Super-spiffy Lenco deck there...
I'm also surprised that people aren't jumping all over this as well. However, there does seem to have been this annoying division between DJing and actual live performance with gear that's been afoot since the late 1990s rave scene (or rather, what was left of the rave scene before it got stripmined and turned into "electronica"), which is probably a viable explanation for that.
However, this is actually an OLD trick! Back in the early 1970s, Morton Subotnick composed "Until Spring", which uses tape and the Buchla's comb filter array module to generate multichannel sync. And how that was done was that Subotnick recorded sync pulses that were separated by frequency onto one track, then played the track back through the comb filter to "demodulate" the various pulses into their separate sync streams, then used this to coordinate his "clocked" sequential parts in the work. That's a helluva jump from what was in use as inter-system "sync" at the time, which was mainly centered around VSO sync via a line frequency "lock"; SMPTE was just a glimmer in broadcasters' eyes at that time.