Release Sidecar v0.1.6 · Audbol/Sidecar

The fourth round of matching Sidecar to a real WING, cross-checked against WING Edit
3.3.4, the WING manual (2025-10-20) and the remote protocols document, with answers
from an owner of a full-size WING and a WING COMPACT: the WING COMPACT is a second
console model with its own surface, keys and custom control sets; every effect was
measured against its original, and its page's meters, needles, gain reduction and
spectrum move with the signal; the routing gains user signals and patches, inputs
straight to outputs and live meters; meters use the WING's ballistics; the EXTERNAL
effect inserts outboard gear; the multitrack editor can keep imported files where
they are. The README has use cases and new screenshots.

Added

The meters on the reverb, delay, modulation and pitch pages move with the
effect: VINTAGE ROOM's INPUTS / OUTPUTS ladders, DIMENSION CRS's OUTPUT ladder,
TAPE DELAY's two VUs (the record level onto each tape), VINTAGE PLATE's VU (the
drive into the plate), STEREO DELAY's level tube, DUAL PITCH's output LEDs,
TREMOLO/PANNER's L-C-R needle, the envelope graphs of PHASER and TREMOLO/PANNER
(filled to the envelope's level) and PITCH FIX's LED over the note it hears, through
the FX slots' readouts (ld_fx_readouts). The modulation devices report their LFO's
position, envelope and needle; an LFO graph shows where the LFO is.
Tap tempo also sets OILCAN DELAY's TIME dial and BBD DELAY's DELAY dial (their
delay time from the taps); the pitch devices' DELAY no longer takes the tap.
Live meters on the FX pages (dynamics, EQ and utility devices, channel strips,
EXTERNAL): C5-COMBINATOR's band screen shows each band at its gain as it is now
(n-GAIN plus its live gain reduction and SBC makeup) over the input's third-octave
spectrum; 2-BAND DEESSER's band LEDs light while their band de-esses; ULTRA ENHANCER's
STEREO and MONO VUs, PSYCHO BASS's low-band and harmonics meters, TAPE MACHINE's
record-level VU, SUB MONSTER's band meters, VELVET IMAGER's input / output / mid-side
LED meters, correlation bar and LF vector scope, SPEAKER MANAGER's live DYN EQ curve
(as set in blue, as it is now in orange) and the EXTERNAL EFFECT's SEND and RETURN
meters all follow the signal. Each channel-strip section's meter shows its own
block (the gate, the compressor, the 1176, the leveler...), the mastering strip's
tape VU, enhancer VUs and limiter LEDs their units'. Levels move with the app's
meter ballistics (full peak at once, 60 dB/s down); gain reduction meters follow the
processor. The pages poll ~30 times a second and repaint only the meters that move.
C ABI 23: ld_fx_readouts (an FX slot's input/output levels and its device's
readouts); ld_fx_latency includes a built-in device's own latency.
Multitrack editor: FILE > Import: COPY TO PROJECT / KEEP IN PLACE / ASK EACH
TIME (kept in the app settings). KEEP IN PLACE plays imported WAV, AIFF and FLAC
files where they are (another drive, a sample library) instead of copying them to
the project's drive; a file the project can't play as it is (another sample rate,
more than two channels, MP3 or another compressed format) still gets a converted
copy, and the event log says why for each. ASK EACH TIME asks on every import and
drop, with Remember my choice. Clips whose file is missing show OFFLINE and
play silence without stopping playback, and play again when the file is back.
FILE > Collect files into project copies the files from outside the project's
folder into it and repoints the clips. FILE > Projects folder chooses where new
projects and their recordings go (the default stays Documents/Sidecar/Recordings).
WING COMPACT: SETUP > GENERAL > CONSOLE > CONSOLE MODEL FULL / COMPACT shows
the surface of a WING COMPACT instead of the full-size WING, at once. The top row is
the display unit with the monitoring panel at its right. Below: one fader section of
12 faders (three modules of four) with the COMPACT's nine layer keys (1-12, 13-24,
25-36, 37-48 AUX IN, BUS MASTER, MAIN MATRIX, DCA, USER 1, USER 2) and
the shift keys, and the key section. BUS, DCA, MAIN MATRIX and USER
choose what the 16 keys do. BUS: a key puts its bus on fader 13. MAIN
MATRIX: keys 1-4 put MAIN 1-4 on fader 13, keys 9-16 MATRIX 1-8. DCA: a key spills
its DCA and puts it on fader 13. USER: custom control keys (see the key sets below).
Fader 13 is the main fader, MAIN 1 at first; it has no scribble strip, only its
meter, and the small LCD beside it names it and the 16 keys. There is no channel
strip, custom controls, 4-Channel, center or right section, as on the console, and
ROUTING has no AUX IN or AUX OUT (the COMPACT has no local aux I/O). The COMPACT is
black: it shows the black finish. CH AUTOSELECT has one key, CMPCT. WING REMOTE:
/$ctl/cfg/mfdr, cscmode and autosel_CMPCT are fader 13, the keys' mode and CH
AUTOSELECT CMPCT, both ways. The model is an app preference, not saved in shows; it
fits a 1366 x 768 window. LCL 1-24 (the COMPACT's 24 local preamps) all take LOCAL
IN's GAIN range. C ABI version 16 (ld_console_model_info, ld_layers_set_model,
ld_wing_set_model): each model's local I/O (24 local preamps and 1x2 GPIO on the
COMPACT, 8 and 2x2 on the full size; no local aux I/O on the COMPACT).
WING COMPACT key sets: the 16 keys play the COMPACT's own custom control sets (WING
manual 4.2 and 4.8; WING Edit's CC EDIT on a Compact). USER mode: U1-U4 (keys 1-4
... 13-16). MAIN MATRIX mode: M/M on keys 5-8, which were empty. DCA mode with SETUP

