Set up live audio.
Transform the room.

Start with the picture you want to make. The Studio separates choosing sound, shaping a world and sending the result to a screen or film. You can move between sections without restarting the track or replacing your setup.

Start with Sound →

Choose your first sound in the starter above the preview. Select Music file, Live audio or Try the demo, then use its action. Live mode offers microphone/interface or tab/system sharing; selecting the mode itself requests no permission. Input settings opens Sound without capture. Loading, Cancel and failed-source retry remain beside the starting action. After a source connects, the starter disappears and Sound remains available for changes. Public-test and planned-show links keep their own start actions.

1. Sound: choose Open MP3 / WAV, Microphone or Tab / system. Live capture asks permission after your click. Confirm the source and meters; use the transport to play/pause and Speakers off to stop monitoring. Open Timing & beat sync only when you need BPM alignment, pulse controls or MIDI.
2. Look: use Choose a visual world or the header’s Worlds. Select a world, then adjust color, Energy, Motion, Detail and Glow. Fine tuning and saved looks stay below. An active world mixer has its own copied looks/off-air Preview; editing that preview is not an automatic Take to the stage.
3. Output: select 16:9, 9:16, 1:1 or a custom frame and resolution. Open projector window creates the clean second-display view. Render music video opens the file renderer for MP3/WAV; review and render deliberately. Record video in the header records a performed composition in realtime. Inspect the actual saved film before a longer take.

Edit the picture you mean.

When Mapping is enabled, Look and Effects start with Edit target. Program means the shared main composition. The routing message tells you how many enabled surfaces use it. If every enabled surface has its own world, Program edits will not change those worlds.

1. Choose the named surface in Edit target. Studio opens that exact surface in the existing Mapping editor.
2. From Look, review Visual source and its surface look. A Program surface inherits the main composition until you deliberately choose an independent world. From Effects, Surface FX opens for that surface, including when its source is Program.
3. Use Back to Program Look or Back to Program Effects to return. Selecting a target changes navigation only: your sources, geometry, calibration and Undo history remain in place.

Hidden surfaces are named in the selector. Source counts describe routing; masks, overlap, opacity or a calibration pattern can still hide the picture. Mapping keeps its surface list, off-air world browser and deliberate Take controls.

Add complexity when it helps.

Use the Studio section selector to reach the same sections on a smaller screen or when Stage view hides the left tools. On a phone, controls scroll with the page. Changing a section updates the panel URL while retaining the rest of your link; it does not start audio, enable Mapping, launch a cue, open a projector or begin recording.

Stage view and Hide controls give the picture more room. Freeze and Blackout remain beside the transport. Use Help with this workspace for a task search; the menu also keeps the guided video/live paths and Loxone room control. Troubleshooting separates missing input, slow graphics and recording problems. This layout does not certify physical alignment, sound-to-screen latency or prolonged hardware performance.

Use one rendering PC and projector. Set up room prepares the installation; Operate room opens daily controls.

1. Prepare a local plan. In Set up room, enter the PC and Miniserver private IPv4 addresses and a key-file path, then Generate local plan. Review the launch command and Loxone field instructions; nothing is installed or run automatically. Inputs stay in memory, without control/status keys. Download the connector and run with Node 22+. The key file belongs in an existing owner-private folder outside repositories/shared folders. Default RAM keys change after restart; Windows 0600 is not an NTFS ACL. Studio uses loopback 43120; LAN 43121 accepts only that Miniserver. Restrict its firewall.

   node bridge.mjs --lan <PC_PRIVATE_IP> --miniserver <MINISERVER_PRIVATE_IP> --keys-file <OWNER_KEY_FILE>

2. Prepare and pair. Capture Ambient, Party and Techno procedural Program worlds/looks plus surface visuals/FX only. Clips, overlays, master FX, frame and calibration stay; surface IDs must match. Starters fill empty slots only. Allow HTTPS Studio’s Chrome/Edge local/loopback permission, enter the pairing key, then Arm. Refresh requires both again; audio starts separately.
3. Configure Loxone. Virtual Output HTTP address: http://PC_PRIVATE_IP:43121. Set POST, ON path /v1/command, ON headers/body below. Mode/Stop send ON only. Blackout/Freeze copy POST/path/headers to OFF, with false instead of true. Brightness uses analog <v>.

   Authorization: Bearer CONTROL_KEY
   Content-Type: application/json

   Command	ON body	Value
   Mode	{"action":"mode","mode":"ambient"}	Also party / techno
   Brightness	{"action":"brightness","value":<v>}	0–100 picture
   Stop	{"action":"stop"}	Blackout; not power-off
   Blackout	{"action":"blackout","value":true}	false releases it
   Freeze	{"action":"freeze","value":true}	false releases it

   Wire the Loxone function block.

   Paste the supplied PicoC source into native Program 16; wire Virtual Outputs below. No HTTP or factory plugin is installed. Ready alone never replays; enabling while Ready requests the current mode. Physical PicoC execution remains unverified.

   Signal	Wiring
   I1	Mode: 0 Stop / 1 Ambient / 2 Party / 3 Techno
   I2	Brightness 0–100
   I3 / I4	Blackout / Freeze
   I5 / I6	Enable / Ready = online AND armed
   I7	Stop pulse
   O1 / O2 / O3	Ambient / Party / Techno pulses
   O4	Brightness
   O5 / O6	Blackout / Freeze levels
   O7 / O8	Stop / requestedMode (not applied-state)

4. Read status. Virtual HTTP Input: http://phasevoid:STATUS_KEY@PC_PRIVATE_IP:43121/v1/status, Basic authentication, polling at least 10 seconds. Extract online, armed, pending, lastOk. HTTP 202 means queued; check Studio’s lastResult acknowledgement. Connected does not mean applied.
5. Run a fresh browser check. Choose Start new check, then send Ambient, Party, Techno, brightness 0/50/100, Freeze on/off, Blackout on/off and Stop through Loxone. Only successful browser acknowledgements from this check fill its eleven results; local clicks and HTTP 202 do not. Stop blackouts. Results describe past commands, not current connection or hardware health. Brightness affects projector/live capture, not File render.
6. Check the room and hand it over. Separately confirm the physical projector/mapping, audio, Loxone/PicoC and a long run; those are operator confirmations, not automatic passes. Test disconnect/reload: connection expires after 5 seconds, commands after 3 seconds, without stale replay. Hiding may throttle/expire the link. Choose Blackout or explicit Hold and test session restoration. Copy handover keeps a bounded configuration and check summary without network addresses, key paths, keys, file/surface names or receipt IDs. Use Operate room for daily modes, brightness, Freeze and Blackout; music stays under its own controls.

Polish installation PDF · v1.53 explains Operate room, the Set up room plan, the eleven-command check, connector/HTTP configuration and Program 16 wiring. Hardware acceptance remains an on-site task.

Custom room visuals are quoted separately; public tools stay free.

Loxone Program/PicoC · HTTP outputs · POST/header/body example · Basic input/polling · Chrome permissions / split permissions.

1. Open the guided live path and choose Microphone for your browser's selected mic or audio interface, or Tab / system to request a shared source. Permission starts only when you choose a source. A screen or window share without a live audio track cannot drive the visual; browser and operating-system support varies.
2. Play sound through your normal mixer, application or room speakers, then check that the low, mid and high meters move and the scene responds. PHASE//VOID does not route live input back to your speakers. If the meters stay still, check the selected input, cable, gain, hardware mute or sharing picker's audio option before changing visual sensitivity.
3. Choose a scene and output shape for the actual display. Set 16:9 for a wide screen, 9:16 for a portrait installation, 1:1 for a square frame or custom dimensions for another surface. Prepare contrasting looks and use the manual BPM, Tap and Resync controls if you want timed cuts or a manually aligned pulse. BPM and musical phrases are not detected automatically.
4. In Output, open the projector window, move it to the second display and double-click its image for fullscreen. Allow the popup if the browser asks. Keep the Studio tab visible so it continues drawing the frames. Test Freeze, Blackout and Gentler motion before the set.
5. Record a short real-time segment, replay it with sound and download the saved file to check the result. Available MP4 or WebM formats and achieved frame rate depend on the browser and device. A segment stops at 30 minutes or 750 MB, whichever comes first; the browser may stop sooner. Press Disconnect when finished to release live capture.

In Sound, choose Open MP3 / WAV, Microphone or Tab / system. The existing choices now show opening progress and a durable error beside the controls. Choosing a source is deliberate; opening Studio does not request capture.

1. While opening, use Cancel opening to stop waiting. The attempt is invalidated, its public download is aborted and late media cannot take over. Dismiss any browser picker that is still open. An older input stays attached if this attempt had not replaced it.
2. If opening fails, read the persistent explanation. Try again deliberately repeats that source request; choose another source to change course, or use Dismiss message. A browser permission request can appear again on retry. Neither recovery action grants access for you.
3. Once connected, distinguish File ready · paused from a playing source and an observed signal. Five visible seconds without signal above the activity threshold can also be a quiet passage. Check LOW / MID / HIGH and your actual source before increasing visual Energy.
4. Speakers off silences file/demo monitoring on this device while analysis and recording can still receive sound. Live input is not played back. To adjust room reaction timing, expand Match sound and picture timing; tempo/grid controls remain in Timing & beat sync.

