to start it. Press Play/Pause again to pause  
the music.  
✓ Note: When you pause the music, the song will not return to the beginning—it  
will stay in the same location as when you stopped it. If you want to return to the  
beginning, use the Seek controls described below.  
Seek  
The Seek buttons are used to skip forward or backward through the song, allowing you to find certain points (or beats)  
within the song from which you can start playing.  
1. If you click briefly on the Forward or Backward buttons, the music will jump only slightly in that direction.  
2. If you click and hold one of these buttons, Torq will scroll through the song, going faster and faster as long as you  
hold the button. Scrolling will stop when you release the button.  
3. To jump to either the beginning or end of the song, hold the Shift key while clicking Seek buttons.  
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Torq 1.5 User Guide  
Chapter3
13  
Cue  
The Cue button will establish a primary Cue Point within a song. A Cue Point is a reference position within the track  
that you can jump to instantly, rather than having to seek through the track to find it. Typically, a DJ will set the Cue  
Point where the beat begins in a song. It is visible (in orange) within the Waveform Display. The Cue button abides by the  
following rules:  
1. If a song is playing, pressing the Cue button will make the song jump to the Cue Point and will pause there.  
2. If Cue is pressed and held again, the music will begin playing from the Cue Point. The music will stop playing  
when the Cue button is released and the song will jump back to the Cue Point.  
3. If a song is paused in a location different from the Cue Point, pressing the Cue button will set the Cue Point to  
the current location.  
4. If you hold SHIFT and press Cue, a Cue Point will be placed at the current location, even if the song is already  
playing.  
5. If you hold Cue and press the Play/Pause button, the music will continue to play after you release both buttons.  
QuickCue  
In addition to the primary Cue Point described above, Torq allows you to set up to  
five QuickCue Points in a song that are assigned to the QuickCue buttons below the  
Overview Waveform display. These buttons can then be used to quickly jump between  
the various QuickCue points. Torq will save the locations of the five QuickCue points  
with each song so they will be available the next time you play the song.  
< Setting QuickCues  
There are a few different ways to set QuickCue Points, but all methods  
deliver the same results.  
1. Click the Set button, then click one of the QuickCue buttons. A  
QuickCue Point will be set at the current location (this can be done  
while the Deck is playing or paused). When added, the QuickCue will  
be visible in the Overview Waveform display.  
2. Hold the Shift key while clicking one of the QuickCue buttons. Again,  
the QuickCue Point will be set to the Now Line, whether the Deck  
is playing or not. When added, the QuickCue will be visible in the  
Overview Waveform display.  
✓ Note: If Quantize is turned on in Torq’s Toolbar, new QuickCue points will be aligned to the nearest 16th-note in  
a song.  
✓ Note: If you try to assign a QuickCue to a button that is already set to a particular location, the old  
QuickCue location will be overwritten in favor of the new one.  
< Playing QuickCues  
Once you’ve set a couple QuickCue Points, all you have to do is click on the desired QuickCue button and  
the Deck will immediately jump to this new location and begin playing. If you set your QuickCue Points at key  
positions within the song, you can immediately jump to different sections on-the-fly, such as jumping ahead to a  
chorus or back to the intro.  
✓ Note: If you reposition playback using one of the QuickCue buttons while Looping is activated, playback will jump  
to the new location. Torq will then automatically place the Loop In Marker at that point and will place the Loop Out  
Marker in a position to maintain the same loop length in use prior to pressing the QuickCue button.  
< Clearing QuickCues  
If you’d like to clear all of the QuickCues in a song, hold the Shift button while clicking the Set button. Torq will  
ask if you really want to do this—click Yes to complete the procedure.  
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Torq 1.5 User Guide  
Chapter3
14  
Deck Mode  
In order for Torq to feel familiar to all types of DJs, the Decks can be operated in one of three different modes.  
< Vinyl Mode  
Vinyl Mode will make the Deck behave as if it was a turntable. This means:  
1. Pressing Play/Pause to pause playback will cause audio to stop, just like pressing stop on a turntable.  
2. Clicking and dragging on the Scrolling Waveform will have audible results, like scratching a record.  
< CDJ Mode  
CDJ mode will make the Deck behave as if it was a CDJ player. In use:  
1. Pressing Play/Pause to pause playback will cause the Deck to stop and begin repeating a small section of  
audio. The repeating section corresponds to the position where playback will resume when you press  
Play/Pause again.  
2. While the audio is repeating, you can click and drag on the Scrolling Waveform to move the start  
location—you’ll hear the repeating audio slice change as you do this. Press the Cue button to set the Cue  
Point to this location and the repeating audio slice will stop.  
3. Clicking and dragging on the Scrolling Waveform while the Deck is playing will not stop audio. Instead,  
you’ll be able to drag left or right to offset the playback speed of the track. This will allow you to align the  
track against the other Deck when beat-matching.  
< Hybrid Mode  
Hybrid mode provides a blend of the CDJ and Vinyl control modes:  
1. Pressing Play/Pause to pause playback will cause audio to stop, just like in Vinyl mode.  
2. While paused, clicking and dragging on the Scrolling Waveform will have audible results, like scratching in  
Vinyl mode.  
3. When playback is active, clicking and dragging on the Scrolling Waveform will not stop audio. Instead, you’ll  
be able to drag left or right to offset the playback speed of the track like in CDJ mode. This will allow you  
to align the track against the other Deck when beat-matching.  
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Torq 1.5 User Guide  
Chapter3
15  
Looping  
Technology is always evolving, thus DJing is always evolving. With the introduction of DJ CD players, DJs gained many  
new exciting capabilities that were unavailable to them when working within the confines of vinyl records. One of those  
features is looping, which is merely the act of repeating a section of a song.  
The creative aspect of DJing suggests that a simple trick such as looping can be exploited in a variety of ways. Indeed, you  
can use looping to “remix” a song by changing the arrangement—extending your favorite parts of the song. You can also  
use looping as a “safety net” allowing the end of a song to play infinitely, giving you more time to mix into the next song.  
Looping can also be used to isolate a section of the song, such as the breakbeat, for layering on top of other songs.  
Torq offers you two different ways to loop audio. You can specify the start and end points of the loop manually, or you  
can capture loops of a specific length using the QuickLoop buttons. Furthermore, Torq will help you make the perfect  
loop every time by automatically matching your loop points to the tempo of the song.  
< Loop In/Out  
Looping an entire song doesn’t have much benefit for a DJ, so Torq allows you to move the Loop Markers by  
using the Loop In and Loop Out buttons:  
1. Load a song into a Deck and press Play. The song will begin to play.  
2. When playback reaches the beginning of the section you want to loop, click the Loop In button. This will  
place a Loop In Marker at the Now Line (shown as a yellow marker line in the scrolling and overview  
waveforms) and the song will continue to play. If the Quantize button is on, Loop In marker will snap to the  
beginning of the nearest 16th-note in the song’s waveform.  
3. When playback reaches the end of the section you want to loop, click the Loop Out button. This will place  
a Loop Out Marker at the Now Line, which will also snap to the nearest 16th-note (this behavior can be  
changed in the Preferences). At the same time, the Loop On/Off button will automatically be activated  
causing playback to jump back to the Loop In Marker. The music will now loop between these two points  
indefinitely.  
4. When you’re finished looping this section of the song, you can click the Loop On/Off button to turn it off.  
Now, when playback reaches the Loop Out Marker, it will simply pass it and proceed playing the rest of  
the song.  
✓ Note: If you reposition playback using one of the QuickCue buttons while Looping is activated, playback will  
jump to the new location. Torq will then automatically place the Loop In Marker at that point and will place  
the Loop Out Marker in a position to maintain the same loop length in use prior to pressing the QuickCue  
button.  
< Loop Out Preference  
By default, Torq will always quantize the position of the Loop Out marker to a location that results in a quantized  
16th-note length from the position of the Loop In marker. This requires that you press the Loop Out marker  
within a 16th-note of where you want the loop to end. Torq has a second Loop Out mode that will make it  
easier to achieve even loops without having to press the Loop Out button with 16th-note accuracy:  
1. Open Torq’s Preferences and click on the Behaviors Tab.  
2. Switch the Loop Out mode from “16th” to “Smart” and close the preferences.  
Now, when you press Loop Out, Torq will place the Loop Out marker at a position that is a multiple of 2 in  
length from the Loop In marker. In other words, Torq will only allow you to make loops with the lengths  
of 1 beat, 2 beats, 4 beats (1 bar), 2 bars, 4 bars, 16 bars, etc.  
< Loop On/Off  
The Loop button will indicate whether Torq is looping audio or not. Whenever this button is illuminated, Torq  
will be looping something, whether triggered with one of the QuickLoop buttons or set manually with the Loop  
In and Loop Out buttons. Click this button to toggle looping on and off.  
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Torq 1.5 User Guide  
Chapter3
16  
< QuickLoop  
More often than not, a DJ will loop audio that is an even number of beats or bars. That is, they will loop a single  
bar (four beats) or two bars (eight beats), or may do micro-loops of only one or two beats. Instead of having  
to quickly press the Loop In and Loop Out buttons to create loops of these lengths, Torq provides one-button  
access to these loops via the QuickLoop buttons.  
» Using QuickLoops  
The QuickLoop buttons allow you to instantly loop a section of a song by a preset length. By default, each  
of the four buttons represents a different bar length; one bar, two bars, four bars, and eight bars. Simply  
press one of these buttons at the beginning of the section you want to loop and Torq will automatically  
place the Loop In and Loop Out Markers in the appropriate locations:  
1. Load a song into a Deck and press play.  
2. Press the QuickLoop button labeled “1.” The Loop button will be switched on and the Loop In  
Marker will immediately be placed at the Now Line. Furthermore, the Loop Out Marker will be  
placed exactly one bar later and the song will begin looping a perfect bar.  
3. To turn the loop OFF, click the Loop button. Playback will now proceed beyond the Loop  
Out Marker.  
» QuickLoop Size Preference  
As mentioned above, the default loop lengths for the four QuickLoop buttons are one bar, two bars, four  
bars, and eight bars. The QuickLoop Size preference allows you to change the QuickLoop buttons to beat  
values instead of bar values:  
1. Open the Torq Preferences menu and click on the Behaviors tab.  
2. Click the arrow next to QuickLoop Size option and choose “Beat” from the drop-down list.  
3. Click the “X” to close the Preferences window.  
Now, when you use the QuickLoop buttons as described above, you’ll find that they capture loops of  
one beat, two beats, four beats, and eight beats in size.  
» Changing QuickLoop Lengths  
Along with being able to capture loops of a specific size, the QuickLoop buttons also allow you to change  
the size of the loops after they have been made. Torq has two methods for changing QuickLoop lengths  
which are selected from the Preferences:  
1. Open the Torq Preferences menu and click on the Behaviors tab.  
2. Locate the QuickLoop Mode item—you’ll see that it has two settings: “Cut and Grow” and “Direct.”  
Cut and Grow is the default behavior and was the only behavior available prior to Torq 1.5--use this setting  
to preserve the Torq 1.0 workflow. When this mode is selected, each additional press of a QuickLoop  
button will cut the current loop length in half. For example, if you press QuickLoop 4, Torq will grab a 4  
bar loop. Pressing QuickLoop 4 again will result in a 2 bar loop. Press it again and you’ll get a 1 bar loop. If  
you hold SHIFT while pressing the QuickLoop button, the loop will grow in size—doubling in length with  
each press of the button.  
Direct mode resembles the behavior found on some DJ CD players. When selected, the QuickLoop  
buttons will become divisors once a loop has been captured. For example, pressing the QuickLoop 4  
button will capture a 4 bar loop. Pressing QuickLoop 2 will now divide the loop length by 2 resulting in  
a 2-bar loop (4 bars / 2 = 2 bars). Pressing QuickLoop 4 will result in a 1-bar loop (4 bars / 4 = 1 bar).  
Pressing QuickLoop 1 will reset the loop back to its original length (4 bars / 1 = 4 bars).  
» Pre-Loop  
You can also reverse the behavior of the QuickLoop buttons by holding Shift when you create a loop. If  
you do this, Torq will place the Loop Out marker at the current playback location and will set the Loop In  
marker at the indicated number of Bars or Beats (depending on the QuickLoop Size preference) before the  
playback location. Using this feature, you can loop sections of audio that just played. For example, to repeat  
the last 2 bars of music that played, hold Shift and press/click QuickLoop 2.  
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Torq 1.5 User Guide  
Chapter3
17  
Speed Slider  
Torq’s Decks are each equipped with a Speed  
Adjust slider for the purpose of beat-matching  
songs. This slider behaves just like the pitch  
adjusters found on DJ turntables and CD players.  
As you move this slider, the neighboring ADJ  
display will show how much the song’s speed is  
being altered (expressed as a percent where 0%  
is the original speed of the song) and the BPM  
display will change to show the new tempo of the  
song.  
For those not familiar with these controls, your  
first impression may be that the slider is working  
backward since the speed of the song will  
increase as you move the slider down on screen.  
However, this is the proper behavior for pitch  
controls found on DJ turntables and CD players.  
It makes sense if you consider the following:  
The pitch adjust slider on a turntable is mounted flat on the surface of the turntable’s housing. Therefore, when you use  
the slider, you either push it away from you or pull it towards you. When a song is going too fast, you push the slider  
away from yourself, just as if you put out your hand in a “slow down” motion. If you need the song to go faster, you pull  
the slider toward you, similar to how you would gesture towards yourself if you wanted someone to move quickly. After  
a few hours of practice, this “backward” response will feel natural.  
< Slider Range  
By default, the range of the Speed Adjuster is +/- 8%. That means that if you move the slider to either of its  
extremes, you’ll only get an 8% change in the speed of the song. To the left of the Speed Adjuster is a display  
showing the current range setting for the slider:  
You can change the range of the Speed Adjuster by clicking on this range display. Each time you click, the range  
will advance to the next highest setting. The order is: 8%, 10%, 20%, 50%, then 100%. When you click the display  
again, the range will “wrap around” back to 8%. You’ll only need to increase the range when you’re trying to  
match two songs with very different tempos, or when you want to perform an extreme speed change as a special  
effect (especially effective when the range is set to 100%).  
Most experienced DJs will simply match the tempos of two songs by hand using the Speed Adjust slider, which  
is a perfectly acceptable method of matching songs (indeed, this is the way it’s been done for decades). Since it  
requires a lot of practice to hear when one song is playing faster or slower than another, those new to DJing will  
benefit from some of the extra features built into Torq. Such features include automatic beat detection, BPM  
displays, scrolling waveform displays, and automatic synchronization.  
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Torq 1.5 User Guide  
Chapter3
18  
< BPM Display  
Tempo is a measurement of the speed of a song and is normally expressed as Beats Per Minute (BPM). As the  
BPM increases, the speed of the song increases. In order for two songs to be mixed together with their beats  
aligned, the two songs will need to be playing at the same tempo. This is why Torq’s Decks are equipped with  
Speed Sliders. In the event that you are trying to mix two songs with different tempos (which happens more  
often than not), you will need to use the Speed Sliders to match the tempo of the new song to the tempo of the  
current song.  
» Automatic BPM Detection  
Any time you load a new track into  
a Deck, Torq will analyze it and  
attempt to determine the tempo  
of the song. For most dance music,  
Torq will be able to determine the  
tempo accurately. Once scanned,  
the tempo of the song will be shown  
in the BPM display for the Deck,  
which is located just to the left of  
the Speed Adjust slider.  
✓ Note: Determining the tempo  
of a song is a complicated  
process for a computer. While  
Torq’s beat-detection system will  
usually provide accurate results  
when set to its default settings, some types of complex music can confuse the beat-detection system resulting  
in incorrect tempos. To increase the accuracy of the beat-detection in these cases, you can specify the type  
of music you’ll be using in the Preferences menu thus limiting the tempo range used by the beat-detection  
system. Be sure your selection matches the type of music you’re trying to analyze. If you have “Drum & Bass”  
selected as your style and attempt to analyze a trip-hop track, Torq will give you the wrong tempo. You can  
then change the music type and re-analyze the song if needed.  
The BPM shown here is a “living value”—it will change when you alter the speed of the song with the  
Speed Adjuster. This is extremely helpful when trying to synchronize two songs since you’ll be able to  
match the tempos of the two songs just by matching the BPM values shown in the displays.  
» Double/Halve Button  
When Torq incorrectly identifies the tempo of a song, it will often return a result that is a multiple of the  
actual tempo. This occurs frequently when using Drum & Bass tracks with tempos in the neighborhood of  
174 BPM. Torq may think that the tempo of the song is 87 BPM or 116 BPM. When this happens, you can  
quickly adjust the tempo using the Double/Halve button.  
This button works by applying a multiplication factor to the current BPM. The first time you press  
this button, the up arrow will light and the tempo of the current song will be multiplied by 1.5 (the  
multiplication factor will be shown in the Tooltip). If the song was detected as 116 BPM, it will now show  
174 BPM (116 BPM x 1.5 = 174 BPM). The second time you press this button, the multiplication factor will  
increase to 2. If the song had been detected as 87 BPM, it would now show 174 BPM (87 BPM x 2 = 174  
BPM. The multiplication factor will continue to increase in .5 steps each time this button is pressed.  
This button can also be used to divide the current BPM by the same amounts on the occasion that Torq  
detects a BPM higher than it should be. Simply hold the SHIFT button when pressing the Double/Halve  
button to move downward through the sequence of factors. If you decrease the factor to a point where  
the new BPM is less than the detected BPM, the down arrow will be lit on the button.  
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Torq 1.5 User Guide  
Chapter3
19  
» Manual Tempo Adjustment  
As mentioned above, Torq can determine the tempo of most dance music. Some music, however, is too  
complex or not repetitive enough for Torq to detect the tempo with precision. Fortunately, you can help  
Torq to determine the proper tempo through a number of different methods. The appropriate method will  
be based on the type of tempo correction you’re trying to achieve.  
» Tap Tempo  
On rare occasions, Torq will determine an incorrect tempo that has no direct relation to the actual tempo  
(not a fraction or multiple). At times like this, you’ll want to use the Tap Tempo feature to determine the  
tempo of the song while it plays.  
1. While the song is playing, click on the BPM display with each beat that you hear.  
2. The BPM display will update the BPM to reflect the timing of the taps you performed.  
3. The more taps you provide, the more precise the calculation will become.  
✓ Note: If at any time you wish to revert back to the automatically determined tempo, hold the Shift key  
while clicking on the BPM display. This will also clear any Tempo Anchors if any have been created. Tap  
Tempo cannot be used if there are Tempo Anchors in a song.  
» BPM Entry  
If you happen to know the BPM of the song, you can manually enter it into the BPM display, thus overriding  
the tempo detected by Torq.  
1. Hold the Shift key and double-click on the BPM display.  
2. Type in a new BPM value from your computer keyboard and press Enter.  
3. The new BPM will then be set for the song.  
✓ Note: If at any time you wish to revert back to the automatically determined tempo, hold the Shift key  
while clicking on the BPM display. This will also clear any Tempo Anchors if any have been created.  
» Tempo Anchors  
Torq provides you with another alternative in the event that none of the above methods provide an  
accurate BPM for the song, or when the song contains tempo changes. Torq will allow you to create a  
custom tempo map for a song employing a feature called Tempo Anchors. Please see the Tempo Anchors  
section in the next chapter for details.  
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Torq 1.5 User Guide  
Chapter3
20  
Key  
The Key Adjust is used to raise or lower the key (pitch) of a song without changing the tempo. This is useful when  
attempting to match the melodies of songs in both Decks during a mix, known as key-matching. You can adjust the key of  
a song with the Key Adjust buttons or by dragging the up or down on the Key Display.  
< Fine Tuning  
1. Click and hold the mouse cursor over the Key Display number.  
2. Drag the mouse up or down. The number will adjust in increments of one cent.  
✓ Note: To reset the key transposition to 0, hold down the Shift key on your computer keyboard and click on either  
of the Key Adjust buttons’ Key Displays. If you have adjusted the key in finer increments, the key will be reset to 0,  
however the fraction will remain. For example, if the key is 4.23, resetting will make it 0.23.  
< Key/Speed Lock  
The Decks in Torq have the special ability to change the playback speed of the song without changing the pitch  
of the song (this is known as time-compression and time-expansion). This means you don’t have to worry about  
music changing pitch as you beat-match. However, if you would like to disable this feature and essentially lock the  
Key and Speed of the music together, turn on the Key/Tempo Lock button. With this on, the music will behave  
like a regular vinyl record (slowing down the music will make the music drop in pitch).  
< MIDI Slider/Knob Control  
MIDI control of the Key Adjust is different from other controls in Torq. You can assign a knob or slider to the  
Key Adjust, or you can assign keys on your MIDI keyboard—the behavior of the Key Adjust is dependent on  
your control method.  
1. Make sure that your MIDI keyboard or control surface has been properly installed and is configured to  
work with Torq. Please see chapter 6 for more information about configuring your external MIDI hardware  
to control Torq.  
2. Right-click (CTRL-click, Mac) on the Key Display; it will turn red indicating that it’s waiting for an  
assignment.  
3. Move a MIDI knob or slider on your MIDI controller. This will automatically assign the knob or slider to the  
Key Adjust.  
4. The Key will be adjustable in one-semitone steps.  
5. MIDI CC value 64 equals + 0 semitones. This generally means when the knob or slider of your MIDI  
controller is at center position, the Key will be at 0.  
< MIDI Button Control  
1. Make sure that your MIDI keyboard or control surface has been properly installed and is configured  
to work with Torq. Please see chapter 6 for more information about configuring your external MIDI  
hardware to control Torq.  
2. Right-click (CTRL-click, Mac) on the [+] Key Adjust button. It will turn red indicating that it’s waiting for an  
assignment.  
3. Press a button on your MIDI controller to assign it to the [+] Key Adjust button.  
4. Right-click (CTRL-click, Mac) on the [-] Key Adjust button. It will turn red indicating that it’s waiting for an  
assignment.  
5. Press a button on your MIDI controller to assign it to the [-] Key Adjust button.  
6. Now that your buttons are assigned, press the button assigned to [+]. The Key will move up one semitone.  
7. Now press both buttons simultaneously.  
8. The Key Adjust will return to 0.  
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< MIDI Keyboard Control  
1. Make sure that your MIDI keyboard or control surface has been properly installed and is configured  
to work with Torq. Please see chapter 6 for more information about configuring your external MIDI  
hardware to control Torq.  
2. Right-click (CTRL-click, Mac) on the Key Display. It will turn red indicating that it’s waiting for an  
assignment.  
3. Press a key on your MIDI keyboard. This key will automatically be assigned as the “root key” of the Torq  
Key Adjust.  
4. If you press a MIDI key that is 1 semitone ABOVE the root key, the Deck’s Key will be changed to +1  
(semitones).  
5. If you press a MIDI key that is 2 semitones BELOW the root key, the Deck’s Key will be changed to -2  
(semitones).  
6. The range of Key transposition is plus or minus (+/-) 12 semitones. This makes it possible to control the  
Key Adjust of both Decks using a single MIDI controller keyboard, as long as the keyboard has enough keys  
to make up four (4) octaves.  
✓ Note: Torq will allow notes from the same controller and same MIDI channel to be used as long as the root  
keys are at least two octaves apart.  
< External Control  
When using external Vinyl or CD control, Torq will preserve the pitch of the music even if you change the speed  
of the turntable or CD player. When you scratch, Torq will disable time-stretching and will re-enable it when  
you let the music play again. If you want Torq to respond like a true vinyl record, turn on the Key/Speed Lock  
button so that key and speed are locked together. You will then hear pitch changes when altering the speed of  
the turntable or CD player.  
Sync Button  
The Sync button provides an automatic method of synchronizing the beat and BPM of one Deck to the other or the  
Global Tempo. When you engage Sync on a Deck (the Sync icon is on), it will change that Deck’s tempo to match the  
other Deck or Global Tempo. Furthermore, when you press Play, Torq will align the song to the phase of the other Deck  
or Global Tempo. Essentially, the Synced Deck will be “slaved” to the other Deck (which would be the “master”).  
