Welcome to Audio Hijack

With Audio Hijack, you can record any audio you can hear on your Mac. That includes audio streaming over the web, as well as audio from local applications and physical audio devices like microphones. Whether you want to record a podcast or archive streaming radio from the web, Audio Hijack is here to help.

Getting Started

This manual provides you with a useful overview of the application, including an outline of the interface, as well as details on using the application. We recommend a quick read-through, but you can also just dive in if you like. Refer back to this online manual for assistance at any time, right from Audio Hijack's Help menu.

Additional Assistance

The following resources will supplement a read-through of the manual and help you get the answers you need.

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Visit the Audio Hijack Support Center

Our searchable Audio Hijack Support Center provides answers to common questions, as well as tutorials, tricks, and more.

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Email Support

Rogue Amoeba's top-notch Support team is always ready to assist, both before and after purchase. Select Contact Support in the Help menu to get in touch. We're amazingly responsive, and strive to reply within 24 hours.

Information for Users of Previous Versions

If you've used Audio Hijack before, this information should prove helpful.

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Release Notes

The Release Notes window always provides a comprehensive list of improvements and fixes made to Audio Hijack. Access it from the in-app Help menu.

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Upgrading to Audio Hijack 3

If you purchased a license for any previous version of Audio Hijack, you're eligible for a heavily discounted upgrade to Audio Hijack 3.

See the What's New page to read about updates in version 3.

Basics

Audio Hijack is extremely powerful, but it's also quite easy to pick up. In no time at all, you'll be recording audio right on your Mac. Everything in Audio Hijack begins with a session, which is a reusable collection of settings used to capture audio. Within each session, you'll take blocks from the Block Library and chain them together in the audio grid. Once your session is configured, you'll run it to record, broadcast, or adjust audio.

Recording Audio

Audio Hijack is most frequently used to record audio from another application running on your Mac, so we're going to demonstrate how to do just that. Follow along with this quick example, as we set up Audio Hijack to record web-based audio from the Safari web browser.

Creating a Session

First, we'll click New Session in the Home window. This brings up the Template Chooser.


Selecting the Web Audio template

The templates provided make it a snap to get started with common audio capture tasks. We'll select the Web Audio template by double-clicking it, and Audio Hijack will create a new session for us.

Configuring the Audio Grid


An Audio Hijack Session

The Web Audio template will create a session like the one seen above, with three blocks in the audio grid. On the left, the Safari web browser has been selected as the source. Audio will flow from Safari into a Recorder block, where it will be saved, then on to the computer's speakers, so the audio can be heard while it's playing. This default setup can easily be adjusted and extended however you like, by adding in new blocks from the Library.

Learn more about the audio grid by reading the Mastering Sessions page.

Activating the Session


An Audio Hijack session, running

Once the session is configured as desired, we hit the Record button in the lower left. This starts audio flowing through Audio Hijack, and thanks to the blocks we've configured in our audio grid, causes it to be recorded. When we're done, we click the Record button off to stop audio flow. Now we can check our recording.

Find the Recording

Audio Hijack's Recording tab
Audio Hijack's Recording tab

After we're finished, we can check our recording. Clicking the Recordings button in the lower right will open the Home window to the Recordings tab, where recordings are listed. From here, we can give the recording a listen, reveal the actual file in the Finder as well, or pass it to an audio editor, iTunes, or other application.

The Home Window

The Home window consists of three tabs for quick access to major functionality.

Your Sessions


The Sessions Tab

All of your sessions are showed in the Sessions tab. From there, you can open any existing session by double-clicking it, or click the New Session button to access the Template Chooser and make a new session. To rename a session, just highlight it, then click its name. Delete a session you no longer need by clicking a session once to highlight, then clicking the Delete Session button.

The Template Chooser


The Template Chooser

The Template Chooser includes ten templates for popular types of audio capture. You can select the type of capture you'd like to perform, then tweak the resulting session slightly to get it just right. Alternately, you can start from scratch by selecting New Blank Session.

Tip: To quickly create a new blank session, hold option as you click the New Session button in the Home window. This will skip the Template Chooser window.

Your Recordings


The Recordings tab shows your recordings.

The Recordings tab shows recordings you've made with Audio Hijack, grouped by session. The files themselves will be on your hard drive where you specified, of course, but the Recordings tab provides a quick way to view and act on them. Click a file to edit its metadata or preview the recording with the Play button, to make sure it's what you need.


Quickly perform common tasks from the Actions area

When one or more recordings are selected, the Actions button becomes available. Click to reveal the selected files in the Finder, edit them in your selected audio editor, add them to iTunes, or Share via the MacOS Share sheet.

