Surco changelog, What's new in each release

What's new

The highlights of every release, without the noise. The features that change how you prep your music, version by version.

v0.95September 9, 2026

Try what is new before anyone else, if you want to

Cue points now land where you see them in Traktor when you convert from or to MP3. Traktor drew the marker around 51 ms out on those crossings, and Surco now compensates for it on its own, with nothing for you to set. The manual adjustment is still separate and still starts at zero, in case you want to fine-tune it.
Changing format no longer throws away cues Surco cannot read. When the marker tree comes from another program or from a newer Traktor, it now rides across to the converted track untouched. They are only discarded when you trim the track and the audio really does move under them, which is when they would stop pointing at the right place.
The cue point adjustment now asks what you hear instead of asking for a signed number. You pick whether your cues come in early, late or stay where you left them, and Surco works out the direction. The number is always positive, so there is nothing to remember about what each sign did.
Converting a track and keeping the original no longer confuses Traktor. Both copies used to share the same internal identity, so their artwork became linked and in some cases Traktor would not open at all. The converted track is now independent and keeps its cues, its grid and its loops.
The stars you set in Surco now show up in Traktor. They were written to the file but not to your collection, and for a track Traktor already held the collection won, so you kept seeing the old rating.
New artwork shows up in Traktor after converting, including when you keep the original. The thumbnails are rewritten in the format Traktor uses on your machine, and it is told the file changed so it reads it again.
The cue point adjustment can be used without pointing Surco at your collection.nml. The control stayed switched off until you gave that path, but the offset applies to the cues Surco writes inside the file itself, so anyone not syncing with Traktor could not touch it either.
The cue point adjustment now says which way each value moves them. Under the control you get in plain words what you will hear, and the hint explains that a negative value makes them fire earlier and a positive one later. Before you only saw a signed number, and the only way to learn the direction was to convert and listen.
Surco can take beta versions. Settings → General has a switch to ask for them: they arrive before stable releases and are there to try what is new, with the bugs that implies. It is set per machine, so you can test on the laptop and leave the one you play on with stable builds. Anyone who leaves it off will never see a beta.

v0.94September 6, 2026

Every track converts with the dials you gave it

The cue point adjustment now applies when converting to the same format too. An MP3 coming out as an MP3 carried its cues across untouched, so the offset you set never reached those conversions.
The collection.nml path can be cleared with a button. It could only be swapped for another one before, so once the Traktor sync was on there was no way to turn it off.
Converting a track no longer leaves two entries for the same file in your Traktor collection. When the collection already held the track in the new format, Surco repointed the old one onto it and both remained, one still claiming the original's size and bitrate; now it leaves that entry alone.
Normalize and declick are per track again in a batch. The editor stages them row by row, but the conversion read a single value for the whole run: set one track to -18 and another to -7 and both came out at -7, and a dusty rip dialled to strong declick converted with none. The lossy re-encode warning comes back with it, as it was skipped on any track carrying its own setting.
Surco checks that the converted file reaches the end before publishing it. A half-written MP3 declares the same duration as the whole one, so neither the header nor a decode error gave it away: now what the file promises is compared against what actually plays, and the truncated copy gets caught instead of quietly replacing the original.
Carried cue points can be nudged from Settings, in a DJ's own terms: you pick whether they come in earlier or later, in steps you can actually hear, from barely audible to clearly audible, instead of typing milliseconds in the dark. A fine adjustment sits underneath for the rest. It shifts the start point, never the length of your loops.
An AIFF saved as .aif no longer loses its cues converting to FLAC. Surco only recognised the long .aiff spelling, so the short one went looking for the cues where an AIFF has never kept them: every hot cue and the beat grid were dropped, on a conversion that reported success.
New artwork shows up in Traktor without tricks. Instead of clearing the reference to the image, Surco rewrites the thumbnails Traktor has cached, which is the only thing that makes it redraw the cover.
When it touches your Traktor collection, Surco touches as little as possible: cues go back exactly where they sat inside the entry rather than jumping ahead of the tempo and everything else Traktor wrote. And if it cannot rule out that Traktor is running, it does not write at all: it used to write anyway when in doubt.
The clipping filter no longer comes back empty when you reopen an already analysed library. The clipping fact was read from the waveform, which is not always loaded, when it actually rides along with the scan: you had to touch each track again for it to show up.
The click counter stops swallowing half a burst. The window that merges clicks together re-armed on every crossing, chaining on for tenths of a second: a dirty record's whole run of crackle counted as "1 click", with a single mark to jump to. Measured across 25 real tracks, the count can only go up.
A metadata search that comes back empty no longer sticks. A rate limit and a genuine "not here" arrive the same way, so caching it left the track unmatchable forever, not even fixed by relaunching Surco. It now asks again next time.
With per-channel gain and DC removal both ticked, the gain is now sized on the centred audio: it was measured on the biased signal and the track landed well under the ceiling it was promised.
An MP3 with no Xing header no longer shifts its cues on conversion: the delay the encoder adds is compensated instead of assumed to be zero.
An empty Apple Music library reads as zero tracks rather than an error.
Syncing with Traktor now keeps the tempo Traktor analysed. Surco was writing the rounded BPM from the tag over it, so an analysed 141.999619 became 142.000000 and the grid drifted: around 7 ms across a five-minute track. If you are the one who retyped the BPM, your value still wins.
The Finder artwork option now says what it costs. It leaves the FLAC off-spec and Traktor will not accept it, dropping the file from its collection. Settings warns you before the tracks go missing.

v0.93September 4, 2026

Declared bits get verified too

The bits check no longer goes quiet when it cannot make a call: a 24-bit file whose scan gives no clean reading (a mostly silent minute, for example) says so out loud, so it never looks like a file the check skipped.
A file declaring 24 bits is no longer taken at its container's word: Surco decodes the track and checks which bytes actually carry signal. 16-bit audio padded into a 24-bit shell gives itself away (the low 8 bits are zero in every sample, arithmetic proof rather than statistics) and gets its own badge; a real 24-bit file earns its line with the measurement in front.
With the output bit depth on "same as source", a file with proven padding is written as true 16-bit. The spare bits are zeros, so dropping them loses nothing and needs no dither.
The output sample rate gains a "Corrected" mode: only tracks Surco has measured as upsampled from 44.1 kHz are rewritten at 44.1; genuine and unverifiable files come out untouched. The "On convert" card announces on the track itself what will happen and why, before anything is touched.
The same song can no longer grade "Lossy source" in its 44.1 kHz copy and "Good quality" in the 48 kHz one: the second knee detector read the cut one band below where the music ends, and it only runs on 44.1 files. Found thanks to a user with twin copies of one track.

v0.92September 3, 2026

The sample rate always gets an answer

A file that declares more than 44.1 kHz now always gets an answer about its sample rate: confirmed as genuine hi-res, flagged as upsampled from 44.1 kHz, or an honest "could not be verified" when the probe was unreadable. Saying nothing used to leave a real hi-res file looking exactly like one nobody had analysed. A plain 44.1 kHz file makes no claim to check, so it stays silent rather than gaining a line that says nothing.
The upsampling detector stopped passing a fake hi-res as the real thing. It compared two high probes against each other, and when the content died at 20 kHz both landed in the noise floor: their similarity read as a gentle taper, that is, as genuine hi-res. Those bands must now also rise above the noise floor, measured against the track's own level so the same master mixed quieter is still the same record. Calibrated on real and fake hi-res files from an actual library, with wide margin on both sides.
The spectrum of a hi-res track is drawn with the music at a readable size. Painting up to the theoretical ceiling of a 96 or 192 kHz file gave the top octaves, where there is nothing to see, most of the panel and squashed the music into a strip along the bottom. The image is now framed on the range that matters. Files at 44.1 and 48 kHz are drawn exactly as before.
Silence trimming adapts to each track's own noise instead of using one fixed bar. A lead-in with hiss or hum around -50 dB cleared that bar, counted as music and left the cut loose, above all on vinyl rips. The threshold is now anchored to the track's own noise floor, with margin for its peaks and a ceiling that never climbs into a quiet intro. On tracks with a clean floor the cut comes out exactly as it always did.

v0.91September 2, 2026

The quality verdict shows its work

The quality verdict no longer just labels the track: it shows the measurement behind it. It tells you how far the energy reaches, how much it drops within one kilohertz, and why that shape gives away a codec, an enhancer or an upscaler, instead of asking you to trust a single word. The trim note does the same: besides the length you are left with, it warns that the audio is re-encoded and that Traktor's cues and beatgrid move with the cut, so everything still lands on the same beat.
The cue warnings stop lying about WAV: Traktor's cues and beatgrid also survive both converting and trimming to WAV, and the conversion warning and the trim note now say so. Only ALAC loses them, because it has nowhere to keep them.
The three column presets ("widen results", "balanced", "widen the editor") are gone from the toolbar, replaced by "Convert all N", which converts the whole list in one go. Column widths are still adjusted by dragging the divider, which is how it was done anyway.
The "What will happen to this track" card tells the truth about the limiter: when it only shaves the tips of the sharpest transients it says a touch that light is inaudible, and when the clipping is heavy it warns you to expect slightly less punch on the loudest hits, instead of always promising nothing is touched.

Earlier versions

v0.90Normalization tells you what it will doAugust 31, 2026

The "lossy source" detector now recognises a codec wall by its shape, not its depth: a cliff of tens of decibels inside one kilohertz, instead of summing the whole descent of the top end. A sweep of 6000 real lossless tracks showed the difference: digital productions ease down 2-7 dB per band into silence and summed more than enough to be accused of being MP3s, while a real codec cuts like a cliff. Under the new rule the false alarms in that sweep dropped from 161 to 19, without losing any of the 40 reference encodes, CD-burned ones included. Already-analysed tracks re-measure themselves.
A 256 or 320 kbps MP3 burned to CD or written to 16-bit FLAC/WAV/AIFF no longer passes as "Good quality". The lossy-source detector was calibrated on MP3s decoded in floating point, where the codec wall falls 65 dB; with the 16-bit dither any real transfer leaves behind, the same wall falls only 43 dB and landed just under the bar. It was found by a new battery of tests that demand the same verdict when a spectrum is raised, lowered or given a noise floor, and confirmed on real files before anything was touched. The threshold drops to 38 dB with margin on both sides, and already-analysed tracks re-measure themselves.
A loud master no longer reads as "Reprocessed" because of its own harmonics. Two versions of the same song, the quiet reissue and the remaster 8 dB louder, share one spectrum and got different verdicts: the same two high harmonics that sat under the noise floor in one counted as the saw-tooth of a spectral "enhancer" in the other. Three teeth in a row are now required, which is what a real enhancer leaves, and the verdict no longer changes with the level of the master. Already-analysed tracks re-measure themselves.
The "What will happen to this track" note now says by how much the peaks would pass the ceiling before the limiter steps in ("by 4.0 dB"), so you can see at a glance how hard it works on that track.
Every track now carries a "What will happen to this track" card under the normalization controls: how many decibels it will move, whether one constant gain is enough or the limiter will have to hold the peaks at the ceiling, and where the loudness will land. It is the same prediction that already fed the preview, told as a sentence before you convert, so the result never surprises.
The "True peak" field is now called "Peak ceiling", with the clarification it was missing: a safety limit, not a second target, and it only acts if the peaks reach it. Each mode also explains its real effect in one line: make every track equally loud, or match their loudest sample and let perceived loudness vary.
The loudness table draws an arrow only on what the conversion will change (loudness, peak, DC offset) and an "=" on what it cannot change (range, dynamics, balance), under a "now → after converting" label. No more italics with a footnote.
All of these explanations can be switched off once you know them by heart: with the X on the card itself, or from Settings → Editor → "Inline explanations". The preference is saved and synced across machines.