Review Sound recovery in Studio · Full silent-input checks

No automatic input diagnosis, permission approval, room latency measurement or physical-device certification. Status/retry choices and errors are not added to analytics. Local media is not uploaded or saved by this status UI.

A mixer sending music to the room is not automatically an audio input in the browser. First identify the signal that the computer can receive. PHASE//VOID uses a browser-visible recording input; it does not connect to a mixer over the network or install its driver.

1. Your source: the intended mixer feed, microphone or supported application audio.
2. Computer input: the interface/recording route exposed by your hardware, driver and operating system.
3. Studio Sound: select that exposed input, connect deliberately and inspect LOW / MID / HIGH.
4. Your picture: choose the look, then send the composition to the intended screen or single projector.

The audience’s loudspeakers remain a separate route. This diagram explains the software signal path; it is not a wiring diagram or a measured venue test.

Choose the route that matches the source.

A USB socket, an output device name or an installed application alone does not prove that a usable input is available. If the intended feed is not exposed, finish its hardware/OS routing first. PHASE//VOID adds no driver, virtual cable or independent per-channel patchbay.

Select the next microphone/interface input.

1. Open Sound → Microphone / interface input. The starting choice is Browser default. Expanding this section changes no input.
2. Press Refresh inputs. This lists the recording devices the browser currently exposes; it does not request microphone capture, switch a source or start recording.
3. Choose the intended input. The choice is staged for the next connection. If a source is already running, the selection alone leaves it running unchanged.
4. Press the existing Microphone button deliberately. Review the normal browser permission when shown. An explicit supported device choice is requested by its exact ID; Browser default uses the browser’s default route.
5. Inspect the connected-input name reported by the browser, if one is available. Send the intended passage and watch LOW / MID / HIGH and the actual picture. A visible name alone is not proof of signal or the correct mixer channels.

Review the input task in Studio. If opening fails, the persistent source message offers retry or another source. Capture permission may appear again on a retry; neither Refresh inputs nor the help task grants it for you.

Why the list may be short or unnamed.

Browsers limit device lists and names according to permission and document policy. The MediaDevices documentation also requires an active, visible secure page. A list with only Browser default does not establish that your interface is broken.

If you want to grant microphone access, use the normal Microphone action when ready, then refresh the list after permission is available. If you decline access, use a local file or another supported route. Changing a selector cannot bypass browser or operating-system restrictions. Device names and identifiers are kept only in the current tab; they are not saved into a settings session, public link or action counter.

Reconnect deliberately after a device change.

Where the browser reports a device change, Studio marks the list for refresh. It does not reconnect, fall back to another microphone or alter a running source. Refresh the list; a missing selected input remains marked unavailable. Choose another listed input or Browser default explicitly before connecting.

Browsers that do not supply a useful change event can still use Refresh inputs manually. A captured track that ends follows the existing source-disconnection handling. Device availability and an already running capture are separate states; the list is a setup aid, not a hardware health monitor. The deviceId constraint documentation explains a requested exact input identity.

Check the sound before changing the look.

A paused file, connected live input and measured signal are different observations. With a live route, inspect the actual source and its meters first. A quiet passage can legitimately produce little energy. Increasing visual Energy cannot fix a missing input or an unintended interface feed.

Studio keeps live speaker monitoring off to avoid playing the captured signal back. File/demo Speakers off is also separate from analysis and recorded sound. Once the intended signal is present, tune the world and review sound-to-picture timing through the actual speakers and display. Beat-grid alignment, room delay and selection of the input device solve different problems.

Continue with one-projector setup, or use the silent-input checks if the source still does not respond.

Choose Microphone in the studio and allow access in your browser. Your browser's selected audio input can be a microphone or a connected audio interface. Select the desired device in your browser or operating system before connecting.

The input goes to visual analysis and recording. It is not sent back to your speakers by PHASE//VOID, which avoids creating another audible monitor path. Use your mixer or interface for your normal sound routing.

Watch the low, mid and high meters. A connected device can still be silent: check its input selection, cable, gain and any hardware mute. Adjust the visual sensitivity after you have a usable signal.

Choose Disconnect to release the live input. Permission is controlled by your browser; you can also revoke it in the site's permission settings.

Choose Tab / system, select the source in the browser's sharing picker and enable audio sharing if offered. Sharing support depends on the browser, operating system and surface you select.

A browser may share a screen or window without an audio track. If that happens, PHASE//VOID cannot analyze its sound. Try a browser tab with audio sharing enabled, or route the sound through a supported audio input instead.

The shared-audio input is not played back a second time through PHASE//VOID. Your original application continues to control its own playback.

The library contains 108 procedural worlds. Use search and the collection or family filters to narrow it. Star worlds you want to revisit, then choose Favorites. Stars keep a shortlist; choosing a world still follows the normal Studio selection and off-air Preview behavior.

1. Open Set banks beneath the library controls. Create a named bank, choose a world and add the selected world to the bank. Select a bank to browse its members. Removing a world from a bank leaves that world available in the full catalog.
2. Keep different banks for a warm-up, heavier section or a particular event. Up to twelve banks are allowed, with names up to 48 characters and up to 72 world IDs per bank. Banks save world choices rather than tuned parameter looks or an ordered cue show. To keep specific settings, copy a look into an A/B deck or the Show sequence.
3. Use Export banks to download the complete banks and favorites lists as JSON. Transfer that file to another browser and use Import banks. The import checks known world IDs, duplicates and limits before replacing both lists. The file limit is 64 KiB; export an existing collection first if you want a backup before replacing it.

Favorites and banks remain in this browser's storage. They are separate from session files and contain no audio, artwork, video, cue order or tuned looks. Importing banks does not change the current Program or off-air Preview and does not start audio, a live mix or a cue sequence. The read-only MCP connection can describe this workflow; it cannot read or change your private favorites and banks.

Explore the 36 new worlds in the expanded catalog ↗. The existing Pressure pack cue recording demonstrates its original twelve worlds; it does not show all 108 library worlds.

On 25 September 2026 we tested the production v1.18.7 studio in isolated desktop Chrome 153. A dedicated tab played 32 deliberately uneven synthetic bass-and-click impulses per run. PHASE//VOID captured that tab through the browser's native sharing path, then rendered Rave laser at 1280 × 720. We repeated the test three times with the studio visible: 96 of 96 impulses crossed the same shader-pulse threshold. The captured input was 48 kHz stereo with the browser reporting echo cancellation, noise suppression and automatic gain control off.

The start point was the source AudioContext's estimated audio-output-device timestamp; the end point was actual submission of the uPulse value to WebGL. Across the 96 events, the measured interval had a 45.5 ms median and 54.2 ms 95th percentile. Per-run medians were 44.5, 46.5 and 48.5 ms; per-run 95th percentiles were 52.8, 55.3 and 56.5 ms. The declared pulse threshold was 0.2, with 32 distinct crossings in every run. Download the 96 timing values as CSV.

For your own set, start Visual timing at zero, listen and watch on the actual speakers and display, then adjust the pulse earlier or later. Test the complete signal chain before performing.

Choose a scene and save a few looks before the performance. Auto scene can use the original 16-second interval or a manual 4/4 grid. Open Sound → Timing & beat sync, enter a tempo from 30 to 300 BPM or press Tap on successive quarter notes. Press Resync on the first beat of a bar, choose 1, 4 or 8 bars, then enable Auto scene.

The performance clock controls scene cuts, bar-based cues, the Beat 1 / 4 display and the optional Beat sync · manual BPM pulse. It does not detect your track's BPM or phrases, change audio playback, or synchronize the geometry's animation speed. Changing BPM preserves the current beat position; Resync starts bar 1, beat 1. The clock keeps running when audio pauses or seeks, so use Resync again on the next downbeat after seeking, restarting or changing a track.

Freeze pauses automatic changes as well as visual motion. For Auto scene, a manual scene choice, unfreezing, changing the interval or returning to the studio gives the scene at least one full selected interval before its next cut. In bar mode that cut then lands on the next boundary of the selected grid. At 120 BPM with 1-bar switching, a scene selected 1.9 seconds into the bar remains until the 4-second boundary. Later cuts retain the original grid; a delayed frame does not move all following deadlines or trigger a burst of missed scenes.

BPM and interval settings are included in session files and recent browser settings. Loading the studio starts with audio and Auto scene off. The first tap marks beat 1; use Resync if you began tapping on a different beat. For an exact one-off musical moment, switch scenes manually.

F

Enter or leave fullscreen

← / →

Change the visual scene

H

Freeze the visual motion

B

Black out the visual output

T

Tap quarter notes to set tempo

R

Resync the manual grid to bar 1, beat 1

In Output, open the projector window and move it to your second display. Double-click its image for fullscreen. Allow the popup when the browser asks.

For a longer set, use Keep screen awake in Output. Check that its status says the screen hold is active. The option starts off, pauses while the studio tab is hidden and requests a new hold when you return. Turn it off after your set. Power-saving settings or browser support can prevent it; check the device display settings if it is unavailable. Keep the studio visible so it can continue rendering the projector frames.