Scheduling

The Home Window's Scheduler Tab
The Schedule Tab

After making a session, you can trigger it to fire at a specific time, by setting up a timer in the Schedule tab. Use timers to record audio on a schedule or create a musical alarm. Once your timer is configured, just make sure your computer is on and you're logged in. After that, Audio Hijack will run the session at the time you specify, launching itself and your sources if necessary.

When using timers, we strongly encourage you to install Scheduler for the most robust timed recording. For more information, see the “Scheduler” section of the Preferences page.

Mastering Sessions

Sessions

As mentioned on the Audio Hijack Basics page, sessions are reusable collections of settings used to capture audio. Once a session is configured to your liking, you'll run it and audio will be sweetened and recorded as you specify.

Sessions are automatically saved for re-use, and all saved sessions are shown in the Sessions tab of the Home window.

Understanding the Audio Grid

The audio grid is the heart of each session. To set up a session, two or more blocks are added from the block library to the audio grid. Connections will be made automatically between nearby blocks, and you can always experiment to get the exact audio pipeline you're after. If you need to, just select Undo to revert undesired changes.

When a session is activated, audio from the sources selected will flow from left to right through the blocks in the audio grid. The audio is shown in orange as it flows through the audio pipeline. Each block in the chain will adjust or record the audio according to its settings. To hear the audio you're recording as you record, don’t forget to add an Output block! If you want to mute the output while you record, just deactivate or remove any Output blocks in the chain instead.

The Block Library

On the right side of each session is the block library. This library holds all available blocks for use in the audio grid. Every session will need at least one Source block, which will bring audio in, and one Output block, to record audio, broadcast it, or pass it along to your speakers. In addition, sessions can use audio effects to manipulate and improve audio. Audio Hijack comes with a powerful collection of over a dozen built-in effects. In addition, Audio Unit effects provided by MacOS and those available from third-parties are also be recognized and shown by Audio Hijack. Finally, Meter blocks provide visual meters so you can see how audio is flowing.

The Block Library

Configuring blocks is a fairly straightforward process, and the library itself provides a quick explanation of most blocks. Some audio effects may have more complex settings which will require some audio knowledge to use, but you can always experiment to get just the sound you're looking for.

Laying Out Blocks

The sequence of blocks you lay out will determine what audio is affected by Audio Hijack, and how it's affected. Block layouts can be very simple, like this layout where audio from the computer's built-in microphone is being recorded.

A Very Simple Layput

Layouts can also be more complex, and more powerful. Below, audio from two different inputs is being adjusted with different audio effects. Each input is then recorded separately, before a third recording combining the two is made. This layout will result in three different audio files.

A More Complex Layout

Block Settings and Popovers

Blocks can be laid out in nearly limitless ways to create the audio pipeline you're after. Once you've laid out your blocks, you may also wish to tweak their individual settings. A few of the simple blocks have controls right on their face.


The Volume block, with on-face controls

Other blocks have their controls available in their popover. Click these blocks to get a popover showing the block's controls and settings.


The Recorder block's popover

Here you can see the Recorder block's popover, one of Audio Hijack's most powerful popovers. It offers two controls up top, and three sections below. In addition to what's visible, each section has additional settings which can be revealed with a click. While there are many settings in this popover, from File Limits like the Silence Monitor to metadata saved as ID3 tags, they should all be fairly self-explanatory.

Exporting and Importing Sessions

After you've precisely configured a session, you may find it useful to share it with others. Whether you have a podcasting partner or just someone you're trying to assist, Audio Hijack makes this easy with its shareable sessions!

To export a session, just highlight it in the Home window, then select Export Session from the Session menu. Choose a location, and Audio Hijack will save your session out as a .ahsession file. You can also simply drag a session out of the Home window to export it to the Finder. Once you have your .ahsession file, you can email it to a friend, publish it on your website, or share it however you like. When another Audio Hijack user opens the file, the session will be automatically imported. It's a great way to show off your custom setup!

Importing a session is a snap too. As long as you have Audio Hijack installed, you can just double-click the .ahsession file in the Finder. Audio Hijack will launch and import the session instantly. You can also select Import Session from the Sessions menu in Audio Hijack. Either way, the new session will appear right in your Home window, ready for inspection and use.

Popover Features

Blocks have popovers for easy access to their settings. These popovers also offer three handy features which are somewhat hidden, but well worth learning about.

The On/Off Switch

First up is the On/Off switch, found in the upper right of each block's popover. Using this switch (or right-clicking a block and selecting Turn Off This Block) enables you to turn off an individual block in your audio chain.


A popover's On/Off switch

With this control, you can test and fine-tune your audio pipeline, even as it's capturing audio. Test audio effects individually, or check your audio inputs without recording until you're ready.

