Run your show from a Bluetooth remote in your pocket.
Queue Up plays your music and your sound effects, live, from a remote in your hand. Scroll to the next track while the current one keeps playing. Drop a sound effect over the top. Fade the music out instead of cutting it dead. All from the stage, without touching the computer.
You do not have to buy one — it runs from the keyboard too, and every key can be changed to whatever you prefer. Add a Bluetooth remote when you want distance from the machine; it teaches itself any remote you already own.
Runs on the computer you already have — a laptop you travel with or the desktop in the booth. Mac, Windows Intel and Windows ARM — one license covers all three. 30 days free, fully featured, no card.
Press the button in your hand and the next thing plays. The row that lights up is what the room is hearing.
The row that is playing, and the row that plays next.
This is the actual application, mid-show. The colored row is what the room is hearing and it counts down; the outlined row below it is what Play will start when you press it again. Moving between them makes no sound at all, which is the whole difference between this and a music player.
Track 3 is playing and counting down. The cursor is parked two rows below on the track that Play will start next — move it with the remote while the music keeps running.
Why performers use it
Nothing plays by accident
Scrolling through your music never interrupts what is playing. Looking and playing are two different things.
Instant sound, no load time
Short pads are decoded into memory before the show starts. Press one and it is already sounding.
If it pairs, it works
Any Bluetooth remote you can pair with your computer can drive the show. Press a button, the app shows you what it sent, click Learn — that button now has a job.
The computer is already there
No desk, no interface, no extra case to carry. Install it on the machine you already have — the one in your bag or the one in the booth — and you have a sound department.
It works with no internet
No account, no sign-in, no license server. Nothing about your show depends on the venue’s wifi.
Adjustable mid-show
Text size and volume are on the transport bar, not in a dialog. Move either while the music plays — no stopping, no menus.
Cues in your own words
Rename any track to what you actually call it. “ACT 1 WALK-ON” reads across a dark room; “03_final_MASTER_v2.mp3” does not. The file itself is never touched.
A running order you can hand over
Print it for the sound engineer, for a stand-in operator, for the tech pack — and keep the dated copy as a record of what you actually ran.
What you are looking at is not what is playing.
Every ordinary music player jumps to whatever you select. That is fine at home and useless on stage. In Queue Up, Up and Down move a highlight — nothing plays until you press Play. So you can find your closer while your opener is still running, and the audience hears none of it.
The colored row is what is playing
It counts down its remaining time, so you always know how long you have before you need to do something.
The outlined row is what plays next
Move it with the remote, a click, or the arrow keys. The header spells it out: “Playing — track 4 of 8 · Play starts track 6.”
You already own the computer. That is all you need.
Most performers travel with a laptop, and most venues already have a machine in the booth. Install Queue Up on either and it is a sound department — running order, cue stops, fades and a wall of instant effects, out of the machine already in your bag. Nothing else to case up, nothing else to leave behind in a dressing room.
Plug into whatever the venue hands you, or run it through the computer’s own speakers in a small room. There is no interface to configure — it plays through whatever your computer is already using.
And if it pairs, it works
Any Bluetooth remote you can pair with the computer can drive the show. Press a button and Queue Up shows you exactly what it sent; click Learn, and that button now does whatever you chose. No compatibility list, no particular model to buy.
- The presentation clicker in your bag
- A page-turner foot pedal, for when both hands are busy
- A camera shutter fob small enough to palm
- A Bluetooth numeric keypad, which fires the pads
- Whatever came with something else and has buttons
Built for the acts who are also the sound department
If your show has cues and nobody is running them but you, this was written for your job.
Stand-ups & MCs
Walk-on, walk-off, and the sting that saves a dying bit.
Your walk-on music starts when you decide, not when a phone finishes buffering. Park the cursor on your closer while your opener is still playing, then hit one button on the remote in your pocket. Every effect you might reach for — rimshot, sad trombone, applause — sits on a numbered pad that fires the instant you press it.