SURFACE > USE DCA BUTTONS 1-16 AS CC: D1-D4. Each set has four keys with a
function, a name and a colour, shown on the LCD. Holding VIEW opens CUSTOM
CONTROLS on the keys' set (USER 1-4 .. DCA 13-16 and the DAW mode sets, ‹ › through them); VIEW
pressed opens FADERS. Before, USER mode played the USER layer and the custom control
layer shown. WING REMOTE: /$ctl/user/U1-U4, MM and D1-D4 while the console
is a COMPACT (the full-size console keeps U1-U3 as the 4-Channel section's F1-F3
layers). Stored with the show as custom control layers 24-32.
WING COMPACT BUS, MAIN and MATRIX keys (WING manual 4.2, checked on a COMPACT): a
BUS or MAIN key pressed turns on Sends on Fader to the bus or main and held spills
it; a MATRIX key spills or sends as MATRIX SPILL says (see the matrix spill below).
The bus, main or matrix still goes on fader 13. A selected key pressed again lets
go: fader 13 goes back to MAIN FADER and the SOF or spill ends. SETUP > SURFACE on a
COMPACT has MAIN FADER, KEEP MAIN FADER, DCA SPILL ON SELECT, BUS, MAIN and MATRIX
SPILL (which of press and hold spills or sends) and USE DCA BUTTONS 1-16 AS CC; the full-size console's F1-F3, right section SOF, user layer
link and DCA SPILL rows are hidden. WING REMOTE: /$ctl/cfg/mfdrkeep, busspill,
mainspill, mtxspill, dcaspill, dcacc.
Main spill: the channels, aux and buses feeding a main come onto the faders, as
their own faders. On the COMPACT's MAIN keys (held), as FADER SPILL > MAIN on any
custom control key, and as /$ctl/layer/<L|C|R>/spidx 57-60 (MAIN 1-4) on both
models. C ABI version 17: spill kind 5, ld_wing_set_black_finish.
WING REMOTE reports the WING's own model: discovery, /? and /$syscfg/$cnsmdl say
ngc-full for the full-size console (it said sidecar) and wing-compact for the
COMPACT, and /$syscfg/$cnscfg (where WING Edit takes its ACTIVE WING MODEL from)
wing-fullsize or wing-compact, so WING Edit and Mixing Station show the right
model. With SURFACE FINISH BLACK the full-size console reports wing-bk (WING
Edit's name for the black WING) in all of them, and the finish changes it at once.
Exported snapshots name the model as WING Edit's do. The serial
SIDECAR0001 and the firmware's sidecar still tell Sidecar apart.
Inputs straight to outputs (WING manual 2 and 5.4 OUTPUTS: "route any Source to any
digital or analog output"): on ROUTING > OUTPUTS every source group feeds outputs,
LOCAL IN, AES50, OSCILLATOR, WLIVE PLAY, USB PLAYER and USER SIGNAL included, without
a channel. The output plays the source after its gain, mute and polarity. An output
has one source: a source replaces the strip or monitor path there, and the other way
round. The RECORDER ports tap sources too. Saved with the show and recalled by scenes
with ROUTING (<Patch>); WING REMOTE: /io/out/<grp>/<n>/grp and in take every
input group.
Buses, mains and matrices as channel sources (WING manual 2.6, "All Buses, Mains and
Matrices can be selected as the Source for all Input and Aux channels"): ROUTING >
CHANNELS' BUS, MAIN and MATRIX groups show two tiles per strip (BUS 1L, BUS 1R ...)
with the strip's colour, name and icon; a touch patches the strip in stereo. The
channel hears it one audio block later (the WING: 38 samples): a channel that sends
to the bus it listens to is a feedback loop through that delay, as on the console.
WING REMOTE: /ch/<n>/in/conn/grp BUS, MAIN, MTX (number 2k-1 = strip k L, 2k = R).
User Signals and User Patches, the WING's USER SIGNAL group (WING manual 2.6): USR
1-24 copy an input channel, aux, bus, main or matrix, PRE (its tap point) or POST
(after its processing), its L, R or both mixed (L+R); USR 25-56 copy an external
source (a port, a playback channel, the USB player), so two ports from anywhere make a
stereo or mid/side source with their own gain and polarity. Both are sources: MUTE,
POL, name, colour, icon, tags and pairs (STEREO, MID/SIDE). ROUTING > SOURCES' USER
SIGNAL group sets them: SOURCE (the group, then the strip or port), L+R / L / R and
TAP PRE / POST. Channels patch them on CHANNELS (a user signal a block late; a user
patch in the same block), outputs on OUTPUTS (in the same block). WING REMOTE:
/io/in/USR/<n>/user/grp, in, lr, tap and the sources' name, col, icon,
mute, pol, tags, mode. Saved with the show (their settings with the sources).
ROUTING > SOURCES selects several sources by dragging over their tiles (WING manual
5.4: "Touch and drag to select multiple Sources. Parameter changes are applied to all
selected Sources"): GAIN (each in its group's range), +48V, POL, MUTE, MONO / STEREO /
MID/SIDE, INITIALIZE, colour, icon and mute groups go to all of them; the first one's
settings show. A touch selects one source again.
Bus to bus from any bus to any other bus (WING manual 5.10, BUS → BUS "from Bus 1-16
to BUS 1-16"): the sends of every bus on HOME, SENDS, the fader strips' sends on
fader and CONFIG's BUS → BUS. The engine runs a bus after the buses sending to it, so
a chain (Bus 2 → Bus 5 → Bus 1) arrives in the same block; a loop (Bus 3 → Bus 7 →
Bus 3) is cut at its lowest bus, whose loop send takes the previous block (the WING:
8 samples on every bus to bus send). WING REMOTE: /bus/<n>/send/<m>/on, lvl,
pre for every pair but a bus to itself.
SOLO SAFE on Channel Home (manual 5.5, Fig. 37-39): the MAIN panel follows SOLO MODE.
LIVE shows SOLO BUS; STUDIO the mains 1-4 in a row with their PRE badges; SIP the
SOLO SAFE locks on input and aux channels. A closed lock keeps SIP from muting the
channel. WING REMOTE: /aux/n/solosafe too.
Dynamics KEY SOURCE on aux, buses, mains and matrices, as on the WING: SELF or any of
BUS 1-16, MAIN 1-4, MTX 1-8, AUX 1-8, at the KEY TAP BUS, DYN, PRE FDR, POST FDR, EQ
or INS 2 (the engine keys them; a key from a strip that runs later in the block is
one block late). WING REMOTE: dynsc/src and dynsc/tap of aux, buses, mains and
matrices, both ways.