v0.89The quality check now gets it rightAugust 28, 2026

A perfectly valid MP3 could show up as unreadable: no spectrum, no waveform, absurd loudness readings, or a conversion Surco itself could not open afterwards, even though any player handled the file just fine. The audio engine's format detector was to blame: with large cover art and certain bit patterns in the audio it mistook the MP3 for an MPEG video, and every encode could flip the outcome. An .mp3 file is now always read as an MP3, including the ones already flagged, no reconversion needed. On top of that, every conversion now verifies its result decodes before calling it done: if it does not, the file is discarded and your original stays untouched.
Removing DC offset now works the same in both normalization modes. With the box ticked, peak normalization always centred the signal, but loudness normalization only did so when the bias exceeded 0.2%: below that it was left in, the gain could even increase it, and the editor promised a 0.0% that never arrived. The same file with the same checkbox came out centred or not depending on the chosen mode. Any measurable bias is now subtracted before the level is set, whichever way you normalize.
A loud master with a mastering rolloff no longer reads as Lossy source. Plenty of club productions are mastered with a gentle filter toward 19 kHz: the energy eases down a dozen decibels across nearly a kilohertz and there is still content right up to the top. A codec does nothing of the sort: it drops thirty-plus decibels inside three hundred hertz and leaves silence behind. Surco had a second cutoff detector that read that ramp as a wall and flagged a legitimate Beatport FLAC as hiding an MP3. That detector now answers to the same fine-grained check as the main one, so only a genuine codec collapse counts. Already-analysed tracks re-measure themselves when opened.
A single bright harmonic no longer turns a track into Reprocessed. Surco spots highs regenerated by software because they leave a saw-tooth in the spectrum: a row of teeth where each patch meets the next. One harmonic lifting a single band above its neighbours added up to the same total as that saw-tooth, and some clean CD rips, bright masters in particular, stood accused of synthetic highs. A real row of rises is now required, not one, and those discs go back to green. Already-analysed tracks re-measure themselves when opened.
Quiet masters are no longer flagged as Lossy source. Some discs, older recordings and a few remasters in particular, have a top end so faint that above 16 kHz little is left but the CD's own noise floor. Surco averaged that noise into one-kilohertz bands and came up with a step that looked like a codec cutoff, so a FLAC ripped straight from the disc stood accused of hiding an MP3. A suspected cut is now checked at five times the resolution before it counts, and there the difference is plain: a real codec collapses by more than 60 dB in one clean fall, noise wanders up and down. If you have already analysed tracks, they re-measure themselves the first time you open them.
MP3s are no longer flagged as suspect. Every MP3 rolls off the highs: that is how the format works, not damage to the file. Surco wasn't taking that into account and measured an MP3 against the same line as a FLAC, so a spotless 320 cutting at 19 kHz came up amber, asking to be reviewed. Anyone with a folder of MP3s met a row of warnings about files that had nothing wrong with them. A lossy format is now judged on its own terms and comes up green. The cutoff is still measured and still reported under the graph, because knowing a track came from a lower bitrate is worth knowing, but it is no longer presented as a fault.
The fake lossless warning is now called Lossy source. When a FLAC or a WAV has a re-encoded MP3 inside it, Surco still catches it exactly as before, which is the whole point. What changes is the name: the old one sounded like an accusation aimed at whoever made the copy, when more often the file is a faithful rip of a disc whose master was already lossy to begin with. The wording now says so plainly, so it is clear where the problem lies and where it doesn't.
The quality verdict was too forgiving, and it no longer is. To find out how far up a track reaches, Surco measured its energy through a bank of filters, and those filters had a rolloff of their own that added to the music's: they were measuring themselves as much as the file. The upshot was that tracks looked cleaner than they were. A file cut off at 14 kHz, a low-bitrate MP3 dressed up as a WAV, was reported as reaching 20 kHz, which is to say it passed. The measurement is now a direct frequency analysis of the audio, with no filters in the way, and it places the cut within a kilohertz instead of nearly three. If you have already analysed tracks you will see some verdicts change: they re-analyse themselves the first time you open them.
Opening a track no longer keeps you waiting. The cutoff analysis took almost twenty seconds on a six-minute track and was by far the slowest thing in the Quality panel. It now takes four hundredths of a second. It also no longer depends on how long the track is: a three-minute edit and a ten-minute mix cost the same. All told, opening a track drops from about nineteen seconds to just over three, and analysing a whole folder stops being something you leave running while you go for coffee.

v0.88Tracks open instantlyAugust 27, 2026

Opening a track is now two to three times faster. Surco used to decode the same file twice every time you hit play: once to draw the waveform, once to find the peaks that clip. It now reads the file once and gets both from that single pass, so the wave shows up in half the time and your laptop does half the work. On a five-minute FLAC that is 100 milliseconds instead of 270; on a two-hour mix, a second and a half instead of over three.
The waveform shows detail it used to lose. To draw it, Surco reduced the audio to a very low quality first, and that shortcut rounded off the transients: hits came out lower than they really are in the file. The wave is now built from the audio at its real quality, so the peaks are the true ones and the body of the track reads apart from the hits instead of melting into one blue block. You notice it most when hunting the exact spot of a kick to place a cut.
Arrowing through the list no longer fires analyses you never asked for. With the Quality panel open, every row you passed through started its spectrum analysis, the heaviest one there is, even if you never stopped on it. It now waits for you to settle on a track, the same way every other measurement already did. Tracks you have already analysed still show up straight away.

v0.87Your cues survive every formatAugust 26, 2026

Traktor's cues and beatgrid now survive any conversion. Until now they only carried across some formats: going from FLAC to MP3, AIFF or WAV lost them, and so did WAV to FLAC. Nothing warned you, and the new file looked fine right up until you opened it in Traktor and found the track bare. MP3 was the sneakiest case: the data did travel, but written in a way Traktor doesn't read, so any tag inspector would happily tell you it was there. It now goes where Traktor looks for it, across all five formats, and if you trim the start of a track the cues move with it.
The waveform no longer turns red on tracks that aren't clipping. A track mastered right up to the ceiling showed up marked end to end, with a peaks-over-maximum warning that matched nothing: the fault was in how Surco folded the two channels together to draw the waveform, which pushed the level just over 3 dB before measuring it. It now measures at the file's own level, so clip marks only appear when there really is clipping.
Converting no longer leaves tags behind. Style, country, pressing format and the Discogs link were written when converting to FLAC but vanished on MP3, AIFF, WAV and M4A; an M4A also lost its catalogue number, Discogs reference and energy. They were all on the source file and never reached the new one, so a collection organised around those fields fell apart the moment you changed format. All five formats now carry the same set.
The comment and the rating no longer show up twice. A converted file listed the comment twice and the rating twice — once as the raw number, once as stars — because the value was written in two places at once and only one of them is what Traktor and mp3tag read. Each now goes where it belongs, once. An unrated track also keeps its comment: it used to be stored in a way those programs don't look at, so it came up empty.
A broken tag no longer takes an AIFF conversion down. Some files analysed by other tools carry a tag whose declared size is wrong and overlaps the ones next to it: while copying the cues onto the new file, Surco choked on it, stopped, and left nothing behind — even though the audio had already been converted. That broken tag is now skipped and the conversion finishes with its cues intact. WAV had been handling this case for a while; AIFF was missing it.

v0.86You decide what Discogs touchesAugust 17, 2026

You can now choose which fields a release fills when you apply it. Until now applying a match wrote everything, so a genre you had set by hand — or the year of your copy rather than the reissue you found — was gone for good. Every field now has its own "Auto" switch in Settings, Fields: off means the file keeps whatever it already had. They all start on, so leave them alone and applying a release behaves exactly as it always did.
Search results show the pressing country. When one catalogue number comes out in five countries with the same year and the same label, there was no way to tell which one was your copy without opening each; the country now sits on its own line with the rest of the release details.
Importing a folder can be cancelled. It was the longest operation in the app — thousands of files on a network drive, one tag read each — and the only one with no way out: drop the wrong folder and all you could do was wait. Clicking the import counter now stops it.
Converting an MP3 with "Same as source" no longer bloats the file. An MP3 has no bit depth to preserve — it stores something else entirely — and Surco was inventing 24 bits for it: a 320k MP3 came out as a 60 KB FLAC where 16-bit gives 21 KB, for nothing audible. It now converts at 16-bit, with the dither that calls for. If you convert your collection to FLAC, the difference shows up on disk.
The Energy field shows your energy level again. On files that had been through Platinum Notes, Surco read the wrong tag and filled the box with a long string of letters and numbers — that tool's own internal data — instead of the 7 you had set. Worse, saving wrote that string back as if you had typed it. It now reads ENERGYLEVEL, where the level has always lived, and files carrying only ENERGY keep working exactly as before.
Traktor star ratings now show up on MP3 and AIFF. Traktor stores the rating in a part of the file that the library Surco reads tags with cannot see, so a track you had rated five stars always came up unrated. They were not being lost on conversion — they were never being read. Surco now reads them directly, and when a file is rated in both Traktor and Windows Media Player, Traktor's value wins.
The Traktor cue warnings no longer scare you off for nothing. Converting to FLAC told you the cue points would be lost, and that isn't true — they are kept. The warning had been wrong ever since that preservation was added, so if you were avoiding FLAC because of it, go ahead. WAV is still the one format where cues really are lost.
Key and BPM are read on older files. The three-letter tags that programs used years ago went unnoticed, so a properly tagged track showed up empty. They are read now, which means a good chunk of those old folders no longer needs a pass by hand.
The start screen has been rebuilt. The Surco record turns while you wait, and the text finally says what the app actually does: the five formats it converts to, the three sources it tags from and the two places it sends your music.
Traktor cues travel across a conversion again. The MP3s Traktor writes carry padding at the end of their data, and Surco threw the whole thing away when it found it — cues and beatgrid never reached the converted file. They are read and copied now, at the exact positions you set, without moving them by a millisecond.
Mixed In Key cues are kept too. If your tracks come analysed by Mixed In Key, its points are translated into Traktor's format on conversion instead of being left behind. And other tools' tags stop landing where they shouldn't: on some files the key used to end up written into the cue field.
Dragging music now lights up the column it will land in. A panel used to cover the whole window to say "drop here" without pointing at where "here" was; the list is marked instead, showing the space the tracks are about to fill. The hint also stops flickering as you move the mouse.
The record label now shows up in Traktor. On FLAC files Surco stored it in a field Traktor never looks at, so you would fill the label in the editor and still see it blank there. It is now written where Traktor looks for it, and where shops and other taggers read it too. MP3 already worked and is unchanged.
The record label survives a conversion to FLAC. The previous fix only reached files you edited, not files you converted: a freshly converted FLAC came out with the label in one field and blank in the other, so Traktor showed it in one column and not the other. It is now written to both, on conversion as well as on update.
Converting a batch can no longer lose tracks. When two tracks resolved to the same output name — easy after a Discogs match fills the same artist and title, or with empty tags falling back to the same template — choosing Overwrite pointed both at one destination, and the second one written landed on top of the first. The run still counted them all: "3 converted", one file on disk. A name another track in the same run has already claimed is now stepped around, and overwriting a file that really is in the folder works exactly as before.
A dollar sign in a file name no longer corrupts your Traktor collection. When Surco updated collection.nml after a conversion, a track named with a $ spliced part of the file's own text into the entry and wrote broken XML — and Traktor refuses to open a collection it cannot parse. The name is now written literally, whatever characters it carries.
A file that is no longer where Surco left it now says so. Move or rename a track in Finder and every panel reported "Could not analyze the audio", which sends you looking for a damaged file when nothing is wrong with it — it is simply somewhere else. The message now names the real cause.
The button that closes Traktor works on Windows. It never actually asked Traktor to quit: the command was rejected outright, and the app spent fifteen seconds waiting before telling you Traktor could not be closed. It closes now, so the collection can be updated without you quitting it by hand.
Traktor reads your converted WAVs again. A WAV stores tags in two places at once, and Surco was deleting the one Traktor reads — so a track came out with no artist and its file name where the title should be, while a tag editor showed the same file perfectly. Both are kept now. One trade-off worth knowing: that chunk has no field for the record label, so a plain probe of a WAV will not show it. Surco still reads it, and it still travels when you convert that WAV to any other format.
The musical key is written where Traktor looks for it. Converting to FLAC wrote the key only as INITIALKEY, and Traktor reads KEY. Both spellings are written now, so whichever one your software reads, the key is there — the same bargain the record label already strikes with LABEL and PUBLISHER.
Converting to WAV or ALAC no longer loses your cues or artwork. The other formats had carried them for a while, but these two were left out: an analysed crate converted to WAV came out with no beatgrid and no cue points, while the app reported it converted. They now travel just as they do on MP3, AIFF and FLAC. So does the artwork — until now a conversion whose only job was fixing a title stripped the cover the file already had.
Converting a batch no longer overwrites two tracks whose names differ only in capitals. On Mac and Windows “Artist - Track.aiff” and “artist - track.aiff” are one and the same file, which is easy to hit when a Discogs match fills in an artist with different capitals from the one next to it. Surco treated them as separate destinations and the second conversion landed on top of the first, counting both as done.
The section shortcuts work inside Silence trim. With the focus on a trim handle, ⌘] and ⌘[ stopped jumping between sections: the key did nothing, and only started responding again once you left the section.