Hypnotists
A long induction bed underneath, wake cues on top.
Run a twenty-minute ambient bed from the playlist while every cue you need — sleep, wake, the countdown, the comedy sting for the volunteer who forgets their own name — waits on a pad. Overlay pads play over the bed and duck it automatically: the music eases down under the cue and comes back up on its own, exactly as a sound engineer would ride it for you. Nothing ever has to be talked over.
Ventriloquists
Character stings and playback cues without breaking focus.
When both hands are busy and your face is doing something else, you need the sound to arrive without you looking at a screen. Bind the cues to a remote or a cheap Bluetooth numeric keypad and hit them by feel. Pads are fixed in position, so pad 4 is pad 4 every night.
Sound for a ventriloquist act, run without being seen to run it →
Magicians & illusionists
The build, the reveal, the blackout — on the beat.
Timing is the trick. Cue the build music, fire the reveal sting over the top of it, and stop the whole lot with a fade rather than a jarring cut. Press Stop twice when you want the hard out instead. Nothing auto-advances unless you tell it to, so a slow reset never runs into the next cue.
Clowns & children’s entertainers
Thirty silly noises, one press each.
Four banks of pads means dozens of effects arranged where your fingers expect them, plus the party playlist running underneath. Rename every pad to whatever you actually call it. Fire an effect and the music keeps going — no stopping, no fumbling, no dead air while a room full of six-year-olds waits.
Clubs & venues
Doors, interval and exit music that just runs.
Mark the pre-show playlist Continuous and it plays straight through while your cue list still stops after every track. One click on a favorite reloads the entire show — running order, pads and all — so the Thursday open mic and the Saturday headline night are two different clicks, not two different setups.
House sound for a room that runs a different show every night →
Theater, holiday shows & variety
A cue list you can print and hand to the operator.
Stop after every track so each press of Play fires exactly one cue. Print the running order with lengths, a total, and a table of every pad and what it holds — the paper backup that any stage manager will ask you for.
DJs, dance schools & fitness
Big readable rows, visible from across the floor.
Scale the playlist text up to 160px and read the running order from the far side of a hall without your glasses. The playing track counts down; everything else shows its length, so you always know how long you have.
A wall of sound effects, one press each.
Applause, rimshot, airhorn, sleep cue, the noise your puppet makes when it falls over. Pads under a minute are decoded into memory before the show starts, so the first press is instant rather than merely quick.
Over the top, or instead of
An overlay pad plays across the music, which dips underneath it and comes back up on its own. An interrupt pad stops the playlist first — with a short ramp, never a click.
Number keys fire pads
Which makes an inexpensive Bluetooth numeric keypad an excellent pad controller, with no setup at all. Performer on the remote, operator on the pads.
Pads travel with the show
They are saved inside the playlist, so opening Friday’s show loads Friday’s running order and Friday’s wall together.
Write the running order in your own words. Then print it.
Two things that sound like housekeeping until the night you need them, and then turn out to be why the show went smoothly.
Rename any track into a visible cue
03_final_MASTER_v2.mp3 tells you nothing at ten feet in a dark room. Rename it to what you actually call it — ACT 1 WALK-ON, SLEEP CUE, after Tom’s bit — and the row becomes an instruction to yourself, in your own words, at whatever text size you can read from where you stand.
The file on disk is never touched, and the name is saved with the show, so it is there every night after that.
Print it for the desk, and for the archive
A proper printout, not a screenshot: black on white whatever theme you use, every track with its length and pad reference, the total running time, and a table of every pad on the wall.
Hand it to the sound engineer instead of shouting cues over a PA. Leave it where a stand-in operator can follow it while you are on stage. Put it in a festival tech pack. And keep the dated copy — a year later it is the only way to remember what actually worked at that venue.
