WE BUILD FOR THE EAR THAT REJECTS PLASTIC.
Music software became an optimization spreadsheet. We started in a cold basement in Montreal to restore grit, tape hiss, and intentional friction.
WHY WE DO NOT MAKE TOYS.
The industry turned sound design into algorithmic sludge. A single knob promises to "master" your track, stripping the blood, room bleed, and jagged peaks out of real performances.
We create tools with high ceilings. Instruments that demand touch, deliberate tuning, and allow you to break the signal path until something beautiful and unexpected happens.
Every waveform sampled for our architectures is pulled from machines that get hot to the touch. From 1974 op-amps running on drifting voltages to two-inch reel heads cleaned with pure alcohol before each take.
We answer exclusively to working producers, bedroom beatmakers, and touring sound techs. We run without venture rounds, meaning our roadmap is driven by what actually sounds massive in a club, not what inflates an active user chart.
THE HANDS BEHIND THE DRIFT
Four individuals overseeing DSP architecture, chassis carving, and non-linear distortion modeling.
MARA V.
Fifteen years re-biasing reel decks in Berlin and London. She ensures saturation curves remain unpredictable and violent.
KHALIL S.
Mathematician turned modular fanatic. Khalil translates physical resistance and heat dissipation into ultra-low latency code.
ELENA ROCH
Obsessed with potentiometer resistance and cold-rolled steel. If the rotary knob wobbles by half a millimeter, she scraps the run.
JULIAN D.
Touring front-of-house engineer. Tests every beta release in sweaty 400-cap clubs to make sure nothing crashes mid-set.
READY TO HEAR THE TRANSIENTS?
Explore what we built, from raw synthesizers to tape emulation channels.