Start with a short test and lower the render detail or resolution if the frame rate drops. The troubleshooting guide separates input problems from graphics and recording problems. Bright moving patterns are part of the visual output; Gentler motion and Blackout give you immediate control.

In Sound → Timing & beat sync, Audio transients is the default Pulse source: hits follow the captured signal. For live audio, choose Beat sync · manual BPM, set BPM or Tap quarter notes, then press Resync on a beat. The pulse follows the manual clock while spectrum and energy keep responding to your real audio. Use Tap or Resync again after seeking or restarting a file in this mode.

For a local MP3 or WAV, choose Beat sync · track position and enter the track's correct BPM, from 30 to 300. Initially, beat 1 is at the start of the file. Tap or Resync sets beat 1 at the current file position. The pulse then follows file position through pause/resume, seeking, restarting and looping, including Restart track from the beginning when recording. This mode needs a playing local file; for live input, use the manual BPM mode.

Use Visual timing in either Beat sync mode to move the pulse up to 250 ms earlier or later: negative values advance it, positive values delay it. This changes visual pulse phase without delaying audio playback or moving cue deadlines. It does not remove capture or device latency. Start at zero and adjust while listening on the speakers and display you will use.

Both Beat sync modes use the BPM you supply; they do not detect tempo or follow changing tempo automatically. They keep pulsing through breaks while audio is running; paused or disconnected audio stops the pulse. Motion still controls the pace of the scene, and Gentler motion keeps its softer response. Track position affects only the visual pulse: Auto scene, bar-based cues and the Beat 1 / 4 display still use the performance clock. Resync that clock on a downbeat after seeking if you need scene cuts aligned too.

The selected pulse also appears in the projector and recordings. Pulse source, BPM and Visual timing are saved with your session; loading it does not start audio. The file's beat-1 alignment is temporary: changing the file or audio source, reloading the studio or importing a session resets it to the file start. Session files contain no file identity or alignment timestamp. Open the free visualizer to align your first look.

The Studio's A/B visual mixer keeps two copied scene looks running against the same analyzed audio. Select a world, tune its look and press Take Preview into A; choose another world and take it into B. Press Start live mix, then move the picture crossfader or hit CUT A / CUT B. The fader controls visual blend, never audio volume. A separate low-resolution Preview · off air follows the current scene and its Look controls against the same analyzed audio. While the A/B mix is active, you can prepare a third look there without changing the stage, projector or recorded canvas.

Prepare, preview, take.

1. Open the sample mix below, start audio with a click, then start the A/B mix. The two deck looks are copied settings, so both continue moving even when one is off screen.
2. Choose a different world and tune Energy, Motion, Detail, Glow or fine controls. Watch the separate Preview. Edit A/B in Preview copies an existing deck back to the editable controls without changing the live deck until you explicitly take it.
3. Press Take Preview into A/B to replace that deck. At a fader endpoint the newly taken deck appears immediately if that side is on air. Use the fader or CUT buttons to choose what the audience sees. Press [ or ] for keyboard cuts while focus is outside editors.
4. Optionally connect a supported Web MIDI input, choose A/B picture crossfader for an absolute 7-bit CC fader, or map the mix Cut/Take actions to a note or CC button. MIDI access starts only after Connect MIDI; one selected input controls picture, not audio.

Try a complete A/B recipe.

Deck A is Rave laser; deck B is Interference. The frame is 16:9 and the starting picture is a 50/50 blend. Open this exact mix in the free Studio ↗

Click Start instant demo, then Start live mix; nothing plays or requests a microphone just by opening the link. To use your own sound instead, choose MP3/WAV or a supported live input in Studio. After tuning your decks, use Copy mix link to share their controls and fader position. The link contains no music, artwork, browser permissions or video file.

For the same input used in the recording, download the original 24-second test WAV and choose it in Studio. The instant-demo link uses browser-generated sound instead, so its movement will differ. The WebM clip plays where VP9/Opus is supported; otherwise download the file.

Use the A/B mixer for manual live blending; use the separate Show sequence for ordered cues with timed holds and automatic dissolves. Starting a live mix stops Auto scene and a running cue sequence. Firing a cue or starting Auto scene ends the mix and gives that mode control. When you end the mix yourself, the more visible deck remains on stage. Freeze and Blackout apply to both decks. Deck looks and fader position are saved in the local session, but a reloaded session never starts performing by itself.

The mixer renders two procedural scenes at once while the fader is between its ends, so it needs more GPU resources than a single scene. Lower canvas size or render detail if allocation fails or the set stutters. The same mixed canvas feeds stage, projector and real-time recording. A local Chrome run checked distinct A, midpoint and B frames, plus 16:9, 9:16 and 1:1, Freeze and Blackout; this does not prove performance on all GPUs. The procedural A/B mixer supplies the base for separate local video layers. PHASE//VOID does not provide native OSC or verified physical-controller compatibility. The off-air Preview uses an additional small WebGL surface and refreshes less often if recording or frame pacing is slow. If this device cannot create it, a reference image appears instead; test your full set on the intended hardware. Test the entire setup before a show.

The free Studio combines a procedural base with two local video layers. The base can be one of the 108 worlds or the existing procedural A/B mix. The video layers are separate from those procedural decks: the picture crossfader still blends the procedural A/B looks, while each video layer has its own opacity and blend controls.

1. Choose your MP3/WAV or connect a supported live audio input first. Video clips are always muted: their sound does not join the speakers, audio analysis or recording. The separate connected audio source drives the worlds and any linked output effects.
2. Add local MP4 or WebM files to the clip library, then assign a clip to each video layer. The library accepts up to 12 clips, with a 200 MB limit per file, 512 MB total and a maximum decoded edge of 4096 pixels. A file extension alone does not establish codec support; your browser must be able to decode its video.
3. Play or pause a layer, restart its clip, seek, select Loop and set playback speed from 0.25× to 2×. Set trim in/out to restrict the playable portion. Watch the layer's state before bringing it into the composition; unsupported or missing media needs attention rather than another sensitivity adjustment.
4. Set each layer's opacity and choose Normal, Screen, Add, Multiply or Difference. Normal covers the picture below as opacity rises; Screen and Add suit bright elements over dark footage; Multiply darkens, and Difference creates contrasting combinations. Begin with low opacity so both materials remain readable.
5. Use Fit to keep the entire clip visible, or Fill to fill the output while cropping the edges. Flip the picture when needed and swap the two video layers' order to change which is composited last. Recheck the crop in 16:9, 9:16 or 1:1 before the take.

Selected clips remain on your device within the Studio workflow. Saving a session preserves clip metadata and layer settings, not the video bytes or a portable media bundle. After importing or reloading, reattach the files and explicitly start playback; restored layers remain paused. Website requests still reach Cloudflare, as described in Privacy.

Capture the whole look. Fire the next act.

Prepare a procedural world, two local video layers and the final Program effects, then capture them together as a cue. Move between complete compositions with Cut, Dissolve, Dip or Wipe, while your calibrated mapping corners and masks stay in place. Try complete clip show ↗ opens the kit banner in Studio; it does not apply the show, start audio or request input permission.

1. Add your local clips in Layers & text → Video layers. The clips are muted; their sound does not join the analysis or recording. Assign the clips to layers A/B, set opacity, blend, Fit/Fill, flip, trim In/Out, speed and Loop, then choose their order.
2. Shape the Program rack: Kaleidoscope, Pixelation, RGB split, wet amount, audio response and bypass. It processes Program and clips before mapping; independent procedural surfaces use their own surface FX. Press Add current look to capture the Program look, both clip layers, their desired playback and the rack. With Mapping enabled, the cue also captures the surface looks. After editing a saved act, use Edit cue → Copy current Program into draft → Save.
3. Choose a hold and transition in Show sequence. Incoming layers captured playing restart at trim In; those captured paused stay paused. Outgoing clips continue during the transition. Dissolve blends complete outputs, each with its own Program clips, rack and surface looks; Dip fades through black, and Wipe reveals the incoming output. Their duration is 0.25–4 seconds; Cut switches directly.
4. Before starting audio, recording or going live, press Prepare show. It checks every cue's required clip decoders off air and warms the procedural worlds used in the show, keeping the current stage, settings, map and transport. A missing file blocks preparation and names the file to reattach. Rehearse after preparation; it is not a zero-latency guarantee.
5. Connect your separate MP3/WAV or supported live input, then fire a cue or Run deliberately. Incoming clip decoders still prepare on cue fire before Program, mapping looks or FX change; preflight does not keep every cue video cached. A missing or unusable file blocks the whole cue instead of applying half a look. Manual BPM, holds and MIDI controls keep their existing roles; whole-cue pads additionally offer a manual beat/bar/four-bar launch grid, not independent per-layer launching or pixel-perfect synchronization.
6. Use Save full session or the header's Save session. After import or reload, reattach the same media files; layers stay paused and the sequence does not resume automatically. Fire a cue when ready. A saved cue keeps its requested playback behavior, not a running decoder or a portable media bundle.