MAIN METER SOURCE (SETUP > SURFACE and the meter's right-click) has every source of
the manual: MAIN 1-4, MTX 1-8, PHONES, SPEAKERS and SEL CH (the selected strip, at its
kind's meter tap with AUTO). WING REMOTE: every /cfg/mtr/mainmtr item.
Surface lock as in the manual (chapter 10): hold HOME to lock the surface and the
touchscreen; other keys beside the display held with HOME are the password, and only
HOME with the same keys unlocks. SHOW METER PAGE WHEN LOCKED works: METERS shows while
locked. Ctrl+L is HOME alone. WING REMOTE: /$ctl/$globals/lockmtr and the read-only
lock string /$ctl/$stat/cnslock.
Tap tempo on the INS 1 / INS 2 screens of HOME, as on EFFECTS: the blank key taps
the TIME of the delay the insert holds.
Custom controls: the OTHER functions WING Edit lists that were missing: TALKBACK A /
B (as the TALK keys), GLOBAL MAIN/ALT (manual 5.5 p. 44), DAW LAYER (DAW remote
control on / off; on the COMPACT, which has no DAW key, the way into DAW mode, manual
4.8 p. 27), MONITOR PHONES / SPEAKERS / PH+SPK, CH / BUS / MAIN / MTX SOLO TAP (PFL /
AFL) and CH / BUS / MAIN / MTX / DCA METER TAP (PRE / POST). CC EDIT lists the
functions and OTHER in WING Edit's order. MONITORING encoders can set PHONES LEVEL.
Custom control keys: CH INSERT PRE / POST ON/OFF (a strip's INS 1 / INS 2),
FX PAR (an FX slot's parameter or MIX; a press toggles a switch or steps a list)
and OVERVIEW PAGE (the OVERVIEW screen of a section on a layer key or bank).
Holding a key with a parameter gives it to the encoder above (on the COMPACT, the
knob right of the display; manual 4.8 p. 25). An FX PAR key on a delay's TIME taps
the tempo, and SETUP > GENERAL > TAP TEMPO FLASH works: OFF, 8X (eight beats after
the time changes) or ON. It was only kept.
WING COMPACT DCA assignment from the surface (manual 4.2 p. 16): press a DCA key,
hold fader 13's SELECT and press the strips' SELECT keys to put them in the DCA or
take them out; meanwhile those keys light on the DCA's members.
WING COMPACT VIRTUAL section (manual 5.7 p. 61, Fig. 55): the VIEW screens have
COMPACT and VIRTUAL at the foot of the layer column. VIRTUAL has eight layers of its
own, eight faders wide, empty and unnamed at first; CONFIG fills and renames them.
Saved with the show; the full-size console keeps them. WING REMOTE:
/$ctl/layer/VRT/1-8 (names and faders; sel and ofs on the COMPACT).
VIEW > CONFIG with SENDS or BUS -> BUS: SOURCE CUSTOMIZATION / BUS
CUSTOMIZATION (manual 5.10 p. 66, Fig. 60): send faders assigned show their
source's or their destination's name, colour and icon, on the surface and the
screens. SENDS starts with the S item (Fig. 59), the selected channel's send to
the destination, which follows the selection. C ABI version 20 (FaderRefC.flags,
kFaderSelSend).
WING REMOTE: the custom controls' function nodes (ch, fx, par, other, CCBK,
area, bank, pg, tgt, btn, send, mgrp, dca, tag, action, usbpr,
the MIDI keys' ch, cc, note) are the show's, both ways, with the WING's node ids
(one per position for every mode, captured from WING Edit 3.3.4), so WING Edit's CC
EDIT shows and sets a function's target and option; before, only its mode. The new
key functions are its INS1, INS2, FXPAR and VIEWPAGE modes and OTHER's TBA, TBB,
ALTSRC, DAWSW, MONA, MONB, MONAB, CHSOLO ... DCAMTR.
Recorder SETTINGS (status bar, as on the WING-LIVE screen, manual 8.1 p. 85-86):
SHOW METERS shows or hides the meters of the armed tracks, and AUTO INPUT
SELECT with [STOP] / [PLAY] / [RECORD] INPUT (KEEP, MAIN or ALT): when the
recorder stops, plays or records, the global MAIN / ALT switch goes to MAIN or ALT.
The channels follow it while INPUT SELECT is GLOBAL, as VIRTUAL SOUNDCHECK sets it,
so a virtual soundcheck can hear the recording on PLAY and the band on STOP and
RECORD. The switch happens before the first sample is recorded. WING REMOTE:
/cards/wlive/meters, autoin, auto_stop, auto_play, auto_rec.
Recorder MODE A->B (manual 8.1 fig. 75): MODE now steps PLAY (yellow), A->B
(blue) and LOOP (green). A->B plays from the range's start and stops exactly at its
end. The knobs under the display set the range (START and END, the loop borders in
LOOP). The mode is kept in the project; older projects play as before. WING REMOTE:
/cards/wlive/1/cfg/playmode (and 2). C ABI version 18: ld_rec_set_range.
Shows hold files as scenes (manual 5.6 p. 52, fig. 45): a snippet, an audio clip, an
FX preset or a channel preset. ADD ITEM TO SHOW (SHOW tab; also ADD in the
status bar) adds the file selected at INT or USB after the selected scene. A scene
file comes in as a scene; an FX preset loads into the FX tab's slot, a channel
preset onto the selected strip. SAVE + ADD on SNIP, FX and CHAN saves and adds
in one go (on SNAP, SAVE already adds the scene). Recalling such a scene (GO, GO
NEXT, a tag, MIDI, a WING remote) loads the file: the snippet (with the scene's
fade), the preset, or the clip on the USB player. The scene list shows the type
(SNIP, WAV, FX, CHAN) and, once renamed, the file's name. The show keeps the
snippet and presets in itself and the clip's path. The SHOW tab shows the files
that can be added normally. Older shows load unchanged; older Sidecar versions see
such scenes as empty. C ABI version 18: ld_scene_item_kind, ld_scene_item_text,
ld_show_add_item, ld_show_add_snippet_scene, ld_show_take_clips.
STARTUP files (manual 5.6 p. 52 and chapter 10): a show, scene and snippet whose
names start with STARTUP in the library's STARTUP folder
(Documents/Sidecar/Library/STARTUP) load when Sidecar starts: the show first
(Sidecar's .lshow, else a WING .show), then the scene (.lsnap, else a WING
.snap) and the snippet (.lsnip). Holding SHIFT while Sidecar starts (the WING:
holding LIBRARY) or --no-startup skips them. C ABI version 18:
ld_show_apply_library.
Outboard inserts: the WING's EXTERNAL effect (manual 11.11 p. 164, Fig. 169).
The EXT device keeps hosting plugins and gets a SOURCE, PLUGIN or