Sync will remain active until you turn it off by clicking the Sync button again. While Sync is active, the Deck will be  
affected by tempo changes made to the opposite Deck or Global Tempo. If you slow down the “master” Deck, the  
“slaved” Deck will also slow down in kind. If you attempt to scratch or re-align the “slaved” Deck, Torq will automatically  
snap it back into alignment to match the phase of the “master” Deck.  
Tempo Master  
Torq also has the ability to use a Deck as a Tempo Master for the entire program. Simply hold SHIFT while pressing the  
Sync button on a Deck. When doing this, you’ll see that the Sync button starts to flash, indicating that it is the Tempo  
Master. Additionally, the Global Tempo will be activated and will follow the tempo of the Deck. With a Deck set as the  
Tempo Master, all other aspects of the program will follow its tempo even if there are tempo changes (set with Tempo  
Anchors). Looped samples will follow the Deck. The opposite Deck will also follow if its Sync button is turned on.  
When you turn Sync off on a Deck, it will keep the tempo setting allowing the song to keep playing in time with the other  
Deck. However, Torq will no longer attempt to keep the two Decks in sync if you make changes to them. Torq will no  
longer snap the songs back into alignment if you move one of them, nor will Torq continue to match tempos if you change  
them.  
✓ Note: Setting a Deck as a Tempo Master is the only way to hear the original timing of the song after adding Tempo  
Anchors.  
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Nudge Buttons  
If you’re not taking advantage of Torq’s ability to keep tracks aligned using Sync, you can do it manually using the Nudge  
buttons. If you hear a song become ahead or behind the other, the Nudge buttons will allow you to push the song back  
into alignment by creating a small change to the playback speed of the song. If the song is ahead of the beat, press the  
right Nudge button to slow it down. You’ll see the waveforms of the two songs move in relation to each other. Release  
the Nudge button once the songs are aligned properly and the original playback speed will be restored.  
✓ Note: The behavior of the Nudge buttons can be reversed in the Preferences if you prefer the song to speed up when  
pressing the right Nudge button.  
Offset Buttons  
Sometimes when mixing two songs together, you may find that the beats are aligned with each other, yet the two songs  
are still out of phase. This is most obvious when one song is offset by one beat, causing the snare drums of the tracks to  
be out of alignment. The Offset buttons can be used to correct this. Pressing these buttons will make the Current Song  
Position jump forward or back by one beat-length.  
✓ Note: : If you have the Sync Mode set to “Bar” in the Preferences/Toolbar, the Offset buttons will have no effect when the  
Deck’s Sync button is on. This is because Torq will counteract a one-beat offset when set to Bar mode. If you want to offset  
the music by one beat when Sync is on, you’ll need to offset the Phase Grid (which is explained later in the section titled  
“Synchronization”), or switch Sync Mode to “Beat.”  
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23  
WAVEFORM DISPLAY  
CHAPTER  
One of the most prominent features of the Torq user interface is the Scrolling  
Waveform Display, which takes up a decent amount of real estate above the Mixer and  
Effect Racks. Unlike the smaller Overview Waveforms found in each Deck, the Scrolling  
Waveforms only show a few seconds of the current song before and after the current  
play position. The song in Deck A (on the left) is shown at the top of the Scrolling  
Waveform display. Deck B (on the right) is shown at the bottom of the window. While  
the Now Line moves from left to right within the smaller Overview Waveform Display as  
a Deck plays, the Now Line remains fixed in the Scrolling Waveform window while the  
waveforms move behind it.  
4
Information Shown on Display  
So what purpose do these Scrolling Waveforms serve, other than looking really  
cool? Answer: They offer you a way to visualize the alignment and synchronization  
of the two Decks as well as providing some other important information:  
Waveform  
By looking at the audio waveform itself, you can see where the beats are in the  
song. These sharp hits (transients) typically look like long, thin spikes in the  
waveform. In the picture below, you can see the heavy bass drum beats of both  
songs in the Scrolling Waveforms.  
When the drums stop, you’ll notice that the tall spikes go away. This is how you  
can tell if a breakdown or slow section of the song is approaching. By the same  
token, you’ll also be able to see where the drums come back in again.  
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Torq 1.5 User Guide  
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Zoom  
At times, you may find yourself wanting to “zoom in” to the Scrolling Waveform Display to match beats more precisely  
or to “zoom out” in order to see more of each track. Use the magnifying glass icons directly above the display to do this.  
The magnifying glass button on the left zooms out while the button on the right zooms in. The total amount of time (in  
seconds) from the left edge to the right edge of the Scrolling Waveform Display is listed between the two buttons.  
Loop Points  
The Loop Points of the song (set with the Loop In/Out buttons or the QuickCue buttons) will be shown on the  
Waveform. The looped area of the music will appear in a lighter shade compared to the rest of the waveform.  
Cue Points  
If you’ve used the Cue button or QuickCue buttons to place various Cue Markers in the song, you will see them here.  
The QuickCue markers have numbers attached to them (corresponding to the assigned QuickCue button) and the  
standard Cue Point appears as an orange line.  
Phase Grid  
Torq superimposes a Phase Grid over the Scrolling Waveforms to indicate the location of the beats in a song. The thicker  
lines in the Phase Grid indicate the locations of the downbeats in the music. Torq will attempt to position the Phase Grid  
in the proper location as part of the analysis when loading a song into a Deck. Torq uses the position of the Phase Grid to  
properly synchronize the song.  
If you would like to turn the Phase Grid lines off, click the “Hide Phase Grid” button located above the waveform display  
(next to the zoom controls).  
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25  
Tempo Anchors  
In addition to its automatic BPM detection features, Torq provides you with another alternative for BPM matching that  
becomes an indispensable tool when working with songs that include tempo changes or fluctuations (Torq’s automatic  
beat detection is designed to work with songs that have a constant tempo). Using Tempo Anchors, you can manually  
specify the location of beats within a song thus allowing Torq to follow the tempo of any song even if it speeds up or  
slows down in the middle. Editing Tempo Anchors is a more involved process and should therefore only be used in the  
event that none of the normal methods yield the proper results.  
Tempo Anchors are edited within the Scrolling Waveform window and should be done at the highest zoom factor so you  
can place the Anchors accurately. Furthermore, this is more of an “off-line” process—you should prepare a song with  
Tempo Anchors before trying to play it to an audience. Torq will save the Tempo Anchors in the TQD file so that you will  
only have to do this once for any particular song.  
To properly add Tempo Anchors to a song:  
1. Play the song.  
2. Use the Tap Tempo feature to determine the approximate tempo while the song plays. This is very important  
since this will get the Phase Grid close to the proper position leaving only minor edits for you to do later.  
3. Stop the song and rewind back to the beginning.  
4. Hold SHIFT and drag the Phase Grid so that the downbeat (the thicker line) is aligned with the first visible beat  
of the song. This will ensure that the Phase Grid starts at the right location—you will only need to use Tempo  
Anchors to fix issues where the Phase Grid drifts out of alignment.  
5. Click the Tempo Anchor button in the Toolbar. The background of the Scrolling Waveforms will turn blue  
indicating that Anchor Edit is active.  
6. Now, search through the song looking for places where the Phase Grid no longer aligns with the beats of the  
music. When you find one that is out of alignment, double-click it. The line will change from grey to green  
indicating that the grid line has been turned to a Tempo Anchor.  
7. Now that the grid line has been converted to a Tempo Anchor, you can now move it left or right until it aligns  
with the beat. Simply click-and-drag the Anchor to set it to a new location.  
8. Repeat steps 6 and 7 until all of the tempo anomalies have been accounted for. When complete, every grid line  
and Tempo Anchor should visually align with the beats in the song.  
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9. Click the Anchor icon again to exit Anchor Edit mode. The Scrolling Waveforms will revert to their original  
color.  
10. Now, when you play the song, it will play with a constant tempo (the tempo variations will be removed)  
Some will say that editing Tempo Anchors is more of an art than a science. Indeed, there are other techniques  
that can be used other than the steps listed above which will give the same results. As you edit more and more  
songs, you’ll learn which techniques are best for various types of music. Here are a few other methods that can  
assist with Tempo Anchors:  
1. Tap Tempo Anchors. If you try using Tap Tempo when Anchor Edit is on, each tap will place a Tempo  
Anchor at that location. If you’re working with a song that has lots of tempo changes (such as older music  
that was not recorded to a click track) this can be very advantageous. Just tap along with the music and the  
Phase Grid will be pretty close to where it needs to be. You can then manually adjust any of the Tempo  
Anchors that need it.  
2. Use fewer Tempo Anchors. While you could surely turn every single grid line into a Tempo Anchor, this is  
usually not necessary. Often, long sections of a song will have a consistent tempo. In these cases, it’s usually  
enough to place a Tempo Anchor at the beginning and another at the end of that section. All the grid lines  
will distribute themselves evenly between the Tempo Anchors.  
3. Fixing corrupted audio files. From time to time, you may notice that a song seems perfectly in sync then  
suddenly falls out of sync. This can be due to corruptions within the audio file. Torq will skip over sections  
of data that are corrupted and will continue to play the remainder of the song. Every time Torq skips over  
corrupted data, it will make the Phase Grid look like it has shifted to the right. In cases like this, you can  
use Tempo Anchors to adjust the tempo only where the jump occurs. Simply make two Tempo Anchors—  
one right before the jump and one right after. Drag the second Anchor to the left until it is aligned with the  
beat. All of the grid lines to the right of the last Anchor will shift as well so the remainder of the song will  
then be in alignment (unless there is another corruption).  
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Playback Manipulations  
The Waveform Display allows you to manipulate the song playback in a variety of ways using your mouse. The method of  
control differs depending on the control type you have selected for the Deck (Vinyl/CDJ/Hybrid).  
Vinyl Mode  
With this mode selected, using the mouse on the waveform will work in a similar fashion to using your hand on a  
turntable.  
1. Click and hold the mouse on the waveform. Playback will stop, as if you have placed your hand on a record to  
stop it.  
2. Continue holding the mouse button, then drag the mouse left and right. This will scrub, or “scratch,” the song.  
3. Releasing the mouse button will cause the Deck to play the song back from the current location.  
Hybrid Mode  
With Hybrid mode active, the waveform will respond exactly like the CDJ mode while the Deck controls (Play/Pause,  
Cue, etc.) behave like Vinyl Mode.  
1. Click and hold on the waveform. The music will continue to play  
2. While holding on the mouse button, drag the mouse left. The playback tempo will be momentarily increased,  
making the waveform scroll a little faster to the left.  
3. Now hold and drag the mouse to the right. Playback will remain going forward, but the tempo will be slowed  
slightly, resulting in a waveform that still scrolls right to left, but at a slower rate.  
4. As soon as you stop dragging, playback will return to its original tempo even if you are still holding the  
mouse button.  
CDJ Mode  
With this mode selected, the waveform will not be “scratched” with the mouse. Instead, mouse movements will simply  
nudge the music ahead or behind by a small amount.  
1. Click and hold on the waveform. The music will continue to play  
2. While holding on the mouse button, drag the mouse left. The playback tempo will be momentarily increased,  
making the waveform scroll a little faster to the left.  
3. Now hold and drag the mouse to the right. Playback will remain going forward, but the tempo will be slowed  
slightly, resulting in a waveform that still scrolls right to left, but at a slower rate.  
4. As soon as you stop dragging, playback will return to its original tempo even if you are still holding the  
mouse button.  
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28  
SYNCHRONIZATION  
CHAPTER  
At most of today’s dance clubs and events, the DJ will mix the songs together using a  
technique called beat-matching. The goal is to fade the volumes between two songs  
while keeping them perfectly in beat with one another. If done properly, the audience  
will never have to stop dancing as the beat of one song will blend in with the beat of the  
new song—sounding like one single song. DJs will do this for hours at a time, creating  
one gigantic non-stop mix from the individual songs they have in their collection. Proper  
execution of this technique requires the mastery of two tasks: matching tempo and  
matching phase.  
5
Automatic Tempo and Phase Detection  
As mentioned before, tempo is the measurement of speed of a song expressed as  
BPM. Phase refers to the location within a song in reference to its downbeat. Torq  
automatically determines the tempo and phase of a song when you load it onto a Deck,  
so matching tempos is as simple as moving the Speed slider on a Deck until the BPM  
Display shows the same value as the other Deck. If you’re using external vinyl or CD  
control, you can adjust the speed of the song using the turntable’s or CD player’s pitch  
adjuster.  
Once you have matched the tempos of two songs, you need to start both songs at  
precisely the right moment, or in-phase with each other. When beat-matching songs,  
you’ll normally want the downbeats of both songs aligned with each other. When aligned  
properly, the beats of both songs will blend together into one larger beat. If the songs  
are misaligned or out-of-phase, it will sound terrible as the beats of the two songs will be  
playing at different times (in DJ jargon, this is known as a “train wreck” and is something  
that should be avoided at all times).  
Torq’s Scrolling Waveforms will help you match the phases of the two songs. Not only  
can you visually align the transients in the waveforms, you can also use the Phase Grid  
for automatic synchronization.  
Phase Grid Manipulations  
Torq places a Phase Grid over the Scrolling Waveforms to help you see where the  
beats are, even during a breakdown or rhythmless intro of a song. In order for Torq’s  
automatic synchronization to work, the Phase Grid will need to be aligned properly with  
the music. With the Phase Grids of both songs aligned properly, Torq will be able to  
sync the two songs together without creating train wrecks. Torq will attempt to place  
the Phase Grid in the proper location during song analysis. If Torq positions the Grid  
incorrectly, it will be up to you to re-align it to the proper beat.  
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When a mis-alignment occurs (as seen above), you’ll see that the grid does not line up with the beginnings of the beats  
(transients) in the waveform. In the example, the Phase Grid is too early, leaving a gap between the grid lines and the transients  
in the waveform.  
There are a number of ways to fix a mis-aligned Phase Grid. Which method you choose to use will probably depend on  
whether you’re comfortable using the mouse and keyboard, or whether you prefer to use external MIDI control. The results  
are all the same, so choose whichever feels good for you.  
✓ Note: If the song you’re attempting to use has tempo variations, Torq’s automatic beat and phase detection will not work. You  
will have to manually set the tempo for the song using Tempo Anchors as detailed in Chapter 3 before you will be able to exploit  
Torq’s automatic synchronization.  
Adjusting with the Mouse  
1. Hold down the Shift key, then click-and-drag left or right with the mouse.  
2. The Phase Grid will move left or right, following your mouse movements.  
3. Once you have aligned the thicker “downbeat” marker of the grid to the downbeat of the music, release the  
mouse button.  
✓ Note: You can turn on Caps Lock instead of holding Shift if you need to adjust the grid using just one hand. Turn off  
Caps Lock when you’re finished so you can regain proper control of the waveforms.  
Adjusting with Nudge Buttons  
1. Hold down the Shift key, then click on one of the Nudge buttons.  
2. The Phase Grid will move left or right depending on which Nudge button you click.  
3. Use the buttons to align the thicker “downbeat” marker of the grid to the downbeat of the music.  
Adjusting with Offset Buttons  
1. Hold down the Shift key, then click on one of the Offset buttons.  
2. Instead of making a small change to the Phase Grid, this will have the effect of moving the grid an entire beat left  
or right. This is a quick way to fix the Phase Grid if it happens to be aligned to the beats but has the downbeat in  
the wrong location.  
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Sync Button  
The Sync button is an automatic method of synchronizing the beat and BPM of one Deck to another. When you engage Sync  
on a Deck (the Sync icon is on), it will change that Deck’s tempo to match the other Deck. Furthermore, when you press Play,  
Torq will align the song to the phase of the other Deck. Essentially, the synced Deck will be “slaved” to the other Deck (which  
would be the “master”).  
Locked Sync  
Sync will remain active until you turn it off by clicking the Sync button again. While Sync is active, the Decks will  
effectively be locked together. The slaved Deck will be affected by tempo changes made to the opposite Deck. If you slow  
down the master Deck, the slaved Deck will also slow down in kind. If you attempt to scratch or re-align the slaved Deck,  
Torq will automatically snap it back into alignment to match the phase of the master Deck.  
Momentary Sync  
When you turn Sync off on a Deck, it will keep the tempo setting allowing the song to keep playing in time with the other  
Deck. However, Torq will no longer attempt to keep the two Decks in sync if you make changes to them. Torq will no  
longer snap the songs back into alignment if you move one of them, nor will Torq continue to match tempos if you change  
them. So if you just need to synchronize for a moment and wish for the music to run freely afterward, click the Sync  
button once to turn it on, then click it again to turn it back off—the Tempo will be matched to the other Deck, and you’ll  
be free to start and manipulate the music as you wish.  
Global Tempo  
Using the Sync button as described above will allow you to sync one Deck to the other. However, if you wish to have your  
looped samples sync up to your mix, or if you wish for your mix to follow the tempo of the ReWire host, you’ll use the  
Global Tempo.  
When you click the Global button, the Global Tempo will be active. Now, when you press the Sync button on a Deck, it  
will sync to the Global Tempo as opposed to syncing to the other Deck. If you turn Sync on for both Decks, both Decks  
will be synchronized to the Global Tempo and will therefore play in sync. Additionally, when you trigger looped samples,  
those loops will play in sync with the Global Tempo (and any synced Decks).  
Changing the Global Tempo will result in the same change to the synced Decks and the Sampler. There are a couple ways  
to adjust the Global Tempo:  
1. Use the + and – buttons to increment or decrement the current tempo by one BPM.  
2. Hold the Shift key while dragging up and down on the Global Tempo Display to make smooth changes to the  
tempo.  
3. Click repeatedly on the Global Tempo Display to tap a new tempo.  
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Global Tempo LEDs  
To the left of the Global Tempo display is a horizontal arrangement of 4 lights. These will light in succession (creating  
a “chase” pattern) that will indicate the Global Tempo’s position within a bar. These lights will only chase when Global  
Tempo is activated.  
Global Tempo Metronome  
If you click the Headphone button next to the Global Tempo LEDs, you will hear a metronome sound in your  
headphones. This will allow you to hear the position of the Global Tempo. Though the sound of the Metronome can be  
heard in the headphones, it will not be recorded into the Sampler.  
Using a Deck as a Tempo Master  
Because songs can contain tempo changes (Tempo Anchors), it is now possible to have the Global Tempo follow a Deck.  
To do this, hold SHIFT while engaging Sync. The Sync button will flash indicating that the Deck is now the Tempo Master  
for Torq. The Global Tempo will follow the tempo changes in the song which will cause all other aspects of Torq to follow  
the tempo changes.  
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32  
EXTERNAL CONTROL  
CHAPTER  
One of Torq’s greatest features is the ability to use external sources to control the  
playback of your song files. In particular, you can use the Torq Control Vinyl or Torq  
Control CDs to provide the familiar tactile sensation of DJing with traditional turntables  
and/or CD decks. Torq also allows you to use external MIDI hardware to control nearly  
any feature within the application.  
The Control Vinyl and Control CD system works by using vinyl records and compact  
discs imprinted with special control signals. You’ll play these control signals on your  
turntables and/or CD players and feed that signal into any professional audio interface  
that has four inputs (with phono preamplifiers on each input if you are using turntables)  
such as the M-Audio Conectiv. Torq will listen to those audio signals and will use the  
encoded information to control the playback of the Decks.  
6
Enabling Vinyl/CD Control  
1. Connect the outputs of your first turntable or CD player to inputs 1/2 of your  
audio interface. If the interface has a “Line/Phono” input selector switch, be  
sure to set it to “Phono” if using turntables, or “Line” if using CD players (or  
turntables with built-in preamps).  
GROUND INPUT B INPUT A  
OUTPUT B OUTPUT A  
Line Phono  
Line Phono  
Turntable  
or CD Player  
2. Connect the outputs of your second turntable or CD player to inputs 3/4 of  
your audio interface. Again, you’ll need to set its input selector switch as  
described above.  
Using Torq with only one turntable or CD player:  
The connection diagram on this page assumes you have a traditional  
DJ setup two CD players or turntables. However, Torq has a  
special “AMPutate Mode” that allows you to control both decks  
using only one turntable or CD player. This mode is described  
later in this chapter.  
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3. Open Torq’s Preferences and select the Audio tab.  
4. Make sure your audio interface is selected in the “Audio Interfaces” drop-down menu.  
5. Click the Control Input A drop-down menu and choose “input 1 -- input 2”.  
6. Click the Control Input B drop-down menu and choose “input 3 -- input 4”.  
7. Now click the “External Control” tab.  
Note: An additional tab appears  
on the right side of the Preferences  
window when certain M-Audio  
products (such as the Xponent  
DJ controller) are being used in  
conjunction with Torq. This tab  
contains parameters relating specifically  
to the operation of the connected  
M-Audio device. To learn more about  
the contents of this additional tab, refer  
to your new hardware’s User Guide.  
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8. The first option enables External Control. Click the drop-down menu and select “Yes”.  
9. The next step requires you to select the type of control signals you’ll be using for each Deck. If you’ll be using the  
Torq Control Vinyl records, select “Torq Vinyl” for the Control Type. If you’ll be using the Torq Control CDs, select  
“Torq CD” for the Control Type. Since this selection is independent for each Deck, you can use any combination of  
vinyl and CD control that you’d like.  
✓ Note: If you own the Ms. Pinky Interdimensional Wrecked System, you can use those vinyl records to control Torq.  
Select “Gen1”, “Gen2”, or “Gen3” corresponding to the generation of records you own. Torq currently supports  
generations 1 through 3.  
10. The playback of the Decks will now be controlled by the incoming control signals you have selected.  
✓ Note: You can also enable and disable the External Control system by clicking the External Control button in  
Torq’s Toolbar.  
External Control Calibration  
While terms such as “digital vinyl” are sometimes used to describe vinyl control systems such as the one used in Torq, the truth  
is that the system is still analog. There are “digits” encoded in the analog domain on the Torq Control Vinyls and CDs and those  
digits are transferred to Torq by analog means through the inputs of your audio interface.  
Because of this, the control system is subject to certain environmental and physical variables that can influence its performance.  
The system is very robust and compensates for many of these factors, allowing a wide range of variance between equipment to  
yield identical control response. This means the equipment you already own (turntables, cartridges, styli, CD players, etc.) is  
probably sufficient for use with Torq’s external control system.  
M-Audio has diligently tested the control system using a wide variety of equipment from different manufacturers, but not every  
possible combination of gear could be tested. While unlikely, it is possible that there could be problems with components in  
your DJ setup that might render the control system inoperable. When this happens, the Control Calibration displays on the  
External Control Preferences tab will be your first place to look in order to diagnose the problem.  
Control Type  
If the external control system is enabled but doesn’t seem to be working, first check the Control Type settings for each  
Deck before you tear out all the wiring in your DJ rig. If you have the wrong Control Type selected, Torq will not react  
in the proper manner to the control signals. Once you’ve verified the setting here, you can continue diagnosing your  
problem.  
Velocity and Position  
When the external control system is operating properly, it provides three vital pieces of information to Torq’s Decks:  
the speed and direction of the Control Vinyl or Control CD as well as the current position on the record or CD. The  
Velocity display shows a number that indicates both speed and direction at the same time. When the Velocity is 0, the  
record or CD is stopped (or the needle has been lifted off the record). If the number is 1.0, that means the vinyl record  
is running forward at normal speed (when using the Torq Control Vinyls, this refers to 33 1/3 RPM playback on the  
turntable). When the number is -1.0, it means the record or CD is running backwards at normal speed (33 1/3 RPM). As  
you manipulate the record or CD by hand or with their pitch adjusters, you’ll see the Velocity display change immediately  
to reflect the movements.  
The Position display shows a number that Torq uses to calculate the playback position for the audio file loaded into the  
Deck. When the record or CD is playing forward, this number will increase—it will decrease if the record or CD is  
playing backwards. You’ll also notice that this number will jump whenever you lift the needle off the record and place it  
in another location (known as a “needle drop”). This is what allows Torq to play back a song just as if it was pressed right  
into the Control Vinyl or Control CD.  
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Torq 1.5 User Guide  
Chapter 6  
35  
< Reversed Playback Direction  
If you find that Torq seems to be responding backwards to the Control Vinyls or CDs, take a look at the Velocity  
display. If the number shown is negative while the control source is playing forward, it could mean that the audio  
cables connecting the turntable or CD player to your interface are backwards. Swap the left and right plugs on  
the back of the audio interface and the problem should be fixed.  