Rehearse with the original clip-show kit.

Try it directly in Studio. Follow Try complete clip show ↗, save your current session, then press Load complete clip show. Studio downloads and decodes both original loops before replacing the settings and clip library. The loaded layers are paused; loading does not start audio. Press Prepare show, then Open test audio, Run, rehearse and Record. Undo clip show restores the previous settings in this tab, until reload; your own media needs reattaching.

Use downloaded files. Download the session JSON, loop A, loop B and the synthetic test WAV. Import the session in Studio, reattach both loops and press Prepare show. Open the WAV separately, then fire cues or Run and make a short recording. Keep the source files alongside the JSON for reopening; none is embedded in it.

The Studio test-WAV button plays the 24-second original. Downloadable sound.wav is 12 seconds from the same source, with identical PCM for those first 12 seconds; the rehearsal recording uses the first 10 seconds. This is original synthetic test audio, not a user's track.

Build a complete show from the homepage.

Start with a show, then make it yours. Warehouse pressure, Living metal, Optical drift are three creative recipes with four editable acts. Layers in motion is a separate original clip kit: two source loops, four captured acts, Program FX and a recorded rehearsal.

In the homepage builder, choose A live set, then A changing show in Look & frame. A library recipe opens this mode directly. Expand the procedural recipe to 2–8 acts. Choose One screen, Triptych, Room corner or DJ booth + wings in one output; Program or independent worlds; each act's worlds, surface FX, palette, hold and transition; A/B act banks; manual BPM, audio starting path, frame and gentler/full motion.

1. Copy your public setup link or download full settings-only Session JSON. Both keep the planned show without audio, video, artwork, private titles or later room calibration. Scene references are static; homepage Preview plays one selected world, not the complete mapped composition. A separately selected local track can continue with the show through explicit receipt in Studio.
2. Review in Studio, then press Load planned show. The link keeps your existing settings until loading. Use Undo planned show to restore replaced settings in this tab until reload; it does not restore earlier audio. Video media may need reattaching.
3. Press Prepare show, start demo/file/live audio deliberately, then Run. Align starter corners to real surfaces and inspect a short recording before performing. Tempo is supplied manually; frame rate and physical alignment are not guaranteed. Follow the complete soundtrack-to-show rehearsal.

The clip kit has its own Load complete clip show and Undo clip show flow. Its loops load paused; audio starts separately. The procedural composer changes worlds and surface FX, without editing or sharing private clip layers. Follow the clip-show rehearsal or detailed projection workflow.

Build a complete procedural show on the homepage, keep the MP3/WAV you selected there, then rehearse the loaded acts in Studio. Receiving audio, loading settings, preparing the show, starting playback and running the sequence are separate actions.

Plan my show on the homepage · Prepare and perform acts · Check a saved recording

1. Plan with your track. Choose A live set in the homepage composer, then My MP3 / WAV. Select one local file up to 200 MB and edit the 2–8-act recipe, layout, worlds, surface effects, holds, transitions, manual BPM and output frame. Homepage Preview sketches the selected act’s first world with your chosen preview audio. It does not preview the complete mapped show, act palettes, surface effects or transitions. Microphone / tab input connects only in Studio after a separate click.
2. Receive the selected file. Use Continue with my show & track in Studio. Keep the original page open until Studio confirms it loaded the track. In Studio, press Receive selected track; it receives audio only, paused with speaker monitoring off. The show is not loaded by that receipt. A modifier-click opens settings without the File transfer. If a popup is blocked, the source page closes, the transfer expires or you cancel it, use Choose MP3 / WAV in the rehearsal panel; this dedicated choice also loads paused. A planned file source alone does not mean audio was received.
3. Review and load the show. Review the listed acts and banks, then press Load planned show. Existing settings remain until that click. Loading replaces map, canvas, acts, timing and saved banks. Undo planned show restores the replaced settings in this tab until reload; it does not restore an earlier audio file or undo receiving a soundtrack. Video files remain separate and may need reattachment. Save a full session before leaving. After Undo, load and prepare the planned show again before rehearsing it; select another soundtrack explicitly if needed.
4. Prepare, start and rehearse. Press Prepare show and read its result. Edits to acts, output frame, calibrated geometry or required assets can invalidate preparation; prepare the changed show again. Choose Start loaded track deliberately. For a rehearsal, choose Run planned sequence separately and watch every act and transition; for a take including the first act, start capture before Run as described below. Manual holds need deliberate firing rather than an automatic advance. Start demo signal is a separate demo rehearsal. A file plan needs the local file source; another active input is not confirmation that the intended track is playing. For a live-input plan, connect microphone or shared-tab audio through the existing Audio controls and check its meters first.
5. Record before launching the first act. With the show prepared and the soundtrack playing, Record short take opens Capture without starting the sequence or recording. Choose 10-second test or the intended length, press Start recording, then choose Run planned sequence immediately as a separate action. Run remains available during recording; this order can include the first act. Opening Capture during an already running rehearsal may miss its beginning. These manual clicks do not synchronize audio and cue launches automatically. Keep Studio visible and the device awake. Stop recording before using Review recorded take; pause audio and stop the sequence when finished. Restart track from the beginning affects audio transport, not a promise to restart or synchronize a running cue sequence. Set the intended cue and soundtrack position yourself before the take.
6. Save and reopen the actual film. Read the recorded take’s inspection, then use Download video. Reopen the actual MP4/WebM with Open a saved video to check. Use Play start, Play middle and Play end to check moving geometry, transitions, trims and the intended sounds; playback is deliberate. Choose I have saved this video after checking the download. A download request or a saved-confirmation click alone does not prove a file was saved or its sound and picture synchronized.

The manual BPM grid, Tap/Resync and audio playback remain separate. Loading a recipe does not detect a track’s BPM, stretch its audio, align musical phrases or reproduce a performed set. Starter geometry must be aligned and tested on your actual projector; browser preparation is not physical calibration, a hardware-latency measurement or a guarantee of sustained frame rate.

The same File travels only between the two same-origin tabs after your explicit receipt. It is not uploaded, durably cached or included in the public recipe, copied setup link, saved session or MCP response. Reload requires choosing local media again. Settings-only sharing does not carry the soundtrack. Neither opening a show link nor receiving or loading it starts audio, the sequence, a recording or live-input permission. Public tools remain free; this is not an offline installation.

Capture formats, frame pacing and device limits vary. A recording stops at the end of a non-looping track, 30 minutes or 750 MB, and may stop earlier. Encoded packet timings and audio-track presence are useful checks, not decoded-frame counts, audible-content verification or a synchronization verdict. An unknown tail or unsupported inspection stays unknown; check the actual saved output before a longer show.

A checked four-act rehearsal.

A local Chrome rehearsal on 14 October 2026 followed one selected WAV through explicit receipt, Load/Undo, preparation, recording, download and reopening. Its 10.033-second saved WebM contains 293 distinct decoded pictures at 960 × 540 and stereo Opus audio. All four acts ran during capture. Six decoded-audio windows matched the controlled source at zero sample offset; this is not a physical or universal synchronization result. An earlier low-rate take was rejected. Keep the Studio window visible and inspect your own output.

These are decoded stills; motion was checked in the actual saved video. Read the measurements and limits (JSON).

Find the right clip, inspect it without changing Program, and recover its captured acts after reopening a session. Try the media-recovery rehearsal ↗. Opening the link retains your current setup; loading the example requires a click and replaces settings, with an Undo option.

1. Inspect off air. Open Assets in the Studio header, or Layers & text → Video layers → Open media library. Select a clip and use Play preview, seek and Loop preview. This separate video element is muted and never replaces Program. Close stops the preview; returning from a hidden tab does not resume it automatically.
2. Organize your set. Give clips a display name and bin, then Save clip details. Search matches names, original filenames and bins. Filter by bin, attached, missing or used-by-acts status, and sort by name or duration. Organization does not change clip IDs or cue dependencies. These bins differ from the procedural world Set banks.
3. Prepare a trim. Set Default In/Out in seconds or at the preview playhead, then Save clip details. The next Take into A/B uses that trim and starts the muted live layer. Existing layers and captured acts keep their own trim. Use Show sequence → Edit cue to revise a saved act off air, Preview draft, then explicitly Save; this updates the cue without firing it. Cancel discards the draft.
4. Save and reopen. Save complete session downloads settings, display names, bins, default trims, layer controls, effects, cue acts and mapping. Media checklist downloads original filenames, dimensions, sizes, trims and affected acts as local TXT. Keep the original media separately. Reopen session restores settings with files missing and transports stopped; it does not package video or restart a show.
5. Resolve every dependency. Use Need reattaching to see missing files and select one to read affected acts. Add / reattach files can check a batch; the last import report separates added, reattached, already-loaded and rejected files. Cancel stops further work while retaining admitted files. Reattach original file targets the selected missing entry; filename, size, decoded dimensions and duration must match. This metadata check is not a content hash. An ambiguous match needs explicit selection rather than silent replacement.
6. Prepare, perform, inspect. Reattached layers stay paused. Detach releases a file while keeping assignments and captured dependencies; Remove saved entry is blocked if an act uses it. Use Prepare show to check the complete show, then Open performance pads. Start separate MP3/WAV or live audio deliberately and launch the chosen act. Record a short take, download it, reopen it in the recording inspector and check motion, crop and sound before a longer performance. Speakers off in the audio strip disables only this Studio monitor output for files/demo. It keeps analysis and recorded-audio level separate; the existing volume still controls the recorded level. The preference stays in this browser and is not replaced by session import. It cannot silence another app or the original source of shared-tab audio.