OUTBOARD (also in the FX slot menu: Outboard insert (SEND / RETURN)). An
outboard slot sends its strip's insert signal to its FX SEND at TRIM in
FX MODE MONO, STEREO or MID/SIDE, and returns the RETURN inputs (LCL, A, B,
C, CRD or PLAY; the next input too in STEREO and MID/SIDE) in its place. Its
latency, one audio block plus the interface's reported input and output latency
plus LATENCY (samples, the gear's own), is compensated like a plugin's, and FX MIX
delays the dry signal by it. Without a RETURN it passes the signal through. The
EFFECTS editor shows the EXTERNAL EFFECT page as the console's (SEND opens ROUTING >
OUTPUTS). ROUTING > OUTPUTS gets the FX SEND source group (FX 1L ... FX 16R,
the WING's FX SEND 1-32), which showed n/a tiles. Shows, scenes and FX presets keep
the settings (presets without the outputs); EXT slots of older shows stay plugin
slots. WING REMOTE: /fx/N/EXT/egrp, ein, emode, lat and trim drive it
(they were only stored), selecting EXT as mdl makes an outboard insert, and
outputs patched to SEND n carry slot (n+1)/2's send, so WING Edit's EXTERNAL
EFFECT editor works on it; a slot hosting a plugin still reads as EXT and keeps its
plugin. C ABI version 21: FxParams::sendLeft / sendRight,
ld_engine_set_io_latency, ld_fx_state 4 / 5 (outboard insert, with a RETURN);
ld_fx_latency gives an outboard insert's latency.
Source and output GLOBAL safes take effect (manual 5.6 p. 54-55): GLOBAL's
SOURCE (LCL, A, B, C, CRD, PLAY, OSC) and OUTPUT (LCL, A, B, C) tiles, dimly lit
when part of a group is safe, keep safe sources' settings and names and safe
outputs' patches when a scene is loaded (RESTORE, NO GLOB and snippets ignore
them). Scenes now recall the sources with ROUTING (scenes saved before leave them
alone). The safes are the console's, saved with the show; WING REMOTE
/$ctl/safes/source/* and output/* of those groups set them (they were only
stored). C ABI version 21: ld_engine_io_safe, ld_engine_set_io_safe.
Matrix spill (WING manual 5.5, BUS/MAIN/MATRIX SPILL): the channels, aux, buses and
mains sending to a matrix come onto the faders as their send levels to it (MUTE
switches the send), as a bus's spill shows its sources. On the COMPACT's MATRIX keys,
as FADER SPILL > MTX 1-8 on any custom control key, and as /$ctl/layer/<L|C|R>/spidx
49-56 on both models. BUS SoF/SPILL ACTIVATES SOLO solos a bus, main or matrix
spilled, as it did for Sends on Fader. C ABI version 22: spill kind 6.
WING COMPACT SETUP > SURFACE (manual 5.5, FADERS, in its order): DCA SPILL ON
SELECT (/$ctl/cfg/dcaspill, off at first), the COMPACT's one DCA spill setting:
on, a DCA strip's SELECT spills it, as the full-size WING's DCA SPILL. A DCA key
always spills its DCA and puts it on fader 13, and selects it for the DCA assignment
with fader 13's SELECT (a WING COMPACT's owner). BUS SPILL
(/$ctl/cfg/busspill, new), MAIN SPILL and MATRIX SPILL: on, a key's press
spills its bus, main or matrix and a hold turns on Sends on Fader; off, the other way
round. MATRIX SPILL now works (Sidecar had no matrix spill): on, as a factory-set
WING has it, a MATRIX key pressed spills the matrix and a hold turns on Sends on
Fader to it; MAIN and BUS keys send on a press and spill on a hold.
WING COMPACT in DAW mode (DAW LAYER on a custom control key, manual 4.8): the 16
keys and the four mode keys do nothing until you assign them (a WING COMPACT's
owner): they play custom control sets of their own, DAW KEYS 1-4 .. 13-16
and DAW MODE KEYS, empty at first and edited in CC EDIT like the other COMPACT
sets (VIEW held opens DAW KEYS 1-4); a key acts while held (DAW BUTTONS push) and is
named on the LCD, which reads DAW. A key whose DAW control is empty but whose own
set's control is DAW LAYER still leaves DAW mode. Stored with the show as custom
control layers 33-37; the WING tree has no node for them.
Custom controls: FADER START (WING FSTART): a key on a channel, aux, bus, main
or matrix that lights while its fader is up (the fader start contact); DAW
V-POTS on a key (DAWENC): M1-M8 / EXT1-16 pushed while the key is held, turned a
step clockwise per press, or the jog wheel; the encoders' OTHER: LAMP, GLOW and
PATCH BRIGHTNESS (SETUP > GENERAL's tiles, now also /$ctl/cfg/lights/lamp, glow,
patch); MONITORING's TALKBACK level; USB PLAY/REC's TOGGLE PLAY/STOP and
TOGGLE PLAY/PAUSE; GLOBAL PAGE's SOURCE SETUP, OUTPUT ROUTING (ROUTING's
SOURCES and OUTPUTS; CHANNEL INPUTS opens CHANNELS) and USB PLAY/REC; FADER
SPILL's AREA (LEFT, CENTER or RIGHT: the section it spills to; it always spilled
to the left). WING REMOTE: modes FSTART, DAWENC and the encoders' OTHER, pg SRC,
OUTS, 2TRK, area and tgt MTX1-8 of FADER SPILL, both ways (the toggles are newer
than the 3.1 tree: they read as PLAY).
Custom controls: a control's light (WING manual 4.8: "ensure COLOR → LIGHT is
enabled"): CC EDIT's COLOR > NONE turns it off and keeps the colour, a colour turns
it on. WING REMOTE: /$ctl/user/.../led (it was only stored); col keeps the light
as it is.
WING REMOTE: $fname of every custom control key and encoder reads the function's
name as the console writes it (WING Edit 3.3.4's offline console; the factory DAW
layers match the dump of a real WING): "|1 MUTE", "|B1 |SOF", "|DCA1 > L", "|FX3
MIX", "|DAW STOP", "|DAW *TIME", "|1 |HOME", "|FDR L/1", "TALK A", "|SCN GO", "CC
1:7", "|1 FDR", "SEND |B1". It read the function's long name ("CH MUTE").
SETUP > AUDIO > SEND PAGE ACTIVATES SOLO works (/$ctl/cfg/sfdr2solo, "only
applicable from the SENDS page"): choosing a destination on VIEW > SENDS solos it.
It was only kept.
ALTERNATIVE SOF MODE as in the manual (4.9 p. 28): SOF FLIP held starts the standard
SOF on the selected channel, a press ends either SOF mode (SELECT held still starts
the alternative one). Before, a press switched SOF in both modes.
VIEW > FADERS: AUTO RIDER in the COMP slot shows its square, lit while it rides
(manual 5.8 p. 63).