Two blocks, one on and one off
Left: A Recorder block that's on;
Right: A Recorder block that's off

You can see which blocks are currently off by looking at your chain. Those blocks which are grayed out are inactive, and won't affect audio in any way (it will simply flow past them). Just be sure all desired blocks are on when needed!

Popover Tearing and Pinning

Single-clicking a block will reveal its popover for quick adjustment. When you click a second block, its popover will open and the first block's popover will be dismissed. Generally, this is desirable, but in some cases you may wish to more rapidly adjust a block's settings.

To do this, you can tear off the popover by pulling it away from the block. Here you can see the popover for the 10-band Equalizer after it has been torn off. Its settings will now be accessible in Audio Hijack, even if another block is selected.


An Equalizer popover, torn-off

You may also wish to have a block's settings accessible even if Audio Hijack is in the background, and that's possible as well. Click the Pin button in the popover's upper left corner, and it will float above all windows on your system, making it accessible from within any application.


An Equalizer popover, torn-off and pinned

Presets

At the bottom of each popover, you'll see a section called Presets. Presets are a way to save settings for a particular block, for later use. Presets are saved globally, so they can be used in another copy of the block in the same session, or in another session entirely.

A simple example of presets can be found in the 10-band equalizer. While it comes with some built-in presets for Rock or Jazz, you can also make a custom preset. Tweak the settings to your liking, then select Save as Preset from the Presets menu. You'll be able to name your preset, and it will always be accessible from the Presets menu.


The Presets menu in an Equalizer

Do note that presets aren't limited solely to audio effects like the 10 Band Equalizer. In fact, you can save a preset in any block complex enough to offer a popover! That means you can save presets for the Application input, the Recorder block, and more. As you use Audio Hijack more, presets will save you tons of time.

Audio Formats

Audio Hijack records audio to six of the most popular audio formats: MP3, AAC, Apple Lossless, FLAC, AIFF, and WAV.

Selecting an Audio Format

If you're unsure what audio format to record in, MP3 is likely a very safe bet, as it provides a very small audio file which can be played almost anywhere. If you don't want to lose any quality but still wish to save disk space or bandwidth when transferring the file, Apple Lossless is a good choice for use with Apple devices. For lossless files which will play anywhere, AIFF or WAV are your best options.

For more information on each specific audio format, read below.

MP3

MP3 iconMP3 is the most popular format for audio compression, making it the most universal file type; MP3 files can be played almost anywhere. MP3 files are compressed lossily, meaning some audio quality may be lost when they're created. However, the files are also very compact, using only a small amount of disk space.

The Variable Bit Rate (VBR) option for MP3 files allows the software to dynamically adjust the bitrate of the encoding, saving disk space without causing additional quality loss. Modern MP3 encoding is largely done with VBR.

AAC

AAC iconThough not as universal as MP3, AAC is another well-known format for audio compression, popularized by Apple. As such, AAC files play well on the Mac and iOS devices, but may not be as easy to play elsewhere. Like MP3, AAC files are compressed lossily, meaning some audio quality may be lost when they're created. AAC files are generally even more compact than MP3, using slightly less disk space for the same level of quality.

The “Container” sub-option offers both .mp4 and .m4a AAC recording. The .mp4 option saves audio continuously, ensuring that the recording won't be lost in the case of a power failure or other issue. Do note that .mp4 files may not be as widely supported by audio players. If you find this file doesn't work in your desired audio player, switch to the .m4a format for AAC recording. While it is not as robust against recording failures, it does offer wider playback support.

The High-Efficiency (HE-AAC) option for AAC files allows the software to compress encoding even further, to save disk space without additional quality loss. HE-AAC is limited to low bitrates (24 - 80 kbps) and a compatible player is needed to play the audio back optimally.

Apple Lossless

ALAC iconAs you might expect, the Apple Lossless format was created by Apple. It's a lossless compression format, which means that even though the files are shrunk down in size, no audio quality is lost. Though they are compressed to around half the size of uncompressed AIFF/WAV files, these files will still be quite large. They'll play on all iOS devices and in iTunes, as well as in many applications on the Mac.

Like the AAC format, Apple Lossless also has a “Container” sub-option which offers both .mp4 and .m4a recording.

FLAC

FLAC iconFLAC is an open competitor to Apple Lossless. Like Apple Lossless, it offers lossless compression, creating large files of around half the size of uncompressed AIFF/WAV files but losing no quality. FLAC is a popular format for web distribution of lossless audio. Unfortunately, playback of FLAC files is not as well supported as other formats.

Our audio editor Fission makes it easy to convert files out of the FLAC format, if you desire.