v0.85Tagging the way a collector doesAugust 16, 2026

Four new fields Discogs already knew and Surco threw away: Style, Country, Media type and the release URL. They are written under the same names mp3tag uses, so a collection tagged with that tool and one tagged here agree instead of growing duplicates. The URL is how you go back months later and check where a track came from.
Note this changes what lands in Genre: it used to hold the Discogs style ("Deep House"); Genre now holds the actual genre ("Electronic") and the style has a field of its own. When a release carries only a style, Genre still takes it rather than sitting empty.
Network drives no longer collect half-finished files. When a conversion failed and its temporary file could not be deleted either — routine on a NAS, which holds the file for a moment — that temporary stayed in your folder for good with nothing recording it, so no later cleanup could ever find it. It is now tracked and swept at the next launch.
Your Engine DJ library backup no longer disappears exactly when you need it. If m.db had been left empty — what an interrupted Engine write leaves behind — Surco copied that empty file over the good backup and then failed anyway. An empty file is now treated as what it is, a library to rebuild, and the backup is left untouched.

v0.84Seeing where a track lands before you convert itAugust 14, 2026

The audio quality table now shows, next to each measurement, where the figure will land once you convert with your normalization settings. Until now you had to convert the file to find out, or switch to the Normalization section to see just two of the numbers. Loudness and peak get their estimate; range, dynamics and balance read “no change”, because normalizing moves the whole level up or down and leaves the distance between the quiet and loud parts alone.
On Windows you can now update a track while you are listening to it. It used to fail with a warning that another program had the file open, and that program was Surco's own player: it wasn't letting go of the file in time for the rewrite. It now releases the file and waits until it is free before writing, and playback carries on where you left it.
If the destination file is locked when a conversion finishes, you no longer lose the work. A finished conversion — audio, tags and cues all written — used to be discarded because the last step, moving the file into place, couldn't complete. It is now kept next to it with ~ at the end of the name, so all that's left is renaming it.
Converting no longer throws the artwork away. Updating a track just to fix its title gave you back a file with no cover, because re-encoding the audio left the picture behind. The artwork now travels with the track, including across a format change, and still goes only when you ask for it to be removed.
The cover thumbnail refreshes right away. After applying metadata or removing the image you had to take the track out of the list, load it again and update a second time to see it properly — the whole collection retouched twice. And clearing the metadata left the cover on screen even though it was already staged for removal.
On Mac, FLAC covers show up in Finder again even when you don't change the artwork. The header that makes the image visible was written only when a new cover was applied, so editing the tags left the file with a blank icon. Needs "Show cover in Finder" turned on in Settings.
Removing DC offset together with loudness normalization now works: the combination made the whole conversion fail without saying why. And the channel balance no longer claims "no change" when you normalize the channels separately, since each channel takes its own gain there and the distance between them does move.

v0.83Finding what's left to do, and being able to undo itAugust 8, 2026

The first-run wizard no longer offers “Overwrite the original”. It was the wizard's one destructive choice, a click away before you had seen a single file, with a one-line hint as its only warning. It's still there in Settings → Output, where the editor warns you properly before converting.
The hints that tell you how to turn something off now point at the right tab. The most important one — the warning that replacing a lossless original with an MP3 loses the master for good — sent you to “Settings → Conversion”, a tab that doesn't exist: it's called Format, and the setting lives in Output.
The click-repair level now stays with the track. Dial “Strong” for a noisy vinyl rip, move to the next track and come back, and it had silently reset to the global default. It now behaves like the silence trim and the normalization, which were already kept per track.
⌘Z undoes a whole-album match. Applying the wrong release — a reissue with a different tracklist, a same-named LP — rewrote the title, artist and track number of every selected track with no way back, and the file's original tags were already gone.
Detecting the silence trim across several tracks can now be undone from the notice itself. When the detection got a few of them wrong — vinyl rips with a long surface-noise intro are exactly the hard case — the only way out was opening each one and clearing the cut by hand.
Two new filters for what's still pending: “Failed” and “To review”. After a batch, the bar said “180 converted · 20 failed” with no way to reach those 20 other than hunting for a small red ring down the list — same for the matches auto-match leaves flagged for your eyes. They only show up when there's something in them.
Dropping a folder with no audio in it no longer does nothing at all. There was no row, no notice, no change — and no way to tell “there's no music here” from “I couldn't read the folder”, which is what happens with a dropped network drive or a folder you lack permissions for.
On the website, the download button now names your platform right away. If your browser was slow to run JavaScript, or GitHub didn't answer, you ended up on a list of loose GitHub files instead of the installer. It also tells you how big the download is, warns Windows users about the SmartScreen prompt, and the Intel Mac link is legible without hunting for it.
“Remove DC offset” now works together with loudness normalization. A reader wrote in with the exact case: a vinyl captured with the signal off-centre needs both at once, and the option lived only in the peak tab, so picking loudness silently dropped it. It is now a correction of its own, available in both modes, and anyone who had it on keeps it.
The audio-quality help (“What do these mean?”) now states, for every metric, what range counts as good and whether Surco can fix it — and with which setting. For the ones baked into the master (range, dynamics, noise floor) it says so plainly, so you stop hunting for a setting that doesn't exist. The ranges are the same thresholds the indicators are coloured with.
The normalization preview now tells you where the track will land before you convert: the “Preview” row over the wave shows the actual LUFS and peak the conversion will produce, marked as an estimate, updating as you move the target. It came from a reader who kept re-converting the same FLAC just to read the result. The section's ⓘ now opens the metric help too, and each preset explains itself in one line.
The None / Loudness / Peak selector — and every switch of that kind across the editor and Settings — now sits on a recessed track, and the active value slides over instead of jumping. It used to read as a row of tabs, with whatever sat below looking like the tab's content: that's why “Remove DC offset” seemed to belong to None, a mode where it does nothing. That checkbox now only shows in Loudness and Peak, where it actually applies.
That sliding highlight shipped with three defects, and all three die here: it made a trip from the edges to the active value the moment a panel opened (now it only moves when you change the value), it could leave a sliver of the neighbouring segment showing, and it shaved a hair off the active segment's right edge. All one root cause underneath: measuring geometry while the settings dialog was still animating in.
The command palette (⌘K) opens instantly, with no entrance animation. It's a surface you open dozens of times a day, almost always from the keyboard, and paying a quarter-second entrance every time made the whole app feel slower than it is. Real dialogs keep theirs.
Three missing movements: the editor's bottom bar no longer snaps between “Convert” and the result but transitions briefly; when a notification closes, the rest settle smoothly instead of jumping; and in Settings the active tab's highlight travels along the sidebar just like the selectors' does.
The report-an-error button now actually reports. It opened nothing at all — on any system, with no notice and no error — so every report anyone tried to send was lost on the way. It now opens a prefilled report in your browser with the version, your system and what failed, including the last error lines from the log; your folder names never travel, only the name of the file involved.
On Windows, saving changes to a track you have open in another program no longer fails. If Traktor, your player or Explorer happened to be holding the file, Windows refused to replace it and the save fell over; Surco now waits a moment and tries again, which is usually all it takes.
On Windows, updating a track while you are listening to it no longer fails. The message blamed another program for holding the file, but it was Surco's own player: saving over the track that was playing made Windows refuse to replace it, and your changes were lost. Surco now releases the file before writing it, and playback picks up where you left off.

v0.82Getting around Surco without leaving the keyboardAugust 8, 2026

⌘← and ⌘→ jump to the column next door, as an alternative to the direct ⌘1, ⌘2 and ⌘3 jumps. They stop at the ends rather than wrapping around, so you never lose track of which side of the window you're on. Note: inside a text field they still change column, so there they no longer move the cursor to the start or end of the line.
You can now see where the keyboard is. The focused track in the list and the focused search result are marked with an outline, so as you move through them with the arrow keys you always know which one you're about to act on. Until now the focus was invisible outside the list, which made arrowing through results impractical.
Arrowing through search results no longer gets stuck. Collapsing an album left its tracks in the rundown and the focus stopped on them even though they weren't visible, which made the column look frozen on the first result.

v0.81Quitting mid-conversion no longer takes your work with itAugust 3, 2026

Closing Surco while conversions are running now asks first. A ⌘Q or a click on the X used to cut off whatever was converting and drop the rest of the queue without a word: you reopened to a half-converted folder with no sign of where it stopped.
The track you have open in the editor shows its progress again while it converts. In the light theme the stage and its bar were painted the same colour as the selected row's background, so the one track you were watching looked stalled while every other row moved along.
Importing a large folder now collapses the unreadable-file and duplicate notices into a single card that keeps its count up to date. They used to appear once per subfolder, so a collection on a network drive could bury the window under stacked notices for the whole import.

v0.80Any key combination works as a shortcutAugust 1, 2026

Option and Control now work when recording a shortcut. Assigning ⌥E or ⌃E used to do nothing at all: Surco only understood ⌘ and Shift, and silently dropped whatever else you pressed. If you remap Surco to a macro keyboard, you can now use whichever combination your hardware sends instead of hunting for one that sticks.
The loudness normalization you dial on a track stays on that track. Switching to another track and coming back used to wipe it, leaving you to set it again before converting.

