Release notes
What changed in the latest builds, newest first. The desktop app checks for updates itself; nothing here is required reading to keep running. Looking ahead instead? See the roadmap.
v1.0.34
ReleaseThe DJ workflow holds together from deck to desk: prepped tracks keep the cues you made, Generate Show and Set Rehearsal say what they did, AutoPilot hands the master level back, Timecode can follow a different deck on each desk slot, and the Pixel Wall and Art-Net tools report what they really see.
Your own cues stay put
Loading a prepped track and correcting a beat grid keep the cues you made by hand and the rekordbox cues you imported.
Generate Show and Set Rehearsal say what they did
A second Generate Show replaces the first in one undoable step, and Set Rehearsal names anything it cannot rehearse.
AutoPilot hands the master back
The master level returns to full at the next track change, and a clear notice tells you when AutoPilot is off.
Timecode from several decks
Output Routing can follow a different deck on each desk slot, with a Test button and a start hour for each track in Track Prep. Built and tested without a console in the loop, so rehearse it on your own desk first.
Pixel Wall and Art-Net, plainly
A patch that cannot be applied leaves a lit wall lit and says why, and Art-Net nodes with many ports, universe usage and Identify show what the network really holds.
v1.0.33
ReleaseThe grandMA3 Sync dialog sends a lane set's Timecode object in one click and shows it first, Timecode Tracks carry their lane colours, and the Show Editor's cue list can be put away.
One click for the Timecode object
Send lanes + Timecode pushes the ticked lanes to their own sequences, then sends one Timecode object with a Track for each lane and checks it against what the console holds.
See it before you send it
A card names the pool slot, which you can choose, and lists each Track in its lane's colour with the sequence it calls.
Lane colours on the desk
With Write colours to the desk switched on, each Timecode Track carries its lane's colour.
Put the cue list away
The Show Editor's cue list collapses to a bar or a rail, and switching Parts moves the timeline to that Part's cues.
v1.0.32
ReleaseA show saved on another computer opens with its network outputs held until you say so, a console that moves to a new address asks first, the Show Editor's cue list can sit beside the timeline, Run Mode draws the show's audio live, and grandMA3 cue colours reach any sequence.
Shows from another computer open held
A show saved on another computer opens with its network outputs held until you press Connect, and a console that reappears at a new address asks before CueSync follows it.
The cue list beside the timeline
The Show Editor's cue list can sit beside the timeline, markers name themselves on a dense chase, and Run Mode draws the show's audio live with LAST and NEXT cues.
grandMA3 colours on any sequence
With Write colours to the desk switched on, cue colours reach any sequence in an Appearance range you choose, and the Sync dialog explains each step.
A desk's Stop always gets through
A lighting desk's Stop, Pause and Resume are never held back, and Art-Net timecode holds when the stream goes silent.
v1.0.31
ReleaseThe grandMA3 Sync dialog is rebuilt around lanes, a lighting desk can arm, start and stop a Theatre show over OSC, beat grids of local tracks now sit on the kick, and a long list of audio, timecode and background faults now reach the screen instead of only the log.
grandMA3 Sync, lane by lane
Each lane can reach the desk as its own sequence, and Export all lanes writes one Timecode XML with a Track per lane. With Write colours to the desk switched on, cues arrive coloured the way the timeline draws them.
Pyro, laser, flame and CO₂ stay off the desk until you say so
The cues CueSync recognises as those kinds are held back from what it writes to a grandMA3 until their lane is switched On.
A lighting desk can start your Theatre show
Once Remote show control is switched on, a desk can arm, start and stop a Theatre show over OSC, and the Stream Deck can start a show and watch its timecode.
Beats on the kick, audio with the lights
Beat grids of local-file tracks now sit on the kick, so each such track is analysed again the first time it opens, and audio cues fired on a beat line up with the lights.
Faults reach the screen
A long list of audio, timecode and background faults now show up on screen instead of only in the log.
v1.0.30
ReleaseCue and show audio run on a mixer of CueSync's own, every CDJ can drive its own timecode clock, a DJ set runs from Local Audio and can be rehearsed without sending a thing, and grandMA3 receives the Timecode object over the network — with a full pass over Run Mode, the Network tab and stability.
A mixer for cue and show audio
Fades and volume moves are heard the moment you set them, 24-bit WAV and FLAC cues play, and Ogg cues play to their last sample. A master level and a per-cue trim sit in Settings and the cue editor.
Every CDJ its own timecode clock
In CueSync Production a timecode output can carry the show clock or any one deck's clock, with its own offset. A lost or conflicting timecode source is named on screen.
Run a DJ set from Local Audio, with Vocal Detection
Previous, Stop and Next sit beside play-pause, a card names the next track and what will fire, and Rehearse set plays your queue through AutoPilot against the connected rig while sending nothing. Vocal Detection is included in DJ and Production, off by default, and suggests a cue where vocals return, for you to review in Track Prep.
grandMA3 Timecode over the network
Session Sync sends the Timecode object straight to the desk, one song or the whole setlist, and tells you what the desk confirmed. Re-export the grandMA3 bridge plugin from Install bridge to pick it up.
Support, Run Mode and a stability pass
Help ▸ Contact CueSync opens the support form with your version and system filled in. Run Mode, the Show Editor and the Network tab read more clearly, and loops, saving and recovery carry on through the unexpected.
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