Changed

The 480L-style reverbs (HALL, ROOM, CHAMBER, PLATE, CONCERT, AMBIENCE) ring for
their DECAY at the console's default SIZE (ROOM rang 1.6 times longer at its default
50 m: a 2.5 s DECAY lasted about 4 s). SIZE still scales the decay from there.
The reverbs start at PRE DLY: the early build-up (SHAPE / SPREAD) is heard from the
pre-delay on instead of only once the tank answers, 20-80 ms later (HALL began about
40 ms after PRE DLY, ROOM 75 ms). AMBIENCE's early sound reaches both sides from
either input.
A RATIO picked from a list reads "3:1" everywhere when the ratio is whole (an
expander's "1:3"; a WING's owner), "2.5:1" or "1.43:1" when it isn't: also on the
knobs, the FX rack's tiles and a fader strip with an FX parameter, which showed
"3.00". The earlier "2.0:1" is gone.
Display screens matched to screenshots of a WING (firmware 3.1), side by side at 1280 x 800:
- Status bar: the WING-LIVE cards are white outlines with a clipped corner over a separate
  "LIVE" strip with the dots at its ends; the USB stick, the SETTINGS gear and the padlocks
  are outlines as on the console; the A / B / C / SC chips have black print; the clock's
  colon is set tight and the digits and date sit as on the console. ROUTING's SOURCES and
  OUTPUTS title tile is #585858 with the number, icon and name at the console's places.
- ROUTING: the CHANNELS / SOURCES / OUTPUTS keys have the console's icons (two faders, a
  block arrow into and out of a ring); the right grid is no longer dimmed while the patch
  is locked; a channel tile prints its port ("PLAY 1/2"), not the source's name; the
  selection frame is 4 px; the SOURCE GROUP box has the console's icon and type sizes;
  SOURCES' POL key shows "+|-" and its GAIN sits in the parameter bar's last slot.
- SETUP > AUDIO > INPUT SELECT is a floating 937 x 480 window as in the manual's Fig. 35:
  two framed panels, 52 px cells in pairs of rows with "CH" over a rule and the number.
- LIBRARY: the INT / USB / SHOW keys and the date key have black faces and the console's
  icons (a console face, a USB stick on its side, a film frame); FOLDER, REMOVE, SAVE
  +SCOPE, UPDATE, PARTIAL UPDATE / LOAD, EDIT SCOPE, RESTORE, OPEN, CLOSE, EDIT TAG and SEND
  MIDI have their own icons; keys have a 1 px light frame (black while disabled); ADD ITEM
  TO SHOW, EDIT TAG, SEND MIDI and the SNIP item keys are printed on their panel; the
  toolbar keys sit at the console's places; GLOBAL moved to the right of the status bar;
  the SHOW key reads SHOW while the show has no scenes.
- MONITOR: TALK A / B tabs show a speaking head; the headphones, speaker and PH+SPK icons
  are thin outlines; PFL DIM's bar fills from the right end.
- METERS SETTINGS and every window's CLOSE key: a 32 px box (open at the corner where the
  tick ends) 16 px from the right, the caption 16 px from it. Unselected tabs use 14 px
  capitals (they were 17); chips print a little larger.
- USB recorder: bigger transport glyphs, 14 px 2-CH / 4-CH and 16 / 24 bit keys.
- VIEW: the layer title and MUTE GROUPS title are #585858; CONFIG's fields use the
  console's 14 / 20 px caption and value.
HOME and the channel processing screens matched to screenshots of a WING (firmware 3.1),
side by side at 1280 x 800:
- GATE / COMP: the ENVELOPE centres the hold on the graph (it centred the whole shape, so
  the gate's sat 39 px left of the console's) with the WING's 8 px under its title; the
  transfer graph's level labels sit 8 px left of the plot, the threshold line starts right
  of the meter, the threshold handle is 39 px across at the edge; RATIO and KNEE in the
  console's amber (#f8c430), ATTACK / HOLD / RELEASE in its #18e460; a list RATIO reads
  "3:1" on the parameter bar as the console shows it ("2.5:1", "1.43:1" keep their digits).
- The model list's GATE / DUCKER / COMPRESSOR / EXPANDER tiles are miniatures of the slot
  screen: a thin grey curve with an orange stretch, the threshold handle, a black ENVELOPE
  with its handles, drawn at the model's factory values (the list's pictures are fixed,
  the loaded model's too: they don't follow the strip's settings). Model names sit 2 px
  higher.
- Fields: values in the console's heavier weight (knob boxes too), the drop-down triangle
  20 x 11 px light grey, the ">" key 14 x 24 px with 3 px strokes (also INS's key beside
  FX PROCESSOR). Screen keys have the console's black frame (2-3 px; 4 px round a slot's ON).
- Drop-down lists (FILTER TYPE, XOVER MODE ...): rows #101010 in a 2 px #707070 frame, the
  chosen one gold 2 px inside its row, names in 14 px light grey capitals, as wide as the field.
- FILTER SETUP: TOOL FILTER keys stacked in 2 px frames with the name centred right of the
  icon, a smaller TOOL FILTER caption, a larger page title and CLOSE (also the key filter and
  XOVER pages). EQ: unselected band names grey (#707070), as on the console.
- The source tile (overview, CHANNEL INPUT, COPY's source) in a 4 px black frame; inside it
  the icon, signal ring, 48V / MUTE chips and port name where the console has them; a bolder
  +48V icon. The insert tap's grey line shows on the slot screens' block column too; the tap
  is a rounded square.
- ICON/COLOR, NAME and TAGS: LEVEL exactly where the overview has it; a smaller footnote.
- CHANNEL INIT / COPY: scope keys with the console's icons (plug, gear, band, the block keys'
