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The mixing page

The mixing page joins NOMN REMOTE sessions as a listener, mixes them in the browser with faders, mute, solo, pan or balance and an EQ on each input, and streams the mix as a new session with a listener link of its own. Nothing is installed. Open mix.nomn.jp on a computer, in a browser that can encode Opus (Chrome and Edge can; a browser that cannot says this browser has no Opus encoder). The old address, remote.nomn.jp/mixer.html, takes you there.

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Go on air

  1. Paste your NOMN REMOTE licence key or trial key into Licence or trial key. The page checks it at once and says beside the field what it found: Licence valid, or Trial with the days left, followed by the email the key is registered to, or the reason the key was refused. With Remember on this computer ticked (the default) the page keeps the key for your next visit; untick it, or click Forget key, and the key leaves this computer and the field.
  2. Choose the Output layout of the mix: 2.0, 5.1, 7.1 or 7.1.4. It is fixed while the mix is on air.
  3. Paste a session’s listener link into the + card. It becomes a strip straight away, and waits there until you go on air. Pressing ADD INPUT or Enter does the same for a link you typed. A link that is already in the mix, or text that is not a listener link, gets a note under the card.
  4. Press GO ON AIR. The mix’s session is hosted on the NOMN REMOTE server nearest to you, and the status area says so. The button reads ON AIR, and Listener link shows the mix’s own link. Press COPY and send it.
  5. Press STOP to end the broadcast. The mix’s link stops working, and each input leaves its sender’s session, so nothing more is billed to that sender. The strips stay on the page with their names, faders, pan, EQ, mutes and solos, and the output layout and the monitor stay as they were. GO ON AIR puts the same mix back on air, with a new link.
The page keeps the mix on this computer as you change it, so a reload or a later visit opens it as you left it, off air. clear mix, under the + card, removes every input and forgets the mix; it asks for a second click within 3 seconds first. The mix is sent compressed, as Opus at 64 kbit/s a channel (Codec reads Opus 64k/ch), through our server; the page has no lossless or Direct mode. Its listeners hear it on the ordinary listener page. Listeners counts them.

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Input strips

Each input has a strip of its own. Its name starts as the session’s id; click the name to rename it, then press Enter to keep the new name or Escape to leave it. The page remembers the name for that link. Under the name are where the input comes from, its layout and codec, and its state, the depth of its buffer, the correction for its sender’s clock (in parts per million), how many packets it has dropped and how often its buffer has run dry. The × at the top right removes the input. The ROUTE line says how the input reaches the mix: Each new input starts its fader at -6 dB, which leaves room for the others: with more than two inputs, a new one starts 3 dB lower for each doubling of the count, down to -15 dB. The fader runs from -60 dB to +6 dB, with off at the bottom of its travel, and the meters beside it read each channel of the mix after the route and the fader. M mutes the input and S solos it; the strip then reads MUTED or SOLO, and while any input is soloed the others read OFF, another is soloed.

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Pan and balance

Every strip has a pan or a balance control, chosen by the input and the mix: The pan pad is a view from above, with the front at the top and the mix’s ear-level speakers round its edge. Drag the point to place the input; the line under the pad gives the angle and how widely it spreads (pan · az 30° · spread 40%). At the centre the input plays from every speaker. Balance leaves each channel where it is and turns the speakers on one side down: the slider tilts the input left or right, and the balance pad tilts it left or right and front or back (balance · L 3.0 dB · front 1.5 dB). The centre and LFE channels are left as they are. An input of numbered channels has no pan or balance. A double-click on a slider or a pad puts it back at the centre.

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EQ

Each input has a 4-band EQ: a low shelf, two peaks and a high shelf, set flat at 120 Hz, 400 Hz, 3.2 kHz and 9 kHz. It is off on a new input, and the strip’s EQ line reads off with a small picture of the curve. Press EQ to open it. The strip widens to show the curve, whose points you drag (across for frequency, up and down for gain), and a box for each band’s frequency and gain, and Q for the two peaks. Gain runs from -18 dB to +18 dB, frequency from 20 Hz to 20 kHz, and Q from 0.1 to 18. Changing a band turns the EQ on. BYPASS turns the EQ off and keeps its settings, and FLAT puts every band back to 0 dB. The master has no EQ.

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Many inputs

A mix holds up to 50 inputs. Past 8 the strips turn narrow, each with its meters, fader, a pan or balance slider and M and S, and they scroll sideways while the master stays in view. Double-click a narrow strip to open it full. Past 8 inputs the header shows Strips, whose NARROW and FULL choose for every strip, and Down, what the inputs take of your download, in place of Codec, Mix latency and Listeners. Above 40 Mbit/s the page says so and gives what the same inputs would need in Low Bandwidth (about 0.14 Mbit/s each), which their senders can switch on. A 51st input is refused with This mix holds 50 inputs, the most a browser carries here. Remove one to add another. To group strips, shift-click the top of each one, type a name, and press GROUP. The strips then stand together under the name. A group only labels and orders strips, and leaves the sound as it is; UNGROUP takes the selected strips out of it.

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Master

The MASTER strip shows the mix’s layout and rate, its peak, the encoder’s queue and what has been sent. Its fader sets the level of the whole mix. A safety limiter holds the mix under -1 dBFS, and it does nothing to the mix below that level; limiter shows how far it is turning the mix down. clips counts the peaks over 0 dBFS that the limiter has held; click the count to clear it.

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Monitor

MONITOR plays the mix on this computer. It is off each time the page opens, so a speaker in the room cannot feed back into a microphone that is part of the mix. Its button reads OFF; click it to turn the monitor ON, choose the output in output (Chrome and Edge list the outputs; other browsers use the default), and set level. The monitor plays only while the mix is on air. An output with as many channels as the mix gets each channel on its own; a smaller one gets the mix folded to stereo, and the line under the controls says which.

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Latency

Every input holds its buffer at 300 ms and follows its own sender’s clock, so the inputs play in step with each other; senders far apart still differ by their network paths. Mix latency in the header is the deepest input buffer plus the time to capture, encode and send the mix, and the line at the bottom of the page breaks it down, for example all inputs at 412 ms (deepest buffer 330 ms + 82 ms capture, encode and send), before the listener’s own buffer. A listener of the mix hears it after that, plus their own network path and buffer.

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Cost

Each input is a listener on its sender’s session while the mix is on air, billed to the sender as any listener is; a stopped mix bills nobody. The mix is a relayed session of its own, billed to the key you entered by its channels and its listeners. With a trial key, the mix takes up to 4 listeners and uses the trial’s free hour. See Pricing and Licence and free trial.