keys
felted, electric, toy, prepared — pianos that aren't quite pianos.
felt · tine · reed
the studio
the whole circuit, on one page.
musicia is one room with three habits: you describe, it drafts, you take over. this page is the long look — the interface, the loop, the engine beneath it, and the atlas it draws from.
01 / the interface
an interface, not a black box.
every block on the table, every value in plain sight — here is the editor in its current sketch.
interface study — the editor in its current sketch. the shipping instrument will differ, and we'll show it as it firms up.
leftthe describe rail: your words become the first draft, and every draft keeps its history.
middlethe patch graph: blocks you can rewire by hand, values you can type.
rightthe tuning rail: nudge any note by cents, or borrow a scale from another tradition.
belowthe keys: play with the on-screen keyboard, a midi keyboard, or both.
02 / the loop
describe, hear, shape.
three moves, in any order — the loop is short on purpose.
01
describe it
write the sound the way you'd say it out loud — plain words, the language you think in. one line is enough to start.
describe
a felted piano, slightly detuned, breathing slowly
feltbreathedetune -7
02
hear it
the engine drafts a real patch — oscillators, filter, envelope, space — and plays it back on the spot, right there in the browser.
patch · draft 3
"felted piano, slightly detuned"
voice — warm pair, one side 7 cents low
shape — a soft strike, a long decay
space — a small room, 18% wet
tuning — twelve equal, for now
03
shape it
open the patch and take over: every block and every value stays visible and editable. the ai proposes; you decide — and nothing hides behind the prompt.
the patch, open
cutoff62
drift-7 ct
decay2.4 s
space18%
or ignore the ai and wire a patch by hand — the studio works either way. hear three study patches on the home page.
03 / the engine
a real synthesizer, kept honest.
what musicia is built around — and what it refuses to do.
synthesis
a real engine, not a render farm
oscillators, filters, envelopes and space — the actual machinery of a synthesizer. sounds you can dial and re-dial, not files you wait for.
transparency
every parameter on the table
no hidden macros. when the ai drafts a patch, you see every value it chose — and you can change any of them, or all of them.
tuning
tuned to the world
twelve equal steps is the floor, not the ceiling: microtonal scales, cents-level nudges, and the makam traditions that twelve steps can't carry. there's a whole page about this.
browser
nothing to install
built to run where you already are. no plugin, no dongle, no download — open a page and the studio is there.
the ai
a partner, never a gatekeeper
it drafts, suggests and rewires when asked. it never overwrites your work, never hides a value, and can be switched off entirely.
ownership
your sounds stay yours
patches are readable files, not locked boxes. the plan is plain: export what you make, keep what you export — and when anything needs to leave your machine, we'll say so in plain words.
04 / the atlas
an atlas of instruments.
studies from the instrument library — the usual suspects, and a few the usual suspects forgot.
reeds & winds
ney, kaval, clarinet, harmonica — breath made visible, edge by edge.
breath · reed · edge
bowed
violin, kemençe, cello, bowed metal — long lines that never sit quite still.
bow · drone · swell
plucked
oud, bağlama, guitar, harp — courses that ring, and tell on themselves.
course · ring · damp
struck
frame drums, kits, gongs, prepared metal — the oldest family of all.
skin · metal · wood
air & rooms
breaths, rooms, tape, weather — textures that aren't instruments until they are.
room · tape · weather
each family opens the same studio — the difference is what you describe to it.
plate no. 05 — hands on keys
play it like an instrument, not a prompt slot.
the proof
press play, then judge.
the three study patches play live on the home page — real synthesis, made right in your tab. listen first; the rest is in development anyway.