Every track with its length and pad reference, the total running time, and a table of every pad. Hand it to the sound engineer, leave it with a stand-in operator, or file the dated copy as a record of what you ran that night.
The full list, without the marketing adjectives
It works like a sound desk, not a music app
The one idea the whole application is built around: where you are looking and what you are hearing are two different things.
- What you are looking at is not what is playing
- It tells you what will play next
- Or the old way, if you prefer
- Choose what happens when a track ends
Instant-play pads
A sound wall beside the playlist. Press a pad, hear it immediately. A pad never advances the running order.
- No waiting, ever
- Play over the music, or instead of it
- Press it again to stop it
- Number keys fire pads
Driven by whatever you press
The keyboard out of the box, a remote if you want one, and every key of it yours to set. There is no compatibility list because there does not need to be one: press anything, and Queue Up shows you what it sent so you can give it a job. You are not buying hardware to suit the software, and you are not buying hardware at all unless you want to.
- No remote required
- Set the keys to suit you
- Pair it, and it works
- Teach it your buttons
Shows, saved and switched
One click reconfigures the running order and the whole pad wall together.
- Pads live inside the playlist
- Favorites
- Open where you finished
- Continuous playlists
Made for a dark room
Everything about the display assumes you are looking at it under pressure.
- Resize the text mid-show, without stopping anything
- Volume where your hand already is
- Your colors
- Countdown on the playing track
Things that matter at 8pm
The boring half. Also the half that decides whether you can trust it.
- No internet required. Ever.
- Nothing is collected
- Only one copy can run
- Missing files are flagged, not dropped
Use it on a real show. Then decide.
You get everything for 30 days. Not a demo, not a cut-down version — the full program, no card, nothing switched off.
Nothing is held back
Every feature works from the first minute: the pads, the fades, the remote, the printing, all of it. There is no “upgrade to unlock” screen, because there is nothing behind one.
Use it on a real gig
Load your own music. Pair your own remote. Run a proper show with it, in a real room, with an audience. That is the only test that counts.
Pay when you are sure
Buy it when you know it does exactly what your show needs — not before. If it turns out not to suit you, you have lost nothing but an evening.
Queue Up
The trial. The whole program for 30 days — every feature working, nothing grayed out, no card needed.
Queue Up Pro
The same copy, already installed. It changes its name, the trial clock disappears, and the icon gains a PRO badge.
There is only one download. You never install anything a second time — you type your licence into the copy you already have, and it becomes the Pro version on the spot.
Why we do it this way. Nobody should hand over money for software that runs their show on the strength of a website. So we would rather you tried it properly, on your own gear, with your own music, until you are certain — and bought it because it worked, not because we talked you into it.
Mac and Windows · 30 days · no card · nothing to cancel
Buy it once. It is yours.
Not a subscription. It will never stop working mid-show because a payment failed, and it never needs to check in with a server.
Direct sales are the United States, Canada, Australia and New Zealand only for now. Elsewhere, the trial works everywhere and the list will tell you when that changes.
Single
1 machine
Introductory price. Rises to $149 USD on September 8, 2027.
One performer, one laptop.
- Every feature — pads, banks, fades, remote learning, printing
- Install on one machine, plus a spare you own
- 12 months of updates, then it keeps working forever
- Email support from the person who wrote it
Taxes extra where applicable, applied at checkout · card or PayPal
Venue
3 machines
Introductory price. Rises to $329 USD on September 8, 2027.
A club with a resident laptop and visiting operators.
- Everything in Single, on three machines
- One invoice for the venue, not three
- 12 months of updates on all three
- Priority email support
Taxes extra where applicable, applied at checkout · card or PayPal
Site
Unlimited, one organization
Introductory price. Rises to $749 USD on September 8, 2027.
Chains, festivals, theater groups, cruise lines.