AIFF/WAV

AIFF iconWAV iconAIFF and WAV are twin uncompressed audio formats, which generally work identically. While AIFF was once used largely on the Mac platform and WAV used largely on Windows, they're now each compatible on both platforms. These files have no compression, so they're enormously large, but as with Apple Lossless and FLAC, no quality is lost. AIFF and WAV files will play in almost any audio player.

Preferences

Audio Hijack's preferences can be accessed from the Audio Hijack menu. At the moment, they're quite simple.

Preferences window
Audio Hijack's Preferences window

General

Audio Editor: Select your favorite audio editor for use alongside Audio Hijack. Once you set this, click the Actions button in the Recordings tab to send recordings made with Audio Hijack to it with a click.

If you don't have an audio editor, we recommend our own editor Fission. Learn more about it, then download a free trial from our site.

Audio Processing

Latency: This slider can be used to reduce latency while monitoring live audio.

The default setting (More Reliable) is recommended for most users. Advanced users can lower latency to reduce or remove any slight echoing that may heard while monitoring audio as it's recorded. However, this may lead to audible skips in audio on slower Macs.

Time Shift Global Hotkeys

Setting global shortcuts enables you to access a Time Shift block in the foremost session, without needing to bring Audio Hijack forward. You'll want to be sure to set unique shortcuts which aren't used by any other applications.

Pause/Resume: This global keyboard shortcut toggles audio playback, pausing if audio is set to play, and resuming playback if audio is currently paused.

Jump Back: This global keyboard shortcut jumps back in the audio buffer by ten seconds.

Jump Forward: This global keyboard shortcut jumps ahead in the audio buffer by ten seconds.

Jump To Live: This global keyboard shortcut jumps to the present ("Live") point.

Scheduler

Audio Hijack's Scheduler is an optional addition that improves the functionality of timers in Audio Hijack. When Scheduler is installed, your Mac will be woken up and Audio Hijack launched to run any timers you set.

If you're using timers, we strongly recommend installing the Audio Hijack Scheduler. Note that if Scheduler is not installed, your Mac must be awake with Audio Hijack already running for timers to function.

Software Update

Automatically check for software updates: With this option activated, Audio Hijack periodically compares itself to the most current version available from our server and alerts you when a new version is available. Leave this on and Audio Hijack will help you stay up-to-date. You can also select Check for Update from the Audio Hijack menu to initiate a check manually.

Purchasing Audio Hijack

Quick Link: Visit our online store to buy a license key for Audio Hijack.

Why should I buy Audio Hijack?

Put simply, you should buy Audio Hijack because it isn't free. We provide a free trial, so you can test out the program and all its features before you buy it. It's like test driving a car, for as long as it takes you to decide.

In trial mode, all of Audio Hijack's features are available to sample, but it won't work for full-time use. During the trial, audio quality is degraded after ten minutes of audio capture per session.

If you use Audio Hijack and find you like it, please purchase a license key - support the software you use and love!

To purchase your license key, just visit https://rogueamoeba.com/store/.

What about upgrades?

If you purchased a license for Audio Hijack before February 17, 2014, you're eligible for a discounted upgrade to version 3.

Read about what's new in Audio Hijack 3 on our site, then purchase a heavily discounted upgrade.

Note: If your license key starts with FNLY, you already own Audio Hijack 3 - enjoy!

After Purchase

How do I unlock the full version?

The download of Audio Hijack from our site contains both a free trial of the software and the full version. To unlock the full, unlimited version, you just need a valid license key. When you purchase through our store, you'll immediately receive a license key in your browser. It will also be sent to you via email. Simply enter this key into Audio Hijack to unlock it.

What's your upgrade policy?

While we don't have a hard and fast upgrade policy, our philosophy regarding paid upgrades is simple: We try to do what's right for you and what's right for us. We've got a great track record, with many years of very satisfied customers.

For more details on free updates and paid upgrades, please see this page.

What's your refund policy?

All Rogue Amoeba products are available to try before you buy. We believe that no customer should have to buy software in order to find out how well it works. Our software can be fully evaluated with no limitations in capabilities, prior to purchase. Customers are strongly encouraged to take advantage of these trials prior to purchase. You may also seek any needed technical support from us - we answer support emails rapidly and responsively for current and potential customers alike.

If you would like a refund, please contact hello@rogueamoeba.com within 14 days of your purchase. Because we cannot recover the license key that was sold, refunds are issued on a case-by-case basis.

Editing Audio

Audio Hijack excels at recording your audio, but what if you also need to edit it? Rogue Amoeba has you covered, with our award-winning editor Fission.