v0.79The trimmer's zoom works from the keyboard tooAugust 1, 2026

Zooming in and out on each cut now has its own keys, one pair per side. Setting the zoom is part of trimming — you zoom in to place the cut to the millisecond and out to see where it lands in the track — so it was the last part of the trimmer still forcing you back to the mouse.
The shareable stats card keeps the four biggest tallies instead of listing everything, and it now reads for someone who has never used Surco.

v0.78The whole conversion, start to finish, without leaving the keyboardAugust 1, 2026

The silence trimmer's keys no longer depend on where the focus is: with the section open they act on the track you are editing, full stop. Each cut has its own keys — one set for the head, another for the tail — so a press can never move the wrong one. Built for anyone working from a macro pad: press a key and the cut moves.
You can jump from one editor section to the next with ⌘] and ⌘[, skipping every field in between. They keep working while you type in a field, so you can go from the title to the trimmer without touching the mouse: ⌘3 for the editor, a couple of jumps, Enter to unfold the section, and its keys are live.
The shortcuts in Settings are now sorted by what each one does — tags, convert, library, playback, navigate — instead of one long list you had to read end to end to find a key.
The silence trimmer folds and unfolds with the same animation as every other section, instead of snapping open.
Discogs searches now fetch as many results as you have set the list to show: it used to ask for fewer than it promised to display, leaving the larger options short.

v0.77The silence trimmer works from the keyboardJuly 31, 2026

The silence editor no longer needs the mouse. With a cut focused, the arrow keys move it by the millisecond (hold Shift for a coarser step), and one key auditions it, another clears it and another applies the silence Surco detected. The focused cut is marked on the waveform — including when you reach it by dragging with the mouse — so you always know which of the two you are acting on.
The trimmer's shortcuts can be changed in Settings, under their own heading, and they accept single keys with no modifiers — meant for anyone working with a macro pad or a controller that sends keystrokes.
A track's menu now opens from the keyboard (Shift+F10, rebindable). Behind it are copy and paste metadata, copy path and start over — until now they were only reachable with a right click.
In click repair, the playhead can be placed anywhere in the track with the arrow keys, instead of only jumping from one detected click to the next.
When converting over the original file, the row now refreshes itself from what ended up on disk, with no need to reload the list to see it.
The silence cut can now be adjusted from the keyboard right at the head of the track. Until now, with the cut sitting on the edge, the arrow keys worked out the move and it was thrown away on save — the key felt dead exactly where you trim the opening silence.
Reveal in Finder now works on tracks you haven't converted yet: it opens the source file instead of doing nothing.
Opening the player no longer flashes a scrollbar down the right edge of the window as the card slides in.

v0.76Traktor finally sees the cues Surco writesJuly 28, 2026

Surco can now update your Traktor collection as it converts. Until now it wrote the cues inside the file, but Traktor reads its own database and kept showing the old ones; now it also brings the cues, beatgrid and cover art up to date for tracks Traktor already had. Turn it on in Settings by choosing your collection.nml — Surco suggests the one it finds and touches nothing until you confirm. It always writes a backup first, and if Traktor is open it says so and offers to close it, since otherwise your changes would be lost on exit.
The app's animations have had a full pass: selection paints instantly, search results ramp in instead of landing all at once, loading bars sweep in one direction rather than pulsing, and the rating star responds when you click it. With the system's reduced-motion setting on, animations simplify instead of disappearing.
The Traktor collection backup is now a single file that gets overwritten, rather than a new one per write: converting several tracks no longer fills the folder holding your collection.nml with copies.
Silence trimming now works down to the millisecond: the zoom reaches ±0.05 s, where a pixel of the waveform is under a millisecond, and the nudge buttons move the cut one millisecond at a time instead of in jumps of ten. A small cut placed right at the head of a track is also no longer discarded on save — it could previously be lost, leaving the track to start from zero and swallow its first beat.
The player's clock moves onto the artist line, and the results panel and editor now match the track list's density.
In silence trimming, the waveform is now drawn exactly where it belongs: zooming in could shift it up to four hundredths of a second away from the cut line, so you were lining the cut up against a drawing that lied and ended up cutting into the first beat. The wave also stays centred on the cut as you zoom, with silence on one side and music on the other, instead of drifting to one edge.
You can now move around the waveform while trimming: swipe two fingers horizontally across it to look before or after the cut without touching it. Zooming in or out re-centres the view on the cut.
Panning the trim waveform is smooth now: the view tracks your fingers instead of jumping once the audio finishes loading, and the cut line disappears when you push it off the lane rather than sticking to the edge.

v0.75Traktor cues now survive trimming on FLAC tooJuly 26, 2026

When you trim a track, the Traktor cues and beatgrid stored in the file are re-anchored to the cut on FLAC as well, which used to need a re-analysis. That joins MP3 and AIFF, where the grid's start now also keeps the beat's phase when a trim cuts a beat in half, so the grid no longer ends up off. WAV still loses them.
Importing a large or networked folder now fills the list with tracks as they are found, instead of leaving you in front of an empty screen until the whole walk finishes.
Surco opens faster and no longer flashes a black window while starting up, not even when the last session pointed at a slow network folder.
Dropping a folder no longer piles up “already in the list” notices: the tracks Surco turns up while walking the folder are no longer mistaken for duplicate files.
Importing a folder no longer leaves repeated tracks in the list: some slipped in twice when Surco turned up several subfolders at once, most often on fast local drives.
Converting an AIFF to FLAC now carries the Traktor cues and beatgrid across with the track: they used to be lost on the way, because each format stores them differently and nothing translated between the two.
The player's volume moves off the waveform, so you can click anywhere on the wave to jump there. The transport gets its own row with the volume always in view, and the close button moves to the corner of the card.

v0.74MP3s stay as they are, and update checks that retry themselvesJuly 25, 2026

New “Keep MP3 files as MP3” option in Settings → Conversion: when exporting to a lossless format, MP3s skip the conversion — which would only make them bigger without restoring quality — and their tags are updated on the original file, while the rest of the batch converts as usual.
If the update check fails, Surco now quietly retries in the background and, when the failure persists, shows a short message with a retry button instead of the unreadable technical error it used to dump.

v0.73Deezer joins the searchJuly 24, 2026

Deezer is now a metadata source alongside Discogs and Bandcamp: it searches its catalog for your tracks, brings in cover art, and when a file carries its ISRC code, it lands on the exact match right away. It turns itself on — nothing to set up.

v0.72A waveform you can read at a glance, and instant startupJuly 24, 2026

The player waveform is bigger and sharper, and the part still to play is dimmed so progress reads at a glance. Hovering over it previews the exact spot a click will jump to, the clock is now always visible, and the player's active buttons are easier to tell apart.
Surco now remembers what it already knows about your music between sessions — your Apple Music library, each track's metadata and analysis, Discogs and Bandcamp lookups, and your Engine DJ database — so the app opens and shows your library instantly instead of recomputing everything from scratch.

v0.71A spinning vinyl, the assistant always at hand, and no freezes on damaged filesJuly 23, 2026

The player's artwork is now a vinyl record that spins while the track plays, with a Surco-colored label when the file carries no cover. The player waveform also picks up your theme's accent color, in the light theme too.
The setup assistant can be reopened anytime from the Help menu or the command palette. It starts from your current settings and only applies what you change, so re-running it never undoes the rest.
Metadata suggestions now adapt to the window width on a single line: the ones that fit are shown and a “+N” groups the rest.
Damaged audio files no longer freeze the app: analysis marks them as unreadable and moves on with the rest, and a WAV with a broken header is repaired on the fly so it can still play.
Converting several tracks at once no longer fizzles out with no explanation: if any of them is missing a required field, the button disables itself and tells you exactly what is left to fill in, just like with a single track.
Apple Music on macOS 26: when Music gets stuck and stops importing (a known system bug), Surco now recovers the track if it did get imported and otherwise tells you what happened and how to get unstuck, instead of failing with a cryptic error.

v0.70Same as source: tag without re-encodingJuly 22, 2026

“Same as source” joins the default format: every file keeps its own format, so a mixed batch of WAV, FLAC and MP3 takes its Discogs or Bandcamp metadata without being re-encoded. With the audio filters off, the audio bytes are never touched — only the tags and the artwork are rewritten. It works with every destination, including overwriting the original, and can be picked right from the welcome wizard.
New protections for your files: a track whose format can't be kept (.opus, .m4a…) is skipped with a notice instead of being converted to something else — and under overwrite, your original is never deleted. And if a filter would force an MP3 to be re-encoded over itself, Surco asks for confirmation before losing quality, including when the filter comes from Settings.
Changing the format or destination in Settings now reaches the open editor instantly: the convert button reflects what will actually happen, no need to close and reopen the track.

v0.69Cleaner titles, and exports that don't stack upJuly 21, 2026

Remove numbering is now on the Title field menu too, and it recognizes many more numbering styles: with a dash, with a dot, in parentheses, or stuck to the name with no separator at all. It also tells track numbers apart from numbers that belong to the title, so 3 Heads and 2 Unlimited stay exactly as they are.
When you export a track over itself, Surco no longer re-applies the normalization and declick that export already baked in. Editing just the metadata stops reprocessing the audio, so you don't lose a generation on lossy formats or stack gain on top of gain.
Find & Replace no longer closes every time you apply: the panel stays open with its fields cleared, ready for the next change. Cleaning up a folder in several passes now happens in one go, without reopening it over and over.

v0.68Back up your settings, and smarter defaultsJuly 21, 2026

You can now export your whole configuration to a file and import it back whenever you want: a complete backup with everything included, ready to restore any time or carry over to another machine.
Your Discogs token now travels with the shared settings folder, so if you sync your preferences across several Macs (via iCloud or Dropbox) your Discogs access follows to all of them without setting it up again.
Fresh installs now analyze audio quality the moment you import and search Discogs and Bandcamp together, so you catch transcodes and find your releases from the very first track, without touching a single setting.

v0.67Everything analyzed on import, and a more direct editorJuly 21, 2026

When you import with automatic analysis on, Surco now precomputes all eight analyses for each track at once, not just the spectrum. Open a track and everything is ready: spectrogram, dynamics and the rest show instantly instead of being computed on the spot.
The editor remembers your normalization values across tracks and across sessions: set them once and they stick, no need to re-enter them for every track.
The metadata form is a single list again, in the order you choose, with no collapsible sections to open. You see and edit all your fields at a glance.
Settings are reorganized into a vertical sidebar with sections on the left, grouped by topic, so you find each option without hunting for it.
New action to strip leading numbering from the title in one click, for when the name carries a number you don't need.
In Stats, match origin now shows as a proportion bar, so you see at a glance where your results come from.

v0.66Metadata sorted into groupsJuly 20, 2026

Metadata now groups into collapsible sections (Identity, Catalog, DJ, Order): open only the one you need, and each tells you how many of its fields are filled. Even with every field turned on, the editor stays short and tidy instead of turning into an endless list.
Some FLACs with two embedded covers (common in Bandcamp downloads) wouldn't play; they now play fine.

