One instrument, two playing surfaces: sixteen scale-locked pads ora piano keyboard. Everything behind the surface — the synth, the clock, the loop station, the spatial fan — is identical, so this page covers both. It runs entirely in your browser; nothing is uploaded.
Browsers make no sound until you click, so the gate button is what brings the engine up. Then just play — you do not need the transport running to make a noise.
Headphones on. Hold a low note and a high note together, then drag Spread from 0 to 100%. They separate and move apart. That is the whole idea.
Tap loop slot 1. The transport starts if it was stopped, and recording begins at the top of the next lap. Play a phrase; it loops.
Orientation
One column, stacked in the order you use it: transport, then the surface and its key, then the sound and the space it sits in, then the loop station, then the ways out.
Choose one
Same synth, same looper, same fan. What changes is what a scale means.
Sixteen pads, scale-locked: the scale decides which notes exist at all, so there is no wrong note to play. Rows step by a fourth, which means a chord shape keeps its shape wherever you move it up the grid.
Better under a thumb, and the one to pick if you do not play keyboards. The bottom-left pad is always the tonic.
One, two or three octaves of ordinary piano keys — 13, 25 or 37 of them. All twelve semitones are playable, so here the scale is a guide rather than a fence: a dot marks each note in the scale and a ring marks the tonic, and nothing is disabled.
Greying out the accidentals would be a lie about what a keyboard is. If you want the note between the dots, take it.
They keep separate loops and settings
The two pages are two instruments as far as your slots, key, sound and tempo are concerned. Recording four layers on the pads leaves the keyboard empty, which is what you want when you are using one as a backing for the other.
Top row
The clock exists to serve the loop station. You can play without it running; you cannot record a loop without it.
Starts and stops the clock. Stopping also stops every loop; starting brings them all back in at the next lap boundary, in phase.
Space does the same thing from the keyboard, anywhere on the page.
The dial beside Play fills once per lap and shows the beat count. This is your count-in: arm a slot and watch it come round.
The clock for the page. Changing it does not re-time loops you have already recorded.
Set the tempo before you record. A loop is audio, not a pattern, so it cannot be stretched to a new tempo afterwards the way a drum pattern can.
Bars in a lap — how long an armed slot records for. Two is the default and suits most phrases; eight is a whole section.
An overdub keeps the length of the slot it is layering onto, not the current setting, so changing this mid-session cannot knock an existing loop out of phase.
The metronome. Three tiers: the top of the lap is highest, a bar line is middle, everything else is a tick — so a four-bar lap stays countable.
The click never reaches the loop station. It is routed past the recording bus entirely, so you can leave it on while you layer.
The synth's own volume, before the loops and the limiter. Loops have their own.
The surface
The tonic. On the pads it transposes everything; on the keyboard it only moves the dots, because the keys themselves do not change.
Octave. On the pads it moves the whole grid; on the keyboard it slides the visible range up or down an octave at a time. The keyboard always starts on a C, whatever key you pick.
That is not fussiness: a keyboard beginning on an F puts the group of two black keys where the group of three belongs, and the pattern you navigate by stops working.
Minor and major pentatonic, natural minor, major, Dorian, Phrygian, Mixolydian, blues and chromatic. Pentatonic is the default because on a locked grid it is the one where every combination of pads sounds intentional.
One, two or three octaves on screen — 13, 25 or 37 keys. More octaves means narrower keys, so on a phone one or two is the honest choice and three is a desktop setting.
On the pads
On the keyboard
Sliding is the point
On a touchscreen a finger that lands on one pad normally stays owned by it for the whole gesture. Here that is released deliberately, so dragging across the surface plays every note you cross. It is the difference between an instrument you press and one you play.
Changing key, scale or octave cuts every sounding note
The notes under your fingers belong to the layout you just left, so they are stopped rather than left hanging on the wrong pitch. It is abrupt with a long release. Change the layout between phrases, not during one.
Below the surface
Seven presets and four knobs. Everything is generated live from oscillators — there are no samples to download and nothing to wait for.
Detuned saw and square. The general-purpose one — bright enough to cut, soft enough to hold a chord.
Short, resonant, no sustain. Every note is a stab, which is what you want for anything rhythmic.
Slow attack, long release. Hold a chord and it swells; this is the one to use with an orbit.
Oscillator B an octave down, low cutoff, high resonance. Play it in the bottom octave.
Square-led and open. Cuts through a busy loop stack.
Two sines an octave apart with a fast decay. Not a sampled Rhodes and does not pretend to be, but it is the sound a keyboard asks for.
Sine on sine, long decay, no sustain. Sparse and glassy — very good on a wide spread.
The four knobs
Where the low-pass filter sits. Down for muffled and distant, up for present and bright.
Emphasis right at the cutoff. Past halfway it starts to whistle, which is the point.
How long a note takes to arrive. Zero is percussive; wound up it becomes a swell.
How long it takes to leave after you let go. Long release plus eight voices is a wash — deliberately.
Double-tap a knob to reset it
Every knob returns to the value that means not doing anything — filter to the middle, attack to zero. Two quick presses that do not become a drag, which works with a fingertip where a double-click does not. Home does the same from the keyboard.
A preset moves the knobs
Picking a preset resets all four to that preset's values, so the positions you see are always the sound you are hearing. Tweak after choosing, not before.
The part nothing else has
Every voice has its own binaural panner, and the angle it gets is decided by pitch. A chord stops being one object in the middle of your head and becomes several in different places.
How far the fan opens. At 0 every note is dead centre; at 100 the lowest note you can play is hard left, the highest is hard right and a little above you, and everything else is spaced between them.