Repeat the complete recovery rehearsal.

Download the actual saved settings-only session, original loop A, original loop B and original 160 BPM test WAV. Reopen the session from Assets, observe missing files, reattach both loops, Prepare show and start audio separately. The source clips are our synthetic footage, not a customer set.

Limits: up to 12 files, 200 MB each, 512 MB total and a decoded edge of 4096 pixels. Codec support and decoder/GPU resources vary. Two muted video layers feed Program before mapping; independent procedural surfaces do not gain separate clip decks. Preparation does not cache every incoming decoder or guarantee zero latency. Save/checklist files can contain private names; review them before sharing. Fixed action counts exclude names, bins, media and sessions. Privacy and recording checks.

This first-party Studio capture combines Ferro bloom, two original local loops and the final effect rack with our separate 160 BPM stereo WAV. The saved 1280 × 720 VP9/Opus WebM was reopened with distinct decoded frames and 48 kHz stereo sound. It is a short desktop Chrome check, not a long-set or device guarantee.

Open the same procedural base → Add your own clips using the steps above. The example contains our original test loops; the Studio link does not download or import them.

Open the Effects inspector. The global Program rack processes the composed procedural base and both video layers in a fixed order: Kaleidoscope → Pixelation → RGB split. Set each effect's amount, optionally link its response to the connected audio and use the rack's global bypass to return to the unprocessed composition. Bypass changes the picture, not audio volume. This global rack belongs to Program; an independent surface world excludes it and uses its own rack in Mapping. It is not a per-clip plugin chain or an arbitrary node editor.

1. Start with one small effect amount and watch the image while the clips play. A mirrored arrangement, a pixel grid and separated color channels change different parts of the composition; check their combined result before a performance.
2. Compare the rack enabled and bypassed. If audio link is enabled, check a quiet section and a stronger section of the actual source; muted video clips cannot supply that signal.
3. Test Freeze and Blackout on the complete output. Freeze holds the final image; Blackout covers the procedural worlds, video layers and effects. The projector and real-time recording receive the same composed output as the stage.
4. Record a short segment with your chosen ratio, both layers and the rack active. Reopen the saved file and check motion, crop, effect appearance and the separate audio source before a longer take. Keep the Studio visible and reduce output size or render detail if frame pacing becomes uneven.

WATCH, LOAD AND PERFORM THE SAME SETUP

Three surfaces. Four acts. One moving show.

Watch a recorded procedural show, then open its example session in Studio. Intro, Build, Drop and Breakdown change the surface looks while their calibrated corners and masks stay in place. The session and the original 160 BPM test WAV are separate files.

Review this show in Studio ↗

Choose a frame, then load it deliberately.

• 16:9 landscape: Review setup in Studio · Download session JSON
• 4:3 projector frame: Review setup in Studio · Download session JSON
• 9:16 portrait: Review setup in Studio · Download session JSON
• 1:1 square: Review setup in Studio · Download session JSON

1. Open a setup link. Studio shows the requested example; the link does not apply it, start sound or run the cues. Review it, then press Load example session to replace the current setup with the example map, canvas, cues and saved mixer looks. Undo example session returns to the settings you replaced in this tab, until reload. Save a session before leaving; video files need reattaching.
2. Press Open test audio when ready to connect the original 160 BPM WAV. Audio requires your action and is not bundled into the JSON. You can use your own local MP3/WAV instead.
3. In Mapping, align the corners and masks to your own surfaces. Use a calibration pattern for alignment, then switch it Off to show the visuals. Cue recall and mapped mixing preserve this current geometry.
4. In Show sequence, fire Intro, Build, Drop and Breakdown. The example uses Manual holds: press Next to advance. Intro uses Cut; Build, Drop and Breakdown use Dissolve, Wipe and Dip respectively. To change a mapped cue, choose Dissolve, Dip or Wipe and a duration from 0.25 to 4 seconds; Cut is also available.
5. After tuning, use Save full session in Mapping or Save session in the header menu. Reopen it through Studio's session import and reconnect audio separately. The saved session keeps the map, canvas, cues and mixer settings; it contains no music, artwork or video bytes and does not resume a running show.

Dissolve

Blend two moving mapped images.

Dip

Fade the outgoing image to black, then bring in the next.

Wipe

Reveal the next mapped image from left to right across the output. The surface masks stay fixed.

Mix two mapped looks by hand.

The example already saves Build in A and Drop in B. In the existing Live mixer, enable Mix independent surface looks, press Start live mix and move the picture crossfader. Both banks keep moving with one shared audio input; the fader changes the image, not the sound.

To prepare another pair, end the mix, tune your surfaces and press Capture surfaces into A. Change their visuals and FX, then press Capture surfaces into B. Each capture copies the current Program look and surface settings.

End live mix accepts the nearer bank: A below 50%, B from 50%. End the mix before editing or capturing surface looks, changing sources or editing cues. Corner and mask geometry remains editable and affects both banks. After changing the surface list, capture both banks again. Missing captured surface IDs reject a start or recall before changing the output; restore the matching session or recapture for the current map.

Download the original 160 BPM test WAV · Build another starter layout

Output setup, corner calibration, independent surface visuals and the layout planner now live in the one-projector projection mapping guide. Your existing Studio setup is kept. Sound input, live performance and the original show rehearsals remain on this page.

Revise a saved act without replacing Program.

Prepare another complete composition before you fire it. Try complete act editing ↗, or open your Studio and choose Show sequence → Edit cue. Opening the editor and previewing a draft do not start audio.

1. Open the saved act. In Show sequence, choose Edit cue. Program look, Clips & FX and Surface looks belong to this draft; they do not apply changes to the current Program or audio. Cue thumbnails are static world references, not complete-act previews.
2. Shape the complete composition. Choose the Program world and controls. Assign existing library files to the two layers and adjust In/Out, opacity, blend, Fit/Fill, flip, speed, loop, layer order and Play on recall. Checked playback restarts at In when the cue fires; unchecked stays paused. Adjust the master rack and any saved surface look, crop or FX. Current calibrated corners and masks remain untouched. Program clips/master FX act before mapping; independent procedural surfaces retain their own FX.
3. Check the draft deliberately. Press Preview draft for a muted moving picture at 640 px on the longest edge, targeting about eight updates per second. It shares the existing audio analysis and does not start a song or request input permission. Global live title/artwork overlays are excluded because cues do not capture them. Use Pause preview for the draft; stage Freeze and Blackout do not pause or black out this separate preview. Changes release it: press Preview draft again to refresh. This adds graphics/decoder work and is not an output-frame-rate, physical-projector or long-set guarantee. An unavailable preview shows an error.
4. Save or discard. Cancel or close discards the draft. Save closes the editor and replaces that cue only; it does not fire it or change Program/audio. Stop recording, loading, pending launches, transitions and the running sequence before saving. Undo saved edit restores the previous version of one saved edit in this tab. It becomes unavailable after conflicting cue edits or reload; it is not persistent redo/history. Earlier/Later, Duplicate and Remove are immediate sequence actions: they discard the current draft and require stopped playback with no pending transition.
5. Handle legacy or missing media explicitly. An older cue keeps its earlier live-clip/FX behavior; its draft preview excludes those live clips/rack. Enable clips & FX for this act starts empty layers and a neutral rack in the draft; Copy current Program into draft copies the current composition. Save is still required. Missing media is listed; Save can retain those dependencies, but Preview and Prepare show cannot use them. Cancel, open Assets, reattach the originals and reopen the act.
6. Prepare and rehearse the saved result. After saving, press Prepare show. Start your separate MP3/WAV or permitted live audio deliberately, then fire the act, use performance pads or Run sequence. Prepare checks required files and warms worlds; incoming decoding still occurs on recall. Save complete session retains settings and clip metadata, not media bytes. Reopen stopped, reattach originals paused and prepare again. Record/download/reopen a short take before a longer show.

Repeat the before-and-after act rehearsal.

Ready-loaded path: open the original rehearsal, then click Load act editing rehearsal. It checks/attaches both original loops paused and opens Drop as a draft. Loading replaces current settings/library after your click; save your own session first. Undo clip show restores earlier settings in this tab, with your own media needing reattachment. It is separate from Undo saved edit.

Local recovery path: download the before session, original loop A and original loop B. Reopen in Assets, observe missing files, reattach the originals paused and open Drop. Preview/edit, try Cancel, reopen and Save; compare Undo saved edit before another revision. Prepare show, open the separate original test WAV deliberately and perform.