v0.65A clearer, tidier editorJuly 20, 2026

The track you're editing is highlighted with a solid blue, both in your library and in the release's tracklist, so you can see at a glance what you're working on.
Each track's quality now shows as a colour stripe on the row's edge: scan the list and spot the tracks that want attention without reading every icon.
When you pick a release, a new band clearly separates searching from choosing the track, and tells you how many tracks it has.
The mini-player docks at the bottom in its own bar instead of floating over the list, so it no longer covers your tracks while you listen.

v0.64Every tag, visible and under controlJuly 19, 2026

The editor now shows every tag a file carries, not just the usual fields: a new "Other metadata" section lists the ones other apps leave behind (Serato, Traktor, MusicBrainz, ReplayGain…) so you can see exactly what your track is carrying.
You can delete those third-party tags one at a time or all at once, and un-mark any of them if you change your mind before exporting.
"Clear all metadata" now really clears: it used to leave other apps' tags stuck to the file; now the track goes out with only what you put on it.
WAV files now show all of their tags in the editor, including the ones that used to stay hidden.
The metadata section looks cleaner: the header takes less room, and the genre and grouping suggestions no longer pile up — they collapse behind a "+N" when there are many.
The grouping Apple Music stores its own way now reads correctly: a file that went through your library comes back into Surco with its grouping intact, instead of showing up empty.
The editor looks tidier and more consistent: every section shares the same rhythm and spacing, the loudness analysis reads as a clear table with its colour-coded status, and the dividers between blocks breathe better.

v0.63Converting, with more controlJuly 17, 2026

When the editor opens a track with a high-confidence match, it now applies it on its own: the right tags show up without you having to confirm a match that was already obvious.
Metadata fields commit and advance to the next one on Enter, so you can fill in a whole release from the keyboard without touching the mouse.
Converting a single track in place now asks for confirmation before it overwrites the original file.
A single-track conversion can be cancelled while it runs, without waiting for it to finish.
In a batch conversion, a decision about a conflicting file can be applied to the rest of the run at once, instead of answering release by release.
Sending a long track to Apple Music no longer times out while it imports, and when something goes wrong the message now explains why instead of showing internal code, with a button to copy it.
Label names no longer carry the number Discogs puts in parentheses to tell same-named labels apart ("One Way Records (8)"): it comes out clean now, both in the tag and in the file name, with no more deleting it by hand.
Clearing the metadata now truly blanks the track: on top of the text fields it also wipes the rating and the artwork, so you can retag a file from scratch with nothing left behind.
Clearing the metadata now also removes the stray tags other apps leave behind (like Medieval CUE Splitter's "NOTES"): the file comes out fully clean, not just the fields Surco edits.
The search results column and its rows now share the same design as your track list: a suggested match is marked with an icon instead of a label that covered the name, so everything reads at a glance.
The widen-results and widen-editor buttons in the top bar respond instantly and their three widths are now clearly distinct, so you can reframe the columns for the task in one click.
The welcome flow's audio step is tuned to the DJ's workflow.
The regenerate-filename button is a clean icon again next to the customize one, and help labels no longer stay stuck over a button after you click it.

v0.62The editor, in phasesJuly 17, 2026

The editor now reads in three phases: File, Audio and Output. Each block of sections carries its own heading with an accent tick, so at a glance you know which part of the job you're in — fixing the tags, cleaning up the sound, or choosing how to export — instead of one long list of loose sections.
Focus presets in the header. Three icons split the results column's space to match what you're doing: wide to find the release, balanced, or at its minimum so the editor can breathe. One click instead of dragging the divider every time.
The click-repair and loudness sections can now be maximized, like the other waveform sections, so you can work the detail without the rest of the editor crowding you out.
Waveforms are drawn with more information: a filled body marking the real RMS level and clip marks as full-height lines, so you can see at a glance where the audio runs loud and where it clips.
The loudness controls are tidier: each preset sits next to its number field as one control, the legend reads in two lines, and the applied gain shows as a signed chip.
New "Search on Google" option in the track menu, to open a search for the title straight from the list.
The beatgrid is retired. BPM and cue relocation on trimming stay; the beat grid is no longer part of the app.

v0.61Faster matchesJuly 16, 2026

Auto-match runs much faster. Each track's candidate releases load several at a time instead of one after another, so a track with no match that used to take half a minute to give up now resolves in a third of the time, and a big crate's whole queue moves along quicker.
The track you have open goes first. Its waveform, BPM, key and loudness jump ahead of the background analyses, and its metadata search skips the queue — during a whole-crate sweep, what you're looking at responds right away instead of waiting its turn.
If you add your own Discogs token in Settings, it now runs in its own faster lane: your private quota stops pacing against the app's shared key, so big sweeps feel noticeably lighter.
The Activity panel has a copy button. The whole log — every search, every timing, every error with its technical detail — copies as plain text ready to paste into a chat or a report, instead of cropping screenshots.
A fake rip gives itself away from the list. Tracks with a suspicious frequency cutoff show their warning right on the row, and the spectrum shades the dead band so you see at a glance where the audio dies.
The editor loads without flashes. Every section — wave, spectrum, loudness, properties, BPM and key — shows a skeleton in its real shape while it analyses, and sections open and close with a smooth animation instead of jumping.
More tracks fit on screen: list rows are more compact and Properties lays out in two columns, half as tall.
The list scrolls smoothly. Scrolling through tracks no longer stutters: covers decode off the main thread and auto-match waits until you stop scrolling before it works, so flying through the crate feels fluid top to bottom.
Skipping through tracks no longer leaves ghost work behind. When you move to another track, the previous one's analyses (spectrum, loudness, waveform) are cancelled instantly instead of decoding on in the background — so when you step down the list sampling each track, the spectrum of the one you're looking at shows up right away instead of waiting behind analyses that no longer matter.

v0.60Fine-tune the grid by handJuly 15, 2026

The beatgrid's Auto button now leads. It's the first thing you reach for and the one control in that row that rebuilds the whole grid rather than nudging it, so it stops being another icon lost among the rest and becomes the accented button that opens the toolbar — "start here".
And when Auto doesn't land it, you start over. A new button collapses every segment back to one clean tempo, so you can lay the grid by hand from a tidy slate instead of fighting the stretches the detector got wrong. Undo brings it back.
The waves show what the trim takes away. In click repair, loudness and the beatgrid, the head and tail the silence trim will cut are dimmed over the wave, so you can see at a glance which audio won't reach the export — without anything shifting.
A silence cut fine-tunes with the arrows. As well as dragging the handle, the left/right arrows and a pair of flanking buttons nudge the cut point a hair at a time, to land the start or the end without wrestling the mouse.
Large libraries no longer bog down. Dropping hundreds of tracks at once — and typing in the editor with many loaded — no longer freezes the list: the app batches the work instead of redoing it track by track, so it stays fluid however full the crate is.
Opening an editor section shows its loading skeleton instantly, instead of a blank gap while it warms up: trim, click repair, loudness, beatgrid and quality all respond right away.
Loading a wave no longer stutters. The channel scan the wave needs now runs in the background, so the interface stays responsive while a heavy track prepares instead of locking up for a moment.
Lighter with a full crate. The rest of the heavy audio analysis moves to the background and covers take less memory, so with hundreds of tracks loaded the app runs smoother and leaner.

v0.59The grid follows the platterJuly 14, 2026

The beatgrid now follows records that don't hold a steady tempo. Vinyl rarely does: the platter drags, a pressing runs a shade slow, two takes are spliced into the same cut. Until now, when Surco spotted that, it dropped a grid change but left the same BPM running underneath, so the grid walked off the kicks again within bars. Each stretch now carries its own tempo, measured on the beats the record actually plays, and the grid stays on them from first bar to last: a record sliding from 128 to 126 is something Auto now sorts out on its own. It is calibrated against real vinyl, with the wobble and the layered percussion that comes with it, so a record that does hold its tempo still comes out as a single stretch.
The header tells you how many segments the grid holds. It used to say just "128 BPM", which on a drifting record is the first stretch's tempo, not the record's. It now says "128 BPM · 5 segments", so a folded section still tells you what's inside it.
The Auto button says what it does. Its description talked about detecting the tempo again, which undersold the two things that matter: that it fixes the whole grid, adding segments if the record drifts, and that it discards your edits when it does.
And the grid editor handles better. Every segment shows its tempo however narrow it is (the first one used to fall silent exactly when you needed it), the one you're editing now stands out at a glance, and a tempo change can be removed with the ✕ on its own segment — until now that only worked by pressing Delete on the diamond, which nobody ever found. The ruler's timestamps are legible over the waveform too, rather than dissolving into it.
Surco carries the mood and energy tags other DJ tools write, instead of dropping them on conversion.

v0.58Hear what you keep, not what you loseJuly 14, 2026

Vinyl click repair now shows you where the clicks are. Every click the detector finds is marked on the track's own waveform, so a dusty pressing reads at a glance instead of as a number.
And it lets you hear the result, not the damage. The old audition played only the noise the repair removed — proof the filter fired, but useless for the question you actually have: does my record still sound right? Now Surco renders the repaired track and you switch between it and the original mid-playback, with no gap in the audio. That gap is the whole point: a repair that eats the attack of a snare is a subtle difference, and subtle differences only survive an instant switch.
Jump straight to any click. Clicks last milliseconds, so hunting for one by dragging is hopeless — press Next click to walk them one by one, click a mark to hear that exact one, or drag anywhere on the wave and press Space to play from there.
Surco runs on Linux. The app now ships as an AppImage, built and verified on every release alongside the macOS and Windows builds.
The beatgrid handles tracks that change tempo. Press G to start a new segment wherever the tempo shifts, step between segments with the bracket keys, and see the seams marked on the overview. The grid audition now runs until you stop it with Space, instead of cutting out mid-judgement.
A handful of things that were quietly wrong: nudging the grid past the start of the track kept walking it the way you pressed instead of snapping back; a lane pan whose pointer got away no longer sticks; and opening the mini-player no longer shoves the whole editor sideways as a scrollbar appears.

v0.57Nothing is lost in silenceJuly 14, 2026

Removing a selection from the list now asks first. A row's ✕ acted on the whole selection it belonged to, so one click on a 12-pixel target could drop forty tracks and every edit staged on them, with no way back. Now it warns you — and removing a lone row is still one click.
Failures no longer happen in silence. Saving a quality report, sharing your stats or dragging artwork in from a browser could quietly do nothing — the spinner finished and no file appeared. Now they tell you.
Button labels are actually readable in dark mode. The palette's blue and rose are light colours, and white text on them was left floating; it now carries dark ink and contrasts properly.
Big crates no longer eat memory. Waveforms and spectrograms are released once nothing shows them, instead of being kept until you quit: analysing 300 tracks in one go stops weighing on the rest of the session.
Auditioning the beatgrid runs smoothly. The playhead used to repaint the whole section on every frame — exactly while you are judging by eye whether the clicks land on the transients.

v0.56Trim, up closeJuly 14, 2026

Silence trim now shows the two places that matter — the start and the end of the track — side by side and already framed on the cut. No more zooming and scrubbing to find the silence.
Cuts are set to the millisecond: type the exact second, step it in 10 ms nudges, and zoom each end independently down to a quarter-second of context.
The beatgrid lane reads like a grid again: the downbeat leads, the beats stay quiet, and the wave is no longer buried under a picket fence of lines.
Auto now re-detects just the stretch you are working on when you have split the grid with Adjust from here, instead of redoing the whole track.
Every wave section shares one zoom control, and the toolbars line up: same buttons, same order, same place, whichever section you are in.

