This entire configuration is audio-reactive in real time. I bring audio into the systems via either a direct RCA line from the DJ's mixer or a sensative microphone. A direct line is preferred due to crowd noise and sound reflection, but the microphone is often the most convenient method.

Many people have asked why I have the audio sampler hooked up. It is simply the cheapest (and most portable) method of giving me more control over the audio waveform which is coming into my systems. I have control over highs/mids/lows, as well as the ability to introduce a "ring modulation" tone onto the existing audio. Ring-mod reshapes the waveform in ways you might not expect and allows for some very interesting reaction by my software.

The re-adjusted audio is then sent back out and into each system for processing by Visual Jockey's sound analysis engine. Every composition I have created in Visual Jockey is audio-reactive in different ways. It is possible to make things zoom in to the bass while spinning to the mids. The beat detection is amazing and can also be used.

Both systems are hooked to a VGA video switch box and share the same LCD monitor. Only one system typically needs to be monitored at any one time (when changing vJo compositions or visual software). This also is done for the sake of mobility.

Some have also wondered why you can walk by and see something on this display which is completely different from what is being projected. This is because what is being displayed on the monitor is the video output from only ONE machine BEFORE the signal hits the video mixing board.

The cameras bring live video of the crowd or DJ into Visual Jockey for real-time rendering. The camera rig is made of 3 cheap IR (Infra-Red) cameras mounted on a custom built beam which is attached to a cheap tripod. The video signal from only one camera is used. The other two cameras are mounted on either side of that and powered on only to provide triple the IR illumination. The photo-resistors inside these cameras have been covered with black tape in order to force the IR LEDs to illuminate no matter how much light is present. This is done so club lighting will not confuse the cameras and turn the IR LEDs off.

Due to having to place the cameras so far from the main rig in some clubs (I have used up to 75' of RCA cable), and in order to be able to split it up for input into both machines without experiencing any signal loss, the weakened camera video signal is routed through a 4-in/2-out A/V distribution amplifier from Radio Shack.

The amplified video signals are then sent through a pair of small video switch boxes. There is one switch box per machine and each box allows for up to four inputs and one output. Only two inputs are normally used (camera and opposing computer video output). If VHS or DVD are used in the show, this allows for easy switching between those, as well.

It is important to realize that any signal coming out of this switch box and into Visual Jockey can then be re-rendered real-time. This allows one to 1) project a dancing crowd in electrified zebra patterns, 2) project a flaming insect documentary from VHS, or 3) throw any other full-screened computer program into a crazy kaleidiscoping slider. The possibilities are endless and THIS is why my shows are never quite the same. I have an extensive library of good footage on tape as well as some very nice visual programs (from MooNSTER to RollerCoaster Tycoon) which can provide almost any sort of theme one can imagine, instantly.

#3 above is possible because each computer is equiped with a dual-head video card. I clone the output to the VGA cable and the RCA/S-Video outs on each card. I split this signal between the video switch box and the video mixer. This way, I can mix in the pure video out and/or re-render the same signal on the opposing machine and mix that in.

The rendered video from each computer is then sent into a channel on the video mixer board. The MX12 allows for much more real-time mangling of the signals. It also has quick buttons for switching between 1->1/2->2, 1->2/2->1, 1->1&2, and 2->1&2 combinations of sources. This is one of the tricks I use for the more psychedelic "vibrating" visuals some have asked about. I select 1->1&2 in order to send the output from a single machine to both channels. I then find a sweet spot on the T-bar between the channels which creates a fairly freaky delay between the duplicated channels (one buffer is slower than the other, inside?). I add a slight delay to the first channel and it begins to really flicker and jerk. I have found so many sweet spots on this mixer that I would never use another. The buttons have also taken years of beating and spills and have yet to fail.

Under Construction from here, down

5 & 6) Video is "cloned" out via RCA or s-video on each system. There are many possible configurations, here, and I am constantly experimenting. Typically one or both of the system's lines are split and run to both the video mixer input and to the video capture card of the partner machine. This allows the composition currently playing on one machine to be re-rendered through another composition on the other machine and provides a seemingly ENDLESS supply of visual combinations. I believe that this is also one of the two major ideas which make my shows unique and kick-ass. (The first and foremost is that this entire rig is audio-reactive... it looks just as nice with Mozart as with Metallica.)

7) I have a large collection of appropriate VHS tapes which I run into the mixer and split into an input on one of the machines. I have produced Visual Jockey compositions which affect this video source just as they would any other. Have you seen the "flaming preacher" or the "phasing/strobing wolves"? This is how I am doing those. Ever go to a club and see the VJ only playing VHS tapes all night long? This, alone, is a thousand-fold improvement over those guys.

8) The post-mixed video signal is then sent out to the projector.

9) The DM2 is the newest addition to my rig. It is being used as a MIDI controller for Visual Jockey and I have configured several compositions to react to MIDI control. I can "scratch" a video clip, or change the speed of 3D objects... whatever. This is pretty much a hack (thanks to VJ pdoom) and will get better as I go. This basically just adds a little more manual control over the timing of the video compositions. For example, I might have a nice "dancing girl" video clip up which has been pre-tuned to speed up slightly to bass lows... but then the DJ suddenly goes into a mix and the lows are gone. I can continue the effect manually by using a controller such as this, assuming I'm on top of it. (:

10) I carry several king-sized sheets and heavy-duty clamps around for my mobile screens. I recommend 6 clamps (about $20US) and at least two sheets (about $30US). Carry some duct tape, and you're ready for anything. The reason I suggest 6 clamps is that it takes about two per sheet (in case you have to tape them together for a big screen) and the two which are left work VERY well on the bottom corners to weigh it down straight. This can then be used in breezy outdoors, etc.

(A) Boss Dr Sampler SP-303

(B) dei.leper.org (

(C) video.leper.org (

(D) Generic Video A/B Switchbox

(E) Daewoo EZX15f LCD Display

(F) Panasonic WJ-MX12 Studio AV Mixer

(G) NEC MT1050 2100lum Projector

(H) The "L6 Super-Screen"

(I) 2x 4-to-1 A/V Switchboxes (RS 15-1976)

(J) Toshiba MV9KD1 TV/VCR 9" Combo

(K) 3x LYD-802c 30-LED IR Cams (on "L6 Super-Cam Mount")

(L) 4-to-1 A/V Distribution Amplifier (RS 15-1172)

(M) eVolution UC-16 MIDI Controller

(N) 2x Zippy EL-610 Illuminated Keyboards