< Erratic Playback Position  
If Torq seems to be jumping around to random locations in the song during playback, take a look at the Position  
display. This number should be rapidly growing larger as the control source plays. If this number looks like it’s  
counting erratically, this is most likely due to damaged control records (which is normal after extended use). This  
could also be due to poor stereo separation in the turntable’s needle or preamp. This is especially common with  
very old needles. To fix this, purchase a replacement vinyl record, replace your stylus, or purchase one of the  
recommended styli/cartridges listed at the end of this manual.  
< Erratic Velocity Values  
A turntable is a very sensitive piece of equipment. It can take the smallest vibrations and amplify them into  
audible sound. That’s what’s happening when you play a record—the grooves in the record vibrate the stylus  
as they play and those vibrations are translated to audio. The problem with turntables, though, is that they  
cannot distinguish between what is an intentional vibration caused by the moving grooves in the record and  
an unintentional vibration picked up through the body of the turntable. For example, if you kick the table the  
turntable is on, that “thump” will be transferred through the turntable up through the needle and translated into  
sound.  
What this means, in terms of the External Control system, is that vibrations and other unintentional noise can  
“contaminate” the control signals being read from the records. When this happens, the noise can temporarily  
throw off the ability of Torq to track the records.  
In order to help minimize this problem, Torq has a setting called “Power Threshold” with various level settings.  
The idea is to set this value above any of the extraneous noise such that Torq will only focus on the louder  
control signals from the records. Here’s how to set this level properly:  
1. Open the External Control Preferences and enable External Control.  
2. Place the needle of your turntable on the Control Vinyl, but leave the turntable stopped.  
3. Lower the Power Threshold to -40 and look at the Velocity value for the deck.  
4. If the Velocity is showing random values even though the turntable is stopped, that means the Power  
Threshold is too low—Torq is picking up noise and interpreting it as a control signal.  
5. Increase the Power Threshold by 5dB and look at the Velocity value again. If you still see random Velocity  
values, raise the Power Threshold another 5dB.  
6. Eventually, you’ll reach a point where the Velocity stays at 0.00. This is the optimal setting for the Power  
Threshold.  
7. Please note that, if you’re in a noisy environment that does not have good physical isolation of the  
turntables (to prevent external vibrations from being picked up by the stylus), you may need to raise the  
Power Threshold setting a little higher to filter out the additional noise in the room.  
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Torq 1.5 User Guide  
Chapter 6  
36  
Error Index  
If you’ve checked your audio cable connections and have also replaced your turntable’s needles yet still experience  
problems, take a look at the Error Index displays. These displays will be showing a number typically between 0.15 and  
1.50, which is perfectly normal. If the number is above 2.0, it will turn red, indicating that there is too much noise in the  
audio signal for Torq to properly track position and velocity. Try cleaning the record using a high quality vinyl cleaning  
system. Too much dirt on the record can cause errors in the tracking process.  
A high Error Index can also be caused by wear and tear on the Control Vinyl. Each time a record is played, it is slightly  
damaged, especially if the tracking weight of the needle is very heavy. After repeated use, the control signal may become  
distorted and unreadable. Simply flip over the Control Vinyl to the second side or purchase a replacement record from  
the M-Audio Webstore (www.m-audio.com).  
If the output level of your stylus/cartridge is too low, this can also result in high Error Index readings. Try replacing your  
stylus/cartridge with one of the recommended models at the end of this manual for a higher output level.  
Standard Mode  
When you enable External Control, Torq will be in Standard mode. In this mode, one control source is assigned to each Deck.  
You will need two sources (2 turntables, 2 CD players, or one of each) in order to control the two Decks in Torq. This is just  
like using traditional hardware to DJ.  
When using Standard mode, you have two control styles to choose from—Absolute mode and Relative mode—which are  
explained below.  
Absolute Mode  
This is the default control style when in Standard mode and is indicated by the [>|<] icon on what was previously the Play/  
Pause button on the Decks. Absolute mode means that Torq will be following the position of the external control source.  
This is most apparent when using the Control Vinyls—you can lift the needle and place it in different locations on the  
record and Torq’s Decks will follow this position. If you place the needle at the beginning of the record (or rewind the  
Control CD back to the beginning of a track), the song in the Deck will also jump back to the beginning.  
This mode is obviously the mode that will recreate the sensation of using CDs and Vinyl with the greatest detail. You  
will be able to control playback position from your turntables or CD players without having to interact with the Torq  
interface.  
Relative Mode  
In contrast, Relative mode will ignore the playback position of the Control Vinyl or Control CD. Torq will only monitor  
the direction and speed of the control source. To enable Relative mode on a Deck, click the Absolute mode button—its  
icon will change to [<|>] indicating that Relative mode is now active (click the button again to toggle back to Absolute  
mode).  
You’ll now notice that placing the needle in different locations on the record will have no effect on the music—playback  
will resume from the point it left off as soon as the needle touches the record again.  
Even though the playback position of the Control Vinyl or Control CD is not affecting the playback position of the song  
on the Deck, the speed and direction of the control source will still continue to work. You can change the playback speed  
using the pitch adjusters on your turntables or CD players and the playback speed of the Deck will follow. You can even  
scratch like normal. The added benefit is that, should the needle skip a groove while you’re scratching, you won’t lose the  
sound you were using. You can continue to scratch the same location of the audio file even if the needle keeps skipping.  
✓ Note: While there will be no audible change in music playback when switching a Deck from Absolute mode to Relative  
mode, there is a chance that the playback position could jump to an unanticipated position when switching from Relative  
mode back into Absolute mode. This is due to the fact that, while using the features of Relative mode, the playback position  
of the Deck and the actual location of the control source could fall out of sync (for example, if you loop the song on the  
Deck, the song will no longer proceed forward but the location of the control source will continue to play forward). When  
you switch back to Absolute mode, Torq will immediately jump to the position indicated by the control source...this could  
even be a position after the song has ended! Therefore, be extremely careful when toggling back to Absolute mode. Only  
do so if (1) you know the location of the song and control source are still in sync or (2) you mute the Deck before switching  
over, thus preventing any jumps from being heard by your audience.  
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Torq 1.5 User Guide  
Chapter 6  
37  
AMPutate Mode  
While exploring the depths of Torq, you will repeatedly run into scenarios that would not be possible with traditional DJ  
hardware—techniques that can only be achieved through the flexible power of computer technology. Torq’s AMPutate mode is  
a perfect example of this—it allows you to DJ using only one turntable or CD player. Wait, what? DJing has always been about  
two turntables and a mixer, right? When using AMPutate mode, it still is, but one of the turntables is “virtual.”  
The idea behind AMPutate mode is that you generally need to manipulate only one song at a time when DJing. One song will  
be playing freely (the one your audience is dancing to) while you play with the other turntable in order to match tempos and  
find the perfect starting place for the next song. Once tempos are matched and the time is right, you’ll start the song and apply  
small adjustments to it in order to keep it in sync while mixing it in. Once the song is fully mixed in and the previous song is  
over, your need for manipulating the song will be over. At that point, you’d put a new record on the other turntable and begin  
the process of cueing and beat-matching.  
Deck Control  
AMPutate mode allows you to control one of Torq’s Decks with a single Control Vinyl or Control CD while the other  
Deck operates in Hybrid or CDJ mode. To enable AMPutate mode:  
1. Open the Preferences and click on the External Control tab.  
2. Ensure that External Control is enabled. If not, turn it on now by selecting “Yes” in its drop-down menu.  
3. With External Control enabled, you’ll also be able to enable AMPutate mode by selecting “Yes” in its  
drop-down menu.  
4. AMPutate will use the control source chosen for Control Input A on the Audio Preferences tab. Check your  
selection on this tab to make sure you have selected your desired control source.  
5. Close the Preferences.  
6. Load a track onto Deck A and click the Vinyl button (located right below the QuickCue buttons).  
7. Deck A will now be under external control.  
8. Start your turntable or CD player. Deck A will begin to play like normal.  
9. Now, load a track onto Deck B and click its Vinyl button. You’ll notice that Deck A will automatically switch to  
Hybrid or CDJ control (whichever mode you used last) and will continue to play! At the same time, the external  
control source will now be controlling Deck B.  
10. You can swap external control back and forth as you please and the music will remain playing on both Decks at  
all times.  
✓ Note: You can also enable and disable AMPutate Mode using the AMPutate button in Torq’s Toolbar.  
So you can see that swapping external control is as simple as clicking the Vinyl button on the Deck you wish  
to control (you could assign MIDI notes or keys on your computer’s keyboard to the Vinyl buttons, too). If the  
external control source is stopped when you switch control to the other Deck, it will remain stopped. If the  
control source was playing when you switch control to the other Deck, it will remain playing.  
✓ Note: Because the AMPutate system allows you to swap control between two independent Decks, the Decks are  
forced into Relative mode to prevent any undesirable jumps in playback position when toggling control. Therefore,  
when using AMPutate mode, you will use the on-screen controls (Fast Forward, Rewind, Overview Waveform,  
QuickCues, etc.) to set the playback position of the song—needle drops will not work.  
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Torq 1.5 User Guide  
Chapter 6  
38  
BPM Matching  
So how does one go about doing a DJ set with only one turntable? It is a little different than doing it in Standard mode,  
primarily due to the fact that you must use Torq’s on-screen Speed sliders to match tempos as opposed to using the pitch  
sliders on your turntable or CD player.  
Try it out: Click Vinyl on a Deck and start the external control source. While the song is playing, move the Deck’s on-  
screen Speed slider. Sure enough—the playback speed of the song changes, just as if you’d moved the pitch slider on the  
actual turntable or CD player.  
The reason for requiring the use of the on-screen controls lies in the fact that external control can be toggled back and  
forth between the Decks at will. Any time you do this, you’ll want the Decks to keep their previous tempos. If the tempo  
of a Deck changed when swapping external control, the mix would suddenly fall wildly out of sync.  
Therefore, the speed of the Control Vinyl or Control CD must remain constant—Torq will scale the playback rate as  
appropriate based on the setting of the Decks’ Speed sliders. If you change the speed of the control source, you’ll find  
that the Decks suddenly change speed any time you toggle external control.  
There is, however, one unique advantage to this setup: you can make use of Torq’s automatic beat-matching! Instead  
of manually moving the on-screen Speed slider with the mouse or MIDI Control, you can simply click the Deck’s Sync  
button and it’s Speed slider will be moved to match the tempo of the other Deck. Click the Sync button again to turn it  
off, and the Deck will remain at the proper speed waiting for the external control signal to begin. All you have to do then  
is start the music at the right time and keep it in alignment during the mix via external control. This makes the process of  
preparing the next track much faster.  
Runout Protection  
Since there is only about 12 minutes of usable control signal on each side of the Control Vinyls or on each track of the CD,  
it is possible that the song you are controlling could exceed the length of control signal available on the record or CD. This is  
extremely common when using Relative mode since the needle or CD position could be halfway through when you start the  
next track.  
In order to prevent the music from stopping abruptly if the control signal runs out on the record or CD, Torq features Runout  
Protection which essentially disables External Control when the record or CD reaches the last 30 seconds of its signal. When  
this happens, the song’s waveform will start to flash yellow and the song on the Deck continue to play. You will now be able  
to take the needle off the record and place it back at the beginning without Torq stopping the music (the same is true for the  
CD—you can jump back to the beginning of the track without stopping the music). Once Torq reads a few seconds of signal  
from the new location, the flashing will stop and Torq will re-engage External Control allowing you to scratch and manipulate  
like normal.  
✓ Note: If you are currently in Absolute mode when the last 30 seconds of control signal are reached, Torq will automatically  
switch the Deck into Relative mode when it engages the Runout Protection. The Deck will remain in Relative mode after you  
reset the record or CD, thus preventing the music from jumping to an unexpected location when external control is enabled  
again.  
MIDI Control  
While the Torq Control Vinyl and Control CDs offer a great way to control song playback on the Decks, there are still plenty  
of other features in Torq that would surely feel good under the fingertips. For that purpose, Torq provides the option of MIDI  
control for nearly every button, knob, and slider on the interface. Since MIDI is a common protocol shared between all types of  
musical gear, you can use almost anything capable of generating MIDI note or CC messages to control Torq—they do not need  
to be specialized DJ controllers. This will offer you a way to experiment with different control methods when DJing, such as  
using an M-Audio Trigger Finger to control samples or an M-Audio Axiom 25 keyboard to control effects and pitches.  
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Chapter 6  
39  
< MIDI Preferences  
The second tab of the Preferences contains the MIDI  
options. At the bottom of this tab is a list of all the  
available MIDI input devices on your computer. Each  
device has a “Yes/No” option to enable or disable it.  
Set the MIDI device to “Yes” if you wish to use it to  
control Torq. Otherwise, set the device to “No” and  
Torq will ignore it (allowing you to use it to control  
a different application, such as when ReWired into  
another host program).  
Once you have enabled a MIDI Input, you will be able  
to use it to control Torq by means of MIDI Learn,  
which will be described next.  
< MIDI Learn  
Every musician approaches their craft from a slightly  
different direction. DJing is no different. That is why  
Torq is basically a blank slate when run for the first  
time—there are no pre-set control assignments for  
any of the buttons, knobs, or sliders seen on screen  
for you to memorize. Instead, you get to assign the  
most important controls for you to whatever MIDI  
controls make the most sense to you.  
» Creating a MIDI Assignment  
Torq uses a simple MIDI Learn scheme to make assigning controls on your MIDI controllers a breeze:  
1. Right-click (CTRL-click on Mac) the button, knob, or slider you wish to control via MIDI. The control  
will be highlighted in red indicating that Torq is standing by.  
2. Move the desired control on your MIDI controller. That is, move the knob or slider you want to use  
or press the button/key you wish to use.  
3. Torq will intercept the incoming MIDI message and will instantly assign it to the control. The red  
highlight will disappear and the MIDI control will be active.  
» Clearing a MIDI Assignment  
If you’ve assigned a MIDI control using MIDI Learn and you wish to clear the assignment, simply right-click  
(CTRL-click on Mac) the desired control in Torq, then press the Delete key on your computer’s keyboard.  
Any assignments for the control will be erased.  
» Changing MIDI Assignment  
If you assign a MIDI knob, for example, to the Low EQ in the Mixer, you can assign it to the Mid EQ by  
simply right-clicking (CTRL-click on Mac) the Mid EQ knob and moving the MIDI Knob. Doing so will  
clear the assignment to the Low EQ knob and the MIDI control will now be mapped to the Mid EQ knob.  
This allows you to use a small controller for Torq since you can continually reassign its controls without  
worrying about what the previous assignments were.  
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Torq 1.5 User Guide  
Chapter 6  
40  
< Keyboard Learn  
You can also use your computer’s keyboard to control elements of the Torq interface using the same method  
as MIDI Learn above. Simply right-click (CTRL-click for Mac) on a control on screen, then press a key on your  
keyboard. That key will then be assigned to the selected control. The same method for changing and clearing  
MIDI assignments described above also works for keyboard assignments.  
< Assigning Buttons to Knobs or Sliders  
If you so desire, you can assign a MIDI button/key or a key on your computer’s keyboard to a knob or slider  
in Torq’s interface. When doing this, pressing the MIDI button or key will cause the knob or slider’s value to  
toggle between an assignable minimum and maximum value. For example, assign the “X” key on your computer  
keyboard to the Low EQ knob. Turn up the EQ to +6 using the mouse, then press the “X” key on your keyboard.  
The EQ will jump to 0. Press “X” again, and the EQ will jump back up to +6.  
< Assigning Knobs or Sliders to Buttons  
Conversely, you could assign a MIDI knob or slider to one of Torq’s buttons. When doing this, the button will  
turn on anytime the knob or slider is turned past its halfway point (outputting a MIDI value greater than 64). The  
button will turn back off when the knob or slider is moved lower than its halfway point.  
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41  
SAMPLER  
CHAPTER  
When talking about music, a sampler is not a plate of hors d’oeuvres. A sampler is a  
device that will digitally record a sound that you can then replay at various pitches. If  
you’re into any kind of electronic dance music or hip-hop, you’ve undoubtedly heard  
samplers in use.  
But what good is a sampler for a DJ? In recent years, DJs have used samplers to add  
sound effects to their mix. Such effects range from simple sounds like laser guns and  
bombs to more complex passages, such as a radio station’s identification or the DJ’s  
name. Torq’s Sampler will let you do the same—and due to its tight integration with the  
Decks, you’ll also be able to record loops that will stay synchronized to your mix. This  
will give you the ability to record and layer a song back on top of itself, or to play other  
loops in sync with your music. This can be especially effective when using the Sampler  
with various drum and percussion loops—you can create your own drum patterns to  
layer with your mix for added emphasis, or to keep the beat flowing during a breakdown  
in the music.  
7
Torq has 16 individual Sample Slots, each capable of recording and playing back a single  
audio sample. Below, you’ll learn the how to use the various controls in the Sampler  
along with techniques for capturing perfect loops.  
Signal Source  
Before you can record a sample, you must choose an audio source for the sample. When  
using Torq, this is as simple as engaging the PFL (headphone icon) on a Mixer channel.  
When you do this, you’ll hear that channel in your headphones and it will also be routed  
to the Sampler. This means that the Headphone Volume slider also acts as the Record  
Level adjustment for the Sampler.  
This routing scheme has two benefits. First, you can record a sample from an audio  
source that your audience cannot hear. For example, you could record a vocal break  
from your next song and play it to hint at the track you’re about to play. Secondly, this  
routing scheme allows you to record from more than one source at a time. If you enable  
the PFL on multiple Mixer channels, their signals will be mixed together for sampling as a  
whole.  
The idea when making any type of digital recording is to record the sound as loud as  
possible, but not so loud that it causes distortion. Like “The Price Is Right,” you want to  
get as close to the maximum without going over. Torq includes a limiter on the PFL, so  
you won’t have to worry if the sound you’re recording has a few loud peaks—they won’t  
cause distortion.  
English  
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Torq 1.5 User Guide  
Chapter 7  
42  
Sampler Controls  
This section provides an overview of the controls within the Sampler.  
Record Sample Button  
Samples can be categorized into two groups: one-shot samples and loops. One-shot samples are sounds that play once  
when you trigger them and are not automatically synchronized to your mix. Loops are samples that will play repeatedly—  
when the end of the sample is reached, playback will return to the beginning. Torq will play these loops in sync with the  
Global Tempo, allowing you to use multiple loops from different sources all at once.  
The method in which you use the Sampler’s Record button will determine whether you record a loop or one-shot  
sample:  
< Recording One-Shot Samples  
1. Press the Pre-Fader Listen (PFL) button in the Mixer to indicate the desired source of the sample. The button  
will light up.  
2. Press the circular RECORD button in the sample-cell you want to record to. The button will turn red to  
indicate that Torq is recording.  
3. When the Record button is pressed again, the button will turn off, and the recording will stop. The sample is  
now ready to play.  
< Recording Looped Samples  
1. To record a loop instead of a one-shot, press and hold SHIFT while clicking on the Record button. Instead of  
beginning recording immediately, recording will wait for the downbeat (determined via the phase information  
of the source Deck). The Record button will be yellow while it’s waiting for the downbeat. Once the  
downbeat is reached, the button will turn red and recording will commence.  
2. Clicking the Record button again while recording will not stop recording immediately. Instead, recording will  
continue until the end of the next bar (again, determined by phase information from the source Deck). The  
Record button will be yellow while it’s waiting for the end of the bar (the Sampler will be recording during  
this time). Once the end of the bar is reached, recording will stop and the loop will be ready to play (loop will  
already be selected).  
< Naming Scheme for Recorded Samples  
Each time you record a sample, Torq will give it the name “SampleXXX.wav” where XXX is an automatically  
generated number. The number will increment every time you create a new sample, regardless of which Sampler  
you use for the recording. The first sample you record will be named “Sample001.wav.” The next sample that is  
recorded will be named “Sample002.wav,” and so on. This numbering can be reset to start at 001 within the Torq  
Preferences menu. You can also rename any recorded sample using the Rename Sample function which is detailed  
later in this section.  
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43  
Trigger Sample Button  
Pressing this button causes the associated sample to play. One-shot and looped samples exhibit slightly different  
behaviors:  
< Triggering One-Shot Samples  
1. Click the Trigger button. The button icon will light and the sample will play immediately. During playback, a  
progress bar (behind the sample’s name) will fill from left to right. When the sample ends, the Trigger button  
will turn off.  
2. If the Trigger button is pressed while the sample is already playing, the sample playback position will  
immediately jump back to the beginning of the sample.  
3. To stop sample playback before the sample ends, hold the SHIFT key on your computer keyboard and click  
the Trigger button. This will stop the sample immediately.  
< Triggering Looped Samples  
1. Click the Trigger button. The sample will start playing in sync with the Global Tempo (when the Global  
Tempo button is active). If you trigger the sample at a point other than the downbeat, the sample will jump  
to the proper playback location in order to remain in sync with the Global Tempo. If Global Tempo is off, the  
loop will play independently of the current tempos.  
2. To stop the loop, click the Trigger button again. The loop will stop immediately.  
3. To stop the loop immediately, hold the Shift key while clicking the Trigger button. The loop will stop  
immediately when clicked.  
Loop Sample Button  
The Loop option can be checked or unchecked to enable or disable sample looping. When active, the sample will loop  
automatically when it reaches its end. The looping will be synchronized with the Global Tempo if the Global Tempo  
button is activated.  
When deactivated, the sample will be triggered as a one-shot. This means the sample will play only once when triggered.  
✓ Note: If you wish to use samples already on your hard drive (as opposed to recording them in Torq), the sample will need  
to be cut to an even bar length in order for the loop to play properly. You will need to use an external audio editor to cut the  
loop if it’s not already trimmed to the proper length.  
Sample Volume Knob  
Each sample has its own volume control allowing you to mix multiple samples together with appropriate levels. Click and  
drag up and down on this knob to change the sample playback volume. Hold SHIFT and click on the knob to reset the  
volume to unity (the original sample volume).  
Sample Speed/Rate Knob  
This knob adjusts the playback speed of a one-shot sample, or will scale the playback rate of a looped sample.  
When using one-shot samples, the Speed knob will set the playback speed/pitch for the sample. When the knob is set at  
12 o’clock, the sample will play at its original speed.  
When using looped samples, this knob will either double or halve the playback rate in order to remain in sync with the  
Global Tempo. When the knob is turned counter-clockwise, the playback rate will be cut in half. Turned clockwise, the  
playback rate will be doubled.  
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Torq 1.5 User Guide  
Chapter 7  
44  
Sample Name Window  
The Sample Name window serves multiple purposes.  
1. It will display the name of the sample file loaded into the slot.  
2. The background of this window will fill from left to right as the sample plays, like a progress meter.  
3. Clicking on this window will display a pop-up menu with the following options:  
< Load Sample  
Choosing this option will open a standard dialog box. Use this dialog to navigate to your hard drive and  
locate a sample. If you load a sample into a slot that already has a sample loaded, the current sample will be  
immediately replaced.  
< Save Sample  
Choosing this option opens a standard Save dialog box. Use this dialog to name the current sample and save it  
to a specific location. The new name will also be displayed in the Sample Name window.  
✓ Note: This option will be unavailable (grayed out) if the sample slot is empty.  
< Rename Sample  
Once you’ve recorded a sample, you can rename it from the generic “SampleXXX” naming format  
automatically applied to new samples. Simply click this option in the menu and type in a new name for the  
sample. The file on your hard drive will be renamed to match.  
✓ Note: This option will be unavailable (grayed out) if the sample slot is empty.  
< Unload Sample  
Choosing this option will remove the current sample from the sampler.  
< Load Sample Bank  
This option will allow you to load a bank of 16 samples into the Sampler using only one action. Choosing this  
option opens a standard dialog box that looks only for “.tsb” (Torq Sample Bank) files. Browse your hard drive  
and select a .tsb file. Torq will read this file and load the required sample files into the appropriate slots. It will  
then set the playback parameters for each sample.  
✓ Note: This operation will replace any samples that are currently loaded into the Sampler. If you want to keep  
the current configuration, save the bank (using the procedure below) before loading a new bank.  