v0.55Grid editing, all grown upJuly 13, 2026

Beatgrids now handle tempo changes: split the grid with Adjust from here, edit each stretch on its own, and detection flags mid-track drift automatically. Every DJ export carries the full multi-segment grid.
Grid editing works like rekordbox: a fixed centre reference with the offset in bars, magnetic beats, tap tempo, C to centre a beat, set-a-beat-here, fine interval steps, and a compact one-line toolbar whose nudge buttons repeat while held.
Trim, Beatgrid and Audio quality can take over the whole window while you work — Esc puts them back without losing your place.
The zoomed waveform stays crisp during playback and fast navigation.
Editor sections now follow the working order of a track, from tags to export.

v0.54The beatgrid, yoursJuly 13, 2026

New Beatgrid section in the editor: Surco detects the BPM and the first beat and draws the grid over the wave. Adjust it by grabbing any line, with precision nudges, by editing the BPM (÷2/×2 for the octave), and check it by ear in one click. The Auto button re-analyzes from scratch whenever you want.
The grid you confirm travels with your exports: rekordbox and Traktor receive it in their collections, and converted files carry the Serato grid in their tags and the Engine DJ one in the library — locked so its analysis won't overwrite it.
Detection understands trance: on sidechained tracks the grid anchors to the kick, not the off-beat bass, and doubtful detections get flagged for you to check by ear.
New review filters in the list: tracks with silence left to trim, with clipping, and with a grid to review — to polish the collection section by section.
Silence trim now re-anchors Traktor cues and beatgrid in the exported file, and the handle magnet snaps to the exact millisecond the music starts.
The Beatgrid section now works on two waves, rekordbox-style: the zoomed view where you adjust the grid (it opens zoomed onto the first beat) and, below it, the whole track — press or drag to move the view anywhere, and “Hear the grid” scrolls along with the playhead like a player.
The grid lands on the kick in hard dance too: when a long kick and an off-beat bassline confuse the detection, the sub's attack decides the right side of the beat.
The peak normalization checkboxes (remove DC offset, normalize channels independently) are remembered across sessions.

v0.53Surgical precisionJuly 13, 2026

Deep zoom on the waveforms: pinch the trackpad (or ⌘+wheel) to dive up to ×256 anchored under the cursor. Surco re-decodes the visible window at full fidelity — real detail, not blocks — with a time ruler and taller strips.
Finer silence trimming: scissors on the wave itself to apply each cut, click the wave to place the nearest handle, a magnet that snaps to where the music actually starts, and buttons to check each cut by ear.
Analysis results now live as pills on each section's header — detected silence, measured LUFS and peaks, estimated clicks — readable at a glance.
Bulk actions over the selection: trim every track's detected silence and regenerate their file names from metadata, each in one click.

v0.52Silence, trimmedJuly 12, 2026

New Silence trim section: cuts lead-in and run-out silence during conversion. Surco detects it and suggests the cut on the waveform, and you fine-tune the exact edges with two handles — with zoom and arrow-key nudging.

v0.51Clicks under controlJuly 12, 2026

Click repair now estimates how many audible clicks a track carries before you convert.
Three repair intensities — Gentle, Standard and Strong — in a single control, next to the hear-what-gets-removed audition.

v0.50Hear the repair, read the editor at a glanceJuly 12, 2026

Click repair can now be auditioned before converting: it plays 20 seconds from the middle of the track with only the noise it would remove — near-silence means the music stays untouched — along with the share of the excerpt it would touch.
Folded editor sections now summarize their state: artist and title, the file name that will be written, the normalization targets or a plain “Off” — and their buttons fold with them.
Editor sections can now be hidden entirely from Settings → Editor, and click repair starts folded.

v0.49See each channel, trust the peaksJuly 11, 2026

New per-channel view: split the editor waveform into stacked left and right lanes with a toggle.
Clipping marks now flag real full-scale clipping, measured sample by sample on the original audio, like Audacity.
Search waits for the file's tags to load before firing, instead of guessing from the file name.
When the release doesn't show up, search retries without the DJ prefix or with just the lead act before falling back to the bare title.
New vinyl click repair: an opt-in stage that detects stylus clicks and pops and repairs them during conversion, with two strengths and a count of repaired clicks.
Normalization no longer fails when the loudness target or peak ceiling was typed out of range — they are clamped to the values ffmpeg accepts.
Strong click repair no longer stalls the conversion: it runs at full speed with the same effect on long pops.
On Windows, the track list and search read the file name instead of the full path.

v0.48Explore the wave and make the editor yoursJuly 11, 2026

The loudness section shows the track's waveform from the start, with clipping peaks marked and a preview of how it will look after normalizing.
Explore the wave up close: a readout under the cursor, rekordbox-style stepped zoom with horizontal scroll, and a toggle that flags the peaks that would clip with the current setting.
The editor sections are yours: drag to reorder them and pick which start folded, from Settings → Editor.
The Discogs panel jumps straight to the matched release, without reselecting the track.
Search finds the release even when the title drags trailing rip stamps or “presenta” credits.
The convert button mirrors the conversion's stages, just like the track row.

v0.47See what normalization really doesJuly 10, 2026

New before/after comparison when converting: the source and converted waveforms, with each file's real loudness and peak figures.
Two ways to compare: side by side or overlaid, with a slider to fade one wave over the other and spot the difference.
Peak normalization can now remove DC offset and normalize each stereo channel independently, like in Audacity.
Change the normalization after exporting and the button offers “Update” again — no need to touch a tag.
Words to ignore in searches now also apply when re-running a search you had already made.

v0.46You decide where every conversion landsJuly 10, 2026

New “Next to the original” destination: the conversion is written beside the source file without ever touching it. Same-format exports take a “(2)” name instead of overwriting anything.
The convert button now also lets you pick the destination for just that conversion — folder, Apple Music, Engine DJ, next to the original or overwrite — without changing your Settings.
New FLAC option on macOS: show covers in Finder and Quick Look, which normally don't read FLAC artwork.
After an export, picking another format from the menu now shows on the button — “Re-export (FLAC)” — so you always know what the next click will write.
Clearer Settings: the output folder and the Engine DJ fields live under their destination choice (in the welcome wizard too, which now lets you change the folder), details unfold with an animation, and switching normalization on scrolls its fields into view.
Fixed the “Maximum results” setting: the selector rendered clipped and forced a horizontal scrollbar onto the Search tab.

v0.45Search that understands your titlesJuly 9, 2026

If you use a title format like “(A2) Title (1998)”, matching now recognizes it: your own pattern is undone when searching and scoring, so a renamed track finds its record on the first try.
New Search setting: words to ignore (defaults to “vinyl, rip”). Rip signatures and watermarks in titles are skipped when searching and matching — your tags are never changed.
A track that carries its saved Discogs release now auto-matches directly when the title fits, including records that list no durations.
The list filter can now split matched tracks by their source: Discogs or Bandcamp.

v0.44Sharper matches, in your own languageJuly 9, 2026

Auto-match now tries the release ID already stored on the file before falling back to a title search, landing on the right Discogs release more often.
The app's native menu and dialogs now follow the language you pinned in Settings, instead of falling back to your system's locale.
Fixed a crash on launch for Intel Macs.
A file that already carries its Discogs release now opens straight to that exact disc — auto-match and the search panel stick to it instead of burying it in title-search results, and only fall back to a search when the stored release no longer fits.

v0.43Title patterns and an organized paletteJuly 8, 2026

Configurable title format, collectors' style: set a pattern like ({trackNumber}) {title} ({year}) in Settings → Naming and apply it when you choose — to one track from the title field's ⋯ menu, or to the whole selection at once with the editor's T button or the command palette. It never runs on its own, and ⌘Z undoes it.
The Naming tab, redesigned: the title format comes first, and both formats carry the editor fields' ⋯ menu for inserting {fields}, sorted alphabetically with a live preview.
The command palette (⌘K) groups actions into sections — Metadata, Convert & export, Library… — and search now ignores accents: “titulo” finds “título”.
Applying the title format twice no longer doubles the prefix, and the app always explains the outcome: how many titles changed, which were skipped and which empty field was in the way.

v0.42Tags that read clean in every editorJuly 8, 2026

Conversions now clean up the tag variants other editors leave behind (LABEL, ORGANIZATION, ALBUMARTIST2…): no more duplicated label or album artist, and emptying a field now truly removes it from the file.
WAV files are tagged as ID3v2.3, the version Mp3tag and friends read — and converted files no longer carry the encoder's ENCODER stamp.
New artwork option: upscale smaller covers to your configured size. Combined with the square crop, your whole library comes out with identical covers (say, 700×700).
The ⋯ menu for borrowing another field's value or fixing text case is now on every free-text field: mix name, remixer, composer, label and catalog number included.

v0.41Crash-safe edits and faster conversionsJuly 8, 2026

Your unapplied edits no longer get lost: they are saved automatically as you work, and if the app closes unexpectedly you can reopen the session with everything just as you left it — metadata, covers and matches included. When there is work at stake, the reopen prompt waits for your answer instead of fading away on its own.
Bulk converting is noticeably faster: conversions run in parallel across your Mac's cores, converting to the same format is nearly instant, and each track needs fewer passes.
The activity panel explains every auto-match verdict: which signals matched, which didn't, and which candidates were probed.

v0.40Google search and shareable statsJuly 7, 2026

New editor button to search Google for a track: it opens your browser with the file name already searched, no copy-paste needed.
Share your stats: the Statistics tab now generates an image with your lifetime numbers, ready to show off on social media.
Double-A-side vinyl positions (AA, AA1) are also kept as the track number when applying a Discogs release.

v0.39Your stats, and faster batch editingJuly 7, 2026

The Stats tab now counts all your activity: tracks loaded, played, analyzed and found on Discogs or Bandcamp, next to a progress bar toward your next conversion milestone. All visible at a glance, no scrolling.
Copying and pasting metadata between tracks now includes the cover too, and ⌘Z undoes the whole thing.
New command to number the selected tracks in list order (1, 2, 3…), made for albums that are not on Discogs.

v0.38Conversion quality, under your controlJuly 7, 2026

Choose the quality of every conversion: MP3 bitrate (320 down to 128 kbps, or V0/V2 VBR), bit depth, sample rate and FLAC compression level. Everything defaults to matching the original — maximum fidelity without touching a thing.
Conversions keep the source's exact bit depth: a 44.1/16 file no longer comes out 24-bit when normalizing, reducing to 16-bit applies dither, and an MP3 converted to WAV or AIFF yields integer PCM every player accepts.
Conversion settings now live in two tabs: Conversion (format and quality) and Output (folder, Apple Music, Engine DJ).
Send the originals of already-converted tracks to the trash in one action; bulk actions work on your multi-selection when you have one.
Discogs vinyl positions (A1, B2…) are kept as the track number, both in the tags and in {trackNumber} when naming files, instead of being reduced to a plain number.
A file already in the output format still updates without re-encoding — but when it doesn't meet your pinned sample rate or bit depth, the editor now offers an explicit re-encode, leaving the original untouched.
More comfortable Settings: tabs ordered by workflow, editor fields reorder by dragging (with their internal name shown on hover), and the rating can now name your files.

