Instruments.

A live lab where sound meets image and physics — fifty-eight playable instruments and eleven visual decks that ride the mix, every voice built in your browser — with a real acoustic kit and multisampled piano, harp, vibraphone and strings layered on top, switchable in the deck. Play one on its own, or press Play all in the deck below and run the whole room like a live set.

Six instruments that read what's loaded and sound from it. They analyse the AI-creative clips frame by frame — colour, brightness, motion, even the clip's own soundtrack — so each one is different for every piece of footage. Shuffle for another clip or drop your own image or video; nothing leaves your browser. CHROMA voices the palette, FLUX hears the motion, VOX plays the clip's own voice, STRATA scans the image as a spectrogram, TERRA rolls marbles across its brightness as terrain — and the THEREMIN lets you play the air in front of your camera.

Eleven machines for building a groove from the ground up — paint a beat on the step grid, spin polymeter out of Euclidean rings, drop a ball and let pinball physics knock out the rhythm, slice a vocal into chops and re-order them. Then the contraptions, which are machines before they are sequencers. MARBLE·MILL is a marble run whose release wheel IS the pattern: falling takes time, so the mill pre-solves every chute's descent and schedules backwards to land each marble on the beat. COGWORK cuts polyrhythm out of real meshing gears — one shared escapement, but every pinion comes back round on its own tooth count, so the loop only repeats at the least common multiple. HIVE flocks a colony of agents around a step ring and reads out a fresh pattern at every bar line; when one is good, lock it. And TAPE·CIRCLE is the looper you play rather than program — arm it, hit the pads, and varispeed drags pitch and time together the way a capstan does.

This wing was one instrument; it is four now. ACID·16 turns sixteen vertical slices of the picture into a 303 piano roll — drag a slice to pitch it, and the line squelches with slide and accent underneath. The other three read the footage itself. TECTONIC treats the frame as a fault line: bright columns load the crust, stress builds silently, and when a column can no longer hold it the fault RUPTURES into its neighbours — a small slip is a thud, a chain reaction across half the frame is a floor-moving quake. UNDERTOW builds chords downwards instead of up, from f/2, f/3, f/4 subharmonic divisions that equal temperament does not contain, and lets the clip's palette choose them: a warm frame pulls the stack low and close, a cool one pushes it high and hollow. LEVIATHAN is the growl — detuned saws beating over a clean sub, a bar-locked filter LFO, and a bank of vowel formants the whole thing is forced through, so the wobble does not just move, it speaks.

Three machines built for the Paul van Dyk, Armin, Tiësto and Calvin Harris end of the spectrum. ANTHEM is a whole rhythm section — hard kick, the offbeat open hat that makes trance lift, and a rolling sixteenth bassline every kick ducks — and it counts bars in eights, so it builds and drops on its own. GATE·LIFT stacks up to nine detuned saws into a chord and chops it on a trance gate while the filter climbs across the phrase. VOX·LIFT is the vocal: a real recorded human voice lifted from our own film soundtracks, transposed to follow the chord changes and held in a wide chorus and a long hall. Run all three together, or press Play all and let the room lift.

Six voices for melody and texture — orbiting particles that pluck as they cross, a chord pad you smear with a fingertip, and fractal engines that grow their own arpeggios from Julia sets, lattices and delta geometry. Layer the choir underneath for breath and body; every note is shaped in the browser.

Seven instruments where the sound is the collision — scratch a reel, tumble a tetra box, and watch constellations, comets and looms trade notes as they cross and swing. Nudge them and the motion re-scores itself; a big bang scatters the field and the Rorschach folds it back into symmetry.

Five instruments tuned to the rhythms neuroscience measures — Delta through Gamma, the Larmor precession that builds an MRI, the coupled-oscillator sync behind a brainwave, and the planet's own resonance near the edge of alpha. Every number on screen is real and measured; every effect is your own. These are instruments, not therapies — headphones make the binaural beats audible, and on a phone the last two react to how you move it.

Five simulations that compose themselves out of rules — a 2D wave tank whose interference is the rhythm, a cymatics plate that draws the pitch you hear, Turing's reaction-diffusion grown by hand, a strange attractor spinning endless melody from chaos, and a starling flock that plucks a harp as it wheels. Touch them and the systems reshape; nothing repeats.

Five instruments built in true 3D — a glowing double helix you sweep for melody, a gravitational accretion disk that Doppler-detunes each particle as it falls, a rippling wave membrane you splash by hand, a faceted crystal that chimes like a music box and shatters on command, and the studio's own portfolio hung as a galaxy — every project a planet that plucks as it swings past its sun. Drag to fly them; every crossing and collision plays a note.

Five machines where the sound is not synchronised to the picture — it is CAUSED by it. AURORA hangs curtains of polar light that each hold one voice of the room's chord, and the same fold field that bends a sheet opens that voice's filter, so a crease you can see is a bell you can hear. DENDRITE grows a frost crystal by diffusion-limited aggregation and plays every freeze as a note — core low, tips high — gated onto sixteenths so a growth spurt reads as a flurry instead of a wall of clicks. POLLEN drifts a cloud through a ring and fires one grain of a real recorded phrase for every mote that passes through it, so the wind is the sequencer and nothing loops. INKWELL advects ink along the curl of the clip's own luminance and reads the field back off the GPU as a six-band wash, so a plume climbing the frame is a voice rising in the chord. And FILAMENT charges a constellation until an arc strikes, plucking a real Karplus–Strong string tuned to the gap it crossed — with one knob climbing the subdivision ladder from a sparse harp to a machine-gun arpeggio.

Eleven visual instruments — and instruments is the right word. None of them makes a sound. Each reads the master analyser and plays the room back at you, so the kick punches the zoom and the bassline heaves the geometry. They carry channel strips and take patch cables like everything else in the lab; the fader moves picture instead of level. Built for the full-screen stage — run them here beside the instruments, then go LIVE and put them on the wall.

Master filter, echo, space and FX mix, plus a patch constellation. Tap any instrument node then another to run a cable: instrument to instrument sidechains the target, so a kick can duck the pads; instrument to an effect lets its live level drive it. The cables glow with the signal passing through them.