Compare the saved result: open the edited rehearsal and click Load edited act rehearsal, or download the after session. These actual native session downloads differ only in Drop: Program, calibration, Clip Deck and other acts match. Public Freeze is off for replay. JSON stores settings/metadata, not media. Sources are synthetic first-party loops, not customer footage. Recovery steps · Check the downloaded take.

Inspect the revised act off air.

Watch the revised Drop after restore.

Local data and measurement: Saved-act drafts and muted previews stay in this tab. Saved cue settings may persist in browser settings/session JSON, including private cue/clip names and metadata, without media bytes. Public recipe links and read-only MCP do not carry or access these private acts. Opening the editor, first drawn preview, Save, Cancel, Undo and successful Prepare each send a fixed anonymous milestone once per page; names, settings, media and visitor identifiers are excluded. Independent counts do not prove a joined funnel, unique performers or musical synchronization. Review private session names before sharing. Media is not uploaded. Privacy.

Perform complete acts from pads.

Open Show sequence → Open performance pads after loading a show starter, reopening your session or capturing your own acts. Eight large pads form a bank; the bank selector reaches all 32 cues. Their static reference images identify worlds, not every saved layer or control. The Program monitor copies the complete final mapped picture at up to 10 fps; the stage, projector and recording keep their own render cadence.

1. Prepare your actual setup. Reattach required clip files, press Prepare show and start MP3/WAV or live audio separately. Keep Studio visible and uncovered. Check the record/speaker level: zero means a silent recording. Play/Pause and that level are available inside the performance view. Set Manual BPM yourself, Tap quarter notes and press Resync on a downbeat. This 4/4 clock does not detect or time-stretch music.
2. Choose when a deliberate request enters. Launch Now uses the existing immediate cue workflow, including necessary media preparation. Next beat, Next bar and Every 4 bars queue the complete act for a strictly future manual-clock boundary. The four-bar grid is aligned to Resync. Pad clicks, keys 1–8, Run sequence, Next and learned MIDI cue triggers use that choice; automatic cue holds keep their existing transition-then-hold behavior.
3. Read the pending state. Preparing keeps the current output while incoming clips decode off air; ready clips wait paused. Queued shows the selected act and remaining beats. Blue marks the current cue; purple marks its queued replacement. A later request replaces the earlier one. Cancel queued cue keeps the current picture and resumes an earlier running hold; Stop cancels the queue and stops future sequence changes.
4. Control interruptions deliberately. Freeze holds the final picture, transitions and cue holds, and suspends a queued launch. Unfreezing or returning from a hidden tab selects a fresh future boundary. BPM edits preserve the beat target; Tap or Resync re-arms it. Blackout hides the entire picture while timing continues. Changing launch mode or importing settings cancels pending launches. Opening an act draft leaves the pending request intact; Save waits until it is stopped.
5. Rehearse, save and inspect. Choose non-sequential acts, verify clips and surface FX, then record, download and reopen a short take. Session settings remember the launch mode and cue data, with no armed launch or running sequence after restore. Reattach media. Shortcuts T/R/H/B work in the performance view; typing into controls suppresses shortcuts and MIDI performance actions.

If preparation crosses a boundary or the renderer arrives more than 100 ms late, the request waits for the next future boundary rather than catching up in a burst. Last quantized draw separates request delay, render-completion delay and missed boundaries against the manual grid. These timings do not measure physical sound-to-screen latency, encoded-frame placement or musical alignment. Poor frame pacing may repeatedly postpone a launch; lower size/detail and check the actual setup.

Open the same four-act pad rehearsal.

A real 10.025-second, 960 × 540 VP9/Opus Studio take uses non-sequential pad requests on Next bar with the manually set 160 BPM grid, two original muted loops, Program FX, mapping and the original test audio. It was downloaded and reopened locally. The encoded file contains 279 video packets (about 27.9 per second), stereo 48 kHz audio and a largest packet gap of 70 ms, with no known final-packet tail or verified physical synchronization. This short check does not establish long-set reliability.

Review the pad rehearsal in Studio ↗ then explicitly press Load pad rehearsal, Prepare show, Open test audio and Open performance pads. The kit loads settings and both original loops after your click, with clips paused and no armed launch; audio starts separately. Resync before playing your pads.

For manual restoration, download the actual saved session JSON, loop A, loop B and original 160 BPM WAV. Import session, reattach the loops by their unchanged names, Prepare show, open the WAV and rehearse. The encoded timing report describes the recorded file; it cannot prove a requested pad boundary became an exact encoded frame.

Build a show with up to 32 cues using Add current look. Each cue keeps a copy of its Program scene and visual controls. With Mapping enabled, it also captures every surface’s visual, look, surface FX, source crop, visibility, opacity and blend. Recall keeps the current calibrated corners, masks, output canvas and Mapping switch. If a saved surface ID is missing, the sequence stops and leaves the output unchanged; restore the saved session or recapture the cue for the current map. Choose another world and add the next cue, then use Edit cue to rename, duplicate, reorder or remove it. Titles, artwork, Freeze, Blackout and Gentler motion stay global. The cue images identify their original scenes; they are not previews of every saved control setting.

Surface cues support Cut or a 0.25–4 second Dissolve, Dip or Wipe between two moving complete mapped looks, including independent worlds. Program-only cues may Cut or Dissolve between moving Program worlds. A cue's hold begins after its incoming transition finishes: choose Manual to wait for Next, Seconds for a timed hold, or Bars to wait at least the selected number of bars and move on at the first 4/4 boundary at or after that minimum. Bars use your manual BPM and Resync position, without detecting the track's tempo.

Run sequence starts from the selected cue, or the first cue if none is selected. It stops at the end; Run again starts from the first cue. You can fire individual cues or press Next without starting automatic playback. Start audio separately. Stop cancels future cues and lets a current dissolve finish. Firing another cue during a dissolve cuts directly to the latest choice.

Starting or firing a cue turns Auto scene off. Enabling Auto scene or choosing a world or saved look stops the cue sequence. Freeze pauses both worlds, the dissolve and the hold; unfreezing retains elapsed hold time. Blackout hides the complete output and does not pause timing by itself. Returning from a hidden tab starts the current hold again. Tap and Resync restart bar holds; seconds remain independent. Opening a saved-act draft does not fire it or change Program/audio. Save requires a stopped sequence and no pending launch or transition.

Mapping → Surface show can append Intro / Build / Drop / Breakdown as four Manual-hold cues without replacing your queue or starting playback. Intro captures the current look; the other acts use distinct procedural worlds per surface with your current surface FX. Use Edit cue to revise a saved act off air. Copy current Program into draft copies the current composition; Save explicitly replaces the cue, not Program. New captured cues retain both clip layers and master FX; legacy cues keep live clips/FX until explicitly enabled or copied into the draft and saved.

Mapping → Save full session or header menu → Save session includes the calibrated map, canvas, copied Program/surface cues, timing and mixer, without audio or artwork files or a running sequence. Import preserves the current Freeze, Blackout and Gentler motion modes and stops both the cue sequence and Auto scene. Stop recording before importing a session. Dissolve needs extra graphics resources: if its surfaces cannot be allocated, the cue uses a cut. Lower render detail or resolution if your setup cannot sustain smooth transitions.

Reuse your captured compositions without replacing the receiving session. Open Act Packs in Studio ↗. Arrival opens the workflow; it does not append a pack, attach media, fire a cue or start audio.

1. Export only the acts you need. Open Act Packs from Show sequence, choose Export acts, select cue entries and press Download selected act pack. A pack retains their captured Program look, clip layers/playback intent/master FX, surface looks/crops/FX, transitions and holds. It is not a full session, world-ID bank or media bundle. Save your complete session separately as a backup.
2. Keep a usable export. If no file appears after Download selected act pack, use the visible Save act pack JSON link. Or press Copy pack JSON and save the complete text as a UTF-8 .json file. If clipboard copy fails, select/copy the read-only Generated pack JSON manually. After changing selection or pack name, generate again before using the link or copied JSON.
3. Review before importing. Open a pack JSON in Act Packs. Preflight shows the incoming acts, media dependencies, source surfaces and capacity. Import appends all acts in the selected pack; it does not replace your queue or take them on air. Current Program, audio, timing, MIDI, output dimensions/export options and calibration remain. If current work blocks append or the receiving setup changes, resolve it and refresh preflight.
4. Choose each media entry. Use the explicit dropdown to reuse a compatible library entry or add a new detached descriptor. Matching checks filename, size, decoded dimensions and duration within 0.1 seconds; it does not use modified time or establish cryptographic identity. A unique match defaults to reuse. Ambiguous matches default to a new detached entry, so review rather than assuming the file is attached. New IDs are assigned and cue references follow them.
5. Bind looks to your own surfaces. For captured surface looks, choose a current target for every source surface, or explicitly disable the captured looks. No two source looks in the same cue can use one target. An unknown or unanswered dropdown blocks append. Corners, masks, canvas and venue calibration never come from the pack; only stored looks/crops/FX bind to your targets. Review warnings: disabling looks on a legacy surface act can turn Dip/Wipe into Dissolve. Mapping stays off if it was off; enable it and disable test patterns deliberately before a mapped performance.
6. Append, then check Undo. Press Review import, then Add … reviewed acts; the button shows your pack’s count. Imported cues get new IDs and remain separate from your existing acts. Undo last pack import removes the latest pack’s unchanged acts and unused detached entries. It keeps reattached/loaded media and entries still in use. Editing imported acts blocks that Undo; editing earlier acts does not mean their changes will be reverted. This is not persistent history.
7. Recover, prepare and fire deliberately. Use Assets to reattach missing originals; recovered layers stay paused. Open an imported act in Edit cue to inspect or revise it off air, then Prepare show. Start separate audio yourself and fire through the existing sequence/pads. Bars use the receiving show’s manual BPM, not an imported tempo or automatic detection. Save the full receiving session, record a short take and reopen it to check image and sound.