< Save Sample Bank  
Once you have built a collection of samples (drum loops of a particular style or a collection of vocal stabs, for  
example), you can save the collection as a sample bank. Choosing this option from the menu opens a standard  
Save dialog box that will save a proprietary Sample Bank file. This file references the samples currently loaded  
into the Sampler. Browse to your hard drive and choose a location to save the file. The file will be saved with  
the extension “.tsb” (Torq Sample Bank). A file folder will also be created (of the same name) but with the  
word “Samples” appended to the end. This “Samples” folder will contain copies of the samples used in the  
bank for easy recall in the future.  
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Torq 1.5 User Guide  
Chapter 7  
45  
QuickScratch  
While firing off samples using the Trigger buttons can be a lot of fun, it doesn’t always provide the level of control that  
you may want for the sample. Torq’s QuickScratch feature allows you to control the sample using the variable-speed and  
variable-key engine within a Deck. This means you can scratch the sample using the mouse or with the Torq Control Vinyl  
or Control CD systems.  
< Assigning Samples  
Torq features two QuickScratch slots—QS1 and QS2. You’ll see that each sampler has a pair of these QS  
buttons. Pressing one of the buttons assigns that sample to the associated QuickScratch slot (i.e. pressing the  
QS1 button on Sampler 1 will assign the sample to QS1).  
< Activating QuickScratch  
Each of Torq’s Decks also have a pair of QuickScratch buttons. When you press one of them, the associated  
sample assigned using the QuickScratch buttons in the Sampler will be immediately loaded into the Deck. You  
can then manipulate the sample in the same manner used for full songs. Press the QuickScratch button again and  
the original song will be loaded back into the Deck. Here’s a practical example:  
You place your two favorite scratching sounds into the samplers—you put the “Aaaah” sample into Sampler 1  
and the “Fresh” sample into Sampler 2. You then activate QS1 in Sampler 1 and QS2 in Sampler 2. Now, when  
you press QS1 in a Deck, the “Aaaah” sample will be loaded. Pressing QS2 results in the “Fresh” sample being  
loaded. This allows you to access your favorite scratch sounds with the quick push of a button.  
< Looping a QuickScratch  
If a one-shot sample is used as a QuickScratch, the sample will not be looped when loaded onto the Deck. If a  
looped sample is used as a QuickScratch, the sample will be looped when loaded onto the Deck so that it will  
play indefinitely.  
✓ Note: If you change the QuickScratch assignment in the Sampler while using the QuickScratch feature on a Deck,  
the sample used in the Deck will be updated immediately.  
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46  
SNAPSHOTS  
CHAPTER  
By now, you’ve surely noticed that Torq has many features designed to make DJing  
easier. Automatic tempo-detection and beat-matching allow you, the DJ, to spend your  
time doing other things rather than manually keeping two tracks in sync. For example,  
you can remix the song using loops and QuickCues, tweak the sound using effects and  
EQ, and add samples to the mix. The sheer quantity of options available to you easily  
exceeds the number of fingers you have on your hands, so controlling all these features  
simultaneously can become a challenge. Torq’s innovative Snapshot system allows you  
to overcome these obstacles by allowing you to perform multiple tasks with the simple  
push of a button  
8
or two.  
A Snapshot is very much like it sounds—a virtual picture of settings within Torq. You  
can configure the controls and effects in Torq as you like, then save all those settings  
in a Snapshot that you can recall instantaneously. Torq enables you to make a virtually  
unlimited list of Snapshots, all with unique control parameters, and sort them in the  
Snapshot list—this list becomes an arsenal of your best tricks, which you can use at any  
time.  
Snapshot List  
If you press the Tab key on your keyboard or click the Camera tab  
, the Database  
and Browser will be replaced with the Snapshot List. The list has multiple columns, like  
the File List, and each row represents one Snapshot. Press the Tab key again (or click the  
Browser tab) to return to the Database and Browser.  
Creating a Snapshot  
To create a new Snapshot, simply click the New Snapshot button above the Snapshot  
list or the New Snapshot button located in Torq’s Toolbar. Torq will immediately create  
a new Snapshot entry and the name will be highlighted so that you can type in a proper  
name for the Snapshot. Type in something you can remember and press Enter. You can  
always rename the Snapshot by double-clicking its name and typing in a new one.  
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Masking a Snapshot  
Each Snapshot you create contains the settings of almost every component in Torq. A Snapshot will remember the Key setting  
of a Deck, the EQ settings in the Mixer (including the state of the EQ Kills), the channel gains and volumes, the Crossfader  
position, and the contents and settings of the built-in Effect Racks (VST effects are not saved in the Snapshots). You can  
therefore have a Snapshot that will update all of these parameters at once, if you wish.  
More often than not, however, you’ll want to only override a portion of your current settings using a Snapshot. For example,  
you may want to recall the settings of one effect rack while leaving all other settings (channel volumes, EQs, etc.) as they  
currently are. This is the purpose of masking, which allows only particular portions of the Snapshot to be used.  
Each column in the Snapshot List corresponds to certain portions of the Torq interface. You’ll find columns for Deck A and  
Deck B, Key, FX, EQ Kills, EQ knobs, Crossfader, and channel volumes. When you create a new Snapshot, these columns will  
be blank. As a result, nothing will happen when you trigger the Snapshot.  
The way to enable the Snapshot is to place check boxes in these columns to indicate what portions of the interface you’d like  
the Snapshot to control. If you put a check box in the Deck A column, the Snapshot will use the information for the left side of  
the interface. You can check Deck B instead if you wish the Snapshot to only affect the right side of the interface. Check them  
both and the entire interface can be updated with the Snapshot.  
Once you’ve selected which Deck(s) should be controlled by the Snapshot, place additional check boxes in the columns  
corresponding to the parameters you’d like to control. For example, if you check the Deck A and EQ knobs columns, only the  
EQ knobs on the left side of the mixer will be updated when the Snapshot is triggered. Any other settings (the current key of  
the song, any effects in the Effect Racks, etc.) will remain unchanged. If you were to also check the EQ Kills and Key columns,  
the Deck’s Key setting will be updated by the Snapshot, along with the EQ Kills, too. Checking all of the columns and all  
parameters within the Snapshot will override the current settings. When you release the Snapshot, all previous settings will be  
restored.  
Using Snapshots  
The second column in the Snapshot list is labeled Assignment and contains the name of the current keyboard key or MIDI note  
assigned to the Snapshot. When you make a new Snapshot, this column will be blank. Simply right-click (CTRL-click on Mac)  
on the empty field and the message “Press a key...” will appear, indicating that Torq is waiting for your key assignment. Press a  
key on your computer’s keyboard, or trigger a MIDI note on your external controller, and Torq will immediately bind it to the  
Snapshot. Right-click again to assign a different key, if you wish. Now, the Snapshot will be activated any time you press the  
assigned key.  
✓ Note: Because of the large amount of Snapshots you may create while using Torq, you can to use modifier keys when making  
assignments. For example, you can assign the W key, SHIFT+W, CTRL+W, and ALT+W to different Snapshots—you can even  
use multiple modifiers, like CTRL + SHIFT + W.  
Duplicate Snapshot  
Click on a Snapshot in the list to select it, then click the Duplicate Snapshot button (the third button from the left). Another  
Snapshot will appear in the list, but this one will contain an exact copy of the parameters from the previously selected  
Snapshot. You can give the duplicate a new name, then select different masking parameters to make the Snapshot behave  
differently. Assign a different key to this Snapshot, and you can fire off either with ease.  
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Swapping Snapshots  
Frequently, you may find that a Snapshot set up for Deck A would be useful for Deck B or vice versa. For example, you may  
have created a Snapshot that loads a Delay effect while also killing the Low EQ on Deck A. Torq allows you to swap the left and  
right assignment of Snapshots to do this easily.  
To start with, duplicate the Snapshot as described above—a copy of the Snapshot will appear in the list. Give this new Snapshot  
a new name (i.e. if the original Snapshot was called “HP Delay A”, you might rename it to “HP Delay B”). Once you’ve created  
the new duplicate, place check marks in the Swap and Deck B columns and remove the checkmark from the Deck A column.  
This will essentially take any assignments made to Deck A and now apply them to Deck B when using this Snapshot.  
Delete Snapshot  
The third button above the Snapshot list is the Delete Snapshot button. Select a Snapshot from the list then click this button to  
delete it.  
Momentary vs. Latching Behavior  
By default, a Snapshot will only be active as long as you hold the assigned key. As soon as you release the key, the Snapshot is  
deactivated and all previous settings are restored. This is excellent for simply “punching in” little tweaks and effects that you  
only use for a few moments at a time.  
If you place a check box in the “Latch” column of the Snapshot list, the Snapshot will become active when you press the  
assigned key and will remain active even after you release the key. When you press the same key again, the Snapshot will be  
turned off. This mode allows you to recall a setting that you may want to leave active for a while, such as a special stutter  
pattern that you created using multiple Strobe effects.  
Polyphonic Snapshots  
On top of all this, you can trigger multiple Snapshots at a time. You can, for example, trigger one Snapshot that cuts the bass  
and boosts the treble on Deck A while triggering another that detunes the track on Deck B.  
You’ll notice that whenever you activate a Snapshot, its check boxes in the Snapshot List will light up, indicating that those  
parameters are being controlled by the Snapshot. On the occasion that you trigger another Snapshot that has conflicting  
settings (both Snapshots you’re triggering have FX checked, for example), the last Snapshot you triggered will take precedence.  
You’ll note that the green check mark in the FX column of the first Snapshot will turn red, indicating that the parameter  
is overridden by the other Snapshot. As soon as you deactivate the second Snapshot, the red check will turn green again,  
indicating that the parameter in the first Snapshot is in use again.  
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49  
BROWSER/DATABASE  
CHAPTER  
A DJ’s most important asset, beyond the gear he uses, is his collection of music. Without  
a wealth of top-notch tracks in his arsenal, a DJ is not equipped to dominate a dance  
floor. Anyone who has been DJing for even a short while will have amassed a decent  
collection of songs, and finding those songs quickly is the job of Torq’s Browser and  
Database.  
The Browser is very similar to the navigation methods employed by your computer’s  
operating system. The Browser will allow you to explore the contents of all your  
hard drives (internal and external), connected MP3 players (such as iPods), and audio  
CDs. You can then add music folders to the Torq Database in order to search for  
songs using keywords or sorting techniques, which makes finding your music much  
easier than thumbing through CD wallets or crates of vinyl. Torq also supports the  
building of playlists which will allow you to pre-select a series of songs to use in a later  
performance—and Torq will even document all of the songs you play in a set for later  
review (the Session Playlist).  
9
This section will show you how to navigate your hard drive(s) using the Torq Browser,  
and how to add folders containing music files to the Database. It will also explain how to  
search for particular songs, how to organize songs by categories for easier viewing, and  
how to manage playlists.  
Browser Pane  
The Browser pane is located on the  
bottom left of the Torq interface. It  
allows you to navigate drives, folders,  
and playlists through an easy-to-use file  
structure.  
The Browser contains three standard  
headings: Database, Playlists, and your  
local Music folder (called “Music” on  
Mac and “My Music” on PC) which  
are shown at the top of the Browser  
pane. The Browser will also contain a  
listing of each drive connected to your  
system—those drives will be listed by their names (for example, “C:” or “Macintosh  
HD”). Finally, all connected media players will have an entry along with any  
inserted CDs.  
Navigation in the Browser follows a few simple rules:  
1. To view any songs contained in a folder, click on the folder’s name. If the folder  
contains music files, those files will be displayed in the File List to the right  
of the Browser pane. If Torq cannot identify any playable music files in the  
selected folder, the list will be blank.  
2. To view any sub-folders, click the plus sign (+) next to a folder. A list will  
appear below the parent folder showing all available sub-folders. To close this  
list, click the (–) in front of the parent folder.  
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Database  
The Database is the first item displayed in the Browser pane. The Database is simply a collection of file folders located  
throughout your computer system (even on external disk drives) used to make locating and organizing you music more  
efficient. Once a folder is added to the Database, the songs it contains will be listed in the File List whenever you click  
on the Database heading. If you have multiple folders assigned to the Database, all the files in all folders will be listed  
simultaneously in the File List. Therefore, to use the Database efficiently, you’ll only want to assign folders that contain  
music you’d like  
to spin.  
< Adding Folders to Database  
To add a music folder to the Database:  
1. Use the browser to search for a folder.  
2. Right-click on the folder you want  
to add.  
3. Choose “Add to database” from the pop-up menu.  
4. The folder will then be assigned to the Database (you  
can click the “+” in front of Database to see this new  
folder listed beneath it).  
5. Now, when you click on Database, the contents of  
the folder you just assigned will be listed in the File List.  
< Adding Multiple Folders  
You may find that one folder will contain many folders that you’d like to add to the Database. A great example  
of this is when your music is automatically sorted by a program like Apple iTunes. Typically, there will be a folder  
for each artist in your collection, and each of these folders will contain individual folders for each album by that  
artist. Therefore, if you want to add all the music by this particular artist to the Database, you actually need to  
add all of the individual album folders.  
To make this easier, Torq includes an option for adding folders, including their subfolders, to the Database:  
1. Use the Browser to locate the folder containing the sub-folders you want to add.  
2. Right-click (CTRL-click on Mac) the folder and select “Add folder to Database Recursively.” Torq will  
automatically add the folder, along with all its sub-folders, to the Database.  
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< Adding Folders from Your OS  
If you’d prefer, you can add folders to the Database by dragging them from your operating system into the Torq  
Browser. You can do this using either Explorer for Windows or Finder for Mac.  
1. Find your desired folders using the tools of your operating system (Explorer or Finder).  
2. Click and drag the folder from the operating system into the Browser.  
3. Release the mouse button and the folder will be added to the Database.  
✓ Note: You can also include the subfolders by holding the Alt key while dragging the folder into the Database.  
< Searching Specific Database Folders  
Clicking on the Database heading will display every song contained in the Database in the File List to the right of  
the Browser window. If you would like to confine your search to only a particular folder within the Database:  
1. Click the (+) in front of the Database heading. The list will expand to show all of the folders contained in  
the Database.  
2. Click on one of the folders. The File List will be updated to only show the songs contained in that specific  
folder.  
< Removing Folders from Database  
There are two ways to remove folders from the Database. You can either search through the folders currently  
listed within the Database and remove them, or you can locate the original folders on your hard drives to  
remove them.  
To remove folders directly from the Database:  
1. Click the plus sign next to the Database. This will drop down a list of all folders assigned to the Database.  
2. When you have found the folder you want to delete, right-click it.  
3. Choose “Remove from database” from the pop-up menu. The folder will then be removed from the  
Database while the original audio files will still remain on your hard drives.  
To remove folders from the Browser:  
1. Use the Browser to locate the original folder on your computer.  
2. Right-click the folder to display the pop-up menu.  
3. Click “Remove from Database” to remove this folder only. If the folder contains sub-folders that are part  
of the Database, they will remain in the Database.  
4. Click “Remove from Database Recursively” to remove this folder, along with all of its sub-folders, from the  
Database.  
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File List  
The window to the right of the Browser pane is called the File List. If you have selected a source in the Browser that contains  
music (such as the Database or an individual folder), the songs contained therein will be listed here. The File List not only shows  
you the name of the song, but also shows the artist name, album name, track number, genre, and other fields contained within  
the song’s ID3 tag. These additional categories can help you find song with greater efficiency.  
✓ Note: While ID3 tags will support storage of the information listed above, it is common to find music files with some (if not all)  
of the ID3 fields blank. Even if the music file does not contain information for all categories, you are still able to fill in the missing  
info by hand in order to aid in searching through your files.  
Editing Fields  
Torq will extract the relevant song information from the file’s ID3 tag in order to populate the fields of the File List as  
described above. You are free to edit the information shown in the File List simply by double-clicking a field, typing in new  
data and hitting Enter.  
It is important to note that Torq does not update the song’s ID3 tag with your edits. Instead, your edited fields are  
stored in a special file with the same name as the song, but with the extension “.tqd” at the end. This is the Torq Data  
file. By saving your edits to the TQD file, Torq can save your changes much faster (changing an ID3 tag requires re-writing  
the entire audio file, something that could affect system performance during live use). Additionally, the audio file could  
become corrupted during the re-write process. So, Torq leaves your precious music files untouched by saving data to the  
TQD file.  
Loading Songs into the Decks  
To load a song from the File List into one of Torq’s Decks, you have a couple options.  
< Click and Drag  
1. Click and hold on the desired song in the File List. It will become highlighted.  
2. While continuing to hold the mouse button, drag the song up into either of Torq’s Decks.  
3. Once the song is over your desired Deck, release the mouse button and the track will be loaded into  
the Deck.  
✓ Note: You can also drag the song onto the Scrolling Waveforms. Dragging the track onto the top waveform will  
load it into Deck A at the left. Dropping the track on the lower waveform will load it into Deck B at the right.  
< Function Keys  
1. Click on the desired song in the File List. It will become highlighted.  
2. Press F1 to load the song onto Deck A or press F2 to load the song onto Deck B.  
✓ Note: If using a Mac laptop computer, you may need to hold the Fn key while pressing the function keys in  
order for these features to work.  
Unloading Songs from the Decks  
If you wish to unload a song from a Deck, hold Shift while pressing F1 (for Deck A) or F2 (for Deck B).  
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Sorting the List  
There are fourteen categories that can be displayed across the top of the File List window: Artist, Song, Album, Track #  
(Track Number), BPM (Beats Per Minute), Key, Genre, Length, Comment, File Type, Bitrate, Label, Year and Filename.  
These categories are taken from the ID3 tags of your music files or, in the case of song length and BPM, calculated as part  
of Torq’s file analysis. An ID3 tag is a standard format for storing additional information within a music file.  
You can resize the width of any of these columns simply by clicking and dragging left and right on any of the vertical lines  
separating the columns. Additionally, you can re-order the arrangement of the columns by clicking and dragging the  
column name to a new position (the column name will turn white while doing this). If you wish, you can also hide certain  
columns from view by right-clicking on a category name and choosing which items to display from the pop-up menu.  
You can sort the contents of the File List by clicking on any one of the categories at the top of the window. For example,  
if you click the “Album” category, the File List will be sorted alphabetically (A to Z) by Album name. If you click “Album”  
again, the order will be reversed (Z to A). You could also click on the BPM column to sort all your songs by their BPM.  
This can be very useful when looking for songs of a similar BPM.  
Click the Reset button to return to the default sort order.  
✓ Note: The Filename column is available in the event that the music you’re trying to use does not contain an ID3 tag (such  
as AIFF and WAV formats) or does not have the proper text filled in. Here, the actual name of the file (as it exists on your  
hard drive) will be shown.  
Searching the List  
The simplest method for searching is to type a keyword (or keywords) into the Search field above the Database/Browser:  
1. Click the Database heading in the Browser pane to select it.  
2. Click in the Search field and type in your search term(s). Terms can include an artist’s name, a song title,  
BPM, etc.  
3. As soon as you start typing, Torq will begin searching the Database for the letters you have typed. There is no  
need to hit the Enter key on your keyboard.  
4. When you stop typing, you’ll have a list of all files that contain the search term in one of its fields.  
For example, if you type the word “love” into the search field, Torq could return the following results:  
Artist 4  
Song  
Album  
Deee-Lite  
Power of Love  
World Clique  
Let’s Go Bang  
Express  
Jennifer Love Hewitt  
Love and Rockets  
Madonna  
Can’t Stand in the Way of Love  
Angels and Devils  
I’d Rather Be Your Lover  
Flow  
Bedtime Stories  
Lover’s Rock  
Sade  
< Search Categories  
As you can see, the above search worked—it found songs that contained the word “love” in any category.  
However, this may not be quite what you were looking for. You may have actually wanted files with “love” in the  
song’s name only. To search for such titles, you’ll need to confine the scope of the search to the Song category  
only.  
To confine a search to a particular category:  
1. Hold down the SHIFT key and click a category name. The category name will turn red.  
2. Torq will refine its search results and only show songs that contain your search term within the selected  
field.  
3. You can hold SHIFT and click additional categories if you wish (i.e. you can select Song and Album  
simultaneously).  
4. SHIFT-clicking a selected category will de-select it.  
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Using our example above, confining the search to the Song category would yield the following results:  
Artist4  
Song  
Album  
Deee-Lite  
Power of Love  
World Clique  
Let’s Go Bang  
Bedtime Stories  
Jennifer Love Hewitt  
Madonna  
Can’t Stand in the Way of Love  
I’d Rather Be Your Lover  
Now, only the songs with “love” in their titles are shown.  
< Ignore Field  
Torq offers another method for refining your searches by means of the Ignore field. Here, you’ll enter terms  
that you want Torq to omit from the search results. The Ignore command will only be applied to the currently  
selected categories (explained above).  
To omit terms from the search results:  
1. Click to put a cursor in the Ignore Field.  
2. Type in the term you would like to filter out of the search.  
3. Torq will display only the songs that contain the information required in the Search field while omitting the  
songs that fit the criteria of the Ignore field.  
Again, using the example above, entering the term “Lover” into the Ignore field will return the following list:  
Artist 4  
Song  
Album  
Deee-Lite  
Power of Love  
World Clique  
Let’s Go Bang  
Jennifer Love Hewitt  
Can’t Stand in the Way of Love  
You’ll see that, as a result, “I’d Rather Be Your Lover” has been removed from the list.  
4 Note: Reference to artists and bands is for informational purposes only and does not imply an endorsement  
or sponsorship of Torq by such artists or bands.  
< Reset Button  
When you are done with your search and are ready to begin a new one, press the Reset button. This will clear  
the Search and Ignore fields as well as deselect any categories that had been previously selected.  
Playlists  
While many DJs will perform “off-the-cuff” without any previous rehearsal or forethought, other DJs will “pre-program”  
their sets, either due to the complexity of the set or simply as a method for remembering vital songs (this can be helpful  
for wedding or party DJs who take requests).  
Torq features Playlists to help you organize and store lists of songs. You can create and manage multiple Playlists, each  
with as many songs as you like. Each Playlist can then be edited by adding or deleting tracks, or by rearranging their order  
within the Playlist.  
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< Creating New Playlists  
To start, you must create a new Playlist as follows:  
1. Right-click (CTRL-click on Mac) on the Playlists heading in the Browser and choose “New Playlist” from the  
pop-up menu.  
2. A new Playlist titled “Empty Playlist” will appear below the Playlist heading (click the plus sign in front of  
Playlists in order to see this list).  
✓ Note: If there is already an “Empty Playlist” in the list, a number will be appended to the name to  
differentiate it from the other(s), i.e. “Empty Playlist 1.”  
< Rename Playlist  
1. Right-click (CTRL-click on Mac) on your desired Playlist and choose “Rename Playlist” from the  
pop-up menu.  
2. Type in the new name you would like to give the Playlist and hit the Enter key on your computer keyboard.  
3. The Playlist will display its new name.  
< Deleting a Playlist  
1. Right-click (CTRL-click on Mac) on the Playlist and choose “Delete Playlist” from the pop-up menu.  
2. The Playlist will be removed from the list in Torq. It will still be on your computer, however, stored in the  
“Deleted Playlists” folder. These Playlists will be kept for up to 30 days, then permanently deleted.  
< Duplicating a Playlist  
If you like a particular Playlist and would like to build a new one based upon it, you can duplicate (or copy) it for  
future modification.  
1. Right-click (CTRL-click on Mac) the Playlist you would like to duplicate and choose “Duplicate Playlist”  
from the pop-up menu.  
2. A duplicate of the selected playlist will be created and displayed underneath it.  
3. A number will be added to the name of the Playlist to differentiate it from the original. Of course, you can  
rename this Playlist using the method described above.  
< Adding Songs to a Playlist  
Once you have created and selected a Playlist, you’ll begin adding files to it using the following procedure:  
1. Using the Browser or Database, locate the song (or songs) you’d like to add to the Playlist.  
2. Right-click (CTRL-click on Mac) the song name(s) and select “Add to Playlist” from the pop-up menu.  
3. The song(s) will be added to the bottom of the Playlist.  
< Removing Songs from a Playlist  
You can remove songs from a Playlist as follows:  
1. Right-click (CTRL-click on Mac) the song in the Playlist you wish to delete.  
2. Select “Remove from Playlist” from the pop-up menu.  
3. Torq will remove the song from the Playlist, but the song will remain in the Torq Database (it will not be  
deleted from your computer).  
