PHUX.one — Music · Software

The LIVEcompanion strip on its own: project name and save state, the arrangement in miniature, the task at the playhead, session time and round-trip latency

01 — LIVEcompanion

One Strip to rule your Live

Sitting on top of your favourite DAW, the LIVEcompanion Strip offers quick access to the most important workflow features.

The hard facts ↓

Ableton Live on its own — an arrangement, no companion strip

The LIVEcompanion strip sitting across the top of Ableton Live

The tasks panel: notes pinned to positions in the arrangement

The latency panel: round-trip delay broken down per group

The strip turning red after eight hours without a save

00 — BEFORE

Ever wished your DAW was a little more aware of what you're working on?

Live knows the notes. It does not know that this is take twenty, that the bass still needs fixing, or that you haven't saved in eight hours.

01 — THE STRIP

One strip, across the top of everything

LIVEcompanion reads the set you have open and keeps the answers in reach: the project, the shape of the arrangement, the task at the playhead, the latency you're actually recording through.

02 — TASKS

Notes that stay where you left them

Pin a fix, an idea or someone else's feedback to a position in the arrangement. It comes back at that bar — next session, and the one after.

03 — LATENCY

Find out where the milliseconds went

A hundred milliseconds of round trip is usually one plugin on one group. The strip tells you which, ranked, before you track another take through it.

04 — SAVE

Eight hours since the last save

The strip goes red before Live gets the chance to lose the session for you.

01 — TRACKS

Every track, in full detail

A live table of the open set — type, devices, clip count, mix settings, per-device latency. Expand a row for the whole chain, or filter down to just the groups.

02 — ROUTING

See where the signal goes

The routing view maps the session as a tree, source tracks through groups to the master, with a separate fan layout for the returns. For the sets that stopped fitting in your head.

03 — LIBRARY

Every project, in one place

Browse, search and sort every Live project on the machine by genre, BPM, status or when you last touched it. Exports are matched back to the project they came out of.

04 — RELEASE

The paperwork lives with the project

Genre, key, mood, label, distributor, catalogue number, ISRC, mastering engineer, release date, artwork — attached to the session instead of a spreadsheet you will not find again.

05 — SHADOW CLIPS

One MIDI clip, everywhere it plays

Link MIDI clips by name and an edit to one lands in all of them — a kick on the drum track tied to the sidechain trigger on the bass. Runs in the Remote Script; no Max for Live.

06 — PHUX.REVIEW

Feedback that comes back as tasks

Upload an export straight from the app, share the link, and the comments sync back into the session as tasks. Optional downloads for whoever needs the file, release management in the browser. Coming 2027.

Full guide → macOS · strip + full app · Ableton Live 11/12

02 — BEATref

BEATref

Reference monitoring for techno and house. Load a track you love and BEATref locks it to your tempo and grid in real time — then you A/B against it and see the gap, across waveform, spectrum, low end, dynamics and stereo image.

The hard facts ↓

BEATref in A/B mode, the host mix above the loaded reference

BEATref's DJ mode with per-deck EQ and an A/B crossfader

The reference separated into stems, with drums, bass, other and vocals selectable

The difference view — host minus reference, per frequency

Low-end energy over time for host and reference

00 — A / B

Two tracks, one plugin, no fader moves

BEATref sits on your master. Load a record you love next to your own mix and switch between them — matched in level and locked to the same place in the bar, so the only thing that changes is the thing you are judging.

01 — DJ

Then mix between them

A crossfader and three bands of EQ per deck. It is the quickest way to find out whether your low end survives the company: pull your own bass out, bring theirs in, listen to what moves.

02 — STEMS

Then isolate what you are chasing

Stem separation runs on the reference: drums, bass, other, vocals. Pull out the one element you are actually working against and compare your track to that, instead of to the whole record playing at once.

03 — DIFF

Above the line you have more

The same picture with the reference subtracted, so what is left is the list of things you might change. Green is more than the reference, red is less.

04 — LOW END

Is the bass steady, or only loud?

Low-end energy over time, yours against theirs. A kick that ducks every other bar shows up here long before it shows up on a club system.

01 — A / B

A/B at matched level

Flip between your mix and the reference in one click, at matched monitoring level — so the judgement is about the mix, not about which one is louder.

02 — TEMPO

Tempo-synced, automatically

BEATref detects the reference's BPM and time-stretches it to your project tempo in real time. No warping, no bouncing, no prep.