  GATE / DYN / EQ / INS art, fader cap, knob) over SemiBold captions, framed only while off;
  destination tiles 60 px on a 66 px pitch with the channel's (or its source's) icon; the INIT
  / COPY key grey in a light grey frame.
- SELECT FX PROCESSOR and the FX TYPE list over INS keep square WING pixels (they were
  squashed to the HOME page's height), with the console's type sizes. SELECT CHANNEL (KEY
  SOURCE): title and CLOSE in the console's sizes.
FX pages measured from the manual's figures of the console's pages (chapter 11) and a
real WING's EFFECTS screens: GATED and REVERSE REVERB (the WING digital reverb with its
LCD, red value display and bar knobs), DELAY/REVERB ("Dual FX"), SHIMMER, SPRING,
VINTAGE ROOM (value tiles round the data wheel), VINTAGE REVERB (levers and LED ladders
you click), VSS3 (TC ICON remote: six faders, the preset wheel and the MAIN / ER / TAIL /
MOD layers), DIMENSION CRS, STEREO FLANGER, ULTRATAP, TAPE DELAY, OILCAN, BBD, STEREO and
DUAL PITCH, GRAPHIC EQ (TRUE CURVE switch on both pages), PIA 560, DOUBLE VOCAL, PITCH FIX
(note keys), PRECISION LIMITER, 2-BAND DEESSER, C5-COMBINATOR (band screen; touch a band
to edit it), ULTRA ENHANCER, EXCITER, PSYCHO BASS, ROTARY, PHASER and TREMOLO/PANNER
(attack-hold-release graph), TAPE MACHINE, MOOD FILTER, SUB OCTAVER, SUB MONSTER, VELVET
IMAGER, SPEAKER MANAGER (FILTER / DYN EQ / LIMITER), the five guitar amps and BODYREZ.
The channel strips (EVEN, SOUL, VINTAGE, BUS CHANNEL, MASTERING) show each section as the
unit it recreates (Even 88 gate, SOUL 9000, 76 limiter, Pulsar, LA leveler, Warmth, Bus
comp, Tape, Mach EQ4, Enhancer, Precision limiter), a tab per section; their FX menu
tiles are tinted collages of those panels, as on the console.
The FX menu's HALL, ROOM, CHAMBER, PLATE, CONCERT and AMBIENCE tiles show the program's
letters ("HA", "RO"...) and EXTERNAL shows the EXTERNAL EFFECT page, as on a WING.
The EXTERNAL EFFECT page follows Fig. 169: SEND, FX MODE (MONO / STEREO / MID/SIDE rows,
the mode in use green), RETURN, the meters' scales either side.
An FX rack tile shows the control a WING shows: REVERSE RISE, DELAY/REVERB TIME, SPEAKER
MANAGER TILT F, PRECISION LIMITER SQUEEZE, ROTARY SPD CTL, TAPE MACHINE DRIVE, PITCH FIX
AMOUNT.
The knob last touched on an FX page is framed by corner brackets, as on the console.
A new EXTERNAL (EXT) effect starts at FX MODE ST and LATENCY 45, as on the WING (checked
by a WING owner and in WING Edit 3.3.4); it started at M and 0. A plugin hosted in the
slot still uses its own reported latency.
Every processing and FX model starts with the WING's own defaults: 98 of the 113
models (all but the WING GATE, WING COMPRESSOR, WING EQ and a few others) started
with values of our own. The defaults are what WING Edit 3.3.4, which runs the
console's firmware, gives each model (they match a factory-set WING and the manual's
figures: a HALL at PRE DLY 50 ms, SIZE 50, DECAY 1.57 s, BASS MULT 0.95, DAMPING
5k7 Hz, DIFFUSION 25, Fig. 124; DELAY/REVERB at 240 ms, Fig. 132). FX RESET and a
newly chosen model use them; saved shows keep their values. Some that change the
sound: the DUCKER at -20 dB, RANGE 20, ATTACK 100 ms; the analog EQs' frequencies;
MACH EQ4 with AUTO on and AIR 40k; the channel strips (EVEN, SOUL, VINTAGE, BUS,
MASTERING) with their EQ and dynamics blocks off; the MOOD FILTER's LFO at 100 %;
PRECISION LIMITER (and MASTERING's) at OUT -0.5 dB with AUTO GAIN. The generator
takes them from tools/wing/model_defaults.json.
Model values read as the console writes them: each parameter with its own fixed
decimals, kHz with the k as the decimal point and times in ms however long (DAMPING
"5k7 Hz", a DYNAMIC EQ at "2k99 Hz" and "1216 ms", a DUCKER's RELEASE "1503 ms"),
as WING Edit's DUCKER and DYNAMIC EQ and the manual's HALL and DELAY/REVERB show
them. They read "5.68 kHz", "2.99 kHz" and "1.50 s", and integers such as PRE DLY
had no unit ("50", now "50 ms"). The BLUE PLATE's second display says HZ.
PITCH FIX: a note key switched on disables that note (the console starts with all
keys off and every note corrected); it was the other way round. Shows and FX presets
saved before keep the notes they corrected.
Meters: one set of ballistics for every level meter (screens, fader strip and
channel strip LEDs, the main meter, ROUTING's tiles, the USB recorder, the dynamics
graph's output, the remote meter stream), as a WING owner measured on their console:
the full peak at once and a 60 dB/s fall (a steady -6 dB tone pulled out leaves the
strip LEDs dark in 0.9 s; the console: "about 1 second, maybe less"), with no peak
hold on the strips or the main meter (after a drum hit they fall straight away) and
no clip hold on the surface (CLIP goes out at once). Only the METERS screen holds a
peak for 1 s (its dash, red for a held CLIP), then falls at the same rate. Before,
most meters fell about 180 dB/s (a click barely showed on the surface) while the
METERS screen's hold and the recorder fell at their own rates, so one signal read
differently on different meters.
The fader strips' LED meters follow SETUP > SURFACE > METERING instead of always
showing the input, and DCA strips meter their loudest member (as the METERS
screen). PRE is after TRIM and before the EQ and dynamics (on a WING, TRIM moves a
PRE strip meter and the EQ does not), POST after the fader; the same PRE for METERS

