An audio engineer’s ear.
A sound designer’s hands.
That is what we build: tools for musical sound design, so producers can shape sound the way they hear it, and keep it theirs.
You can hear it long before you can build it.
A starting point already close to the sound in your head.
Dials for colour and texture: push it in any direction, and follow the one that surprises you.
Then it’s yours: the preset opens in Surge XT, every parameter free to edit.
Say the sound. We build the preset.
Say it, or play it
Describe the sound in a few words, like “a warm analogue pad” or “a gritty sub”. Or drop in a sample you already like.
Both roads lead to the same place.
Hear it take shape
You get playable candidates, built and tuned on what you gave it.
Audition them side by side, nudge them brighter or warmer, keep the one that lands.
Take the preset
It comes out as a patch that loads straight into Surge XT.
Every parameter visible, every knob still yours to turn.
Pull a whole mix apart
PreviewGive it a finished track: it separates the parts, reads the melodic ones as notes, and builds you a preset for the voice you were listening to.
Coming to the beta.
Your hands stay on the knobs.
Granulator gets you to a starting point in seconds instead of an evening.
What happens after is the part you wanted to do in the first place: every parameter is open.
The sound only becomes yours once you push it somewhere nobody else would.
That is deliberate. A tool that hands everyone the same sound makes everyone sound the same, so this one is built to get out of the way early.
Whatever you started elsewhere, this is where it starts sounding like you.
It hears like an engineer.
It thinks like a sound designer.
Our system is built around timbre similarity models.
They judge how close two sounds are in colour and texture, as precisely as a trained sound engineer would.
And they know which controls to turn to get you there.
The ear
It hears what a trained engineer hears: which instrument is playing, how it was played, what the sound is made of.
And how close it sits to the one you have in mind.
Describe it in words and it lands in the same place: a warm analogue pad written is heard like a warm analogue pad played.
The brain
It knows what to do with what it heard: which controls to move, on which instrument, to reach the sound you are after.
Once you are close, it knows which way is brighter, warmer or fuller. So you push the sound and listen, instead of hunting for the parameter.
Put it inside your own software.
The same timbre models, behind an API.
If you make a plugin, a DAW or a sample platform, your users can find and shape sound by how it sounds, without ever leaving your product.
We are opening it to a first group of partners.
Search by ear across your own samples and presets, by how they sound, not what they were named.
Preset building from a description or a reference sound.
Any way in: a few words, a reference sample, a played phrase. Or several at once, each one sharpening the others.
A plugin is coming
SoonThe same thing, inside your DAW.
Point it at your own sample library and find the sound you half-remember owning.
Ask for access and we will tell you the day it lands.
Tools for musical sound design and musical sound synthesis, from a spin-off of the University of Mons, Belgium.