Fission Screenshot
Fission makes editing fast and easy

Fission is a great choice for editing the recordings you make with Audio Hijack. With Fission, you can crop and trim audio, paste in or join files, or just rapidly split one long file into many. Better still, it works without the quality loss caused by other editors, so you can get perfect quality audio even when editing MP3 and AAC files.

To try out Fission, just download a free trial. Even better, you can bundle up Audio Hijack and Fission together to save! See our Store for more details.

Special Blocks

Recorder Block

Audio Hijack's Recorder block makes it possible to record and save any audio flowing through the app. This is one of the most common use cases for Audio Hijack, and most sessions use a Recorder block. This page provides helpful hints on using the block.

Recorder Defaults

The Recorder block offers basic controls on its face for pausing or splitting a recording. To show all of the block's settings, click on the face of the block to display its popover.

The Recorder block defaults to saving an MP3 file into your Music folder, naming the file with the date and time for quick reference. These defaults make it easy to begin recording. Just drop a Recorder block into your chain, and you can record audio without needing to adjust any settings at all.

Of course, you can change these defaults as you see fit. With just a few clicks, you can adjust the file name and save location, change the recording format, and add metadata to the recording. For even further customization, read below to learn about the Recorder block's advanced options.

Advanced Options

File Limits

The File Limits section of the Recorder block provides powerful automation controls, which can automatically affect your recording without you needing to manually manage an actively running session.

Start new file every

With this control, you can set Audio Hijack to split your recording based on time length (in minutes or hours), or file size (measured in megabytes or gigabytes). Note that Audio Hijack automatically splits any recording at 2 gigabytes.

End recording after

This control enables you to stop recording entirely, again based on time or file size. Note that ending the recording doesn’t end your session, but it does automatically turn off the Recorder block.

Silence controls

Using the silence controls, Audio Hijack can analyze your audio stream, and take action when it detects silence in the audio. The silence can be removed from the recording (eliminating gaps in the audio), used to trigger the creation of a new file, or used to stop recording entirely.

The Digital silence level is best used for app sources, while the Analog level is designed to work with audio device inputs like your microphone.

Advanced Recording Options

The Quality menu in the Recording Format section of the Recorder block contains six default options for recording. These defaults cover the needs of most users, and we recommend sticking with them. However, more technical users are able to fully customize their recording settings as desired: the Advanced Recording Options offer the ability to specify your preferred file format, as well as more exact recording settings.

Additional Tips

Pausing & Splitting

While recording, clicking the Pause button on either the Recorder block's face or in its popover will pause recording. The Pause button will illuminate to show its state. To unpause and resume recording, just click the button again.

When the Recorder block is paused, audio continues to pass through your session, but it is not added to the file you're saving. This can be useful when your stream contains audio you do not wish to be saved, eliminating the need to edit the file later.

Clicking the Split button on either the Recorder block's face or in its popover will cause Audio Hijack to split your recording. The first file will be ended, and a new file will begin. This is useful for breaking up a recording into multiple files as you record.

Using Multiple Recorder Blocks

If you wish to record the same audio to multiple formats (such as lossless AIFF and lossy MP3), just add multiple Recorder blocks to your session. For instance, the example session above shows three Recorder blocks, each with different format settings: MP3, Apple Lossless, and AIFF. Note that the order of your recorder blocks doesn't matter. Having an MP3 recorder before an AIFF recorder, for example, will not negatively impact the recording quality of the AIFF file.

Live Stream Block

Caution: Beta Ahead!

Please note, the Live Stream block is currently a public beta which is not yet fully refined. We believe it's ready for everyday use, but advise caution with mission-critical setups.

One reason for providing early access to Live Stream is to obtain feedback from users. Please don't hesitate to get in touch with questions and feedback about Live Stream.

The Live Stream block enables you to stream audio from your Mac to RTMP-based services like Facebook Live, Twitch, and YouTube Live. While RTMP is often used to stream video, the Live Stream block is focused on transmitting audio feeds, with supplemental video automatically created for you. With Live Stream, it's a snap to offer a live feed while recording a podcast, and easy to transmit content like live events, concerts and DJ sets as well.

Read on for information on configuring the Live Stream block, as well as other tips.

Configuring Your Stream

This section details how to configure your stream, starting from the Setup area at the bottom of the popover and working up to the top status line.

The Setup Section

The Setup section is where you'll enter the details for the service to which you'll be streaming. Be sure to enter the Stream URL and Key details correctly to enable the Live Stream block to connect and transmit.

For help connecting to the most popular RTMP-based streaming services, visit the “Notes on Audio Hijack's Live Stream block” article in our online Knowledge Base.

In addition to entering server details, you can select your desired encoding quality here. The Live Stream block supports three quality levels, Good, Higher, and Best.