v0.37Surco in five languages, and matching you can trustJuly 7, 2026

Surco now speaks German, French and Brazilian Portuguese, alongside Spanish and English. Pick a language in Settings or let it follow your system.
Auto-matching is more careful: an identical title alone no longer tags a file on its own — duration, artist or catalog number has to corroborate it, and otherwise the suggestion is flagged for you to confirm.
Discogs search now finds album tracks: when the title doesn't match a release, it searches inside tracklists; and catalog numbers are looked up on their exact field instead of as free text.
Save a quality report as a PNG from the editor: the spectrogram with its verdict and cutoff line, ready to share whenever someone asks whether a file is really lossless.
First-run setup is down to four steps; file naming, genre shortcuts and editor fields wait for you in Settings.
Remove the selected track with Backspace or Delete; the selection hops to its neighbour.

v0.36Replace your old Apple Music copyJuly 6, 2026

When a converted track lands in Apple Music, Surco spots the old copy of the same song and offers to remove it: it shows you exactly which one, removes the library entry and sends its file to the Trash, where you can recover it.
Batch conversions can be cancelled: while one runs you'll see its progress in the toolbar, and one click there (or the command in the palette) stops it.
Serato exports saved to a USB drive now locate the files on import.
Re-converting a track Engine DJ already analyzed keeps its analysis: length and BPM are no longer lost.
Search results are ranked by relevance, with your preferred provider as the tie-break.
Surco checks for updates now and then while it stays open, not just at launch.
Dismissing the “reopen your last session” offer — with the ✕ or letting it expire — now counts as an answer: it won't come back on the next launch.

v0.35A clearer export finishJuly 3, 2026

When an export finishes, the editor gets to the point: the confirmation with links to show the file or delete the original, and a single row of buttons — Apple Music, another DJ app and re-export.
The welcome wizard offers Engine DJ and the destination choice on every platform, not just macOS.
The “reopen your last session” prompt now dismisses itself after a few seconds, with a visible countdown — and every notice now eases out gently instead of vanishing abruptly.

v0.34Quieter promptsJuly 2, 2026

The prompt for new tracks detected in your folder now dismisses itself after a few seconds, with a visible countdown — and once you decline it, it won't offer you the same files again.

v0.33Straight to Engine DJ (Denon)July 2, 2026

New Engine DJ conversion destination: every converted track is registered straight into your Engine DJ (Denon) library, with its cover, rating and a configurable playlist — open Engine and they're there.
If Engine DJ is open when you convert, Surco offers to close it and carries on — it never writes to the library while Engine is using it.
The “already in your library” badge now follows your destination: it checks Apple Music or Engine DJ depending on where your tracks go, and hides when you only convert to a folder.
Exporting to rekordbox, Traktor, Serato or M3U8 now lives in the editor, right where a conversion finishes, instead of a lone toolbar button.
After an update, Surco shows you what's new the next time it opens.
Removing tracks from the list no longer makes Surco offer to load them back as if they were new.

v0.32Undo, sessions that come back and ALACJuly 2, 2026

Undo with ⌘Z: if a batch fill, a find & replace or a clear tramples metadata it shouldn't have, one shortcut puts everything back the way it was.
Surco remembers your last session: on launch, a prompt offers to reload the tracks you were working on.
Automatic quality analysis (optional): turn it on in Settings and every imported track is analyzed in the background, so suspect files flag themselves without pressing Analyze.
New ALAC (Apple Lossless) output format — lossless and ready for Apple Music; and for MP3 you can now choose between 320 kbps and V0.
Duplicates filter: find the same song loaded as two files — a FLAC and an MP3, two downloads — and decide which one to keep.
Export your list as M3U8, the standard playlist almost any player understands.
More day-to-day clarity: a notice when a file's metadata can't be read, Stats shows the current list's progress, and the activity panel remembers its position and now logs imports and exports too.

v0.31Sharper matching and clean-up at a glanceJuly 2, 2026

Auto-matching gets more accurate: when a track carries a catalog number, Surco confirms the exact release with it and applies the match without asking you to review it; and between two editions, it prefers the one whose year matches your file.
When a suggestion lands as "review", you can now accept it in one step — from the palette (⌘K) or its shortcut — without opening the editor.
A button to send every track flagged as suspect to the Trash at once, right beside the quality filter.
The player gains a play button over the cover on hover, another to jump to the track that's playing, and 5-second skip back and forward with the arrow keys.
More keyboard control: search with "/", clear the search and filters with Escape, step between tracks with Ctrl+arrows while editing a field, and every action shows its shortcut in the tooltip.

v0.30A sectioned editor and a palette that learnsJuly 1, 2026

The editor groups fields into sections (Identity, Catalog, DJ and Order) so you stay oriented when many are on; in Settings → Fields, an "Auto-organize" button sorts them into sections in one click.
The command palette (⌘K) learns from you: as you type, the commands you use most rise to the top of the list, so your usual one lands under the cursor.
Discogs search matches more precisely: when a track carries an artist and title, it queries those fields separately instead of one loose string, finding the right release with less noise.

v0.29Parallel conversion and more from ⌘KJuly 1, 2026

"Convert all" now processes several tracks at once instead of one after another, so a big batch finishes far sooner; the Apple Music step still runs one at a time, the way Music imports them.
The command palette (⌘K) gains new shortcuts: switch the theme, fill metadata from the file name, clear the selection's metadata, and a direct link to donate (with a little confetti).

v0.28Faster engine, filters that stickJuly 1, 2026

Surco now runs on a newer engine (Electron 42, Chromium 148) — snappier rendering for the waveform and spectrum, and the latest security fixes under the hood.
The track list's toolbar actions — Find & Replace, Auto-Match, Analyze quality, Fill tags and Empty — act on the visible tracks, never the ones a filter is hiding; while "Clear the list" from ⌘K still wipes everything for a clean start.

v0.27Tidier toolbar, richer Discogs resultsJune 30, 2026

The actions that work on your track list — add files, select all, fill tags, find & replace, clear — now live in the list's own header instead of the top toolbar, so it's clear what each one touches. The toolbar keeps only the crate-wide tools.
Discogs results are now cards that match your track rows, and each shows more of the release: year, label, catalogue number and format — so it's easier to pick the exact pressing among many.
Filtering the list and then converting now only touches the tracks you can see: filter to MP3 and hit convert, and your FLACs stay untouched.
Select All and Fill tags from filename now act on the visible or selected tracks, never silently on the whole crate.
Find & Replace shows the / / around the field in regex mode, so a pattern like Shake just works instead of being searched literally.
Tracks that Surco auto-loads from a watched folder now play straight away.

v0.26A redesigned player and cleaner everywhereJune 30, 2026

The playing track's card has been rebuilt: the title now gets its own line so it stops getting cut off, the artwork and controls sit balanced beside it, and the buttons are grouped by what they do — play, loop and waveform, close.
The track list and the player now always show the file's own cover, never a different image you're trying out in the editor — and applying a Discogs release only swaps your artwork when you've asked it to.
The Discogs search box gains a magnifier and a one-click clear, matching the track filter.
Tooltips across the app now match Surco's dark theme instead of the plain system ones, and the toolbar reads calmer with lighter icon buttons.
The audio quality spectrum for the track you've selected now draws right away, even while a whole-crate match is running in the background.

v0.25Load new downloads without dragging the folder againJune 28, 2026

Surco watches the folders you've already loaded: when new tracks show up (a download finishing, say), it offers to load just the new ones in a click — no need to drag the whole folder in again.
The player gains a real volume slider, more precise than scrolling the wheel over the card.
Notifications are unified into one tidy stack in the bottom-right, with a discreet bar showing how long until each one clears.
Each track's full title now shows in a themed tooltip when you hover its name.

v0.24Follow background work in the Activity panelJune 26, 2026

A new movable, resizable Activity panel shows background work as it happens: track analysis, Apple Music library checks and links to the published releases. Open it from the toolbar.
The spectrogram gains a crosshair that reads the exact frequency under your cursor as you move across it.
The quality verdict reports the real ceiling of high-rate audio instead of stopping at Nyquist, and sharpens Apple Music library matching further.

v0.23Catch more fakes and sharpen your Apple Music libraryJune 26, 2026

The quality verdict catches a new kind of fake 320: tracks with a frequency wall hidden behind a few high-frequency spikes that used to pass as good.
Apple Music "already in my library" detection is more accurate: it matches on title, artist and duration, remembers the Discogs-proven verdict, and shows a checking state while it resolves — so the list, the filter and the editor always agree.
Search spreads results across providers, so a Discogs-heavy query no longer buries the Bandcamp ones.
The cover picker no longer shows the same image more than once.
A new settings button empties the analysis cache to recompute spectrograms and verdicts from scratch.

v0.22Convert without losing your cues or your tagsJune 21, 2026

The spectrogram is bigger and truer to Spek: a codec cut reads as dead air and the highs reach up to 22 kHz.
The file picker now accepts folders and expands them just like dropping them in.
Find and replace has a match-case toggle.
Exporting to Apple Music warns you if a track isn't converted yet.
Converting to any format now keeps Traktor's cue points and beatgrid, not just when normalizing the volume.
Conversion now respects metadata fields you've cleared: delete a comment or other value and the original no longer comes back.
New track-row indicators: the quality verdict shows as a severity icon, and already-converted tracks get a blue check badge.
Tracks show up sooner when you drop large or networked folders, and a stalled network file no longer freezes the quality analysis.
More accurate Discogs lookups when a track's name starts with a number.
The interface stays smooth while you analyze the quality of many tracks at once — the analysis no longer competes with the screen or playback.
The quality verdict is better at spotting tracks with a frequency ceiling the codec smeared over.

v0.21Run the whole flow from the keyboardJune 21, 2026

The whole workflow is now keyboard-driven: jump between the track list, the search results and the editor, move and page through the list, pick a Discogs or Bandcamp release with the arrow keys, and convert-and-move-on to the next track — all without the mouse.
The command palette now jumps straight to any track — start typing its title or artist to find it.
Tidier search results: a configurable maximum, with compilations pushed down and the most-owned pressing floated up, so the right release is easier to spot.
Hiding the player's waveform now keeps the volume, the elapsed and total time, and a seek bar — so you never lose your place.

v0.20Filter your search results by sourceJune 20, 2026

When you search Discogs and Bandcamp together, a new filter lets you show All, Discogs or Bandcamp — and the results are tidier: Discogs releases rank first and each source is capped so the list stays short and relevant.
Adding files now shows a live counter and a determinate progress bar as Surco reads each track's metadata, so you can see exactly how far along an import is.
New opt-in setting to apply your file-name pattern automatically, so converted tracks are named without a manual step.
The player gets a toggle to hide the waveform — handy on a small screen — which also skips the waveform analysis to save the work.
Smarter Apple Music library matching: Surco recognises the same track across more artist and title variations — ampersands, dotted acronyms (D.J. vs DJ), leading DJ/Dr./MC handles, spelled-out numbers vs digits, a leading artist before the title and trailing version markers — so fewer of your copies look missing.
Better release matching for tracks tagged “(Original Mix)”: Surco drops that trailing marker so a plain catalog title still scores, and multi-track album matching leaves a file unassigned rather than forcing a wrong cut.
Cleaner provider searches: Surco leads with the main artist before a “presents” alias and ignores a bracketed version note that only repeats the title, so the right Discogs or Bandcamp release surfaces more often.
The editor's in-library badge now lights up when a confident Discogs suggestion matches a track you already have in your Apple Music library.
Tidier list filters: each sidebar section is now its own independent filter, the menu closes as soon as you pick, and Unconverted sits under All.
Sturdier file handling: Surco reads tags from files other apps choke on and repairs malformed WAV headers instead of failing analysis.
Stability: starting a track over no longer leaves the player sounding after its card has closed.

