Fizzy Bacon vs Drikus Demo Deck

Some tracks are perfect and still sound like a computer. Fizzy Bacon is the box that fixes that. A tape deck and its compressor, together, on your channel strip. Turn up Dirt. Keep going. You'll know when. PUT IT ON THE DRUM BUS Drive it until the kit stops being a grid and starts being a room. The compressor catches the whole thing on the way past, and the low end arrives on its own, without you touching an EQ. PUT IT ON A VOCAL A little Dirt for body, a little Age to take the glare off a bright mic, and the loud words sit down without you drawing a single automation line. PUT IT ON THE MIX Ease it in and everything moves a little closer together. Nothing sounds processed. It just sounds finished. PUT IT ON EVERYTHING Full wet, slow tape, wow and flutter up — and now you're listening to a cassette that's been in somebody's glovebox since 1982. FIVE KNOBS AND NO HOMEWORK Dirt is how hard you're hitting the tape. Age is how many miles are on the machine. Noise is the hiss and the hum, and it only shows up while the music does. Wow and Flutter are the drift and the shimmer — let them wander, or sync their rates to your tempo. Synced Wow lands on the beat; Flutter remains random. And Mix is hiding a flanger you didn't pay for: pull it back with the wobble running and the two sides sweep past each other. Real flanging, the two-tape-machines kind, free. A COMPRESSOR WITH NOTHING TO HUNT FOR No threshold to find. You just drive it harder until it's doing what you want. Four ratios, plus an All-buttons setting for when the whole track should be breathing rather than politely controlled. Two VU meters swing the way meters should — flip them to watch the gain reduction, or to check your width survives a mono fold-down. 51 PRESETS, ALL AT THE SAME LEVEL From a barely-there print to a completely melted reel, plus mastering and mixing banks. They all sit within a decibel of each other, so you can walk the whole bank without riding the fader and hear the difference instead of the volume. Save your own and they follow you to your other devices. NOTHING TO WATCH OUT FOR Latency never changes, your DAW compensates, bypass vanishes completely. Any hardware knob drives any control. Everything automates. An AUv3 plug-in in your DAW, or a standalone app on Mac, iPhone, iPad and Apple Vision Pro. Same engine either way. There's a full manual inside the window, if you're the type. Most people just turn Dirt up.

Drikus Demo Deck — four tracks, as fast as Voice Memos. For the moment a song shows up and you need it on tape before it leaves again. Record onto four tracks, overdub without losing the take, and find the song again later — even if all you remember is one line from the lyrics. Built for actual songwriting, not just voice notes - Four tracks with arm, volume, pan, mute, solo, and live meters - Per-track three-band EQ, saved with the session - Multiple clips per track, gap-accurate — silence stays silence - Precise overdub timing, compensated for your headphones' real latency, with a manual nudge for stubborn gear - Bounce all four tracks down to one, undoable until your next bounce - Export to M4A or WAV and share anywhere - Import audio from Files, or share a Voice Memo straight in - Pick separate microphone and output devices per session Find the song, not just the file Forty sessions in, "Aug 26 · Marigold" tells you nothing. Search the shelf by a word from the title, your notes, or anything the phone heard on a take you asked it to listen to. On-device transcription (iOS 26+) means nothing ever leaves your phone — it's there to help you find the song, not to write down the lyrics. Nothing leaves your phone. No accounts, no uploads, no cloud. Your takes stay yours.