Run the show.

An operator running a mid-sized event today is usually driving four to six pieces of software at once — a media server for video, a slide deck for graphics, an audio player for stings, ATEM Software Control for the switcher, a mixer surface for audio scenes, and something else for lighting or PTZ. Each has its own show file, its own remote, its own quirks. Cues span the apps but nothing spans the cues. The operator is the glue.

That’s the bug we’re fixing. When your GO button lives in your head instead of on a screen, one missed handoff — a video that fires a beat late, a mic that goes hot on the wrong line, a slide that lags the speaker — becomes the whole audience’s memory of the show. And the more windows you’re taxiing between, the more likely that miss becomes. It’s a structural problem, not a discipline problem.

CueSurge is one operator window that fires everything. Video, slides, audio, ATEM cuts, mixer scenes, DMX, PTZ, Stream Deck — all as cues in a single list, all with the same GO, all with the same predictable behavior. The rig you’re actually working on gets smaller even as it does more.

Built by an operator, not for one. It’s being written by someone running it on their own shows — every feature exists because a real cue on a real gig needed it, not because a competitor had a checkbox. The priority list has never been “match QLab feature-for-feature.” It’s been “the thing that would have saved that show last Thursday.”

Free during early access, per-device forever. A freelancer with one laptop pays for one license. A shop with ten operators pays for ten. No feature tiers, no per-cue fees, no seats-per-show gotchas. If we can’t earn thirty-five bucks a month from the people we’re saving from an app-juggling nightmare, we don’t deserve to.