03 — SYNC

Sample-exact beat lock

Automatic delay compensation keeps the reference and your track on the same grid, down to the sample. Start anywhere, they stay in phase.

04 — SPECTRUM

See the difference

A spectrum-difference view overlays your mix on the reference across the whole range, so it is obvious where you are heavy, thin, or just off.

05 — LOW END

Get the low end right

A dedicated bass-energy view makes the sub-and-kick relationship visible — the part of a club mix that never translates by ear alone.

06 — STATUS

Coming this fall

BEATref is in active development for macOS on Apple Silicon, as VST3 and AU. Leave your address below and you'll hear the day it ships.

Product page → Notify me → macOS · Apple Silicon · VST3 · in development

The LIVEjay plugin in compact mode: six effect macros, the Dictator fader, the beat-loop ladder, the active loop waveform, the LOOP button, the loop-to-host crossfader and the rolling host capture buffer

03 — LIVEjay

The transition you never planned

DJ transitions inside your live set. A master-bus plugin that is always recording: one press freezes the last bars into a beat-synced loop, and a DJ crossfader rides it back to the live signal — while you rebuild the arrangement underneath.

The hard facts ↓

01 — RELOOP

One button, no pre-planning

LOOP freezes the last bars retroactively. You do not decide in advance which phrase to capture — you decide after you have already heard it. LOOP again swaps the running loop for a fresh one; STOP ends it.

02 — GRID

Always on the line

Entry, replacement and exit all quantise to a 4-bar raster counted from a real musical “1” — tapped with SET 1, or picked up from scene launches in Live. Loop entry is sample-accurate: the fade starts on the line, not up to 10 ms before it.

03 — LADDER

Beat-loop ladder, CDJ convention

128 beats down to 1/16, halved and doubled live at any time. The snapshot behind it is always the full 16 bars, so doubling never runs out of material to grow back into. Halving walks backwards for the classic build, or converges on the last bar.

04 — FADER

A DJ mixer, not a dry/wet knob

Independent LOOP and HOST levels, a classic crossfader mode, and three-band DJ crossfade curves where band ownership shifts across the travel. The live signal keeps its own EQ kill and bipolar filter — bit-transparent until you touch them.

05 — EFFECTS

Ten slots, loop path only

Drive, filter, band kill, trance gate, flanger, phaser, noise, reverb, beat echo and riser — chained in the order you switch them on, not in a fixed one. Space and Echo sit behind the fader on purpose, so their tails survive the transition instead of dying on the blend.

06 — DICTATOR

One fader plays all ten

Every slot gets a 16-point breakpoint lane, and the Dictator travels through all of them at once. BUILD automates the fader itself: it ramps over 4, 8 or 16 bars, drops on the phrase line, and leaves your hands free for the arrangement.

Product page → Notify me → macOS 13.3+ · universal · VST3 · AU · standalone

Sebastian, who runs PHUX.one and records as REYNEKE

WHO MAKES THIS

Developer by day, musician by midnight

PHUX.one is run by Sebastian, who also goes by REYNEKE. Tight productions from downtempo through indie tech and tech house — and live sets only. He is not a DJ. The other half of the week is code: full-stack since 2010, frontend down to the database, after an M.Sc. in Informatics and a thesis on pitch shifting and time stretching.

Neither tool started as a product idea. Both are things the studio or the live rig was missing on a given night, built in the middle of the work and kept because they held up.

reyneke.eu → @reynekemusic → soundcloud →

MADE
BETWEEN TAKES

One Strip to rule your Live

Ever wished your DAW was a little more aware of what you're working on?

One strip, across the top of everything

Notes that stay where you left them

Find out where the milliseconds went

Eight hours since the last save

Every track, in full detail

See where the signal goes

Every project, in one place

The paperwork lives with the project

One MIDI clip, everywhere it plays

Feedback that comes back as tasks

BEATref

Two tracks, one plugin, no fader moves

Then mix between them

Then isolate what you are chasing

Above the line you have more

Is the bass steady, or only loud?

A/B at matched level

Tempo-synced, automatically

Sample-exact beat lock

See the difference

Get the low end right

Coming this fall

The transition you never planned

One button, no pre-planning

Always on the line

Beat-loop ladder, CDJ convention

A DJ mixer, not a dry/wet knob

Ten slots, loop path only

One fader plays all ten

Developer by day, musician by midnight

Stay in the loop