< Reordering Songs in a Playlist  
The order in which your songs are displayed in the Playlist can be changed.  
1. Click and drag the song up or down in the list.  
2. If you drag the song on top of another existing song, releasing the mouse button will cause the song to be  
inserted above the song in the list.  
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< Activating a Playlist  
When you select a Playlist, Torq runs a quick scan of your computer’s drives to ensure all the audio files  
referenced by the Playlist are present on the computer. If Torq cannot locate one or more of the songs from the  
Playlist (possibly because the drive containing the song is no longer connected to the computer, or the source  
file has been deleted), a pop-up dialog will appear with the following message: “Cannot find one or more of the  
files used in this Playlist. What would you like to do?” You will then have a choice of clicking one of the following  
buttons.  
» Ignore: Clicking this button will allow the Playlist to load, however all missing songs will be displayed in  
red in the File List window.  
» Auto-scan: Clicking this button will cause Torq to search all hard drives connected to your computer  
in an attempt to find the missing file(s). If a file is found with the same name but in a different location,  
another dialog box will appear with the following message: “Would you like to use this file for [name of  
missing file]?”  
1. By choosing “Yes,” Torq will use the file and automatically assume that the rest of the missing files will  
also be in this same folder. Once found, these files will automatically be loaded. If the other missing  
files are not in this location, Torq will continue searching the computer until another file is found.  
2. Choosing “No” will allow the search to continue for another possible file in a different location.  
3. If the search completes without finding the proper file, a dialog box will appear with the following  
message: “Cannot find [name of missing file].” When you click “OK” Torq will display the file in red in  
the File List, indicating that the song cannot be played. If there are other files to search for, the search  
process will continue.  
» Manual: Clicking this button will open a standard operating system dialog box that will allow you to manually  
search for the audio file on your hard drive(s). Although you are searching for a specific missing file, it is  
possible to select any audio file to be used in its place. If you choose a file that is different than the missing file  
shown in the File List, the ID3 tag info for the new file will be shown (in the Playlist) in place of the original  
song.  
< Saving a Playlist  
All playlists created using Torq are automatically saved to your local harddrive. These playlists can be opened by  
any application that supports the .m3u playlist format.  
• Torq playlist location, Windows XP5:  
C:\Documents and Settings\[username]\Application Data\M-Audio\Torq\Playlists  
• Torq playlist location, Windows Vista5:  
C:\Users\[username]\AppData\Roaming\M-Audio\Torq\Playlists  
• Torq playlist location, Mac:  
~/Library/Application Support/M-Audio/Torq/Playlists  
5 On Windows Vista and Windows XP systems, the playlists are located within hidden folders. You  
will need to change your Folder Options > View settings to make these hidden folders visible before  
you can access the playlist files.  
Windows XP: From “My Computer” click on the Tools menu, select Folder Options, click  
on the “View” tab and then select “Show hidden files and folders” from the list of options.  
Windows Vista: From the Windows Control Panel, select Appearance and Personalization,  
Folder Options, click on the “View” tab and then select “Show hidden files and folders.”  
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< Loading a Playlist  
Torq can import Playlists created by other programs if they conform to the .m3u file format. To load one of  
these Playlists:  
1. Right-click (CTRL-click on Mac) the Playlist’s heading in the Browser pane.  
2. Select “Load Playlist” from the pop-up menu.  
3. A standard dialog box will open, allowing you to locate and select a Playlist.  
4. Once selected, the Playlist will be imported into Torq and Torq will begin checking for the necessary files  
(explained above).  
Session Playlist  
The Session Playlist is an automatic Playlist that keeps track of every song you’ve played since you launched Torq. This is  
handy when you need to see if you’ve played a song already, or if you need to reference a list of what you played at a  
previous gig.  
An empty Session Playlist is created each time you launch Torq. It is named “Session Playlist YY-MM-DD” where YY-MM-  
DD represents the year, month, and day of the Playlist, respectively. Each song you load into a Deck will automatically be  
added to the bottom of the Session Playlist.  
✓ Note: If a Playlist already exists with the current date, a number will be appended to differentiate it.  
✓ Note: Torq will only store Session Playlists for the last 30 days. Any Session Playlists that are older than 30 days will be  
automatically deleted in order to keep your hard drive from becoming overpopulated with Playlists.  
< Rename the Session Playlist  
If you find that you’d like to permanently keep a Session Playlist, all you have to do is rename it. Once renamed,  
the Playlist will be moved from the pool of Session Playlists and be kept with your normal Playlists. To do this:  
1. Right-click (CTRL-click on Mac) on the Session Playlist and choose “Rename” from the pop-up menu.  
2. Type in a new name for the Playlist and press Enter.  
3. The Playlist will be saved. If you renamed the current Session Playlist, a new Session Playlist will be created  
that will track all songs played from that point onward.  
< Deleting Session Playlists  
You can delete the Session Playlists using the same method for deleting standard Playlists. If you delete the  
current Session Playlist, a new one will be created that will track all songs played from that point forward.  
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iTunes  
iTunes is a free media player available from Apple for both Mac and Windows computers (www.itunes.com). It provides  
an excellent way to download, organize, and rip music as well as interfacing with Apple’s famous portable media player,  
the iPod.  
Torq can interface with iTunes, providing you instant access to your entire collection of music and playlists without having  
to manually add folders to the Database. Furthermore, any updates or changes that you make to your iTunes Library or  
Playlists will automatically be reflected in Torq.  
< Library  
The iTunes Library is the entire collection of music and videos currently managed by iTunes. You can browse and  
search the iTunes Library by clicking the plus sign in front of the iTunes heading in the Browser, then clicking the  
Library heading. The contents of the Library will be shown in the File List.  
✓ Note: If you have an especially large iTunes Library, it may take a moment for Torq to read the entire contents of  
the Library the first time you select it in a Torq session.  
Once you’ve clicked the Library heading, you can search and sort the Library contents in the same manner as the  
Database (described earlier).  
< Playlists  
iTunes also supports the creation and editing of playlists, but they are a different format from the .m3u format  
used by Torq. Not to worry—Torq can still access these playlists through the iTunes heading in the Browser.  
Simply click the plus sign in front of Playlists to view them. Click on an individual Playlist to see its contents in the  
File List.  
< Searching iTunes with the Database  
Torq can also automatically add the contents of the iTunes Library to the Database. That way, when you click the  
Database heading in the Browser, you’ll get the files from all folders assigned to the Database as well as all files  
within the iTunes Library. To enable this feature:  
1. Open the Preferences.  
2. Click the Misc tab.  
3. Next to “Search iTunes Library with Database,” select “Yes.”  
4. Close the Preferences.  
5. Torq will now include the contents of the iTunes Library when you click the Database heading.  
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iPods  
Torq also allows direct access to the contents of any connected iPod (excluding the iPod Shuffle, iPod touch, and iPhone  
models). When an iPod is connected, it will be listed in the Browser window.  
Like the iTunes Library above, the contents of the iPod can be searched using the Library or Playlist headings. You can  
also include the contents of the iPod in the Database by doing the following:  
1. Open the Preferences.  
2. Click on the Misc tab.  
3. Next to “Search iPod With Database,” select “Yes.”  
4. Close the Preferences.  
5. Torq will now include the songs from the iPod the next time you click the Database heading.  
✓ Note: If using an iPod with a large collection of audio files, it may take Torq a moment to download the entire music  
list the first time you try to access it during a Torq session.  
Also keep in mind that Torq streams the music directly off the iPod. You cannot disconnect the iPod until you are done  
playing any music contained on it.  
Drives  
Torq can also search any hard drives connected to your computer, whether they are internal hard drives or external  
ones. Every drive available to the system will be listed in the Browser by name. Click the plus sign in front of the drives  
to explore the contents of the drives. You can add folders from external drives to the Database using the same methods  
described earlier.  
Audio CDs  
Torq can also play music from audio CDs inserted into your computer’s CD drives. Click on the Audio CD heading in the  
Browser to choose an audio track from the CD.  
Because Torq must rip the audio from the CD into a temporary file on your computer, it will take longer for the song to  
be ready to play after loading it onto a Deck. This increased load time is normal.  
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60  
MIXER  
CHAPTER  
Step one when DJing is controlling the music. That’s what Torq’s Decks are for. Step two  
is blending, or mixing, the music together. As you’d expect, Torq has a section for that,  
too. While existing in software, Torq’s Mixer sounds and behaves just like a top-of-the-  
line hardware mixer. It is therefore instantly familiar to anyone who has used a mixer  
before, and it is capable of performing the same tricks and techniques utilized by DJs on  
traditional hardware mixers.  
10  
Mixer Architecture  
Before you start tweaking knobs and sliders on the Mixer, you should have a basic  
understanding of the components in the mixer and the signal flow between the  
components. Without this basic understanding, some controls may seem to be  
misbehaving or completely inoperative, only because you’ve unknowingly set another  
control to a conflicting position. Additionally, there are some terms you should get to  
know, as they will be used repeatedly throughout this User Manual.  
Channels  
When audio from a Deck enters the Mixer, it enters a channel. A channel is a  
section within a mixer that processes a single audio signal. Since Torq has two  
Decks, the Mixer has two channels, one for each Deck. While the signals from  
both Decks enter the same mixer, they remain separate in their respective  
channels, allowing you to process them differently before mixing them together  
into a single channel (which is what your audience hears).  
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Gain/Mute  
When audio from a Deck enters a channel in the Mixer, the first thing it runs into is the Gain control (seen at the top of  
each channel in the mixer). This knob will increase or decrease the volume of the incoming audio signal, allowing you to  
boost the level of quiet songs or reduce the level of loud ones. This is a basic step in both maintaining high-quality audio  
and matching the levels of the two songs you’re mixing together.  
Torq’s Gain knobs will boost or cut the incoming signal by up to 12dB. The “X” button next to the Gain knob is the Mute  
button. Activating this button will mute the incoming audio—resulting in a silent channel.  
EQ/Kills  
Next in the signal chain is the Equalizer, or EQ for short. While the Gain knob (above) increases or decreases the level  
of the entire audio signal in the channel, an EQ increases or decreases the level of only a specific frequency range within  
the audio signal. Torq is equipped with a 3-band EQ, meaning it can control the levels of three different frequency ranges  
(bands), named High, Mid, and Low.  
The 3-band EQ is comprised of three knobs and three buttons arranged vertically in each mixer channel. Naturally, the  
High EQ is above the Mid EQ, which is above the Low EQ. The “X” buttons next to each EQ knob is a Kill. Activating  
these buttons will completely remove, or kill, the associated frequency band from the audio—activating all three at the  
same time will therefore completely mute the audio signal.  
EQ may very well be the most powerful tool on the DJ mixer (though some would argue that the crossfader is the  
ultimate weapon). The EQ controls are used to (1) improve the sound quality of poorly recorded or produced songs, (2)  
assist in matching the overall frequency content of two songs, (3) add emphasis to the music by removing or isolating one  
or more of the frequency ranges, and (4) mix songs together in a “jigsaw” fashion by swapping the frequency ranges of  
two songs as they play together.  
Old songs typically don’t have as much bass as today’s tracks. Therefore, you’ll often use the Low EQ to boost the bass  
(low frequencies) of the old song to match the louder bass of a recent song. Without doing this, it may sound like the  
music gets quieter as you mix from the recent song to the older one.  
Likewise, even tracks recorded within the same year can sound different from one another, even when playing at the same  
volumes. This is usually because one song will have stronger Mid frequencies compared to the other. If the bass parts in  
both songs sound like they’re the same volume, you can use the Mid EQ to “turn down” the louder song until it more  
closely matches the quieter song.  
DJs also like to mix things up during their sets by adding their own manipulations to the songs they play. For example, a DJ  
might cut the High and Low frequencies from a track a few beats before the chorus of a song, then bring them back right  
when the chorus starts (the perfect job for Torq’s High and Low Kill buttons).  
When two songs are playing at the same time, you’ll frequently find that the music sounds muddy. This is normally due  
to “un-complementary” bass content in the two songs. This can be as simple as the two songs being in different keys, or  
could occur if both songs have long, sustained bass notes. In order to clean things up, you can simply remove the bass  
from one of the songs with one of the Low Kill buttons. This will leave the bass from the other song in the mix, so it will  
still sound natural. When you’re ready, press both Low Kill buttons at the same time. This will kill the bass in the first  
track while bringing in the bass from the other. This will sound like the bass part in the overall mix has changed (which it  
has) and the mix will still sound full. You can also swap frequencies with the other frequency bands. You can also make the  
swaps less abrupt by using the EQ knobs instead.  
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PFL/Headphone Cue  
Once the audio signal leaves the EQ, it is sent to two different locations. One location is the PFL Button, which looks like  
a pair of headphones. PFL stands for Pre-Fader Listen, which refers to hearing an audio signal without being under the  
influence of the Volume fader (on some mixers, this function is called “Cue”). That definition may not make sense if you’re  
not familiar with a mixer, so think of it as a way to privately hear the music in a mixer channel regardless of what your  
audience can or cannot hear.  
This is what a DJ uses to listen to the next song before he plays it for his audience. When you press the PFL button, that  
channel is sent to the PFL section, which is described below. You’ll be able to hear the music on the headphones and you’ll  
even be able to record it into the Sampler.  
Channel Volume Faders  
Besides going to the PFL, the audio leaving the EQ also goes to the Channel Volume fader. This is the primary volume  
control for the channel (though it is subordinate to the crossfader) which works just like a volume fader on a traditional  
mixer. You can match volumes of the two tracks using the Channel Volume faders. However, some DJs prefer the  
technique of leaving the Channel Volume faders fully up—you then match the volumes of the songs using the Gain knobs.  
The reason for this is that you’re then free to use the Channel Volume faders for other effects such as volume fades, cuts,  
and stutter effects, similar to the scratch techniques used on the Crossfader. Whichever approach you choose is entirely  
up to you.  
✓ Note: You can quickly return a Channel Volume fader to full volume by holding SHIFT and clicking on the fader.  
Line Input Buttons  
Located above the PFL icons in each channel of the Mixer is a Line Input icon. Clicking this icon will activate the line  
input for that channel. This will allow you to feed audio from an external audio source (such as a CD player or turntable  
connected to your audio interface) for mixing with Torq’s Mixer. All functions, such as EQ, Gain, Effects, and PFL, will still  
work even when using external audio sources.  
✓ Note: In order for Line Input to work you will need to assign audio channels to the Line Inputs in the Audio tab of the  
Preferences. See the Preferences section for more information on setting up these inputs.  
Crossfader  
After the audio leaves the individual mixer channels via the Channel Volume faders, the signals enter their respective  
sides of the Crossfader. The Crossfader is the large horizontal fader just below the Mixer. As you will see, its name is very  
appropriate as it allows you to fade between the two channels in a motion that goes side to side across the mixer. When  
the Crossfader is in its middle location, you will hear both of the mixer channels. If you move the Crossfader all the way  
to the left, you will only hear the channel for the left Deck. Similarly, if you move the Crossfader all the way to the right,  
you will only hear the right Deck.  
The Crossfader was invented to offer DJs an easy way to fade out of one song while fading in another using only one  
hand. Indeed, it still performs this task quite well. However, since its introduction, DJs have taken this simple tool and  
transformed it into a virtual razor blade that allows them to perform lightning-fast cuts, scratches, and a myriad of other  
techniques.  
✓ Note: Torq’s Crossfader has been designed to be very quick and responsive. However, if you are only using a mouse to  
control Torq, you probably won’t be able to use the Crossfader for more than fading between songs. If you want to use  
the Crossfader for cuts and scratching, we recommend you control the Crossfader using one of the real crossfaders found  
on M-Audio controllers, such as Xponent, since the tactile response of the Crossfader comprises part of the scratching  
technique.  
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< Crossfader Curve  
Speaking of scratching, one of the improvements to crossfader design is an adjustable Crossfader Curve. This  
refers to the rate at which the songs fade in and out as the crossfader is moved from one side to the other.  
At one extreme is the Equal Power Contour, which is good for slow fades between two songs. As you move the  
fader from the edge toward the center, it will slowly fade in one song. However, as it is fading in this song, it will  
also start fading out the other song. The end result is that the overall volume remains the same as you fade, even  
when both songs are playing at the same time.  
At the other extreme of the adjustable range is the Hard Cut. This shape causes a song to fade in to full volume  
almost immediately after moving the fader inward from the edge. Similarly, the other song will not begin to fade  
out until the crossfader is almost all the way at the other edge. Then, right before the crossfader reaches the  
edge, the other song will fade down. This is the shape preferred by scratch DJs as they can cut in a track to full  
volume with very little motion of their hand. When performed quickly, you don’t even hear the volume fade up  
and down—it sounds as if the sound is being abruptly cut in and out.  
When Torq is launched for the first time, the Crossfader Curve will be set to a happy medium between these  
two extremes. You can, of course, change this curve using either of the following:  
» Adjusting with the Mouse  
1. Hold down the SHIFT key on your computer keyboard  
2. While holding down shift, click and drag over the Crossfader. The Crossfader itself will not move, but  
the graphic below the Crossfader will change to indicate the new curve. As the blue bars expand toward  
the edges, the curve approaches the Hard Cut shape. With no blue bars, the curve is an Equal Power  
Contour.  
» Adjusting via MIDI  
1. Click the Preferences button to open the Preferences menu.  
2. Click the MIDI tab.  
3. Click the Learn button next to Crossfader Curve. The button will turn red.  
4. Move the knob or fader that you want to use for Crossfader Curve control. Torq will read the incoming  
MIDI messages and immediately assign it to the Crossfader Curve.  
5. Exit the Preferences.  
< Crossfader Assign  
Another part in the evolution of the Crossfader is the Crossfader Assign. As explained above, the left Deck is  
routed to the left side of the Crossfader while the right Deck is routed to the right side. Clicking the Crossfader  
Assign buttons will swap the assignments so that the left Deck will be heard when the Crossfader is at the right,  
and vice versa. This is sometimes known as “hamster style” control.  
< Transform Buttons  
Another feature to aid scratch DJs is the Transform button. The Transform buttons are found at the left and  
right sides of the Crossfader. Pressing a Transform button will cause the associated channel to temporarily  
bypass the Crossfader and go straight to the main mix. For example, if the Crossfader is fully left, you’ll only hear  
the left Deck. If you press the right Transform button, you’ll hear the right Deck along with the left Deck.  
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64  
PFL/HEADPHONE CUE  
CHAPTER  
You’ve undoubtedly seen the archetypical image of a DJ: standing behind a set of  
turntables and a mixer...with a pair of headphones on. If everyone is dancing to the music  
they hear on the speakers, what is the DJ listening to on the headphones? He’s listening  
to the next song he’s going to play using PFL or Headphone Cueing. That’s how the DJ  
can hear if he’s matched the tempo of the current song. It’s also how he locates the  
perfect place to start the track. In Torq, the PFL system includes three controls: the Cue  
Volume fader, the Cue Split button, and the Cue Source knob.  
11  
Volume Control  
The Cue Volume fader simply adjusts the volume of the signal sent to the audio interface.  
This can be used for volume control if the volume control of your audio interface is hard  
to access (or does not exist).  
Split Button and Source Knob  
The Cue Split button (simply labeled “Split” in the user interface) determines the  
behavior of the Cue Source knob which you hear in the headphones. When the Split  
button is off, the Cue Source knob will blend between the PFL audio signal (which only  
you can hear) and the Main Mix (which your audience can hear). Since the knob can blend  
between these two sources, you can preview what your mix will sound like. It can be a  
good way to check that your tracks are aligned properly and at the right volumes.  
When you click the Split button to turn it on, the sound in the headphones will change.  
What you’ll be hearing is the sound of the left Deck in the left side of your headphones  
while the right Deck is in the right side of your headphones. It’s as if you had somehow  
placed your head inside the mixer between the two channels and can now hear each  
channel discretely. Some DJs find it easier to hear misalignments in rhythm and tempo in  
this mode. Try it out for yourself and compare!  
✓ Note: In Split mode, the Cue Source knob will adjust the relative volumes of the two  
Decks in the headphones. Also, don’t forget that your audience can hear one of those  
Decks!  
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65  
MASTER OUTPUT  
CHAPTER  
The Master Output is the last step in Torq’s audio signal flow before the music goes  
out to your audience. It contains a Master Level slider, a Master Level meter, a Master  
Limiter, as well as an Audio Recorder. All of these controls are located below the right  
Deck in a neat, horizontal arrangement.  
12  
Volume Control  
As you may assume, the Master Volume slider controls the overall output of Torq’s Main  
Outputs. This slider is also used to set the level of the Torq File Recorder (explained  
later in this manual). Unlike the Channel Volume faders, the Master Volume slider is on  
its side—moving the slider to the right will increase the output volume while moving to  
the left will decrease it.  
Level Meter and Limiter  
The Master Level meter shares the same space as the Master Volume slider. You’ll see  
the meter moving behind the slider while music is playing.  
Since Torq is a digital audio system, it has a limited amount of headroom (dynamic range).  
Whenever your mix exceeds the headroom, clipping (distortion) normally occurs. To  
prevent this undesired sound, Torq features a Limiter on the Master Output which will  
keep the Main Outputs from clipping.  
Whenever the yellow circle (located at the right edge of the Master Volume meter)  
lights, the Limiter is protecting the system against clipping. It does this by quickly  
reducing the volume any time the Master Volume exceeds the maximum headroom. A  
limiter is not foolproof, though—you’ll want to be sure that you aren’t triggering the  
limiter all the time. If the volume of your mix is too loud, the limiter will reduce the  
volume all the time, and this will sound strange. If you find that the yellow indicator is on  
most of the time during your mix, you should turn down the Master Volume slider so  
your mix doesn’t constantly peg the limiter. To make up for the reduced volume, turn up  
the volume on the house sound system.  
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Master Recorder  
The Master module also includes a Recorder which allows you to record and save your mix as an audio file as you perform it.  
You can then take your recorded mix and burn it onto a CD or distribute it as a Podcast, for example.  
The process of recording your mix is extremely simple. You start by choosing a name for your mix and a location on your hard  
drive for saving it. Then, you mix! When you’re done, press Stop and your file will be ready to go.  
Filename  
To set the filename for your recording:  
1. Click the Filename button (which looks like “...” when no name is set). A dialog box will open.  
2. Select the destination folder for your recording, then give it a name and press enter. The dialog box will close and  
your new filename will be shown on the Filename button.  
✓ Note: The sample rate of the recorded file will match the sample rate currently selected in the Audio tab of the  
Preferences.  
Setting the Record Level  
The Master Volume slider will control the level of your recording. You’ll want to set this slider as high as possible without  
constantly triggering the limiter (it’s OK if you trigger the limiter every once in a while). If you set the Master Volume  
slider too low, your mix will be recorded quietly and will therefore have less fidelity.  
✓ Note: Changes made to the Master Volume slider will be committed to your recording, even while you’re in the middle of  
your mix.  
Recording  
Now that you have set the filename and recording level, you can begin recording:  
1. Click the Record button. It will light up to indicate that recording has commenced. You’ll also see the Record  
Time window begin to count the length of the recording.  
2. Perform your mixing magic as you normally would.  
3. Press the Record button again to stop the recording and save the file.  
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67  
EFFECTS  
CHAPTER  
Effects are devices that alter an audio  
signal. These alterations can range  
from subtle to extreme and can be  
a great source of creative fun within  
Torq.  
Each Deck can be processed  
individually with multiple effects, and  
that is the purpose of the Effect Racks.  
The Effect Racks are located between  
each Deck and the Mixer and will  
house up to three effects from Torq’s  
built-in library as well as one external  
VST effect. This means you can be  
using up to eight effects within your  
mix at the  
13  
same time.  
Controls  
The controls for the built-in and external VST effects are basically the same and will be  
described here. The VST effects have some additional controls and considerations of  
which to be aware, and these will be covered in the next chapter.  