v0.19Export to Serato and Engine DJJune 19, 2026

Export your tracks to Serato DJ and Engine DJ (Denon), on top of rekordbox and Traktor: Surco writes the file each app imports.
Auto-match now flags uncertain matches for you to review before trusting them, instead of dropping them, and shows each track's match confidence.
Fake-lossless detection: a heads-up when a FLAC or WAV is really a lossy source repackaged as lossless.
Filter and sort your tracks by format, with a toggle to flip the sort direction.

v0.18Now you can search Bandcamp tooJune 18, 2026

Search Bandcamp alongside Discogs: turn it on in Settings → Search and results from both sources merge into a single list, each tagged by its origin — great for self-released tracks, netlabels and exclusives that aren't on Discogs.
Auto-match is now a global search setting and can fall back to Bandcamp when Discogs comes up empty (with only Bandcamp it needs no token).
Sharper matching for badly named downloads: Surco strips file-name and title noise, pins the right mix, and gives the file's own artist priority.
New “Base title” clean-up in the Album field menu: strip the version or mix from a title in one tap.
Genres that differ only in case (your “Electronic” vs a source's “electronic”) no longer duplicate — a single pill shows, in your casing.
Your existing covers are kept by default: Surco no longer replaces them unless you opt in to swapping out low-resolution ones.

v0.17Search the exact edition, in your languageJune 17, 2026

Filter Discogs searches by format — vinyl, CD, digital… — from the new Search tab in Settings, so you land on the edition you actually want.
Choose the app's language — System, English or Español — and it's remembered between sessions.
Cleaner Discogs results: duplicate editions are merged, and a remix with its tracks reordered still matches the right one.
Sharper Apple Music library detection: it matches on whole artist words and on the base title —so it spots a copy saved under the canonical title—, refreshes when you return to the app, and re-adds a track if its library copy is gone. (macOS)
Surco warns you when it has to skip loudness normalization because it can't measure the track, instead of doing it silently.
Clearer list and editor: Shift-click selects along the visible order, empty required fields are flagged calmly, and the Convert button explains what's missing before it lets you convert.

v0.16Filter by what's already in your Apple MusicJune 17, 2026

See at a glance which tracks you already have in Apple Music: all your tracks are matched against your library, with sidebar filters to show only the ones you're missing (or the ones already there) — so you never re-import a duplicate. (macOS)
Double-click a track to play it, and double-click again to stop.
The list filters are now a single dropdown that never runs out of room, and the position counter — which track you're on and how many are left — stays visible as you switch filters.

v0.15Sharper quality verdict and smoother track workJune 16, 2026

The quality verdict has a keener eye: a genuine but dull master is no longer flagged “Review” (good when there's no codec cut), and fake hi-res is now caught — files that claim 48/96 kHz but were upsampled from 44.1 kHz.
Auto-match now sweeps all your tracks, prioritizing the tracks on screen, and stops the moment you turn it off.
Editor sections you collapse stay collapsed as you move between tracks, and aren't analyzed until you open them — quicker when reviewing lots of tracks.
Drag several selected tracks out of Surco at once.
Remove from the list or move to Trash every selected track at once from the right-click menu.
Drag an image straight from your browser as the cover.
The toolbar is reorganized into groups (edit · analyze · convert and export) so every action is easy to find.
The cover viewer steps through every image on the track: the one embedded in the file and the ones from the Discogs release.
Surco starts up faster and scrolls more smoothly through lots of tracks, and the first play sounds instantly.

v0.14Waveform player and sharper Discogs matchingJune 15, 2026

The player now shows the track's waveform: click or drag on it to scrub, with the time floating on top.
Continuous playback: when a track ends, the next one in the list plays. Toggle it with the ∞ button in the player.
Much sharper Discogs matching: it ignores file-name noise (320, labels, “feat.”…), is accent-insensitive, understands more name formats, and retries by catalog number or title alone when needed.
With auto-match on, the track you select is matched on its own — no need to press the button on each one.
Dropping files that are already in the list now skips them and tells you, instead of doing nothing.
Tagging and “Add to Apple Music” are now available for WAV files too.
Adjust the player volume by scrolling over it; the level floats next to the time on hover.
Files whose highs were regenerated by an enhancer are now flagged “Reprocessed” instead of “Bad quality”, so a full-but-faked spectrum doesn't mislead.
Copy a track's generated file name — from your naming pattern — to the clipboard.

v0.13Copy artwork and tags, drag tracks outJune 13, 2026

Drag a track from the list straight into any external app — Spek, Finder, your player — to check it instantly, no exporting first.
Copy a track's artwork and paste it onto another: from the button on the cover itself or with ⌘C/⌘V, through the system clipboard (to and from other apps too).
Copy a track's full metadata and paste it onto another from the right-click menu — perfect for sharing a release's details across its tracks.
Loudness normalization now actually reaches loud targets: the club preset no longer lands short — it applies the exact gain to target and a true-peak limiter holds the ceiling.

v0.12Much more reliable spectrum analysisJune 12, 2026

The quality verdict has been rebuilt: dark masters and legitimate 320 kbps MP3s are no longer flagged as fakes for their natural high-end taper.
Grading is now absolute, the way a DJ reads it: reaching ~20 kHz is full quality (320 / lossless), 18–19.5 kHz is suspicious and below 18 kHz is bad — whatever the file's sample rate.
Surco now spots highs regenerated by audio “enhancers”: a track artificially glossed over a low-bitrate source no longer passes as good.
Soft encoder cutoffs (~160–192 kbps) that used to slip through as good quality are now caught and placed where they really are.
Reconstructed-highs detection: files “enhanced” from low-bitrate sources (SBR/enhancers) no longer pass as good quality even when their spectrum reaches the top.

v0.11Apple Music, always in syncJune 12, 2026

Apple Music sync: re-converting an edited track updates its library copy — tags and artwork — instead of duplicating it.
New “Update in Apple Music” and “Show in Apple Music” actions in the editor; if you deleted the library copy, Surco imports it again.
Click the artwork to view it full size, at its real resolution — embedded art is pulled from the original file, not the thumbnail.
The field menu now also transforms text: Title Case, lowercase or UPPERCASE in one click.
While a track plays, the Dock icon animates with a sound wave.
Editing several tracks at once now shows only the fields you picked in Settings, just like editing one.

v0.10Built for lots of tracksJune 11, 2026

Your edits never get lost: typing while Surco is still reading a slow file, or while auto-match is querying Discogs, always keeps what you typed.
Much lighter with lots of tracks: covers are kept as thumbnails (converted files still get the full-resolution art) and memory stops growing over long sessions.
Browsing the list feels smoother: BPM, key and loudness analyses wait until you rest on a track, and the one you're looking at always jumps ahead of the ones you left behind.
Every editor field can insert another field's value (artist into composer, title into comment…) from its own menu.
An amber dot marks tracks edited after converting, so you can see at a glance what still needs an update.
The Discogs search remembers what you typed on each track, shows a loading skeleton, and can be retried when it fails.
Names with a leading track number ("104. Artist - Title") now import with the right artist and title.
Adding several tracks to Apple Music shows its progress and can be cancelled; and when saving settings or trashing a file fails, Surco says so instead of failing silently.
Fixed: tracks whose cover was the file's own embedded art converted and landed in Apple Music with no artwork.
The player shows a loading indicator when audio takes a moment to arrive (for example, from a network drive).

v0.9Richer metadata and quality in three colorsJune 10, 2026

New metadata fields: composer, ISRC, mix, original year and a compilation flag. The composer fills itself from the Discogs writing credits.
The quality dot now grades three levels — green, amber and red — so a low-bitrate MP3 dressed up as lossless stands out, with an indicator while the spectrum is analyzed.
A button to clear all of a track's metadata, next to fill-from-filename.
Each list row shows its source format (WAV, FLAC, MP3…) so what still needs converting is obvious at a glance.
Start over in the context menu rebuilds a track from its original file.
The Apple Music check also looks up the Discogs-suggested title, catching library copies saved under the canonical name.

v0.8BPM, key detection and free foreverJune 10, 2026

BPM and key detection: Surco analyzes every track and suggests the tempo and key as one-click chips, in the key notation you prefer.
Surco is now free forever: licensing and limits are gone. If it saves you hours, you can support it with a donation from the Stats tab.
New conversion destination that overwrites the original file, with a confirmation before a batch.
Text search and sorting in the track list, with album-art thumbnails on every row.
The settings folder is configurable: point it at iCloud Drive or Dropbox to share your preferences across Macs.
A shortcut to switch the interface language between English and Spanish on the fly.
A slim progress bar in the header for long background sweeps.

v0.7A better first run and accessibility throughoutJune 9, 2026

The welcome wizard now sets up your output folder, visible and required fields, and teaches you to read the spectrum with a live preview.
New “Apple Music only” destination: the track lands in your library without leaving a copy in the output folder.
Full accessibility pass: the whole app works from the keyboard, plays well with screen readers and meets WCAG AA contrast.
Regenerate a file name in one click using the pattern from Settings.
Open audio files straight from Finder’s “Open With” menu.
New blue spectrogram palette that’s easier to read.

v0.6Discogs auto-match and rekordbox & Traktor exportJune 8, 2026

Auto-match: Surco looks your tracks up on Discogs and applies only high-confidence matches, on import or with a toolbar sweep.
Export your collection as a rekordbox (XML) or Traktor (NML) library.
Batch quality triage: analyze the whole list at once, badge every track with its verdict and filter the suspect rips.
Customizable keyboard shortcuts with clash detection and native menus that update themselves.
Per-track properties panel (codec, bit depth, bitrate, tag formats) and a rename dialog built from metadata chips.
Redesigned icons and tooltips across the app.

v0.5Star ratings and cover controlJune 6, 2026

Rate your tracks with stars; they’re written as tags Traktor, Windows Media Player and foobar2000 understand.
Pick the cover from every image the Discogs release has.
Artwork resolution is always visible and low-quality covers get flagged with a colored dot.
New Discogs release id field in the editor.

v0.4Loudness and normalizationJune 6, 2026

Loudness analysis (LUFS) and optional normalization that preserves your Traktor cues.
Right-click context menu on tracks and search inside the list.
Cancel a batch conversion mid-run.
Configurable default genres applied with one click.
Optionally send the original file to the Trash after converting.

v0.3Multi-track editing and full albumsJune 5, 2026

Multi-selection with bulk editing of shared fields.
Match a whole Discogs release against your files, pairing each track by duration.
Find & replace across every track’s tags, with regular expressions.
Fill tags from the file name in one click.
M4A/AAC, Opus and Ogg Vorbis now accepted as input formats.
The naming pattern supports subfolders to organize the output.

v0.2StabilityJune 4, 2026

More robust importing: hidden files and macOS leftovers are skipped when dropping folders.
Better tag reading on files with embedded pictures.

v0.1First public releaseJune 2, 2026

Convert to AIFF, WAV, FLAC or MP3 by dragging your files in.
Discogs tagging with the most likely match suggested.
Spectrum analysis to catch fake lossless before you play out.
Send tracks straight to Apple Music, artwork included.
Template file names, a command palette, track preview and automatic updates.
macOS installs (Intel and Apple Silicon) plus Homebrew.

Try it all in your next session

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