Tell DORAH what the song needs. It patches the rig, builds the presets, writes the cues and the effects — and what leaves the desk is standards-compliant sACN and Art-Net, at stadium scale. Nothing hits the stage until you press GO.
sACN E1.31 · Art-Net · GDTF · MVR · NDI · SMPTE LTC
The conversation is the command line. Every request becomes real programming — presets, cuelists, effects — and every reply is a verifiable change on the cue sheet. Never a mystery, never a black box.
Three real exchanges on a loop, in the console's own words: the ✓ lines are the exact feedback DORAH prints for every executed command — and everything lands in blind until your GO.
\nNo magic between the cue and the cable: a fixed-rate engine, two standard protocols, and a backup that's already running. The console shows you its own vital signs — this bench lives in the Network page.
NETWORK ▸ BENCH REALTIME · the same numbers the operator watches at front-of-house
Every number below comes from the production output engine — full pipeline, packets counted at the receiver, 100% reception verified — on the machine the console is built for: a Mac mini M4 (10-core), Node 24. Two kinds of truth, kept apart on purpose: what ran live on a stage, and what the bench measures at the limit.
| Rig | Universes | Cost per 25 ms tick | Reception | Bandwidth |
|---|---|---|---|---|
| Stadium show — live, real audience · 388 fixtures | 70 | 5.7 ms median · 7.4 P95 · 23% | full show, zero incidents | — |
| 1,000 modern heads × 50 ch bench | 100 | 2.7 ms · 11% | 100% · 40.3 Hz | 21 Mbit/s |
| 1,000 modern heads × 100 ch bench | 200 | 3.2 ms · 13% | 100% · 40.2 Hz | 41 Mbit/s |
| 4,000 fixtures × 40 ch bench | 334 | 4.5 ms · 18% | 100% · 40.3 Hz | 69 Mbit/s |
| Output engine alone 8 parallel workers | 4,000 | 0.71 ms · 2.8% | 640,000 / 640,000 packets | 820 Mbit/s |
Bench rows: synthetic rigs, full pipeline (playback merge + two effects on every fixture + resolver + real sACN send, reception counted). The green row is not a bench — it is the show. Repeatable: scripts/bench-network.js ships with the console.
Title, what it does, and the real screen — for every view of the console. These screenshots all come from one example showfile — the real stadium production of summer 2026, 388 fixtures across 70 universes — because a real show explains a desk better than a staged demo. Your showfile will look like your show.
Cuelists with fade, snap, follow and per-cue effects — the sheet marks them ∿N. The fader wing fills the column with executors and assignable keys, and the masters column keeps the Grand Master and Programmer Time — a global fade on every programmer gesture — one glance away. GO stays a human key, always.
Every cell is a hardware-style key with an identity light-bar: give any cell its own colour with appearance, rename or update it from its ✎ menu, and batch-edit whole rows — rename with auto-numbering, one colour, one confirm — in Edit mode. Sub-fixture groups address the single cells of a machine.
The AI builds and fills them — dimmer steps, colours, positions, gobos, plates and bulbs — with the category hue on the light-bar and each colour wearing its own appearance. Recalling a preset is one tap; storing into a cell is an armed, two-step gesture.
No abstract hertz: every wave, rainbow and bump is set in beats, so it stays musical when the tempo changes. Play them live on the selection, tune rate, size and phase on the fader blades, store them into cues — plus the table engine, rows that each play on their own fixtures.
Geometry imported from MVR — trusses, towers, floor — selectable by click or marquee drag, down to the single cell of a multi-instance machine. What you select is what the programmer touches.
The spatial engine computes waves on the true 3D positions of the rig: plane fronts sweep the stage in any direction, radials breathe out of any point, width opens the window — all in BPM, all stored like any effect.
Offline analysis splits the track into stems and finds every onset; each lane has its own threshold, and regions turn a lane into a trigger — kick over the threshold fires a bump on an executor, quantized to the beat. The light breathes with the record, not against it.
Fixtures: GDTF profiles, auto-addressing, per-fixture pan/tilt invert and offset — applied at the output, so presets stay clean. Fixture Setup: inspect and edit any channel of a profile. Builder: create a fixture type from scratch — by hand, or described in a sentence to the AI.
Build the base pools for every machine type, fill the dimmer scale, spread pan patterns across a truss, copy a whole preset family from one fixture type to another — the boring hour of every new rig, compressed to a click.
Every song carries its sections on timecode: click a row and the show jumps there, transport included. Cue points import straight from your editor's TSV, and live offsets shift a whole song without touching a cue.
Stations find each other by multicast and elect master/backup on their own; the backup replicates show and live state and can seize the output mid-song by sACN priority. The realtime bench is on the page, always — the same numbers shown in the engine section above.
Study the song, program it, prep the rig, run the doctor — each is one key running a full autonomous pipeline with the song brief as context. Everything lands in blind: the AI can propose a show, never arm one.
Import a clip or take NDI live, and the stream lands on the rig through UV maps drawn from the real layout — every plate and bulb a pixel, live filters in the chain, floor at black 10% so the video never kills the show.
Timecode, audio device, network outputs, density — everything persists in the showfile, so the desk comes back up exactly as it went down. The network stays hot from the first tick.
A console earns trust byte by byte. DORAH speaks the industry's protocols to the letter of the specification — because at showtime, the network is not the place for surprises.
Every irreversible gesture on DORAH is two-step: the first press arms — yellow, unmistakable — the second press fires. Store, update, delete, blackout. The AI writes in blind and previews everything, but it can never arm the stage by itself. That's not a setting; it's the architecture.
Try it. This one is safe here.
Battle-tested where it counts: one stadium stage, 388 fixtures, 70 universes, zero incidents. output measured at the byte level · full show, live audience · summer 2026
DORAH is in private development, heading to a limited beta. The waitlist is one email — tell us who you are and what you light.