Effect Slot  
To begin using effects, you need to select an effect for use in one of the Effect  
Slots. Each slot can hold one effect which you’ll choose from a list:  
1. Click on an empty Effect Slot. A pop-up list of available effects will appear.  
2. Click on one of the effect names from the list to load it into the slot.  
When loaded, an icon will appear in the Effect Slot representing which  
effect is  
in use.  
3. To remove an effect, choose the “blank” effect at the top of the pop-up list.  
Enable Button  
Before you can use an effect, you must turn it on, and that’s the purpose of the  
Enable button. By default, this button will be off whenever you load a new effect.  
This allows you to set the effect the way you desire before you use it in your mix.  
✓ Note: Some of the effects don’t utilize the Enable button and will function in a  
different way (which is outlined in the various effect sections later in this manual).  
English  
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Torq 1.5 User Guide  
Chapter13  
68  
Mix Knob  
The functionality of the Mix knob differs depending on the status of the neighboring Routing button:  
»
When the Routing Button is set to Insert/Chain—the Mix knob will adjust the wet/dry mix of the effect. When  
the Mix knob is all the way to the left, only the original audio signal will be heard (no effect). When the Mix knob  
is all the way to the right, only the output of the effect will be heard, thus becoming a full insert effect. When the  
knob is at 12 o’clock, an even 50/50 mix of dry signal and wet effect will be created.  
»
When the Routing Button is set to Send—the knob will act as an effect send amount. When the Mix knob is  
all the way to the left, no amount of the signal will be sent to the effect. As you begin to rotate the Mix knob  
clockwise, signal will be sent to the effect and you will begin to hear the results of the effect in your mix. When  
the Mix knob is all the way to the right, you’ll actually be boosting the signal to the effect, so the effect output  
can be louder than the source audio.  
Routing Button  
When using effects, there are basically two different configurations that can be used: Insert and Send. An Insert Effect is  
one that’s designed to be “inserted” between the Deck and the Mixer. The audio from the Deck can be fully processed  
and replaced by the effect. Examples of effects that are typically used as inserts include Distortion, Dual-Filter, Phaser,  
Flanger, Repeat, Strobe and Reverse.  
Send Effects, by contrast, are not designed to completely replace the audio being processed in the way Insert effects do.  
When using a Send Effect, the intention is to blend the sound of the effect back with the original music. The effects that  
are typically used as Sends are Reverb and Delay. When using these effects, you typically want to add Reverb or add a  
Delay to the music that is already playing. Therefore, think of Insert Effects as replacing your sound while Send Effects add  
to your sound.  
Each time you click the Routing Button, it will toggle its state between Insert and Send. When loading an effect, Torq will  
automatically set the Routing Button to the mode most appropriate for the effect (i.e. the Reverb will be loaded in Send  
mode while the Dual-Filter will be loaded in Insert mode).  
In Torq 1.5, it is now also possible to create Chains with the Send Effects. This allows you to take the output of the Send  
Effect and process it further with more Insert Effects. For example, you can take the output of the Delay and feed it  
through the Phaser to create psychedelic echo patterns.  
A Chain will automatically be created when you place an Insert Effect below a Send Effect in the rack. Instead of seeing  
the normal Insert icon, you’ll see a Chain icon indicating that the effect is chained to the one above it. This indicates that  
the effect is taking its audio from the output of the effect above it.  
✓ Note: With this new effect routing, it is only possible to create an Insert Effect if the Effect is placed above any other Send  
effect in the Rack. All Insert Effects placed below a Send Effect will be chained to that Send Effect. Also note that, when  
using Chain mode, the output of Send effects will be sent to the Crossfader, meaning that the tail ends of effects (such as  
delays and reverbs) will still be heard after turning down the Channel Volume fader. However, moving the Crossfader away  
from the channel will silence both the music and the effects.  
Tweak Knob  
Effects are fun because you can alter their qualities while  
you use them, such as changing the length of a Reverb or  
Delay, or to change the intensity of a Phaser or Flanger. To  
keep things simple and easy to manage, Torq provides one  
knob, the Tweak knob, for parameter control on each effect.  
Because effects alter audio in different ways, the function of  
this knob will change depending on which effect is loaded  
in the slot. These functions are listed in the Built-In Effect  
reference in this manual.  
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Torq 1.5 User Guide  
Chapter13  
69  
Tweak Button  
The Tweak button works in the same way as the Tweak knob—it will toggle the state of a parameter in the selected  
effect. Like the Tweak knob, the exact function of the Tweak button will depend on which effect you’re using. The  
functions are listed in the Built-In Effect reference.  
Saving Effect Racks  
When you start getting deeper into the effects, you’ll begin creating multi-effects—effect chains of more than one plug-in.  
You’ll find that you can get some jaw-dropping sounds when using multiple effects at the same time, and some of those  
combinations may be worth saving for later use. You can save the entire state of an Effect Rack, including which effects  
are in use as well as their settings, using the Save button at the top of the Rack:  
1. Configure your Rack as desired and click the Save button at the top of the Rack. A standard Save dialog box will  
appear.  
2. Type a name for the file and choose a location on your hard drive to store it and click OK. The file will be saved  
as a preset, containing all information regarding the Effect Rack configuration.  
Loading Effect Racks  
Obviously, if you can save the settings of an Effect Rack, you can recall them, too. That is accomplished with the Load  
button at the top of the Rack.  
1. Click the Load Rack button. A standard dialog box will appear.  
2. Browse to the location on your hard drive in which the Effect Rack configuration file is stored, select the file, and  
click OK. The file will load all Effects in your Rack configuration exactly as you saved them.  
✓ Note: Loading an Effect Rack will discard all effects currently in the Rack. If you have a combination you like,  
make sure to save it before you load in another configuration.  
Bypassing the Effects  
When using multiple effects at the same time, you may want to turn them on or off all at once (instead of clicking each  
effect’s Enable button). Clicking the Bypass button at the top of the Rack will do just that—the audio from the Deck will  
bypass the Effect Rack and will be sent straight to the Mixer. Click the button again to disengage the bypass.  
Clearing all Effects  
To clear all effects in a rack, hold the Shift button while clicking the rack’s Bypass button.  
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Torq 1.5 User Guide  
Chapter13
70  
Built-In Effects  
The following is an explanation of the 10 built-in effects in Torq:  
Delay  
Delay is the technical term for what the Delay effect does, but you’ll probably like to think of this effect as an “echo.”  
Essentially, the Delay effect listens to the incoming audio, holds on to it for a predetermined amount of time, then spits  
it back out. When the Delay output is blended in with the audio, it sounds like an echo. Furthermore, you can feed the  
Delay output back to its input again, causing echoes of the echoes (also known as Feedback).  
DJs typically use Delays to fill up space during a break in a song (the last couple of beats before the break can be echoed)  
or to stretch out the ending of a song by letting it echo and slowly fade away. Because of the tempo-synced nature of  
Torq’s Delay effect, you’ll also be able to add rhythmic variance by layering echoes that are perfectly timed to the music.  
< Enable Button  
Deactivating this button stops the Delay effect. The output of the Delay will stop immediately when the effect is  
turned off.  
< Mix Knob / Routing Button  
When the Routing button is set to “Send,” the Mix knob will control the amount of audio from the Deck to feed  
into the Delay. When the knob is fully counterclockwise, no signal will be sent into the Delay so you will not  
hear any echoes. As you begin to turn up the Mix knob, you’ll begin to hear the echoes from the Delay.  
When the Routing button is set to Insert, turning up the Mix knob will cause the output of the Delay effect to  
replace the sound from the Deck. This is a subtle difference that won’t be noticeable until you do one of the  
following:  
1. When you turn the Mix knob beyond its 12 o’clock position, the sound from the Deck will begin to fade  
away, leaving only the sound of the Delay.  
2. If you quickly turn the Mix knob back to 0, you will cut off any remaining echoes before they can be heard.  
The Delay effect will load with the Routing button set to Send mode since this is the typical routing for a Delay.  
< Tweak Knob  
Use this button to change the Delay time of the effect. The Delay’s time will be set to match the rate at which  
you tap this button. The maximum delay time is two bars and the minimum time is 1/16-note (1/16 of a bar). The  
operation of this button is governed by a few rules:  
1. When fully counterclockwise, feedback will be disabled.  
2. When the knob is turned up to three quarters of the maximum, the feedback will be 100% (i.e. the delay  
will never fade away).  
3. When the knob is turned past three quarters, the feedback will be increased beyond 100%, allowing the  
delay to get louder with each time it is repeated.  
< Tweak Button  
Use this button to change the Delay time of the effect. The Delay’s time will be set to match the rate at which  
you tap this button. The maximum delay time is two bars and the minimum time is 1/16-note (1/16 of a bar). The  
operation of this button is governed by a few rules:  
1. Torq will determine the tempo within only two taps. This allows you to change the delay time very quickly,  
even while the Delay is already active.  
2. Since Torq knows the tempo of the song playing on the Deck, the delay time you tap using the Tweak  
button will automatically be adjusted to match a note value at the current tempo. For example, if the song  
BPM is 120, and you tap a tempo that is interpreted as 122 BPM, the delay time will be set to 120 BPM  
(quarter-note delay). If you tap a tempo that is read as 158 BPM, the delay tempo will be rounded up to  
160, which is a dotted-eighth.  
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Torq 1.5 User Guide  
Chapter13  
71  
Reverb  
Reverb is the phenomenon in which sound bounces off the walls within a room, creating hundreds (thousands?) of echoes  
that cannot be individually identified by the human ear. The total result of all these echoes is a wide and ethereal sound  
that can add a nice touch of space to your mix.  
The most obvious characteristic of a Reverb is how long it lasts. This is referred to as the Reverb Time and is the only  
adjustable parameter in Torq’s Reverb effect.  
< Enable button  
This button enables and disables the Reverb effect. If this button is switched off while the Reverb is active, the  
sound of the Reverb will be cut off.  
< Mix Knob and Routing Button  
When the neighboring Routing button is set to Send mode, the Mix knob will set the amount of signal fed into  
the Reverb processor. This signal will then be blended with the original signal from the Deck, making it sound like  
the Reverb was added to the song.  
When the Routing button is set to Insert mode, the Mix knob will adjust the Dry/Wet balance of the Reverb.  
The difference is that the audio generated by the Reverb will replace the original song as you turn this knob up.  
By default, the Reverb effect will load with the Routing button set to Send mode since this is the typical way to  
use a Reverb. However, feel free to experiment with Insert mode—you can create ambient textures that can be  
interesting to blend into your mix.  
< Tweak Knob  
This knob controls the Reverb time. When fully counterclockwise, the Reverb will be extremely short, similar to  
the sound heard in a small shower stall. As you turn this knob clockwise, the Reverb will become longer until it  
sounds similar to a huge cathedral.  
< Tweak Button  
Pressing this button will “freeze” the Reverb. When activated, the Reverb will stop accepting audio input from  
the Deck and will feed back on itself instead. The result is a reverb that “hangs” or “stalls” indefinitely. When you  
turn Freeze off, the Reverb will begin accepting input signals again, and the current “frozen” reverb will fade away  
following the current Reverb Time. This can be another interesting way to fill up space during a break or to add  
emphasis to a hit in the song.  
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Torq 1.5 User Guide  
Chapter13
72  
Flanger  
A Flanger is a common effect found in most effect processors. Flanging grew from a studio trick where engineers  
would play identical material on two tape decks, then make slight changes to the play speed of the two tape machines  
by dragging their hand on the flanges of the tape reels. The result is a “wooshing” sound that can be compared to a jet  
flyover.  
< Enable Button  
Naturally, this button turns the Flanger on and off.  
< Mix Knob and Routing Button  
Unlike the two effects discussed so far, the Flanger works best with the Routing button set to Insert mode. This  
allows you to completely replace the original audio signal with the flanged version (by turning this knob fully  
clockwise) in order to emphasize the effect.  
✓ Note: The effect will still work in Send mode, but it will be less pronounced.  
< Tweak Knob and Button  
The function of the Flanger’s Tweak knob is determined by the state of the Tweak button:  
» When the Tweak button is off, the Flanger will be in Manual mode. The Tweak knob will then control the  
delay time of the Flanger. When the knob is counterclockwise, the Flange effect will be very tight. As the  
knob is turned clockwise, the effect will become more dramatic and metallic in nature.  
» If the Tweak button is on, the Flanger will be in Automatic mode. In this mode, the delay time for  
the Flanger will be adjusted automatically. The Tweak knob will then set the rate of the automatic  
adjustment—turning the knob clockwise will increase the modulation rate.  
Phaser  
A Phaser is a somewhat mellower version of the Flanger. Like the Flanger, a Phaser works on the principle of mixing two  
identical audio sources together. However, unlike a Flanger, the timing difference between the two audio sources is very  
small. The result is that some of the frequencies in the song will be removed or “cancelled out.” Some people describe  
this sound as a “wind tunnel” effect.  
< Enable Button  
This button will turn the effect on and off.  
< Mix Knob and Routing Button  
Like the Flanger effect above, the Phaser works best with the Routing button set to Insert mode. This allows you  
to completely replace the original audio signal with the phased version (by turning this knob fully clockwise) in  
order to emphasize the effect.  
✓ Note: The effect will still work in Send mode, but it will be less pronounced.  
< Tweak Knob and Button  
The function of the Phaser’s Tweak knob is determined by the state of the Tweak button:  
» When the Tweak button is off, the Phaser will be in Manual mode. The Tweak knob will then control the  
phase of the effect.  
» If the Tweak button is on, the Phaser will be in Automatic mode. In this mode, the phase will be adjusted  
automatically. The Tweak knob will then set the rate of the automatic adjustment—turning the knob  
clockwise will increase the modulation rate.  
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Torq 1.5 User Guide  
Chapter13
73  
Dual-Filter  
A coffee filter is designed to stop coffee grounds while allowing water to pass through. Audio filters work in a similar  
fashion: they prevent particular frequency ranges within an audio signal from passing through the effect. Filters come in a  
variety of flavors and Torq features three of the most popular types: Low-Pass, High-Pass, and Band-Pass. The names of  
these filters are descriptive of what they do. A Low-Pass filter, for example, will only allow low frequencies (bass tones)  
to pass through—it will remove the high-frequency (treble) content from the audio signal. A High-Pass filter works the  
other way: it allows the treble to pass through while bass is removed. A Band-Pass filter is essentially a High- and Low-  
Pass filter put together: it will remove high and low frequencies from the audio signal, only allowing a narrow band of  
frequencies to pass.  
The most important parameter for a filter is its Cutoff Frequency. It determines the frequency where a filter will begin  
to stop frequencies. For example, when using a Low-Pass filter with a cutoff frequency of 1kHz, frequencies below 1kHz  
will pass through the filter unaffected while the frequencies above 1kHz are reduced or removed. While there are other  
parameters that also affect the behavior of a filter, Cutoff Frequency is the parameter that you’ll be controlling in Torq.  
< Enable button  
This button will turn the Dual-Filter on and off.  
< Mix Knob and Routing Button  
The Dual-Filter is designed to be used as an Insert effect. For this reason, the Routing button will automatically  
switch to Insert mode whenever you load this effect. Then, the Mix knob will serve as a Dry/Wet adjustment  
which you will want to leave fully clockwise (so you only hear the output of the Dual-Filter).  
< Tweak Button  
The Tweak button is used to set the filter mode for the Dual-Filter effect. When this button is off, the two  
filters (High-Pass and Low-Pass) will be adjusted only one at a time. When you turn this button on, the High-Pass  
and Low-Pass filters will be linked, thus creating a Band-Pass filter where both filters are adjusted simultaneously.  
< Tweak Knob  
This knob will adjust the Cutoff Frequencies of the filters.  
» When the Tweak button is off, the knob will behave as follows:  
1. Placing the knob at 12 o’clock will result in the audio passing through the Dual-Filter unaffected.  
2. Turning the knob counterclockwise from 12 o’clock will begin to lower the Cutoff Frequency of the  
Low-Pass filter. You will hear the music become dull and muffled as you turn this down to the point  
where you’ll only hear low bass rumbles.  
3. Turning the knob clockwise from the 12 o’clock position will begin to raise the Cutoff Frequency of  
the High-Pass filter. You will hear the music become more thin and brittle as you do this until only  
the highest of the high frequencies remain.  
» When the Tweak button is on, the Tweak knob will merely control the center frequency of the Band-Pass  
filter. As you turn the knob down (counterclockwise), you’ll hear the high frequencies become muffled  
while you begin to hear more of the bass.  
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Torq 1.5 User Guide  
Chapter13  
74  
Distortion  
Distortion, by definition, is the altering of a signal. In practical terms, it refers to feeding audio into a device so loudly that  
it exceeds the dynamic range of the device. The result is a fairly raunchy noise that, at times, can be exactly what you’re  
looking for. This is known as Overdrive Distortion, and is one of the two types of distortion possible with the Distortion  
effect.  
The other type of distortion available in Torq is Sample Rate Reduction. When an audio file has its sample rate lowered,  
it looses the ability to accurately reproduce high-frequency sounds. Instead of sounding soft and muffled like a Low-Pass  
filter, the Sample Reducer will sound grainy and harsh.  
< Enable button  
This button turns the Distortion on and off.  
< Mix Knob and Routing Button  
Like the Dual-Filter above, the Distortion is designed to be used as an Insert effect. The Routing button will  
switch to Insert mode automatically any time you load the Distortion effect. You should also turn the Mix knob  
fully clockwise so that you can only hear the output of the distortion (if you blend the distorted signal with the  
original signal, the distortion will be less pronounced).  
< Tweak Button  
This button is used to set the operating mode of the Distortion. When the button is off, the Distortion is in  
Overdrive mode. When the button is on, the Distortion will be in Sample Rate Reduction mode.  
< Tweak Knob  
» When set to Overdrive mode, the Tweak knob will increase the volume of the signal being fed into  
the distortion. When the knob is fully counterclockwise, the input signal is not boosted and therefore  
undistorted. As you turn this knob clockwise, the volume will begin to increase. At a certain point, you’ll  
start to hear the audio become distorted. You can leave the knob here for a subtle distortion, or you can  
continue to turn it clockwise in order to push the distortion into really nasty realms.  
» When set to Sample Rate Reducer mode, the Tweak knob will control the output sample rate. When the  
knob is fully counterclockwise, there is no sample rate reduction, so the audio will be undistorted. As you  
turn the knob clockwise, the sample rate will be lowered. The high frequencies will be the first to exhibit  
signs of distortion. As you continue turning the knob, the distortion will move lower and lower into the  
frequency range of the audio until all that remains is low-sample junk.  
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Torq 1.5 User Guide  
Chapter13  
75  
Strobe  
Just about anyone who has been to a dance club in the last 20 years has experienced a strobe light. Those are the super-  
bright lights that flash really quickly. They have the effect of making everyone look like they’re in “stop motion”—the flash  
is so fast that you can’t see movement anymore.  
Torq’s Strobe effect will create a similar stop-motion effect, but it will do it to audio. The Strobe will essentially mute and  
unmute the audio at a rate that you can control. The rate can be as slow as one bar (2 beats unmuted followed by 2 beats  
muted) or as fast as 1/64-note.  
< Enable Button  
Turns the Strobe effect on and off.  
< Mix Knob and Routing Button  
Because the Strobe effect is designed to mute the audio from a Deck, it needs to be used as an Insert effect.  
Therefore, the Routing Button will be set to Insert mode whenever you load this effect.  
The Mix knob will control the Dry/Wet mix of the effect. In use, this will control the depth of the Strobe effect.  
Since the Strobe effect is muting the signal that passes through it, setting the Mix knob at 50% will result in 50%  
of the signal still being present whenever the Strobe is muting. Therefore, you can use this knob to adjust the  
intensity of the Strobe.  
< Tweak Knob  
This knob changes the rate of the Strobe. A tooltip will appear whenever you adjust this knob to show the  
current rate (expressed in note values).  
< Tweak Button  
Activating this button reverses the behavior of the Strobe—what was normally muted will be unmuted and  
vice versa.  
Reverse  
Reversing the playback direction of a song can be a fun party gimmick (you and your friends can look for hidden  
messages “backmasked” in the song). However, it can be a useful DJ technique for adding emphasis, and it can also  
be used to “censor” profanity (as heard on the radio). The traditional method for reversing playback is to actually  
reverse the rotation of the turntable. This has a couple of inherent problems. First, the turntable can’t change direction  
immediately—it must slow down to a stop then speed back up in the opposite direction. This can make reversing  
playback seem sluggish. Additionally, if the song is playing backwards, it will no longer be in the proper location when you  
resume normal playback. For example, if you reverse playback as a way to add emphasis one bar before the chorus in a  
song, you’ll find that playback is now two bars before the chorus when you resume normal playback.  
Torq overcomes these shortcomings by implementing reversed playback as an effect rather than as a function of the  
Deck. By doing so, you can reverse playback instantaneously—there is no lag due to the turntable changing directions.  
Furthermore, since this is an effect, the song on the Deck will continue to play normally (the waveform will continue to  
scroll in the forward direction) thus keeping the play position correct as you switch the Reverse effect on and off.  
< Enable Button  
When using the Reverse effect, this button is always on and cannot be turned off.  
< Mix Knob and Routing Button  
The Mix knob has no function. The effect is routed as an Insert effect by default.  
< Tweak Knob  
The Tweak knob has no function.  
< Tweak Button  
This button will turn the Reverse on and off. This button is momentary, meaning you have to keep holding it  
while the song plays backwards. When you release the button, normal playback will resume.  
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Torq 1.5 User Guide  
Chapter13
76  
Brake  
As mentioned above, turntables don’t respond instantly to changes in speed or direction. When you press Stop on  
a turntable, it takes a moment for the turntable to slow down and reach a complete stop. This is due the weight and  
momentum of the turntable—two factors that don’t exist in the virtual world of Torq. Still, some DJs like the sound of a  
turntable slowing down to a stop, and creating that sound is the purpose of Torq’s Brake effect.  
Like the Reverse effect above, the Brake effect does not actually stop the playback of the song on the Deck. Instead, it  
just simulates the sound of the song slowing down while the song continues to play normally (as seen by the scrolling  
waveform). Because the song keeps playing, you can use the Brake effect to create the “slow-to-stop” sound, then bring  
the music back in on the next downbeat (which is impossible with real turntables or CD players).  
< Enable Button  
This button will be on at all times—it cannot be turned off.  
< Mix Knob and Routing Button  
The Mix knob sets the wet/dry mix of the effect--turn this knob fully clockwise for the proper sound. The Brake  
effect is automatically configured as an Insert effect.  
< Tweak Knob  
This knob will set the Brake time. As you turn this knob clockwise, the Brake time will become longer.  
< Tweak Button  
Press this button to engage the Brake effect. The music will slow to a stop. Press the button again to resume  
normal playback.  
Repeat  
This effect can be used to create the granular “hyper-repeats” heard in lots of today’s dance music. All you have to do is  
trigger the effect and play with the loop length to get instant results. Here’s how it works:  
< Enable Button  
Engaging this button will start the effect. The Repeat will remain active until this button is turned off again.  
< Mix Knob and Routing Button  
The Mix knob will set the wet/dry mix of the Repeat effect. Turn the knob fully clockwise to hear only the  
repeated audio. While the audio is repeating, you can use the Mix knob to fade the original music back in if you  
wish. The effect will automatically be configured as an Insert effect when loaded.  
< Tweak Knob  
This knob sets the size of the audio slice being repeated. A tooltip will appear showing the current slice length  
whenever you move this knob. The repeated slices will always be quantized to the current tempo.  
< Tweak Button  
When you press this button, it will “re-seed” the Repeat effect. In other words, the effect will begin repeating a  
new section of audio whenever you press the button, as if you’d instantaneously turned the effect off and back  
on again.  
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Torq 1.5 User Guide  
Chapter13  
77  
VST Effects  
The 10 built-in effects provided with Torq cover a wide range of effects typically used by DJs—many DJs will never need more  
than these built-in effects. Others, however, will want to explore the possibilities of additional effects. For this reason, Torq  
allows you to use third-party plug-ins that adhere to the VST standard (referred to as “VST plug-ins”).  
