The software our
industry never got
round to writing.

Adds the panels an Analog Way switcher's own Web RCS does not have — LivePremier, and since 0.6.0 Midra 4K and Alta 4K too: an Edit page that is the Screens / Aux. layout with one row instead of two, so a look can be programmed off both buses and then saved straight into a real memory, a VPU resource map, a lighting-desk command line, a theatre cue stack, a memories list across every bank, a layer-properties panel generated from the device's own catalogue, with names for layers the switcher cannot hold, layer groups driven as one with a send-to menu on every source card, routing through an external Videohub, Lightware or Turtle AV matrix — or a placeholder of one, so a show is built before the rack arrives — a Bitfocus Companion on the same address, its buttons pressable from a cue or a memory recall, Pitch Compensation for mixed-pitch LED walls, OSC input, cues fired from timecode, MIDI control-surface mapping, HyperDecks and Mitti played, cued and recorded with rules that follow the show, a layer lock that holds a layer through a take or takes one alone, an EDID builder on the switcher's own EDID page, a Pixelhue console panel with every control remappable (preview), a DaVinci Resolve Speed Editor as a switcher panel, held by a device host that looks after USB panels for the app, the frame's audio channel matrix as a crosspoint grid, remote access over Tailscale or ZeroTier, live multiviewer pictures in the source thumbnails (preview), a thumbnail relay that sends the source previews as JPEG and refreshes the ones being edited fastest (preview), the whole setup in one file, audio routing from the command line, and arithmetic in numeric fields — type 1080-80 into a layer width and get 1000. Every one of them is a plugin you can switch off, and a plugin of your own can add to them. It runs as a local proxy, so you browse to it instead of to the switcher and the extra panels are simply there, drawn in the vendor's own design language.

A modern control surface for Analog Way Midra and LiveCore series video processors. Its Workspace puts sources, every screen and memories on one window-filling page — build in program, preview or both at once — backed by a graphical layer editor, memories, takes, a multiviewer/confidence-output designer, EDID writer and a full variable inspector.

A minimal PDF-only presenter: Now/Next view with clickable slide thumbnails and a fullscreen output on the second display, driven by keys, a clicker or OSC. No notes panel, no media, no deck editing.

A platform-independent audio cue player for theatre and live events — cues, fades, links, loops and vamps, with a per-cue output routing matrix. Driven by OSC, MIDI, MSC, MMC, Art-Net or sACN.

Renders any web page offscreen through Chromium at a broadcast raster and rate, then sends it to DeckLink and AJA over SDI, to the network as NDI, OMT and RTMP/SRT, into Resolume or TouchDesigner over Syphon and Spout, and fullscreen to a GPU-attached display — every output taking the same frame. It can run several such pipelines at once, each with its own browser, clock and raster, so a page that hangs on one feed cannot touch the others. The engine clocks the browser one frame at a time rather than letting it paint on its own timer, so 50 ticks a second really is 50 paints. Settings, live diagnostics and an interactive preview are all in the browser, so a rack machine needs nothing but an HTTP port.

A multitrack recorder that runs entirely in a browser tab. Choose an audio interface and it gives you one track per input, mapped 1:1, streamed straight to a folder on disk as mono WAVs. A continuous pre-roll buffer holds every input as it arrives, so pressing record puts the previous 30 seconds at the head of the take. When a disk stalls, the frames it lost are padded with silence and written into the take's manifest, so a gap costs content and never time — and a generated test signal proves the whole chain without an interface, with a 1 kHz reference at exactly -18 dBFS.