Try the original local-source packs.

Download the original four-act pack or revised four-act pack, and the separate original loop A / loop B. Open your receiving show, import the example JSON and review reuse/descriptors and surface bindings before append. Try Undo last pack import, then import again, reattach missing originals and Prepare show. Open the separate original test WAV deliberately and fire an imported act. Sources are synthetic first-party footage, not a customer set; a JSON download or reference image alone does not demonstrate motion or a performed show.

Repeat the transferred-show rehearsal.

Use the synthetic receiving session, the actual GUI-generated/copied pack, separate loop A / loop B and original test WAV. The receiving fixture is a full session; the pack is selected acts without media or calibration.

1. Start the separate rehearsal. Save your own full session first. Import the receiving-session JSON with Import session, not the Act Packs file picker. This intentionally loads a synthetic full-session fixture with one existing act, two missing media entries and its own calibration; it replaces current settings for this rehearsal. Real pack import uses your receiving show without replacing it.
2. Recover its two originals. In Assets, reattach loop-a.webm and loop-b.webm. They remain paused. Open Act Packs → Import pack and choose exported.json, the complete pack generated and copied from the GUI during the native transfer check.
3. Bind and review. Reuse the two matching loaded media entries. Assign source My calibrated wall to target Receiving wall. Press Review import, inspect the 1 → 5 cue count and capacity, then Add 4 reviewed acts. The existing act and receiving calibration remain. No cue or audio starts from append.
4. Prepare, then perform. Press Prepare show, open the separate test WAV deliberately and choose Now to fire the imported Intro, Build, Drop and Breakdown. Keep the existing act separate from those four. Record a short take and reopen the saved local output through the file chooser. No export, copy or manual-text fallback uploads a private pack or media.

Watch the four imported acts perform.

Boundaries: up to 512 KB JSON; the combined queue has at most 32 cues and the library 12 entries/512 MB total library media. Imported descriptors still need browser-decodable original files and do not bypass existing media limits. Acts keep captured playback intent; attached bytes remain local and missing dependencies must be resolved before Prepare/Fire. Packs do not transfer calibration, global title/artwork overlays, audio files, running transport or source MIDI bindings. Recover media · Edit and perform acts · Inspect a short export.

Act Pack export/import reads and writes local JSON, without uploading private packs or media. Packs can contain private cue names, surface labels and original clip filenames/descriptors; review before sharing. Captured surface looks do not include venue calibration geometry. Public example downloads request fixed first-party assets; a Studio entry marker contains no private pack data. Read-only MCP can describe public examples but cannot read/export/import private acts, match local files, bind surfaces, append, undo or perform a show. Privacy.

Record video captures the generated canvas and the connected audio in real time. Available MP4 or WebM options depend on the browser. Keep the studio tab visible during capture.

A segment ends at 30 minutes or 750 MB, whichever comes first. Save and check that recording before starting another. Those limits help bound memory use; they do not guarantee a device can record every resolution without dropped frames.

For a planned release, first record a short test and listen to it. See the music video guide for format and export details.

Open Studio → Sound and find Get the timing right above Timing & beat sync. Start at 0 ms, play a sharp, repeated hit and compare the screen with the speakers you will actually use. The Input now and Picture reacts indicators compare observed audio hits inside Studio; they do not measure acoustic sound or pixels appearing on a projector.

1. Picture lands first: choose that symptom and add delay in 10 ms steps until the picture meets the sound. The slider gives 5 ms steps up to 250 ms. Measured bass, mids, highs, spectrum, waveform and hits move together; the selected BPM pulse receives the same added delay.
2. Picture lands late: use Reset to zero first. Prefer a direct mixer/interface or supported tab signal over a room microphone. In Output → Performance & display tools, lower render detail. Check the projector's own low-latency mode. For steady music, Timing & beat sync → Visual timing can move the manual/file-grid pulse earlier; this shifts the predicted pulse only, not unknown future live bands.
3. They land together: leave added delay at zero. Recheck after changing the sound route, wireless speakers, audio device, projector or display processing.

The correction changes visual analysis, never audio playback, source meters or cue deadlines. It is visible in Studio, the projector and live recordings. File-rendered films keep their independent soundtrack timeline and ignore this room setting. The setting stays only in this browser, outside downloaded/shared sessions; importing a session does not replace it.

Rehearse the exported show, too.

Attach the same clips and audio you will use, then press Prepare show. Rehearse the demanding cue changes, independent surfaces and transitions; a check of one simple world does not cover that workload. Start audio deliberately, then run the show and make a short recording with the Studio window in front and uncovered.

Use Timestamped · where supported under Capture method; Browser capture · compatibility remains available for a retry. The finished take is inspected locally. Use Play start, Play middle and Play end, checking clips, effects, transitions and corresponding sound. Compare its encoded packet timeline with the preview-draw report; neither matching endpoints nor a smooth stage proves content synchronization. Download, then use Open a saved video to check for an MP4/WebM up to 800 MB, and keep the Download timing report result. Keep calibrated corners and masks; reduce rendering workload before changing room setup. Follow the complete recording check. A missing final packet duration leaves the tail/end difference unknown and the packet rate approximate; codec priming can also affect decoded audio boundaries. Use Play end rather than inferring the final picture or sound from the last PTS. Capture remains real time and device/memory-limited; a short rehearsal does not establish physical-projector or prolonged-set stability.

Turn a recovered show into a music-video file.

With a local MP3/WAV and all required clips attached, file render uses the current composition or a reviewed cue timeline. Complete Manual holds before rendering; it does not replay MIDI or pad clicks. It includes both Program clips/master FX, captured surface looks and transitions on the current map, and pauses the show during the job without replacing Program. Microphone/shared-tab input and live gestures remain the real-time path. File render does not install the app for offline use or certify physical output timing.

Analyze a steady 8–60 second section of MP3/WAV silently, compare alternative BPM readings and bring the selected track into Studio for explicit receipt and tempo review. In Studio, Sound → Timing & beat sync → Find tempo from loaded track reuses the current file. Applying BPM does not start audio, change the pulse source, find beat one or fix physical latency. Open the free local BPM finder →

Sound → Timing & beat sync → Align file beat grid decodes a 2–32 second waveform window locally and silently. The operator places beat one, enters 30–300 BPM, inspects later windows for drift and deliberately applies BPM, file alignment and Track sync. Guarded Undo restores the earlier BPM, exact file phase and pulse source. Track sync and file-render reviews/films use the same pulse envelope at absolute soundtrack seconds, including trimmed starts and pulse delay. A different soundtrack cannot borrow the loaded file’s grid. Audio, playback, cue-grid position, mapping and delay stay separate. Alignment lasts in this tab for this file; replacement, session load and reload reset it. No changing tempo map, automatic downbeat detection, audio stretching or physical latency correction. Follow the waveform → grid → film workflow.

Layer frequency bars, a radial Ring or an instantaneous Waveform over your world/video, then frame your title or artwork and inspect the finished file. Soundwave opens a free Program layer with frequency Spectrum bars, a radial Ring or an instantaneous Waveform. Choose color, position, size, response, opacity and background darkening without replacing or starting audio. The layer uses the existing MP3/WAV or supported live-input signal, sits above Program video/worlds and below titles/artwork, and reaches the composed projector and realtime recording. File-render first-frame review, causal storyboard and encoded films consume the current decoded signal with frozen layer settings at each actual output size. Local/settings-only sessions retain the layer; legacy sessions default off. Freeze/Blackout cover the complete output. Independent mapped world sources and shared procedural-look links exclude this global layer. This is not a whole-track waveform, calibrated meter, lyric generator, source separation or physical latency correction. Follow the spectrum-to-video workflow →

Let a kick change geometry while higher frequencies pull the color apart. Audio links connect the Studio’s existing analyzed music input to four effect parameters independently. You can use them on Program or give each mapped surface a different response. Your soundtrack remains local; enabling a link does not start playback or request a device.

Open the Effects workspace →

One soundtrack. Two different responses.

This actual Studio file render uses our original test audio: Bass drives the left surface’s Kaleidoscope from 2 to 8 folds; High drives the right surface’s RGB split from 0 to 60% with gain 2. The independent sources are Liquid mandala and Rave fan. Black areas are deliberate unused projector canvas. This is browser output, not footage of a physical venue.

Start with one connection.