The amount of third-party VST effects available on the market today is staggering. The variety can range from top-of-the-line  
audio mastering plug-ins to simple devices made by someone in their spare time. As a result, your mileage with VST plug-ins  
will vary.  
Latency  
Another potential drawback from using VST plug-ins is latency. Latency is the observed lag between when you trigger an  
event or action on the computer and when you finally hear the results. When running without any VST plug-ins, Torq’s  
latency is nearly undetectable—Torq will respond to scratches, button presses, and knob tweaks immediately.  
Some VST plug-ins, however, must perform very complex calculations on the audio. Sometimes, these calculations require  
that the plug-in buffer the audio so that it can process it in large chunks. In these cases, the plug-in will fill its buffer with  
some audio sent from Torq. It will then process the audio and send it to an output buffer. Once the output buffer is filled,  
the audio is sent back to Torq. This process, while extremely fast, can still manifest itself as a perceived lag in response  
time. And, as you can see, this phenomenon is beyond the control of Torq (the latency is created by the plug-in, not  
Torq).  
If you find that a VST plug-in you’re using is creating latency, you can try to find a similar-sounding plug-in with minimal  
latency, or simply try to “play ahead” and anticipate the latency. While some other programs feature “Plug-in Delay  
Compensation,” such a system would not work with Torq because the program is entirely real-time (the music and effects  
are not preset or programmed).  
Selecting Effects  
To begin using a VST, you’ll need to select one from the list of available VSTs:  
1. Click on the top window in the VST section of the Effect Rack. A pop-up menu will appear showing all valid VSTs  
in the selected VST folder (see Plug-in Preferences).  
2. Click on the name of a VST. It will be loaded immediately and the VST’s graphic interface will open and float over  
the Torq interface.  
3. To close the window, click the close icon in the window’s title bar or click the Wrench icon in the Effect Rack.  
4. To open the same VST interface again, click the Wrench icon again.  
✓ Note: At the top of the VST drop-down menu list, you will see a “blank” plug-in as an option. If you select it, no VST  
will be loaded into the Slot (any current VST will be unloaded).  
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Assigning Controls  
It’s fun to tweak effects using knobs and buttons—VST effects are no exception. However, before you start messing with  
the Tweak knob and button, you’ll need to assign a function to them. Unlike Torq’s 10 built-in effects, the VST Effect you  
choose to use will probably have more than two parameters to play with. You can always adjust these parameters within  
the VST Effect’s editor window. To gain MIDI control, however, you must assign one of the VST Effect’s parameter to the  
Tweak knob or button (which you can control via MIDI). It’s a two-part process as outlined below:  
1. Load a VST Effect. Its editor window will pop up when loaded.  
2. Right-click on the Tweak knob in Torq’s interface. It will turn red indicating that it standing by for assignment.  
3. Using the mouse, move a control in the VST Effect’s editor window. This could be a knob, slider, or button.  
4. When you move the control, Torq will catch it and assign it to the Tweak knob. Moving the Tweak knob will now  
operate the assigned VST parameter.  
5. To assign a MIDI control to the Tweak knob, follow the usual procedure of right-clicking then moving your  
desired MIDI control.  
6. Once complete, the MIDI control will operate the VST parameter.  
7. The same procedure above can be used for assigning a VST parameter to the Tweak button.  
Once the assignments are made as described above, Torq will remember those assignments whenever you load that  
VST Effect in the future.  
✓ Note: : When running Torq in full-screen mode, clicking on the Torq interface will cause Torq to move to the  
foreground and your VST Effect to move to the background, effectively being obscured from view. To bring the VST  
Effect back to the front, click on the Wrench icon in the VST Effect slot or click the effect’s Taskbar/Dock icon.  
VST Crash Guard  
A plug-in works by inserting small bits of programming code into another program (in this case, you’ll be inserting an  
effect processing plug-in into Torq). This can be problematic since some VSTs are made with little to no external testing  
at all (and they may not have been tested with Torq specifically). Granted, it’s usually the free VST plug-ins found on  
the web that lack the testing imposed by other professional plug-ins. These dirty plug-ins can be some of the most  
experimental and creative offerings out there, which is why you may still want to try them.  
Obviously, it would be completely unacceptable for Torq to crash right in the middle of a gig because of a little VST  
plug-in. The music must keep playing at all times. For that reason, Torq has been designed with VST Crash Guard, which  
is a system that will allow Torq to stay running even if an error should occur in the VST plug-in, causing it to crash. If  
this occurs, Torq will detect the crash and will quickly bypass the offending plug-in to keep the music going. When this  
happens, you can either attempt to re-load the plug-in (in hopes that it will reset and become functional again) or you can  
remove the plug-in and try another. Either way, Torq’s got your back and will keep the music flowing.  
VST Preset Management  
Just like you can save the built-in Effect Rack, you can also save the settings for a VST plug-in. Some plug-ins will manage  
their own presets from within the GUI. In these cases, you’ll need to consult the plug-in’s user manual to learn how to  
use the presets.  
Other VST plug-ins will rely on the host application (Torq, in this case) to manage their presets. In this case, you’ll need  
to use the Preset Management tools (save and load) that appear above the plug-in’s GUI.  
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79  
REWIRE  
CHAPTER  
Now that you’ve mastered all the techniques and tricks in Torq, where do you go from  
here? Remixing and production. After all, Torq offers you so many tools for remixing  
and sound design that you can cross over the boundary of simply playing songs and easily  
enter the realm of music production.  
Torq is unique in that it can operate as a ReWire slave. ReWire is a special technology  
created by Propellerhead that allows two or more different audio applications to share  
audio and MIDI data. The system is composed of a single ReWire host and multiple  
ReWire slaves. The slaves will all send their audio outputs to the host, allowing you to  
mix, EQ, and refine the audio using the tools within the host application. Furthermore,  
the host and slaves will all share transport and timing information, allowing the multiple  
software applications to act as a single unit.  
14  
Torq will interface with any ReWire host application such as Pro Tools or Ableton Live.  
To begin a ReWire session:  
1. Launch the ReWire Host application. This could be Ableton Live, Pro Tools  
M-Powered, or any other application that will host a ReWire session.  
2. Launch Torq. Since Torq is launched second, it will automatically launch into  
ReWire Slave mode.  
3. In order to hear Torq, you’ll need to select Torq as the source for audio  
channels in the host application. In Live, this is done by selecting “Torq” in the  
top box of the Channel I/O strip. You’ll also need to turn the Monitoring to  
“In” to allow the audio from Torq to pass through Live. In Pro Tools, you’ll  
create a new Aux track and select the ReWire plug-in in the top effect slot.  
Global Tempo  
Torq’s Global Tempo will lock to the tempo and timeline in the ReWire Host application.  
This means that any song you play in Torq can sync up to whatever you’re currently  
doing in Live or Pro Tools, even if you change the tempo while the music is playing.  
Simply turn on Torq’s Global Tempo, then turn on Sync in the Decks. The Decks will  
then sync to the Global Tempo shared by Torq and the ReWire Host.  
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Audio Routing  
When using two programs together via ReWire, the audio generated by Torq will be fed to audio channels in Live (or whatever  
Host application you choose to use). With this system in place, you can further process the outputs of Torq using the Host  
application’s effects. You can record the output of Torq into the application to add to your productions. You can also create  
your own drum parts, basslines, and other loops in the Host which can be layered on top of the music you’re playing in Torq—  
you can even play instruments in real time for spontaneous results.  
When Torq is used with a regular audio interface, you have the option of assigning various output channels of Torq to outputs  
on the audio interface (see Audio Preferences). When using ReWire, those same audio outputs are available within the Host  
application. If you switch Torq into External Mixer mode, you’ll find that ReWire channels 1 and 2 carry the signal from Deck  
A, channels 3 and 4 carry the signal from Deck B, and channels 5 and 6 will carry the audio from the PFL/Headphone signal (for  
recording into Torq’s Sampler). If you use Internal Mixer mode, channels 1 and 2 will carry the Master Output (from the Mixer)  
while channels 3 and 4 carry the PFL/Headphone signal. This allows you to create your own monitoring path or mixing path in  
the Host application to suit your needs.  
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81  
PREFERENCES  
CHAPTER  
This section provides a comprehensive review of the Preferences for Torq. Open the  
Preferences by clicking the Preferences icon.  
15  
Note: An additional tab appears on the right side of the  
Preferences window when certain M-Audio products (such as the  
Xponent DJ controller) are being used in conjunction with Torq.  
This tab contains parameters relating specifically to the operation of  
the connected M-Audio device. To learn more about the contents  
of this additional tab, refer to your new hardware’s User Guide.  
Audio Tab  
This tab houses options relating to the audio interface used with Torq. You’ll select the  
interface to use, set sampling rates and buffer sizes, and assign the various inputs and  
outputs. Torq supports ASIO and DirectX protocols on Windows and Core Audio on  
Mac OS X.  
Note: Although Torq will work with a single stereo output audio  
interface, it is recommended that you use a multiple-output audio  
interface. The extra outputs allow you to make use of song cueing, i.e.  
pre-listening to a song on headphones before you mix it.  
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Torq Engine  
This preference chooses the quality level of Torq’s audio engine. Normal is the default setting and should be used if you  
experience no performance problems. Economy is the second option and should only be used if using a slow computer.  
When Economy is selected, the quality of the resampling and EQ algorithms will be reduced thus lessening the CPU load.  
Timestretching Quality  
This preference chooses the type of Time-stretching to be used by Torq. The various time-stretching methods will create  
different CPU loads:  
•
Standard: This is Torq’s default time-stretching algorithm and creates a very low CPU load. It is suitable for  
making small changes in Key or Speed, but drastic changes will yield audio artifacts.  
•
Elastique: This mode employs the Elastique algorithm designed by zPlane. This algorithm will create a greater  
CPU load, but the audio quality will be much higher. This algorithm is better suited for making more drastic  
changes to pitch and key and yields very few audio artifacts. This is the preferred algorithm if you have a fast  
computer.  
Auto Gain  
When this preference is set to Yes, Torq will automatically set the Gain Knob to a position that brings the volume of a  
song up to 0dB RMS whenever a new one is loaded onto a Deck. This will ensure that the volumes of your tracks are  
matched well before doing a mix.  
Audio Interface  
This preference allows you to select an audio interface for Torq.  
1. Click the Audio Interface box.  
2. A menu will be displayed, listing all audio interfaces currently connected to your computer.  
3. Select the audio interface you want to use with Torq.  
Sample Rate  
Below the Audio Interface selection you will see sample rate adjustment. Increasing this value will improve sound quality  
(depending on your source material) but will also place heavier demands on your computer. It is therefore recommended  
to leave the sample rate only as high as you need it to be. If you only play MP3 files or songs from CDs, you won’t really  
have any reason to raise this value beyond 44,100 since that is the sampling rate used by MP3s and CDs  
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Buffer Size  
The other important setting for your audio interface is the Buffer Size. This parameter can cause a lot of confusion for  
some users, but is actually not that complicated. To understand how the buffer size affects the performance of Torq, you  
must understand a little bit about how your computer processes audio.  
Multi-tasking is a term that refers to doing multiple jobs all at once. It’s what allows your computer to run more than one  
program at a time (i.e. listening to iTunes while surfing the Web). While it looks like the computer is doing two separate  
things at once, it’s actually not—it’s still doing only one task at a time, but changing between tasks faster than you  
can see.  
This provides for a streamlined computing experience, but creates a problem when using audio applications. Audio is  
non-stop—a 5-minute song will play for 5 minutes without interruption. So how can the computer keep audio playing  
while it’s jumping around to do other tasks? The answer is buffering. An audio buffer is a temporary “storage tank” that  
can hold a brief moment of audio. The computer will fill the audio buffer with music then let the buffer play while it does  
other things (like update the clock on your screen, check your network connections, monitor RAM usage, etc.). When  
all things work properly, the computer will complete its other tasks and fill the buffer with more data before the buffer  
empties, thus resulting in perfect audio while multi-tasking.  
If the audio buffer happens to empty before the computer can fill it with more data, the audio playback will stop until the  
computer can fill the buffer again. These “dropouts” happen very quickly, not sounding like prolonged gaps of silence, but  
sounding more like clicks and pops or otherwise distorted audio. When this happens, the solution is to either lighten the  
CPU load (by closing unnecessary applications or processes that are wasting the computer’s time) or by increasing the  
size of the audio buffer, allowing it to play longer (thus giving the computer enough time to perform its other tasks).  
So why not just go with a large buffer size and avoid dropouts? The problem is that increasing the buffer size increases  
the system latency. Latency is the time between when you tell the computer to do something (such as activating an EQ  
Kill) and when you actually hear the results from the speakers. If you have a large audio buffer, the buffer will have to play  
out its entire contents before you’ll hear any new EQ changes in the audio. When DJing, this can be a nightmare if you’re  
trying to do things with accurate timing—all of your actions will have a delayed effect on the music.  
The solution is to set the buffer size as low as it can go without inducing any audio problems. This is just like playing a  
game of limbo:  
1. Load some music into a Deck and play it.  
2. While the music is playing, open the Audio Preferences.  
3. If music is playing back properly, open the Buffer Size menu and select the next smallest buffer size. The buffer  
will be updated immediately and the music will continue to play.  
4. Listen to the music for a moment. If it sounds clean (no click, pops, or glitches), then lower the Buffer Size to the  
next lowest setting.  
5. Keep repeating this procedure, listening to the quality of the audio each time, until you reach a setting where the  
audio breaks up.  
6. Once you find this lower threshold, set the Buffer Size to the next highest setting (the last one that worked  
properly) and your system will be optimized.  
While Torq should be very stable at these settings, keep in mind that the system performance can be  
compromised as you increase the CPU load. This is most notable when using CPU-intensive VST effects or the  
Elastique time-stretching algorithm. Loading one of these effects may cause pops and click in your audio, at which  
point you will have to increase the buffer size until the audio is clean again.  
✓ Note: Using some external VST effects can introduce additional audio buffering within the Torq application. When  
this happens, your manipulations of the Decks will seem sluggish—this is a side effect of the VST plug-in in use and  
is not related to this buffer setting.  
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Mixer Mode  
This option allows you to switch between Internal and External Mixer mode.  
Internal Mixer mode: This is the default setting where Torq’s on-screen mixer is used to blend the signals from  
the Decks.  
External Mixer mode: This will bypass the Torq mixer and route each Deck to its own output pair on your audio  
interface. These individual stereo outputs can then be connected to your favorite DJ mixer in the same manner as  
two turntables or CDJ’s. You’ll then mix and cue your tracks using your DJ mixer instead of Torq’s Mixer.  
< Channel Assignments  
Once you have selected an audio interface and selected a mixer mode, you can assign the outputs of Torq to the  
channels of the selected audio interface. The assignment options will differ depending on which mixer mode is  
active:  
» Internal Mixer  
• Master Output — Click to access the drop-down menu and select the stereo output pair for the  
Torq Master Output. This is the output you will connect to the speakers.  
• Cue Output — Click to access the drop-down menu and select the stereo output pair for cueing  
(or pre-listening) to the output of a Deck. This is the output for the headphones.  
• Line Input A — Click to access the drop-down menu and select the stereo input pair for use as  
the Line Input for Channel A of the Mixer.  
• Line Input B — Click to access the drop-down menu and select the stereo input pair for use as  
the Line Input for Channel B of the Mixer.  
• Control Input A — Click to access the drop-down menu and select the stereo input to which  
your left turntable or CD player is connected. This is also the Control Input used by AMPutate  
mode.  
• Control Input B — Click to access the drop-down menu and select the stereo input to which  
your right turntable or CD player is connected.  
» External Mixer  
• Deck A Output — Click to access the drop-down menu and select the stereo output for Deck A.  
This signal will not be processed by Torq’s Mixer—it will be fed into a stereo channel of an external  
DJ mixer.  
• Deck B Output — Click to access the drop-down menu and select the stereo output for Deck B.  
This signal will not be processed by Torq’s Mixer—it will be fed into a stereo channel of an external  
DJ mixer.  
• Sampler — Click to access the drop-down menu and select the stereo output for Torq’s Sampler.  
• Line Input A — Click to access the drop-down menu and select the stereo input pair for use as  
the Line Input for Channel A of the Mixer.  
• Line Input B — Click to access the drop-down menu and select the stereo input pair for use as  
the Line Input for Channel B of the Mixer.  
• Control Input A — Click to access the drop-down menu and select the stereo input to which  
your left turntable or CD player is connected. This is also the Control Input used by AMPutate  
mode.  
• Control Input B — Click to access the drop-down menu and select the stereo input to which  
your right turntable or CD player is connected.  
✓ Note: When Torq is being used as a ReWire slave (explained earlier in this guide), the Audio Interface  
options will be disabled.  
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MIDI Tab  
This tab features all options pertaining to Auto-Setup and MIDI control.  
Auto-Detect M-Audio Devices ([On]/Off)  
When this option is enabled, Torq will automatically set the Audio and MIDI interface options to those of any known  
M-Audio controller and interface that is connected to your system. This will ensure proper operation of Torq and  
connected devices.  
✓ Note: If you have created a custom mapping for your controllers or special assignments for your audio interface and don’t  
want Torq to replace these mappings with the defaults upon the next startup, leave this option turned off.  
MIDI Soft Takeover  
Some of the features in Torq work automatically, such as Auto Gain and Auto Sync. When these features are used, it is  
possible that the position of the on-screen controls can change (i.e. the Speed Slider can move to a new location when  
matching tempos). When this happens, the position of the controls on your MIDI controller will no longer match those  
on screen.  
The MIDI Soft Takeover preference determines what will happen when you move one of these MIDI controls. When  
MIDI Soft Takeover is Off, Torq’s on-screen controls will immediately jump to match the location of the MIDI control as  
soon as you move it. This can cause undesired parameter jumps (i.e. the speed of a song suddenly increases to match the  
position of the MIDI slider).  
If MIDI Soft Takeover is set to On, Torq will not respond to the MIDI control until you’ve moved it to a location that  
matches the on-screen control. When this happens, a transparent version of the control will be shown on screen. This  
transparent control shows the location of the MIDI control in reference to the position of the on-screen control. Simply  
move the MIDI control until the transparent control lines up with the actual control on screen. When that occurs, the  
transparent control will disappear and Torq will resume reacting to MIDI control.  
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Scratch Sensitivity  
This option allows you to configure how rapidly a Deck  
DJ oriented MIDI controllers with turntable  
will respond to messages sent from a MIDI controller (it  
has no effect on External Control with Vinyl or CDs). It is  
designed for controllers that will move the waveform back  
and forth, typically those with jog wheels.  
platters will vary in how they handle scratching and  
nudging. Certain products will allow you to control  
only nudging, while others (such as the M-Audio  
Xponent) will allow you to control both nudging  
and scratching. Refer to the product’s user guide to  
learn if each turntable platter is capable of sending  
out both MIDI note and CC information. If so,  
assign each turntable’s MIDI note and CC commands  
to the corresponding Main Waveform Display in  
Torq (this is done using the “MIDI Learn” feature  
described in the MIDI Preferences section of this  
guide).  
1. By increasing the number, the Deck will respond  
more rapidly.  
2. By decreasing the number, the Deck will respond  
more slowly.  
Nudge Sensitivity  
This setting allows you to adjust Torq’s sensitivity to  
“nudging” or gradually slipping the phase of one deck to  
match the phase of the other deck.  
If your turntable can only send out MIDI CC  
information but not MIDI note data (i.e., the  
turntable is not touch sensitive), then you will only  
be able to control nudging. Assign the turntable’s  
MIDI CC output to control the corresponding Main  
Waveform Display in Torq (again, this is done using  
the “MIDI Learn” feature described in the MIDI  
Preferences section of this guide).  
By default this parameter is set to 5, however:  
1. By increasing the number, the Deck will nudge your  
track more rapidly.  
2. By decreasing the number, the Deck will nudge  
your track more gradually.  
Note that this setting differs from the “Scratch Sensitivity”  
parameter which changes Torq’s sensitivity to scratches, which  
“push” or “pull” your waveform much more quickly and forcefully than a nudge. Unlike a scratch, a nudge very gently slows down  
or speeds up a track and is used to fine tune the timing of two tracks.  
Crossfader Curve Control  
This preference allows you to assign a MIDI controller to the Crossfader Curve parameter. You can then control the  
Crossfader Curve with a knob or slider on your MIDI controller.  
1. Press the button labeled “Learn” to activate it. The button will turn red.  
2. Turn a knob on your MIDI controller.  
3. Torq will immediately assign the knob to the Crossfader Curve and the button will turn green. Check this by  
looking at the Crossfader graphic in the main window while turning the knob.  
MIDI SHIFT Key  
When using Torq, the SHIFT key on your computer’s keyboard is used rather often. This option lets you assign a MIDI  
Note to function as “SHIFT” in Torq, thus allowing you to do SHIFT-based combinations (such as SHIFT+Nudge) entirely  
from an external MIDI controller. To assign a MIDI note:  
1. Press the button labeled “Learn” to activate it. The button will turn red.  
2. Push a button or key on your MIDI controller. The MIDI Shift Key button will turn green.  
3. Torq will immediately assign the button as a Shift key for use within the program.  
Instant Doubles  
Torq will automatically copy the song from one Deck and place it on the other when using the Instant Doubles feature.  
This function can be triggered by keys on your computer’s keyboard or with an external MIDI controller. There are two  
preferences here—Instant Double A->B will copy the song from Deck A over to Deck B while Instant Doubles B->A will  
do the opposite. To assign keys to these actions:  
1. Click the button labeled “Learn” to activate it. It will turn red.  
2. Push a button or key on your MIDI controller or keyboard. The Learn button will turn green.  
3. Torq will immediately assign the key or button to the action—it is now ready for use.  
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MIDI Clock  
Torq’s Global Tempo can be slaved to an external device that transmits MIDI Clock (called MBC in Torq). When you  
then enable Global Tempo, all aspects of Torq (the Sampler and synced Decks) will follow the MIDI Clock. Torq can  
also transmit its Global Tempo as MIDI Clock so that other MIDI equipment can synchronize with Torq. External drum  
machines, groove boxes, synths, etc. will all follow Torq’s Global Tempo, provided they can receive MIDI Clock.  
In order to use these MBC features, you’ll need to have a MIDI interface connected to your computer. Some of the  
M-Audio DJ products, such as the Xponent, have a MIDI interface built into them. If you do not have a MIDI interface  
on your product (or are already using them for connections to other devices), you’ll need to add MIDI ports to your  
computer. A solution is the M-Audio UNO, a simple 1-input, 1-output MIDI interface that connects to a USB port on  
your computer. The UNO can be found at almost any music dealer or online retailer.  
< Setting up MBC Input  
To slave Torq’s Global Tempo to an external MIDI device:  
1. Connect the MIDI Output of the external device to a MIDI Input on your computer.  
2. In Torq’s MIDI Preferences, select the MIDI Input port mentioned above as the MBC Input. Close the  
Preferences.  
3. Click the Global button in Torq’s toolbar to enable Global Tempo. Torq’s Global Tempo will run  
independently until an incoming MIDI Clock is received.  
4. Enable transmission of MIDI Clock in your external device. Please refer to the product’s user manual for  
the proper method of doing this.  
5. Start the external device (possibly by pressing Play or Run).  
6. Torq’s Global Tempo will change to match the tempo of the external device. The Global Tempo LEDs will  
also chase in time with the external device.  
< Setting up MBC Output  
To slave an external MIDI device to Torq’s Global Tempo:  
1. Connect a MIDI Output from your computer to the MIDI Input of the external MIDI device.  
2. In Torq’s MIDI Preferences, select the MIDI Output port mentioned above as the MBC Output and close  
the Preferences.  
3. On your external MIDI device, enable reception of MIDI Clock. Please refer to the product’s user manual  
for the proper method of doing this.  
4. On some external devices, you’ll need to put it into a “standby” mode where it waits for MIDI Clock  
before it starts to run. This may require pressing Play or Run—please check with the product’s user  
manual to see if this is required.  
5. In Torq, enable the Global Tempo in the Toolbar. When activated, Torq will begin to transmit MIDI Clock  
at the specified tempo, but the external devices will not run.  