- Unlimited machines within one organization
- Named contact for rollout questions
- 12 months of updates across the estate
- Purchase-order invoicing available
Taxes extra where applicable, applied at checkout · card or PayPal
Every license is a Queue Up Pro license — the same application you already downloaded, with a name, a ribbon and no trial clock. You buy it once and it is yours. That includes every version released in the following 12 months. After that it keeps working exactly as it is, for ever — nothing expires and there is nothing to renew. If you later want the versions that came out since, they cost $59 USD, whenever you want them and never before. Education and charity rates are 50% off: ask for a code.
Mac, Windows Intel, Windows ARM — one key for all of them.
You are buying the software, not a platform. Install it on the Mac and on the PC that goes to the gig, switch machines next year, move from Intel to ARM — the same licence key, every time. Nothing to buy twice, and no “Windows edition” at a different price.
Not sure which build your machine wants? The download page works it out and puts yours first — and if you take the wrong one, it costs nothing but the download.
What you need
- macOS 13 Ventura or later — Apple Silicon or Intel
- Windows 10 or later on Intel and AMD
- Windows 11 on ARM — Snapdragon and Copilot+ PCs
- Roughly 280 MB installed
- No internet connection required, ever
- 30-day trial, then one licence, offline for ever
The ones everybody asks first
Does it need an internet connection?
No — not to run, and not to stay licensed. The application makes no network calls whatsoever. Your license is checked on your own machine, so a venue with no wifi changes nothing.
What kind of remote works — will a foot pedal do it?
A foot pedal works, and so does almost anything else that pairs with your computer and sends key presses. Queue Up is trainable rather than fussy: open Settings ▸ Remote control, press any button, and the app shows you exactly what that button sent. Click Learn beside the action you want, press the button again, and it is assigned — about ten seconds per button, remembered for ever. Bluetooth media remotes are the pick of them, because play/pause, next, previous and stop reach the app even when its window is behind something else. Presentation clickers and page turners send the arrow keys, which is what moves the cursor down a running order. Bluetooth page-turner foot pedals are the hands-free answer when you are holding a puppet, a deck, a rope or a guitar. A numeric keypad fires the pads with no setup at all. Camera shutter fobs are small enough to palm, though many of them send volume keys, which no application on either platform can capture. Game controllers and USB foot switches work if they present as a keyboard. The test is the same for all of them: press a button and see whether a code appears under Last key received. If it does, it will work — you do not need a particular model and there is no compatibility list to check.
Can I change the text size and volume during a show?
Yes — both live on the transport bar rather than in a dialog, so neither needs you to stop anything or open a menu. Drag the size slider and the playlist rows scale from 12 to 160 pixels while the music keeps playing, which is what you want when the venue puts you further from the screen than you expected. There is a bold setting in Appearance as well, which thickens the track names and the pad labels without touching the buttons and menus around them. The app has its own volume, separate from the system’s, with a Mute button beside it: set the computer once to suit the desk, then trim from here. Volume can also be driven from the keyboard, or bound to any two buttons on your remote.
What is audio ducking, and do I need it?
Ducking is music automatically dropping in volume while something else plays over the top of it, then coming back up on its own — like somebody turning the music down while you speak and turning it back up when you have finished, which is exactly the movement a sound engineer makes on a desk. You need it any time a sound has to land clearly over music that must keep running: a wake cue over a hypnosis bed, a sting over party music, an announcement over background music. The alternative is stopping the music, and a sudden silence pulls every head in the room toward the sound system. Set a pad to overlay and it ducks the playlist for exactly as long as it sounds; 25% is the default and it is adjustable or can be turned off.
Can the pads go on a second screen?
Yes. The pad wall pops out into a window of its own, which you can put on a second monitor, a touchscreen beside the computer, or across the desk where an operator can reach it while you keep the running order in front of you. It either follows the main window as you move it or sits wherever you place it. Importantly, the detached window only draws pads and reports presses — every buffer and the whole audio graph stay in the main window, so there is exactly one thing making sound however many windows are open.