The Feed Me With Teeth show is built entirely on Videosync and Beam. We use no other lighting desks or media servers. This has served us very well for multiple USA tours and various festival shows all over the world.

I just wanted to reach out and share how awesome everything’s been with Showsync! Videosync has added so much value (and enjoyment) to my live shows. I must have done around 40 shows with it successfully so far.

12 high resolution screens controlled by one Live set, running for a month without a problem. I would call that robust.

I used Beam for Max in my 2-hour multimedia installation, ALL LIMITS, and found it to be incredibly versatile and intuitive. Any sound or musical idea could easily transform into lighting behavior, allowing me to craft a very intricate audiovisual counterpoint. Beam is the ideal tool for creating detailed audiovisual relationships, making lighting a simple, accessible visual instrument.

Working with Videosync has allowed me to seamlessly move between sound and image, tapping into all my synaesthetic fantasies- I more often work now not only on shaping the way something sounds, but what that sound looks like, and so further mining into how an idea feels. Brilliantly designed for the Ableton platform, Videosync is breaking down the boundaries between sound and image—and I’m all for it.

I have been using Videosync in all my liveshows since the very first beta version. It’s the perfect way to integrate video or animation content, and sync it perfectly with my music. It has added a completely new dimension to performing, and has never failed me. I have recommended it to all my colleagues, and cannot speak highly enough of it.

Ableton Live provides a very intuitive timeline interface. When building this installation, Videosync was invaluable to experiment with morphing visual parameters. Its Plugin SDK allowed me to program shaders on the fly without losing my compositions.

Showsync’s connectivity tools have enabled me to drive the musical, synchronized visuals of my performances directly from the Ableton Live in a way that has revolutionised my approach to live shows.

Videosync allowed us to build this complex interactive show fully on Ableton Live. It has been touring for four years across five continents and has never let us down in presenting a premium experience for the most demanding crowds.

Beam is a game changer when it comes to musical lighting control. Designing a unique lighting counterpart for every note in every clip of the Feed Me show might sound daunting, but with Beam it was truly fun and the synergy with Videosync is unparalleled.

With Videosync and Beam, building visuals and lighting together with my audio feels most like sculpting. I mix, blend and layer until what I see matches exactly with what I feel.

Videosync has saved me so much time within Ableton. Designing live visuals feels so intuitive and easy, allowing me more time to design my music. It’s great how you can get creative with it and design some crazy visuals with ease. Videosync really is next level!

Videosync is the one software I’ve wanted and dreamt of having since starting to play live 15 odd years ago. It’s constructed in such a brilliant way to match the general workflow in Live that it was literally no learning curve for me to get started with integrating visuals into my Live set. It’s also a great tool for generating video content that’s a natural extension of my music making.

Beam gives me the ability to create all kinds of moods I want, without the help of a lighting designer and without knowledge of lighting techniques. It’s like composing music but for the eyes. This is a real game changer for live performances.

Videosync has been thoroughly conceived down to the very last detail. Its tight integration with Ableton Live has enabled me to incorporate my previously existing workflows directly into it.

For VISA at the Toronto International Film Festival, our outdoor interactive audiovisual architectural installation with chrome arches, infrared sensors, LED lighting and spatial sound was driven by Live and Videosync.

This was an ambitious, technically challenging project for a high-profile client, so robustness was paramount, but it ran non-stop for a week without any hiccups at all.