SETTINGS, the main meter's MAIN METER TAP, the VIEW screens and the remote
stream's DCA meters. The channel strip's LEVEL meter is after TRIM (it read the raw
input).
Meter colours: the main meter has no yellow (it was yellow from -4 to -1 dB): green
below -18 dB, orange from -18 dB, red at CLIP, as the strip LEDs. The MONITOR
screen's level meter takes the METERS screen's colours (green, amber from -18 dB
instead of yellow from -12 dB).
The METERS screen repaints only the strips whose meter moved, not the whole page.
The HOME thumbnails' meters use the screens' meter scale (CLIP, -6, -12, -24 ... -60).
F1-F3 of the 4-Channel section with USE F1-F3 AS CUSTOM CONTROLS mirror the custom
control layers 1-3 (encoders and upper keys), as the manual describes (5.5 p. 48);
they were three layers of their own. Shows saved before move those assignments to
layers 1-3 where those controls are free. WING REMOTE: /$ctl/user/U1-U4, MM
and D1-D4 are the COMPACT's key sets on the full-size console too (WING Edit
lists them there); U1-U3 were the F1-F3 layers.
SEL DBL CLICK = BUSFX opens INS 1 on mains and matrices too (it did on buses only),
and INS 2 when INS 1 has no FX (manual 5.5 p. 48).
The blank key's LED blinks at the tempo while it can tap one (manual 5.5 p. 48); it
was lit steadily.
Surface lock: holding HOME (or Ctrl+L) now also locks the touchscreen and the
display's knobs, leaving only the keys beside the display to unlock (it locked the
surface only).
A matrix's DIRECT INPUT takes the WING's choices (WING manual 6.4: "AES/EBU, Phones,
Speakers or Solo bus"): OFF, AES (no AES/EBU input here: silent), MON.PH, MON.SPK,
MON.BUS, a block late (the monitor runs after the matrices), with ON, LEVEL and
INVERT; PRE is gone. WING REMOTE: /mtx/<n>/dir/in. Shows and scenes saved before,
whose direct input took a channel, give that channel a matrix send to the matrix
instead (on, at the direct input's level, PRE or post-fader with PAN LINK) when the
send is free; an inverted one (a mix-minus) loads not inverted, with a warning.
ROUTING > OUTPUTS' USER SIGNAL group holds USR 1-56 (before: the channels' own
outputs). Channels' direct outs from older shows still play and show on their
outputs; new ones are made with user signals.
C ABI version 19: StripParams::directPre is gone and directSource is the matrix
DIRECT IN choice; UserSignalParams, UserPatchParams, ld_engine_user_signals,
ld_engine_user_patches, ld_source_set_user_patch, ld_engine_output_patch,
ld_engine_route_output_source, ld_engine_clear_output, ld_strip_source_input;
kNumSources grows by the 56 USR sources.
INPUT SELECT works as on the WING (manual 5.5 p. 44-45, 6.1 p. 68-69): each input
and aux channel is INDIVIDUAL or GLOBAL on its own (HOME > INPUT's
INDIVIDUAL / GLOBAL, or the new INPUT SELECT window that SETUP > AUDIO's channel
grid opens, fig. 35: MAIN/ALT INPUT switches a channel, GLOBAL INPUT SELECT ENABLE
puts it under the global switch). The global MAIN / ALT switch (SETUP > AUDIO,
the GLOBAL MAIN/ALT custom control) switches the GLOBAL channels and leaves the
others. GLOBAL INPUT SELECT OVERRIDE (on, as after INITIALIZE) lets a GLOBAL
channel's own MAIN / ALT still switch it; off, only the global switch does. Before,
INDIVIDUAL / GLOBAL was one choice for the whole console (shown as the override):
GLOBAL made every channel follow the switch. AUTO INPUT SELECT switches the GLOBAL
channels routed to or from the recorder (a playback channel as MAIN or ALT input, or
a track recording the channel or its input), as the WING does on WLIVE REC / PLAY;
VIRTUAL SOUNDCHECK puts its channels in GLOBAL INPUT SELECT ENABLE on ALT and gives
them back as they were. Shows save each channel's choice, which scenes recall with
ROUTING (CONN), and the override with the preferences (scenes leave it). Shows and
scenes saved before load as they sounded: with INPUT SELECT GLOBAL every input and
aux channel GLOBAL on the switch's MAIN / ALT, else every one INDIVIDUAL.
WING REMOTE: /ch/<n>/in/set/srcauto and /aux/<n>/in/set/srcauto (only stored
before), /io/autoaltovr is GLOBAL INPUT SELECT OVERRIDE, /io/altsw switches the
GLOBAL channels (only when it changes, so a client's sync leaves them), and altsrc
sets the switch as it stands (the override locks the console's keys). C ABI version
22: StripParams::srcAuto, EngineControls::inputSelectOverride (was
inputSelectGlobal), ld_engine_set_global_alt.
METERS > SETTINGS has its own PRE / POST per strip type, as the WING's METERS screen
(/cfg/mtr/mtrpage); SETUP > SURFACE > METERING keeps the surface's meters and the
main meter's AUTO (/cfg/mtr/mtrsfc). They were one setting; the METERS screen
starts at the console's factory taps.
The PHONES and SPEAKERS SOURCE list starts with OFF (the WING's
/cfg/mon/<n>/src): the path then plays only solos and its DIRECT IN.
The custom controls' LCD text for a control without a name is the console's function
name (as WING Edit shows it): "1 MUTE", "B1 SOF", "1 FDR", "SEND B1", "1 -> B1", "FX3
TIME", "DCA", "MGRP MGRP.2", "FDR L/1", "VIEW C/3", "SCN GO", "SCENE 4", "TALK A",
"MON DIM", "PL PLAY", "CC 1:7" (they read "CH1 FADER", "SOF BUS1", "TALKBACK A" ...).
CC EDIT's lists follow WING Edit's names and order: CH PAGE (DYNAMICS before EQ),
GLOBAL PAGE (EFFECTS, METERS, CHANNEL INPUTS, SOURCE SETUP ... FADER LAYER, Sidecar's
HOME last), SHOW CONTROL (PREV SCENE ...), USB PLAY/REC (STOP (PLAYER), PLAY (PLAYER)
...), MONITORING (PHONES, SPEAKERS, TALKBACK, then Sidecar's DIM AMOUNT) and FADER
SPILL (AREA, then one TARGET list: DCA, FX, BUS, MAIN, MTX, AUTOMIX, the selected
channel).