Preset Details

Quality Resolution Frame Rate Audio
Good 1024px x 576px 15 fps 96 kbps AAC
Higher 1280px x 720px 30 fps 128 kbps AAC
Best 1920px x 1080px 30 fps 320 kbps AAC

Note that broadcasting with Live Stream requires significant bandwidth, and higher quality levels use more bandwidth.

Settings will be saved between launches, so once the Setup section is properly configured, you likely won't need to change it.

The Video Layout Section

The Video Layout section is used to create the supplementary video feed for your stream. Adjusting the settings here will change what's seen by those who tune in to your stream.

The Main Title and Subtitle text will be overlaid at the top of the video stream.

You can also adjust the track titles which will be shown in the stream. The Track Title field can be customized to adjust which metadata is included. Audio Hijack can automatically pull metadata information from supported Mac applications by setting the Title Source option, or it can pull from a “Now Playing.txt” file. You can even manually enter titles, by editing the Track Title field by hand.

Artwork, either pulled from the Title Source or set as the Logo will automatically be used in the creation of the video stream as well. In addition, you can add a simple Visualized to the bottom of the video feed.

The Preview Section

The Preview section shows a large preview of the supplementary video feed the Live Stream block creates using the information provided in the Video Layout section. Use it to see how the stream will appear to those who tune in.

The supplementary video is based entirely on the information provided in the Video Layout section. It will show text in the right two-thirds of the frame, with the Main Title text in large font and the Subtitle and Track below in smaller font. Text colors are chosen automatically, and are based on current artwork, if available. Provided artwork is shown in a square on the left third of the frame. If both album artwork and a logo are provided, the logo is placed in a smaller square in the lower right corner. When the Visualizer is on, it appears in the lower third of the frame. Finally, the background incorporates a zoomed-in, blurred, and darkened version of provided artwork.

The Status Line

Finally, at the top of the Live Stream block is the status section. This shows data about the stream itself, as you're transmitting, and resets with each new connection.

Additional Tips

Presets

Audio Hijack's handy Presets feature makes it easy to save server settings for the Live Stream block, then load them into new instances. With Presets, you won't need to re-enter this information each time you use a Live Stream block.

Block Title Field

The Live Stream block features a special Block Title field, which alters the name shown on the block in your Session. If you need to distinguish between multiple Live Stream blocks in the same session, use this field to alter the default block title.

Broadcast Block

The Broadcast block enables you to stream MP3 or AAC audio from your Mac to an internet streaming server powered by Shoutcast or Icecast. It's perfect for running live feeds of podcasts, as well powering internet radio stations and more.

Read on for information on configuring the Broadcast block, as well as other tips.

Configuring Broadcast

The Setup Tab

You'll start by entering your server's details, provided by your streaming host provider, into the Setup tab. Be sure to enter all these details correctly to enable the Broadcast block to connect to your server.

You'll also select your desired encoding type in the Setup tab. The Broadcast block supports streaming in either the MP3 or AAC formats. When streaming AAC, Broadcast will intelligently switch to AAC-HE (aka AAC+) at 64 kbps and lower.

All of your settings will be saved between launches. Once the Setup tab is properly configured, you likely won't need to change it.

The Metadata Tab

At the top of the Metadata tab, you can set general station information like name and genre, which is likely static.

Below that, you can adjust the track titles which will be embedded in your stream and visible to listeners. Audio Hijack can automatically pull metadata information from supported Mac applications, or from a “Now Playing.txt” file. The Title Format field can be customized to adjust which metadata is shown, and even manually edited for use with sources which don't provide metadata.

Broadcast Tab

The Status tab shows current statistics, as you're broadcasting. These stats are reset each time you begin a new broadcast.

Additional Tips

Presets

Audio Hijack's handy Presets feature makes it easy to save server settings for the Broadcast block, then load them into new instances. With Presets, you won't need to re-enter this information each time you use a Broadcast block.

Block Title Field

The Broadcast block features a special Block Title field, which alters the name shown on the block in your Session. If you need to distinguish between multiple Broadcast blocks in the same session, use this field to alter the default block title.

Advanced Blocks

The Advanced section of Audio Hijack's block library contains several blocks which can help in less common scenarios. A brief overview of each of these blocks is included below.

Declick, Dehum, and Denoise

The Declick, Dehum, and Denoise blocks are each designed to assist in cleaning up audio that is corrupted in various ways, based on settings you provide. You will likely want to experiment with the settings on each block frequently to obtain the optimal results. Below, you'll find additional details on each of these blocks.

The Declick block can be used to restore audio pulled from vinyl, which often has clicks, pops and crackles. It can also help remove clicks caused by digital errors. The Threshold slider adjusts the sensitivity of click detection. A lower threshold will repair more clicks, but may result in false positives. A higher threshold will result in fewer repairs, but better avoid false positives.