6. In order to start the external devices, a MIDI Start command must be sent from Torq. In order to do  
this, click the MIDI I/O indicator in Torq’s Toolbar. The button will turn yellow when clicked, indicating  
that Torq is waiting for the downbeat of the music you’re playing. When the downbeat arrives, Torq will  
transmit the MIDI Start command and the external device should begin to play. The Global Tempo LEDs  
will also begin to chase, indicating your current position within a bar.  
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< MIDI Stop Behavior  
This preference determines what Torq will do when it receives a MIDI Stop command from an external device.  
• STOP: When set to Stop, Torq will stop all Decks and Samples upon receiving MIDI Stop.  
• FREEWHEEL: When set to Freewheel, Torq will continue to play, essentially ignoring the MIDI Stop  
command, thus allowing the DJ set to continue after stopping the external device.  
< MIDI Clock Phase Offset  
These two parameters are used to adjust the timing between Torq and the external MIDI devices. If Torq is  
following the MIDI Clock from an external device, use the MIDI Clock In Phase Offset option to align Torq. If  
Torq is transmitting MIDI Clock to an external device, use the MIDI Clock Out Phase Offset option to align the  
external device to Torq.  
< Applications for MIDI Clock  
Here is a brief list of possible applications for MIDI Clock. This isn’t an exhaustive list—there are surely more  
possibilities that can be listed here and they are only limited by your creativity.  
• External Drum Machine: Dance music is dance music thanks to the drums. You can make your DJ  
sets even more dance-heavy by layering your own custom beats on the fly with an external drum machine.  
Add extra kick drums and hi-hats. Double-up a snare drum with a hand clap. Create drum fills where none  
existed before. Simply slave the drum machine to Torq using MIDI Clock and it will play in time with the  
Global Tempo, even if you change the Global Tempo.  
• External Synth/Sequencer: Beats are easy to add, but you may want to take it to the next level  
and actually add your own synth parts on top of your mixes. New bass lines. Sound effects. Rapid-fire  
sequencer patterns. Simply slave the external sequencer to Torq and you’re ready to go.  
• Swapping DJs: If you’re in the middle of a Torq set and another Torq DJ is ready to play after you, you  
can transmit your Global Tempo to that DJ allowing him to sync up everything on his computer to yours,  
thus allowing for automatic beat-matched transitions between DJs. If you’re the first DJ, set your computer  
to output MBC and set your last track as the Tempo Master (that will engage Global Tempo and transmit  
it to the MIDI Output). If you’re the second DJ, set your computer to receive MBC and enable your Global  
Tempo. Your computer will now be in sync with the other DJ. If you’re the second DJ, you should also set  
your MIDI Stop preference to “Freewheel” to ensure that Torq doesn’t stop when the first DJ presses stop  
on his system.  
• Dual-DJ: If one DJ could sync the beginning of his set up to the end of another DJ’s set, then why not  
sync up the entire length of both your sets? By sharing MIDI Clock between two computers running Torq,  
two DJs can sync themselves together and create a massive 4-Deck mixing extravaganza.  
• Torq and Live: Torq’s ReWire capabilities allow it to be run alongside applications such as Ableton Live  
on the same computer. MIDI Clock will allow you to sync up the two applications across two computers.  
While you won’t be able to transfer audio from Torq to the other application without making additional  
audio interface connections, you can at least get both programs to run in sync with each other. Then,  
adding clips in Live or tracks in Torq will result in one synchronized performance between both computers.  
MIDI Devices  
This list shows all MIDI devices currently recognized by Torq. Each device is listed by name and is followed by a box which  
selects the device as being On or Off.  
If you wish to use a device as a controller for Torq, click the drop-down menu and select On to activate it. Leave any  
controller you do not wish to use with Torq set to Off.  
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External Control Tab  
This preference tab holds the options pertaining to external vinyl and CD control, as well as the option for enabling AMPutate mode.  
External Control  
When set to Yes, this option enables external vinyl or CD control for the Decks. The Deck Play/Pause buttons will also  
change to Absolute/Relative buttons when this option is enabled (see External Control section earlier in this manual).  
✓ Note: The state of External Control is also shown in the Toolbar. Clicking the External Control icon  
will  
turn External Control on and off allowing you to toggle the state without having to open the Preferences.  
AMPutate Mode  
This option enables AMPutate mode, which allows one external control source to control either of the Decks. In  
this mode, you can press the Vinyl button on the Deck you wish to control with record or CD. All other Decks will  
automatically switch to Hybrid or CDJ mode.  
✓ Note: The state of AMPutate Mode is also shown in the Toolbar. Clicking the AMPutate icon  
will turn  
AMPutate Mode on and off allowing you to toggle the state without having to open the Preferences.  
Lead In  
Any practiced DJ knows that playing and scratching records will eventually destroy them. If the needle is exceptionally  
heavy or if you scratch in the same place a lot, the grooves in the record can be eaten away thus tarnishing the sound  
quality. This frequently happens at the beginning of records and is something DJs call “cue burn”.  
With traditional records, cue burn was something to pay attention to because it didn’t sound very good. When using  
control records like the Torq Vinyls, cue burn becomes a serious issue. This is due to the fact that you use the same two  
records to play every song in your set all the time and because Torq might not be able to track the motion in a section  
of the vinyl with cue burn. If you’re using Absolute mode, every song will begin at the same place on the record (at the  
beginning). Constantly cueing and scratching in this area will eat away at the grooves on the Torq Vinyl.  
When using traditional records, spotting cue burn is easy: you hear it. It sounds like the record is really dirty (as if it had  
been scrubbed with sandpaper). However, when using the Torq Vinyl, you won’t hear cue burn because Torq will still  
be playing pristine digital audio files. Instead of hearing the audio get scratchy when your control records start getting  
burned, you’ll find that Torq’s ability to follow the control records is compromised. This usually manifests itself right  
at the beginning of each song—the music will jump around erratically. This is because Torq is unable to determine the  
proper location because the signal from the control records has been damaged.  
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So, instead of hearing the audio get scratchy when your control records start getting burned, you’ll find that Torq’s ability  
to follow the control records is compromised. This usually manifests itself right at the beginning of each song—the music  
will jump around erratically. This is because Torq is unable to determine the proper location because the signal from the  
control records has been damaged.  
The usual solution for this is to either flip the record over to the other side or, if you’ve already done that, to throw the  
record away and get a new one. However, using the “Lead In” option in the Preferences, you can extend the life of your  
control records.  
By default, Lead In is set to “0” which causes the music to start playing from the beginning of the record. Increasing  
Lean In to “1” will make the music wait for an additional rotation of the record before starting. So, when the start of the  
record gets burned, increase the Lead In by one value. Once that new location is burned, increase the Lead In again. Once  
you’ve burned both sides of the record with the Lead In set to 5, you’ll have to buy a replacement.  
Skip Protection  
Skip Protection is a special feature that can help avoid embarrassing mistakes or unfortunate circumstances when using  
the Torq Control records. When this option is active, Torq will maintain playback of the music even if the needle skips  
across the record, be it from wind, someone bumping the DJ booth, etc. The way this works is similar to Relative mode  
(the position of the needle will be ignored after it skips) except that the music will not stop playing immediately when the  
needle comes off the record. If the needle looses contact with the record, the music will continue to play for about half of  
a second. If the needle makes contact with the record again within that time, you’ll never hear the music stop. Be aware  
that this feature has its limits: If the record player is bumped such that the tonearm bounces completely off the record,  
the music will stop.  
✓ Note: Skip Protection can be turned on and off from Torq’s Toolbar. Simply click the Skip Protection button  
to toggle the feature.  
Control Calibration  
The settings within this preference are used to configure each input pair of Torq for use with external control records or  
CDs. For vinyl control, you can use the Torq Control Vinyl records or some versions of the Ms. Pinky control records.  
»
Control Type (Gen1, Gen2, Gen3, Torq Vinyl, Torq CD)—this pop-up menu allows you to set the  
vinyl or CD source to use for the Deck. To use the Torq Control Vinyl or Torq Control CD, select “Torq Vinyl”  
or “Torq CD,” respectively. Gen1, Gen2, and Gen3 are for use with Ms Pinky records generations 1, 2, and 3.  
»
Power Threshold—this setting sets the minimum signal necessary to make External Control work. If this  
setting is too low, quiet noises picked up by the turntable could be interpreted incorrectly as control signals. If  
this setting is too high, the Deck will not respond to the external control signals at slow speeds. This should be  
set as low as possible without introducing any anomalies. Please see the “External Control Calibration” section  
earlier in this manual for the proper calibration procedure.  
»
»
»
Velocity—this display allows you to see the influence of the external control input. When working properly,  
playing back the Control Vinyl or CD at its original speed should result in a number very close to 1.0 in this field.  
Position—when external control is working properly, this display will show a number that increases as the  
source plays forward.  
Error Index—if the number displayed in this field is below 1.5, the control source is being read properly. If the  
number is higher than 2.0, the display will turn red, indicating problems with the incoming control signal. You will  
then need to adjust your control settings, clean your records, and/or replace your stylus to fix this.  
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Plug-ins Tab  
Torq allows you to use VST plug-in effects to further enhance and mangle your music. VSTs can be stored in various locations  
on your hard drive, and these preferences will choose the plug-in locations for Torq to use.  
System VST Plug-in Directory  
This preference gives you the option to use your system VST plug-in directory as the VST folder for Torq.  
1. Click the arrow next to the first option and select “yes” from the drop-down menu.  
2. Torq will now use the VST plug-ins found at the path listed in the window just below.  
Custom VST Plug-in Directory  
This preference allows you to select an alternate folder of VST plug-ins for Torq to use. This will allow you to specify only  
specific plug-ins to use by copying only the ones you need into a unique folder that you create.  
1. Click the arrow next to the first option and select “Yes” from the drop-down menu.  
2. Torq will now use the alternate VST plug-ins found at the path listed in the window just below.  
3. To change the path, click on the path name.  
4. This will open a standard System dialog box.  
5. Select the folder in which your alternate VST plug-ins are stored.  
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Miscellaneous Tab  
This tab contains miscellaneous options that affect the behavior of certain features of Torq.  
Skin  
This option allows you to select a different “Skin” or color scheme for Torq.  
1. Click to drop down the Skin menu.  
2. Select a skin (color-scheme) from the list.  
3. Torq will change its color scheme, but all interface features will maintain their shape and orientation within the  
interface.  
Tooltips  
If you hover your mouse over a control in Torq, often a small Tooltip will appear describing the function of the control.  
Additionally, when you move a knob or slider with the mouse, a Tooltip will be displayed showing the new setting of the  
knob or slider. This preference chooses the level of detail in the Tooltips.  
»
»
»
Full—When selected, all Tooltips will be displayed, both when you hover your mouse and when you operate a  
control.  
Adjust—When selected, the only Tooltips that will appear are those showing the adjustment applied to a knob  
or slider. The normal Tooltips seen when hovering the mouse over a control will be hidden.  
None—When selected will disable all Tooltips entirely.  
Search iTunes Library with Database  
If you happen to have a copy of Apple iTunes installed on your computer, selecting “Yes” for this option will integrate  
its Music Library into Torq’s Database. Any songs currently a part of your iTunes Library will be instantly accessible in  
Torq along with all other folders assigned to the Database. If this option is off, you’ll have to specifically select the iTunes  
Library in the Browser window to view its contents.  
Search iPod with Database  
When this preference is set to Yes, any connected iPods will have their music libraries incorporated into the Database  
for instant searching. If this option is off, you will have to specifically select the iPod Library in the Browser to view its  
contents.  
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Transport Mode  
The Nudge and Offset buttons in the Decks can have their directions reversed using this preference. By default, this  
option is set to Reverse, meaning the buttons operate in a manner similar to a DJ using turntables. Instead of pressing  
right to go faster or ahead in the song, you’ll press left (just like the closest edge of a record spinning past a DJ). If you  
prefer more of a “tape machine” style control, switch this option to “Normal.”  
Reset Speed on New Track  
When this option is set to Yes, Torq will reset the speed of a Deck to 0% (original tempo) every time a new song is  
loaded onto the Deck. With this option set to No, Torq will maintain the position of the Speed Slider even after loading  
a new song. This is the preferred mode when using MIDI to control the Speed Sliders since the position of the on-screen  
slider will remain synced to the position of the MIDI slider.  
Cue Exclusivity  
This option affects how the Deck Cue buttons behave.  
When this option is On, pressing the Cue button on a channel will cause the other Cue button on the other channel to  
turn off. This will ensure that you are only hearing one audio source through your headphones at a given time.  
When this option is Off, you can cue multiple channels at once. These Cue sources are mixed and heard through  
your headphones simultaneously. With each channel that is added to the Cue mix, the overall Cue bus volume will be  
attenuated by 3dB in order to keep it from clipping.  
Schaffel Mode  
Schaffel is German for “shuffle,” which has become a popular form of dance music based on a triplet rhythm as opposed  
to a straight 16th-note rhythm.  
When this mode is activated, any of the effects (or parameters that quantize their values) will include triplets in their  
quantizing options.  
Take the Strobe effect for example: The Parameter knob changes the rate of the Strobe effect. Normally, this would  
select rates of 1⁄2, 1⁄4, 1/8, 1/16, and 1/32. With Schaffel engaged, the knob would quantize to 1⁄2, 1⁄4, 1/8, 1/8T, 1/16T,  
and 1/32T. The “T” after the number stands for “Triplet.”  
✓ Note: Selecting a triplet quantization will give the effect or parameter a “shuffled” or funky feel.  
✓ Note: Schaffel Mode can also be turned on and off from Torq’s toolbar. Click the Schaffel button to toggle Schaffel Mode  
on and off.  
Sync Mode  
This option determines the “forcefulness” of the synchronization used in Torq.  
»
»
»
Bar—When selected, Torq will align a synced Deck to the tempo and downbeat of the other Deck or Global  
Tempo. Any attempts to adjust the alignment of the track will result in Torq forcing the tracks back into  
synchronization with their downbeats aligned (the thick lines of the Phase Grids will be aligned with each other  
at all times).  
Beat—When selected, Torq will match a synced Deck to the tempo and beat of the other Deck or Global  
Tempo with no regard to the downbeats in the Phase Grids. Any attempts to realign the synced Deck will result  
in Torq forcing the track back into alignment with the nearest beat (the thick lines of the Phase Grids may be out  
of alignment with each other).  
Tempo Only—When selected, Torq will only match the tempo of a synced Deck to the other Deck or Global  
Tempo. When you press Play on the Deck, Torq will not force the song into alignment. It will be up to you to  
start the music at the right moment and keep it in alignment.  
✓ Note: The Sync Mode can also be changed from Torq’s toolbar. Each time you click the Sync Mode button, it will  
cycle through Bar, Beat, and Tempo modes.  
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Torq 1.5 User Guide  
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Loop/Cue Quantize  
By default, Torq does not quantize actions such as creating loops or QuickCues. This gives you the freedom to set these  
points wherever you wish.  
If Quantize is set to “Yes”, Torq will force each new Loop or QuickCue you make to the nearest 16th-note. This can help  
ensure that your QuickCues and Loops occur right on beat when creating them on-the-fly.  
✓ Note: Enabling Quantize does not change the positions of QuickCues or Loop points that are already set in a song. It only  
governs the creation of new QuickCues and Loops.  
✓ Note: Quantize can be turned on and off from Torq’s toolbar. Clicking the Quantize button will toggle it on and off.  
Loop Out Mode  
The default setting for this preference is “16th”. When set this way, Torq will make sure that a Loop Out marker is set at  
a position that is quantized to the 16th-note relative to the position of the Loop In marker. In this mode, you can create  
loops that are any number of 16th-notes long. For example, you can create a loop that is 16 16th-notes long (1 bar). You  
could make a loop that is 2 bars, 1.5 bars, .5 bars (2 beats), etc. You can also make loops of strange lengths such as 15  
16th-notes long. Loops like that will appear to fall out of sync because they don’t have even loop lengths.  
To prevent some of the uncommon loop lengths that can be generated when using the “16th” setting, you can switch this  
preference to “Smart”. In this mode, Torq will force every loop to a length that will always loop in time with the music.  
Basically, it allows you to make a loop as small as a 16th-note and grows in powers of two from there. Therefore, you can  
achieve the following loop lengths: 1/16-bar, 1/8-bar, 1/4-bar, 1/2-bar, 1 bar, 2 bars, 4 bars, 8 bars, 16 bars, etc.  
QuickLoop Size  
This option affects how the QuickLoop buttons behave.  
When this preference is set to “Bar,” your loops will be established in lengths of musical bars. When this preference is set  
to “Beat,” your loops will be established in lengths of musical beats.  
QuickLoop Mode  
This preference determines the behavior of the QuickLoop buttons after a QuickLoop has been engaged. By default, this  
preference is set to “Cut and Grow”. In this mode, each additional press of a QuickCue button will cut the current loop  
length in half. Therefore, if you press the 2 button to create a 2-bar loop, pressing 2 again will reduce the loop to 1 bar  
in length. Pressing 2 again will cut the loop to half a bar (2 beats). You can continue pressing 2 again and again and the  
loop will get smaller and smaller to the point where only a high-pitched sound is heard. If you hold the SHIFT key while  
pressing the QuickLoop button, the loop will grow in length—doubling its previous length. There is no limit to how long  
the loop can be, other than the length of the song.  
The alternative setting for this preference is “Direct”. This mode more accurately resembles the loop functions on some  
DJ CD players. After you’ve created your loop by pressing one of the QuickLoop buttons, you can use the QuickLoop  
buttons to divide the loop length by their value. For example, pressing the 1 button will create a 1-bar loop. If you then  
press 2, you will end up with a half-bar (2 beat) loop since 1 divided by 2 is 1/2. If you press the 4 button, the loop will  
become 1 beat long (1 bar divided by 4 equals 1/4-bar [1 beat]). If you then press 1 again, the loop will return to its  
original length (1 divided by 1 is 1). Another example: Press 2 to capture a 2 beat loop. Press 8 to reduce that loop to a  
16th-note in length (2 beats divided by 8 equals 1/4-beat [16th-note]).  
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Torq 1.5 User Guide  
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Beat Detection Style  
Torq attempts to determine the tempo and phase of a song when you load it into a Deck. Coaxing a computer to “hear”  
the tempo of a song is partially art and science—this preference is here to assist when the science fails.  
In the Beat Detection Style menu, you will find a list of various musical styles/genres. Choosing one of the styles will tell  
Torq to alter its analysis algorithm for all future file analysis. Choosing a matching style will greatly improve the accuracy  
of Torq’s beat detection.  
For example, if you have “House” selected here and attempt to analyze a group of Drum & Bass tracks, the analysis will  
return the incorrect tempo (it will be too slow). Set this preference to “Drum & Bass” then re-analyze the affected files.  
Those files will now be analyzed with the proper tempo.  
Beat Detection Limits  
You can further fine-tune the beat-detection by setting your own upper and lower limits for the BPM. Once set, Torq will  
ensure that all analyzed BPMs return within the specified tempo range.  
✓ Note: Whenever you set your own upper and lower BPM limits, the Beat Detection Style will automatically be changed to  
“Custom”.  
Sample Counter  
Pressing this button will reset the automatic numbering of newly recorded samples back to “000.”  
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96  
APPENDIX  
CHAPTER  
Preset Key Assignments  
While Torq is basically a “blank slate” as far as keyboard assignments are concerned,  
there are a few keys that are preset to various functions in the Torq interface:  
16  
Global Key Commands  
F1—Load selected track into Deck A Shift+1—Set QuickCue 1 on Deck A  
F2—Load selected track into Deck B Shift+2—Set QuickCue 2 on Deck A  
F6—Max Browser view  
F7—Max Waveform view  
F8—Hide Sampler  
Shift+3—Set QuickCue 3 on Deck A  
Shift+4—Set QuickCue 4 on Deck A  
Shift+5—Set QuickCue 5 on Deck A  
Shift+6—Set QuickCue 1 on Deck B  
Shift+7—Set QuickCue 2 on Deck B  
F9—Hide Mixer  
Tab—Toggle Browser  
and Snapshot views  
1—QuickCue 1 on Deck A  
2—QuickCue 2 on Deck A  
3—QuickCue 3 on Deck A  
4—QuickCue 4 on Deck A  
5—QuickCue 5 on Deck A  
6—QuickCue 1 on Deck B  
7—QuickCue 2 on Deck B  
8—QuickCue 3 on Deck B  
9—QuickCue 4 on Deck B  
0—QuickCue 5 on Deck B  
Shift+8—Set QuickCue 3 on Deck B  
Shift+9—Set QuickCue 4 on Deck B  
Shift+0—Set QuickCue 5 on Deck B  
SHIFT+F1: Unload Deck A  
SHIFT+F2: Unload Deck B  
SHIFT+SET: Clear all QuickCues on a Deck.  
SHIFT+BYPASS: Clear all effects in a rack.  
Windows Key Commands  
ALT+F4—Quit Torq  
Mac Key Commands  
CMND+Q—Quit Torq  
CTRL+,—Open Preferences  
CMND+,—Open Preferences  
The following Styli and Cartridges have been tested and approved for  
use with Torq using Conectiv Hardware:  
Ortofon:  
< Nightclub S and E  
< DJ S  
< Scratch S  
Shure:  
< M44-7  
Stanton:  
< D6800 HP  
English  
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Torq 1.5 User Guide  
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WARRANTY  
Warranty Terms  
M-Audio warrants products to be free from defects in materials and workmanship, under normal use and provided that the  
product is owned by the original, registered user. Visit www.m-audio.com/warranty for terms and limitations applying to your  
specific product.  
Warranty Registration  
Immediately registering your new M-Audio product entitles you to full warranty coverage and helps M-Audio develop and  
manufacture the finest quality products available. Register online at www.m-audio.com/register to receive FREE product  
updates and for the chance to win M-Audio giveaways.  
© 2008 Avid Technology, Inc. All rights reserved. Product features, specifications, system requirements and availability are subject to  
change without notice. Avid, M-Audio, Conectiv, Xponent, Torq 1.5 are either trademarks or registered trademarks of Avid Technology,  
Inc. All other trademarks contained herein are the property of their respective owners.  
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Belgium tel . . . . . . . . . . . . . . . . . . . . . +32 22 54 88 93  
Holland tel . . . . . . . . . . . . . . . . . . . . +31 35 625 0097  
エムオーディオ／アビッドテクノロジー株式会社  
〒
　東京都港区赤坂  
新館ビル  
107-0052  
Avid Technology K.K.  
4F ATT Bldg. 2-11-7 Akasaka, Minato-ku Tokyo 107-0052 Japan  
2-11-7 ATT  
4F  
|
M-Audio  
M-Audio France  
カスタマーサポート（  
）
Technical Support  
Avid Technology | M-Audio  
e-mail . . . . . . . . . . . . . . . . . . . . . . [email protected]  
Pinewood Studios, Pinewood Road  
Iver Heath, Bucks, SL0 0NH, United Kingdom  
環境専用  
e-mail (Macintosh  
). . . . . . . . . . [email protected]  
（
）
tel . . . . . . . . . . . . 052-218-0859 10:00~12:00/13:00~17:00  
Renseignements Commerciaux  
セールスに関 するお問い合わせ（  
）
Sales  
tel . . . . . . . . . . . . . . . . . . . . . . . . . . . 0 810 001 105  
email. . . . . . . . . . . . . . . . . . . . . . . . . . [email protected]  
Assistance Technique  
e-mail . . . . . . . . . . . . . . . . . . . . . . . . . . [email protected]  
tel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 052-218-3375  
fax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 052-218-0875  
PC. . . . . . . . . . . . . . . . . . . . . . . . . . . 0 820 000 731  
Mac . . . . . . . . . . . . . . . . . . . . . . . . . . 0 820 391 191  
e-mail (PC) . . . . . . . . . . . . . . . . . . . . [email protected]  
email (Mac) . . . . . . . . . . . . . . . . . . . . . .m[email protected]  
fax . . . . . . . . . . . . . . . . . . . . . . . +33 (0)1 72 72 90 52  
Web . . . . . . . . . . . . . . . . . . . . . . . . . www.m-audio.com  
. . . . . . . . . . . . . . . . . . . . . . . . . . . www.m-audio.jp  
Web  
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