Fixed

The multitrack editor's tracks showed a raw source number as their input after
RECORD ALL CHANNELS from a channel patched to anything but a local input ("IN
196609"); they show the source as ROUTING labels it ("IN OSC 1", "IN LCL 3").
On Windows, stopping the WING remote (or quitting) with WING Edit or another
Native client connected took two minutes: a shutdown doesn't end a blocked
receive there. The Native reader on Windows now doesn't block and looks for
data every 2 ms, and a write's stall is timed from its last progress.
Turning a LO CUT / HI CUT on STEREO PITCH, DUAL PITCH, STEREO DELAY, ULTRATAP,
CHORUS, FLANGER or OILCAN clicked (the filters jumped once per block); they glide
smoothly now. GATED REVERB's DENSITY, the pitch devices' DELAY (a bend now, like a
tape delay, instead of a smear) and the amps' tone knobs clicked too.
The effects no longer slow down on silent tails where nothing else flushes
denormal numbers (offline renders, the model response graphs).
PRECISION LIMITER: its 1 ms look-ahead is now reported as the slot's latency (delay
compensation) and FX MIX delays the dry signal by it; below 100 % MIX the dry and
limited signals combed. The mastering strip keeps the look-ahead when its limiter is
switched off, so its latency never changes.
EXCITER: TIMBRE toward positive (even harmonics) generated odd harmonics like the
negative side, so it hardly changed the sound; it now adds even harmonics.
SUB MONSTER's readouts under the faders show each band's frequency (from TUNE), as on
the plug-in, instead of the fader levels.
TAPE MACHINE's VU scale reached past the end of its arc (+1 to +3 off the meter).
WING REMOTE (Native, TCP 2222): a client that was reading and sending normally
(WING Edit) could be disconnected at random on Windows. The server read and wrote
each connection with socket timeouts (100 ms reads, 10 s writes), and on Windows a
receive or send that times out leaves the connection in an undefined state, with
errors std doesn't map as on Unix (an interrupted blocking call is WSAEINTR, which
the server took for a broken connection). The connections now have no socket
timeouts: the server times the idle rule (12 s) and the stalled-write rule (10 s of
no progress) itself and shuts a connection down to end it, and only the end of the
stream or a real error closes a client. The server also keeps why each Native
connection ended (Status::disconnects: the client closed it, idle, write stalled,
queue full, read or write error, server stopped).
ETERNAL BLISS compressed a steady tone far less than its curve at short releases (at
its default RELEASE 102 ms, 0.3 dB instead of 2 dB at 3 dB over the threshold): its
constant-rate release climbed back through every trough of the waveform. The
detector now holds a peak for 10 ms before releasing.
WING REMOTE meters: the stream sent the latest UI meter window's raw peak (peaks
between two frames were missed, levels flickered) and, without the app's meters
running (the headless wing_emulator), every level stuck at its highest peak. The
stream now has its own peaks and the meters' ballistics, on a fixed 50 ms frame
clock (it drifted to about 19 frames a second). DCA meters send pre- and post-fader
levels (they sent post four times), gate and dynamics keys their detector levels,
the WING gate's gain reduction its 60 dB scale (protocol document, Meter Data), the
monitor meters PHONES as MON 1 and SPEAKERS as MON 2, and FX meters their dynamic
bands' gains instead of a dB value read as a level.
BUS SoF/SPILL ACTIVATES SOLO solos a bus or main when it is spilled (manual 5.5
p. 46-47); only Sends on Fader did.
WING REMOTE: a processing or FX model changed right after a client connected (before
the first change poll) now sends all of the new model's parameters, as later changes
do; parameters that happened to equal the old model's could be left out.
The factory DAW layers (DAW 1-4: STOP, PLAY, CYCLE, RECORD ...) show on the surface
and on CC EDIT; the custom controls read from the show left out the controls still
at their factory assignment, and the next edit saved them empty.
ROUTING: the bus, main and matrix tiles (CHANNELS, SELECT MAIN INPUT) and the signal
tiles on OUTPUTS have live meters, as the input tiles already had: a strip signal
meters the strip's output, a source its peak, PHONES / SPEAKERS the monitor paths.
Their meters were drawn but stayed empty.
WING Edit (tested with 3.3.4 on both console models): its model request after
connecting (it sets /$syscfg/$cnsmdl to "ModelRequest") is answered with the model,
and any set Sidecar refuses over the Native protocol now answers the value that
stands instead of nothing, so the client shows the console's value (an FX slot
hosting a plugin answers EXT when WING Edit picks another model for it).
WING Edit PC -> MIXER no longer unpatches LOCAL OUT: an output nothing feeds read
the factory WING's patch (LCL 3 as BUS 5 but AES50 A 3 as OFF, one port in
Sidecar), and writing both back left them OFF. Unpatched outputs read OFF.
WING remote values are on the parameter's steps, as the console reports them:
model defaults between two steps (HALL's decay 2.00 s, a Q of 2.00) read 2.03 s /
1.996 as WING Edit shows them, instead of differing from it.
A processing model changed in Sidecar or by another client (FX slot, GATE, EQ,
DYNAMICS) sends all the new model's parameters to WING remote clients, also those
equal to the old model's at the same position, which WING Edit otherwise left at its
own defaults.
A bus's spill and a strip's sends (SPILL on BUS SENDS, FADER SPILL > SEL CH) list
every bus sending to every other bus, as the engine has had since any bus feeds any
bus; they still listed only buses 9-16 into buses 1-8.

Download and install

Platform	File
Windows 10/11 (64-bit)	`Sidecar-0.1.6-Windows-x64-Setup.exe` (installer) or `Sidecar-0.1.6-Windows-x64.zip` (portable)
macOS 11+ (Apple silicon and Intel)	`Sidecar-0.1.6-macOS.dmg`
Linux x86_64 (glibc 2.38+, e.g. Ubuntu 24.04)	`Sidecar-0.1.6-Linux-x86_64.AppImage` or `Sidecar-0.1.6-Linux-x86_64.tar.gz`

SHA256SUMS.txt lists the files' checksums (sha256sum -c SHA256SUMS.txt --ignore-missing).

Windows: run the installer (Start-menu entry and uninstaller), or unzip the portable build
and run Sidecar.exe. No runtime to install. The files aren't code-signed, so SmartScreen may
warn; choose More info > Run anyway. Audio: ASIO (your interface's driver, ASIO4ALL or
FlexASIO) and WASAPI.

macOS: open the disk image and drag Sidecar to Applications. Sidecar isn't notarized, so the
first time right-click it and choose Open (on macOS 15+: try to open it, then System Settings >
Privacy & Security > Open Anyway), or run xattr -dr com.apple.quarantine /Applications/Sidecar.app.
Allow microphone access so it can read your interface's inputs. Audio: CoreAudio.

Linux: chmod +x the AppImage and run it (needs FUSE; otherwise add --appimage-extract-and-run),
or unpack the tarball and run ./Sidecar. It uses the system's ALSA, FreeType, Fontconfig and X11
libraries; JACK (or pipewire-jack) is used when installed. See README-LINUX.txt in the tarball.

Choose the audio driver and device in SETUP > AUDIO.

About

Sidecar is an independent hobby project, made for fun and practice. It is not
affiliated with or endorsed by Behringer or Music Tribe; WING is their trademark.
It tries hard to emulate the WING faithfully, but it is incomplete and can differ
from the real console (the start-up notice lists how). Don't rely on it for a
critical live show without testing it first.

Sidecar is free software under the GNU Affero General Public License v3 (see LICENSE;
third-party licences in THIRD_PARTY_NOTICES.md).

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