The Dehum block can remove low frequency hum, which may be a result of a lack of proper electrical grounding in the original recording. The Base Frequency setting should be adjusted to identify the frequency of the hum you wish to remove, while the Dehum Amount setting adjusts how aggressively the block will remove hum. Take note of the two built-in presets, which will help remove two common base frequencies, 50 and 60 Hz.

The Denoise block can be used to remove specific noises found in your audio. Denoise must be trained with an example of the audio you wish to remove, by clicking the Learn Noise button. Once the block has been taught a noise, it will work to remove it from audio that passes through it. The Noise Reduction setting adjusts how aggressively the block will remove noise, with higher settings removing more noise. The Remaining Noise Floor setting controls how much noise is left in the audio, to avoid unnatural silences and artifacts caused by noise removal.

Ducking

The Ducking block causes the volume of one or more sources to be lowered automatically, when a specified source reaches a pre-defined volume.

The first source connected to a Ducking block is called the “Overlay” source. Its audio will not be heard at all until it reaches the specified Overlay Threshold. When that occurs, the secondary source (or sources) will be lowered to the Ducked Volume specified.

The Ducking block is particularly helpful for doing voiceovers on top of music, among other uses.

Input Switch

The Input Switch block makes it easy to toggle between two sources. When two sources are connected, only the actively selected source will have its audio passed through the chain. When the switch is clicked, the audio source will switch, using a 0.5 second cross-fade. For a slower 2 second fade, hold Shift while clicking the switch.

Note that this screenshot shows the Input Switch receiving audio from a group of inputs as Input B. As pictured, you can have a longer audio chain, containing multiple input sources, leading up to the Input Switch block.

Sync

The Sync block enables you to add a delay of up to 1000 milliseconds (1 second) as audio passes through the block. This can be useful to sync audio with video.

If a longer delay is needed, add multiple sync blocks in a row.

Time Shift

The Time Shift block acts sort of like a DVR for your Mac's audio. When you add Time Shift to your chain, it will create a buffer of audio. You can then pause audio, as well as jump backwards. The block face provides simple controls for this, with the popover containing more robust controls.

Remember that you can tear off a popover and pin it, for access regardless of what app you have in the foreground. See the Popover Features page for more information. You can also set global hotkeys for Time Shift, right in Audio Hijack's Preferences.

One of the most common use cases for Time Shift is transcribing audio in near real-time. See articles from Serenity Caldwell and Jason Snell for more details on this.

Etcetera

Installing & Uninstalling

Installing Audio Hijack

As you're reading this manual, it's likely you've already successfully installed Audio Hijack. Still, in the interest of being comprehensive, the following is the entirety of the installation procedure for Audio Hijack.

Drag Audio Hijack from your download folder to the Applications folder, then double-click its icon to begin using it. Audio Hijack will then walk you through the necessary process to install the ACE (Audio Capture Engine) backend, which is required for the application to function.

Uninstalling Audio Hijack

If you wish to remove Audio Hijack, we'd certainly like to know why! You can contact us directly to provide feedback. We're always working to improve our products, so don't hesitate to tell us what was missing or didn't work for you.

To remove Audio Hijack, first select Uninstall ACE from the Audio Hijack menu. You'll be walked through the process to remove Audio Hijack's Audio Capture Engine (ACE) backend from the system.

After that, you can quit Audio Hijack and drag the application to the Trash.

User License

Disclaimer

Audio Hijack (“The Software”) is provided as is. Rogue Amoeba Software (“The Author”) is not responsible for any damage to the user's computer system or data and in no event will The Author, its officers, directors, employees or agents be responsible to the user for any consequential, incidental, or indirect damages (including damages for loss of business profits, business interruption, loss of business information, and the like) arising out of the use or inability to use the The Software, even if The Author has been advised of the possibility of such damages. Because some locations do not allow the exclusion or limitation of liability for consequential or incidental damages, the above limitations may not apply to you. Further, the consumer agrees that using this software in any way illegal, or even for the purposes of assessing its viability for illegal usage, is prohibited.

What that said:

Be safe when you use the software. Be aware that it's simply a tool designed to make your life better. Don't use it to do illegal or evil things. If you do, be ready to take responsibility for your own actions.

Distribution

Unless explicitly stated in writing, Rogue Amoeba Software does not grant permission to sell The Software. Non-profit distribution of The Software in its trial form is generally acceptable, provided that The Software is not modified in any way, the complete works of The Software are included in the distribution package, and Rogue Amoeba has been contacted for confirmation.

What that said:

Don't sell this software. If you wish to distribute it in its trial state, get in touch with us to confirm permission.

