Sentient Synthesizer vs 2099 Techno

The controller with the eyes represents the neural network’s learning system. When the eyes are open, the system learns; when they are closed, learning is disabled. A long tap toggles learning on or off. Dragging vertically changes the learning rate, while dragging horizontally controls how strongly the winning neuron influences its neighbors. This influence is shown by the number of open eyes and the width of the pupils. While learning, the neural network visibly `swells`. When a new sound is analyzed, the neuron that best matches it updates its internal representation and `swells` more than the others. Nearby neurons also update, but less strongly, forming a smooth sound space inside the network. Two grids represent the two `hemispheres` of the neural network. Each cell corresponds to a neuron. Tapping a cell selects the neuron whose waveform will be used. An orange dot marks the selected neuron, and the curve above it shows the fragment of waveform stored by that neuron — the wavetable used to generate notes or modulate parameters. The controller with the planets manages memories. Dragging it moves through time and lets you browse stored states. A double tap returns to the present moment. A long tap opens a menu with three actions marked by Russian letters: `С` for save from sohranit, `У` for delete from udalit, and `З` for close from zakryt. The planet interface represents time symbolically. The crescent shadow shows the time of day, the moon’s position indicates the day of the month, and the satellite’s position represents the orbital period of an artificial body similar to the ISS. Below the neural grids are six synthesis sections. The first is marked with the Russian letter `Г`, from generator, and selects the oscillator waveform. Two sliders control the fundamental frequency and volume. The remaining sections provide modulation. Sliders control depth and rate, while letters indicate the destination parameter: `П` pitch from podstroika, `П` pan from panorama, `Д` drive from drive, `Ч` filter frequency from chastota, and `Р` resonance from rezonans. The slider with stars controls the filter. Dragging horizontally selects the filter type, while dragging vertically adjusts drive. The area to the right controls filter frequency and resonance. At the bottom of the interface is a keyboard of eight keys represented by Lissajous figures — curves created by combining two harmonic oscillations. Each figure corresponds to a note. Above the keys are two buttons: `У` hold from uderzhanie and `П` tuning from podstroika.

2099 Techno writes complete tracks. Press generate and you get 76 bars with an intro, builds, two main sections, a breakdown and an outro, played by a virtual-analog engine and a 909-style drum machine. Bass, acid, stabs, pad, a lead line and the kit, through a dub delay, chorus and reverb. Nothing is sampled. Every note is made on the fly and no two tracks come out the same. The music comes from chaos maths. Three Lorenz attractors shape the melody, the rhythm and the mood. Three separate logistic maps run underneath the drums, the bass and the acid line, so they wander independently: turn the logistic control down and the hats and perc repeat every bar, turn it up and they never do. Chaos on its own is noise, so a small model filters it. It gets rewarded for consonant intervals and rehearses two hundred notes over the changes before it writes anything. The CHAOS / TASTE slider decides how much say each one gets. Eight styles, and they are properly different. Detroit rolls an off-beat bass under syncopated stabs. Dub Techno holds one chord for four bars and lets the delay do the work. Acid runs a 303 line with slides and accents. Hard pushes past 140 with a Reese bass and the drive up. Minimal takes most of it away. Every track is built from its seed. Write the seed down and you can have that exact track again, note for note, whenever you want it. You can play over it, too. The pads are the notes of the track's key rather than a piano keyboard, so nothing you touch is wrong, and the sixteen-step lane runs in time with the track and follows your host. Both play any part you like: bass, acid, stabs, pad or lead, through that part's sound and out on its MIDI channel. Choose which sections the lane plays in - just the breakdown, say - and preview it on its own without starting the track. Turn on RADIO and it keeps playing, picking a new key, mode, style, sound kit and tempo for each track. You also get: • 8 styles, 6 dark modes, 12 keys, tempo and density • Two-oscillator analog voice with sub, noise, resonant filter and glide • 22 presets and 9 sound kits, from Warehouse to Game Boy, plus random patch • Six-part mixer, dub delay, chorus, plate reverb and a global sweep filter • A PLAY panel: pads in the track's own key, and a 16-step lane with accent and slide, running in time with the track and only in the sections you pick • MIDI in, so your keyboard plays whichever part you have selected • MIDI export: six tracks, one per part • Live spectrum, waveform and a view of the chaos engine at work Two Audio Units, an instrument and a MIDI processor. Each part sends on its own MIDI channel, drums on 10, so one instance can drive six instruments. The MIDI version passes your keyboard through instead of swallowing it. Both follow your host's tempo and transport. One install registers both. The app is free and nothing in it is held back. Using the Audio Units inside other apps is a one-time purchase, and each AUv3 session plays for two minutes first so you can try them properly.