POLYPHONIC · 2-OSC SUBTRACTIVE · RUNS AT A URL
A real synthesizer. No install, no download, no license file.
Press power, put your fingers on the A – K row, and play.
// audio starts on your gesture — that's a browser rule, not ours
KEYS A–; · SHARPS W E T Y U O P
Browsers keep every page silent until you ask for sound.
One press wakes the engine. Then it's yours.
TIP — hold a chord, flip the ARP to UP, press HOLD, then ride the CUTOFF knob. That's the whole genre.
The browser is an instrument.
It just never got tuned.
Every tab you have open is a supercomputer wearing a business suit. Under the forms and the feeds sits a sample-accurate audio engine running at 48,000 frames a second, and for most of the web's life we used it to play notification dings. OSCILLA is a small argument against that waste: real oscillators, a filter that bites, a delay line that breathes — living at a URL.
An instrument you can send as a link is an instrument someone actually plays. No 4 GB download, no license server, no "trial expired." A kid on a school laptop gets the same saw wave as a producer on a tour bus. The friction between curiosity and first note should be one click, and that click is only there because the browser politely asks before making noise.
Hardware taught us to trust what we can see: a needle moving, a wave on a scope. So OSCILLA draws its own bloodstream — the time domain on the left screen, the spectrum on the right — sixty times a second, straight from the analyser node. When you open the filter you don't just hear the highs arrive. You watch them climb.
"An instrument is anything that turns intention into vibration.
— OSCILLA DESIGN NOTES, REV. C
The address bar counts."
Every sound you make takes this road. Eight voices in, one stereo pair out.
White keys, left to right — a full octave and a half under your right hand. Sharps live on the row above: W E T Y U O P.
Z/X shift the keyboard down and up an octave. 1–4 hot-swap the waveform — saw, square, triangle, sine — while notes ring.