Acknowledgements

Portions of this Rogue Amoeba software may utilize the following copyrighted material, the use of which is hereby acknowledged.

Sparkle
Copyright © Andy Matuschak

Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

FFmpeg Project ( ffmpeg )
Copyright © The FFmpeg Project ("FFmpeg")

Parts of this product contain certain software owned by FFmpeg and licensed by Rogue Amoeba. You may obtain a complete machine-readable copy of the source code for FFmpeg under the terms of GNU Library General Public License Version 2.1 ("LGPL"), without charge at https://rogueamoeba.com/opensource/.

The FFmpeg software is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the LGPL for more details, available at https://www.gnu.org/licenses/old-licenses/lgpl-2.1.html.

The LAME Project ( lame )
Copyright © The LAME Project.("Lame")
Parts of this product contain certain software owned by Lame and licensed by Rogue Amoeba. You may obtain a complete machine-readable copy of the source code under the terms of GNU Library General Public License Version 2 ("LGPL"), without charge at https://rogueamoeba.com/opensource/.

The Lame software is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the LGPL for more details, available at https://www.gnu.org/licenses/old-licenses/lgpl-2.0.html.

libFLAC
Copyright © Josh Coalson
Copyright © Xiph.Org Foundation

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

- Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

- Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

- Neither the name of the Xiph.org Foundation nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission.

THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS ``AS IS'' AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE FOUNDATION OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

The libRTMP Project ( librtmp )
Parts of this product contain certain software owned by librtmp and licensed by Rogue Amoeba. You may obtain a complete machine-readable copy of the source code under the terms of GNU Library General Public License Version 2.1 ("LGPL"), without charge at https://rogueamoeba.com/opensource/.

The librtmp software is distributed in the hope that it will be useful, but WITHOUT ANY WARRANTY; without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the LGPL for more details, available at https://www.gnu.org/licenses/old-licenses/lgpl-2.1.html.

The OpenSSL Project ( openssl )
This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit (http://www.openssl.org/).

OpenSSL License
---------------
Copyright (c) 1998-2019 The OpenSSL Project. All rights reserved.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

3. All advertising materials mentioning features or use of this software must display the following acknowledgment: "This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit. (http://www.openssl.org/)"

4. The names "OpenSSL Toolkit" and "OpenSSL Project" must not be used to endorse or promote products derived from this software without prior written permission. For written permission, please contact openssl-core@openssl.org.

5. Products derived from this software may not be called "OpenSSL" nor may "OpenSSL" appear in their names without prior written permission of the OpenSSL Project.

6. Redistributions of any form whatsoever must retain the following acknowledgment: "This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit (http://www.openssl.org/)"

THIS SOFTWARE IS PROVIDED BY THE OpenSSL PROJECT ``AS IS'' AND ANY EXPRESSED OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE OpenSSL PROJECT OR ITS CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

This product includes cryptographic software written by Eric Young (eay@cryptsoft.com). This product includes software written by Tim Hudson (tjh@cryptsoft.com).

Original SSLeay License
-----------------------
Copyright (C) 1995-1998 Eric Young (eay@cryptsoft.com)
All rights reserved.

This package is an SSL implementation written by Eric Young (eay@cryptsoft.com). The implementation was written so as to conform with Netscapes SSL.

This library is free for commercial and non-commercial use as long as the following conditions are aheared to. The following conditions apply to all code found in this distribution, be it the RC4, RSA, lhash, DES, etc., code; not just the SSL code. The SSL documentation included with this distribution is covered by the same copyright terms except that the holder is Tim Hudson (tjh@cryptsoft.com).

Copyright remains Eric Young's, and as such any Copyright notices in the code are not to be removed. If this package is used in a product, Eric Young should be given attribution as the author of the parts of the library used. This can be in the form of a textual message at program startup or in documentation (online or textual) provided with the package.

Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

1. Redistributions of source code must retain the copyright notice, this list of conditions and the following disclaimer.

2. Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.

3. All advertising materials mentioning features or use of this software must display the following acknowledgement:

"This product includes cryptographic software written by Eric Young (eay@cryptsoft.com)"

The word 'cryptographic' can be left out if the rouines from the library being used are not cryptographic related :-).

4. If you include any Windows specific code (or a derivative thereof) from the apps directory (application code) you must include an acknowledgement: "This product includes software written by Tim Hudson (tjh@cryptsoft.com)"

THIS SOFTWARE IS PROVIDED BY ERIC YOUNG ``AS IS'' AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHOR OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

The licence and distribution terms for any publically available version or derivative of this code cannot be changed. i.e. this code cannot simply be copied and put under another distribution licence [including the GNU Public Licence.]