At 0 the panner is switched out of circuit entirely rather than parked at 0°. A binaural panner colours a sound even when it is pointing straight ahead, so "off" here is genuinely dry.
The round display shows every note the surface can play as a dot, with you in the middle facing up; notes flare as they sound. Drag it to swing the whole fan round — behind you, off to one side. Double-click to face front.
It is drawn from the same maths that positions the panners, so what you see is where you are hearing it.
Turns the fan for you, one lap in that many bars, locked to the tempo. Tap to cycle;off is part of the cycle, so switching it off is one tap rather than two.
Held notes travel with it. Struck notes stay where they landed. So a pad swells and moves, while a pluck at the same time stays put — which is why the Pad preset and a slow orbit go together.
On the keyboard, the surface is the fan
Pitch runs left to right on the keys and so does the angle, so the keyboard is the arc flattened out. The strip above the keys is the ruler for it: left, dead ahead, right, with a tick per white key that lights as it sounds. On the pads, where the layout is not a straight line, each pad carries its own little position marker instead.
Wear headphones
This is binaural, not stereo. It works by recreating the differences between what your two ears hear, which speakers in a room cannot deliver. On headphones a high note is genuinely off to your right and slightly above you.
Four slots
Bar-quantised: you never start or stop a recording by hand, so a layer cannot land late.
How a layer gets made
Tapping an empty slot arms it. Recording does not start then — it starts at the top of the next lap and stops exactly one lap later, so you get up to a full lap to get your hands ready.
Arming with the transport stopped starts it, because waiting for a lap that is never coming is not what you meant.
Long-press or right-click a filled slot to arm it again. The new pass sums onto what is already there, at that slot's own established length — so a two-bar slot stays two bars even if the transport is now set to four.
Puts your microphone into the loop bus alongside the synth, so you can sing or play something acoustic onto a layer. It asks permission the first time.
Capture is latency-compensated: what the mic hears lags the beat by the round trip out to your headphones and back, and the recording window is shifted forward to meet it.
Appears only with the mic on, and is off by default on purpose. It lets you hear the microphone live. On headphones that is useful; on speakers it is a feedback loop, not a monitor.
Layers cannot drift
Each slot is captured inside an audio worklet against exact clock times rather than "start recording now" from the main thread, and played back anchored to those same times. Four layers stay in phase with each other indefinitely, with nothing to nudge back into line.
Loops are recorded flat, and that is right
What a slot captures is the synth after the fan — the spatial positions are baked into the audio, exactly as you heard them. Changing Spread afterwards moves what you areplaying now, not what is already looping. Record a layer wide and a layer narrow and they stay that way against each other.
The four buttons
The important distinction on this page: one captures a performance, the other captures a loop.
Captures everything you hear — the loops, your live playing over the top, the lot — for as long as you leave it running, and downloads a WAV when you stop. This is the performance.
Tapped off the master after the limiter, so what lands in the file is what was in your ears. The metronome is not in it.
Writes the unmuted loop layers alone, one lap long. Because the layers are already exactly a lap each, the file loops seamlessly with no gap to trim.
Your live playing is not in a bounce. That is the trade that makes it loop perfectly. Mute a slot to leave it out.
Bounces and drops the result straight onto a deck in theDJ studio — no file to save and re-open. It arrives like any other track, so waveform, tempo and key detection all run on it and you can beatmatch your own loop against a record.
The loop travels as bytes in your own browser's storage. Nothing is uploaded.
Bounces and carries it to the 8D converter, already loaded. There the whole loop can ride an orbit of its own — placement inside the chord, then placement of the chord.
Between visits
Your four loop slots, and your settings — tempo, lap length, key, scale, octave, preset, spread, orbit and click. Close the tab, come back, and the session is where you left it.
Knob tweaks made after choosing a preset, and anything you did not export. There is no project file and no share link on this page — unlike the drum machine, there is nothing here to serialise except audio.
This browser, this machine
Everything is stored locally. Clearing site data clears your loops, and they do not follow you to another device. If a loop matters, export it.
Worth knowing
Things that will surprise you if nobody says them first.
Eight notes at once. A ninth steals the oldest voice still sounding. You will not notice it playing chords; you will notice it on a long-release pad played fast, where tails get cut to make room.
Spatial needs headphones. Placement is binaural — it works by recreating the timing and tonal differences between your two ears. Over speakers most of the fan collapses into an ordinary stereo spread.
A bounce is the loops, not your playing. The bounce writes the loop layers alone, which is what makes it one lap long and seamless. If you want the thing you just played over the top, that is a take.
Changing key, scale or octave stops every sounding note. The notes under your fingers would otherwise be the old layout’s. It is abrupt on a long-release pad, and it is deliberate.
The two surfaces keep separate loops. The pads and the keyboard are two instruments as far as your slots and settings are concerned. Loops recorded on one do not appear on the other.
Loops live in this browser. Slots persist across a reload, but they are stored in this browser on this machine. Clearing site data clears them. Export anything you want to keep.
There is no share link and no project file. Unlike the drum machine, there is nothing here to serialise but audio. Export the WAVs.
Mic timing depends on your device. Latency compensation uses the numbers the browser reports. They are usually right; on some Bluetooth and USB setups they are not, and a mic layer can land slightly early or late.
E-piano is a synth, not a piano. Every sound on this page is generated from oscillators in real time. There are no samples to download, which is why the page loads instantly and why it does not sound like a concert grand.
Nothing is uploaded, ever. Every note, every loop and every export happens on your own processor. No account, no server, no copy of your audio anywhere but here.