1. Open your MP3/WAV or deliberately connect a supported live source in Audio. Check the meters. Muted video layers in Assets are not a second sound input. The file guide explains playback and the live input instructions cover capture.
2. Choose Effects → Audio links & beat loops. Every target starts Manual in a legacy or neutral rack. For Kaleidoscope, select Bass. Its initial 2 → 8 fold range makes the connection visible even when the rack’s manual kaleidoscope slider was Off.
3. Expand the range summary. Low value is the low-signal result; High value is the high-signal result. Set quiet above peak for the opposite response. Kaleidoscope uses whole folds; values below two mean Off. The other targets use percentages.
4. Choose Linear for a direct response, Smooth for an eased transfer or Punch to emphasize stronger peaks. The small graph shows the transfer shape. It is a settings diagram, not a recording of your music or a time envelope.
5. Raise Noise floor to ignore lower input values, then use Gain to reach the desired range. These controls change the visual mapping, not speaker volume. Watch the live resolved value beside the target while checking both quiet and strong passages.

Choose bands for a reason.

These are starting settings, not an automatic musical arrangement. Bass/Mid/High are the existing analysis bands; Energy is the existing overall reading. Transient follows the detected audio hit, not manual BPM, Track beat-grid phase or an isolated kick stem. The existing analyser supplies its own smoothing. Audio links add no separate attack/release clock.

Different surfaces, one shared soundtrack.

1. Enable Mapping, select the named surface and choose its source world or Program. In Mapping → Audio links & beat loops, connect Bass to its Kaleidoscope.
2. Select another surface and connect High to RGB split. Changing these links affects only the selected surface’s FX. Corners, crop, masks, opacity, blend and other surfaces remain separate.
3. Inspect the complete mapped picture, then use Mapping Undo/Redo to compare. Program-source surfaces receive Program effects first and their own surface FX afterward. Independent world sources receive their own surface links and do not inherit the Program rack.

Calibration patterns bypass picture effects. Freeze and Blackout cover the composed output. Existing performance locks protect the relevant rack while a captured mix or transition owns it; finish the active operation before editing a locked rack. A source preview does not prove a projector’s physical alignment or timing.

Save the setup and inspect the film.

Save session retains Program and mapping links. Save map retains surface links. Captured compositions/cues retain their Program rack, and captured surface looks retain their own links. The act draft editor can edit those links before Save; a changed draft needs another preview. Imported links are validated before application. Music and media still need their normal local-file recovery.

For MP3/WAV films, Review and Render from MP3/WAV evaluates every link against the current causal decoded frame. Preview, transitions, mapped banks and finished films use the same transfer rule. File and live analysis are different signal paths, so their pictures are not promised pixel-identical. Reopen the actual downloaded film to inspect movement, framing and sound in each delivery format.

A linked target overrides its manual slider. Return its source to Manual to use that slider again. Clear links removes all four connections while retaining manual values. Bypass FX bypasses the rack; Reset rack clears both effects and links. An explicit FX amount link replaces the older overall-energy amount switch, so the value is not driven twice. Settings change no audio files, microphone permissions or telemetry fields.

Prepare your sources and map in Studio, then use Stage view above the picture. It folds the tool rail, worlds and sequence editor so you can watch the final composition at a useful size. Press Hide controls for more space. The soundtrack transport, Freeze and Blackout remain below the picture; Record video and Go live stay in the header.

Open Studio and prepare the stage →

Set up, perform, recover.

1. Choose your output frame and resolution in Output. Load the intended MP3/WAV or deliberately connect live audio, then verify the meters. Keep Speakers off when monitoring would feed the room back into your input.
2. Open Mapping, select a surface and align its corners. The handles follow the fitted image when the workspace changes size. Dragging the divider between the image and inspector resizes controls; it does not move a mapped surface.
3. Press Stage view. Hide controls when you want an unobstructed composition. Mapping handles disappear with the inspector; the actual projected geometry remains unchanged.
4. Press Show controls, or the picture toolbar’s Map button, to adjust again. Stage view can retain the inspector. On a phone, revealed controls appear below the preview.
5. Use Workspace → Browse worlds or Performance pads without rebuilding your show. Workspace → Show sequence returns to the full editor. Back to Studio restores tools and libraries. Reset layout also restores the default control width.

Resize with keys, too.

Tab to the divider named Inspector width. Left widens the controls; Right gives space to the preview. Shift changes width in larger steps, Home/End reach the available bounds and Enter resets to 352 px. Width stays within 260–520 px and may shrink further within that range to leave room for the preview. Growing the window restores your preferred width. Escape cancels an active drag; otherwise it returns Stage to Studio, unless a dialog, edited field or fullscreen has its own Escape action.

A bigger preview is still the same output.

Stage view changes your workspace, not rendering resolution, Render detail, audio timing, speaker level, canvas ratio or normalized mapping coordinates. Fit/Fill still controls the local preview. Your projector and finished movie use the configured output canvas. Select 16:9, 9:16, 1:1 or your custom size deliberately; increasing the browser window does not create a higher-resolution export.

Layout preferences are remembered on this browser only. They are separate from Save session, Save map and shared links. They add no audio permission, file upload, remote control, analyser, renderer or telemetry field. A blocked browser-storage write does not prevent using the controls; preferences may reset on reload.

See the earlier workspace and the bounded verification

The measured earlier fitted image was 432 × 243 px. The 1.69 default with the same loaded source was about 564 × 317 px; Stage with controls hidden was about 1079 × 607 px. These are one browser/window measurements, not a device-wide speed claim. A separate unchanged frozen-frame comparison and actual downloaded film compare the output independently. Dated method, results and limits.

Before a set, inspect your actual projector alignment, signal timing and a saved output. A larger operator preview does not establish physical alignment, latency, brightness or long-set reliability.

A band follows the current sound. A beat loop gives the effect a repeating phrase: a slow fold across four bars, a one-beat alternation, or a different held value each cycle. Combine them on separate parameters to keep motion intentional between audio hits.

Open the effect modulation editor →

Hear one track. Give each surface its own phrase.

This actual Studio film combines Chrome knot on the left with a two-beat Triangle loop (2–8 folds), and Spectral organ on the right with a four-beat Sine (2–8 folds, quarter-cycle offset). High still drives the right RGB split. Both loops follow the same aligned 160 BPM Track sync grid. Black gaps are deliberate unused projector canvas.

Build one repeating movement.

1. In Sound → Timing & beat sync, set or Tap the intended BPM. For a loaded MP3/WAV, use Align file beat grid, place beat one and apply Track sync when the motion must follow your file through seeks and trimmed exports. An audio-transient pulse still uses the manual grid for loops; it does not supply a stable beat count.
2. Open Effects → Audio links & beat loops. Choose Beat loop for Kaleidoscope. The initial 2 → 8 fold range and one-bar Sine create a complete movement immediately; no music starts from this choice.
3. Expand the range summary. Low value and High value are the endpoints. Swap their order for reversed motion. Kaleidoscope resolves to whole folds; values below two are Off.
4. Choose Loop length in beats or four-beat bars, then a Waveform. Change Cycle offset to make another parameter or surface reach its peak elsewhere in the cycle. Watch the actual value beside the target and inspect the full picture.
5. For a second connection, keep High → RGB split as an audio-band link while geometry follows the loop. Each target has one driver; this is not two competing drivers on the same slider.

Choose a shape for the movement.

The small graph shows the selected waveform; Step random shows four cycles. It is a settings diagram, not recorded audio. The same beat and settings recover the same Step random value after a seek. The sequence is deterministic, not fresh randomness on every picture.

Give different surfaces different phrases.

Enable Mapping and select the named surface. Its Audio links & beat loops editor affects only that surface’s rack. Try one bar on a focal source and two bars with a half-cycle offset on a supporting source. Mapping Undo/Redo compares the edit without moving corners. Independent worlds receive their own surface FX; Program-source surfaces first receive the Program rack, then their own rack. Calibration patterns bypass these picture effects.

Keep the phase you intended.

Loops share the selected beat grid; selecting a surface or recalling an act does not restart that grid. Resync aligns the manual clock, while Track sync follows the saved file grid. A positive Visual timing offset delays the movement. Gentler motion makes the cycle four times longer; audio-band responses stay independent. Loop changes alter visuals, not soundtrack speed, MIDI clock, audio stems or physical projector latency.

In File render, Track sync uses absolute soundtrack time, including the selected start and aligned origin. Other pulse sources start the manual loop clock at film zero. Use Track sync when comparing a later trimmed passage with the same part of a full-film grid. Each completed delivery format evaluates the loop at its own actual picture times; a first-frame still does not verify moving output.

Save, bypass and recover.

Sessions retain Program and surface routes. Save map retains surface routes; captured compositions/surface acts and draft edits retain their respective routes. Music and video files still need normal local recovery. Choose Manual to remove one route, Clear links to remove all routes in this editor, or Bypass FX to retain settings while passing the original picture. Reset rack also clears routes. Freeze holds the final picture; unfreezing rejoins the current clock.

Loops add no timer, audio analyser, media upload, permission or telemetry field. They animate these four existing effect targets, not every Studio parameter or a general keyframe/plugin graph. Check a real saved film and the intended projector before a set; digital phase does not establish physical sound-to-screen synchronization.