Bytebeat vs 88 Synthwave

t*(42&t>>10) That one line is the whole song. Bytebeat turns a formula straight into sound. It evaluates your expression while t counts up from zero, one step at a time, and writes the result out as the waveform. No synthesizer, no audio files, no samples. The formula is the music. ■ Edit while it plays - Rewrite the formula without stopping playback. t keeps running - Change a single character and the song becomes something else - A keypad holding only the characters that appear in bytebeat formulas, so one tap is one character ■ See the waveform - An oscilloscope draws the samples that are actually playing - Traces are aligned to the rising edge, so the wave stays still instead of scrolling - Instruction count and stack depth are shown too ■ 29 famous formulas - Includes the one-liners from the experiments viznut published in 2011 - Save the ones you like to favorites with your own names ■ Three modes - Bytebeat: result & 255 mapped to 0...255, the way the original sounded - Signed: treated as signed 8-bit - Floatbeat: the result used directly as a -1...1 waveform, where sin and cos come alive ■ Change the speed of t - 500 to 48000 Hz. The original bytebeat ran at 8000 Hz - Slower runs lower, faster runs higher ■ Export to WAV - 8-bit, 8000 Hz, mono, which is exactly what bytebeat is - 10 seconds, 30 seconds, 1 minute or 3 minutes ■ What you can write - The variable t, and the constants PI and E - Arithmetic, bitwise operators, shifts, comparison, logic, the ternary operator - sin cos tan asin acos atan abs floor ceil round sqrt exp log sign int pow min max atan2 mod - Everything is computed in Double and rounded to 32-bit integers only for bitwise operations and shifts. This matches JavaScript's ToInt32, so formulas you find on the web play as they are ■ No connection - No account to create - No ads, no tracking - The app never connects to the internet. It works on a plane Many of the presets come from the experiments Ville-Matias Heikkila (viznut) published in 2011.

88 Synthwave writes complete synthwave tracks and plays them on its own synths. Press write and you get the whole track: an intro, verses, builds with a riser and a snare roll, choruses with the hook lifted over a pumping mix, a breakdown, solo or bridge in the middle, a final chorus an octave up, and an ending. That can be the arp left running, a fade, or one hit and silence. Everything is synthesized, so there is nothing to download. An analog-style polysynth with up to five detuned oscillators per voice, where no two notes are quite in tune, plays the pads, saw leads, arps and basses. A four-operator FM engine plays the bells, electric piano, brass and sax. Four classic drum machines sit behind a gated-room reverb and a sidechain pump. The tracks come from chaos maths. A Lorenz attractor draws the melody and the hook's rhythm, and a logistic map picks which steps the arpeggiator plays and where the ghost notes fall. Chaos on its own is noise, so a small model filters it: it is rewarded for consonant intervals and learns as it writes. The CHAOS / TASTE slider decides how much say each one gets. There are eleven styles, and each one sets its own scale, drum machine, rack and effects: Outrun, Night Drive, Darksynth, Dreamwave, Disco, Synthpop, Cyberpunk, Horror Synth, Space Disco, Miami Nights and Vaporwave. Tick STYLE LOADS RACK and each style brings its own sound. The sound is half the record. There are four channels (bass, pads and stabs, arp and keys, lead), each with a preamp or amp, a tone stack and a speaker: a studio monitor, a guitar cabinet, a bass cabinet or a car door. Eight one-click racks set a whole sound at once. The effects are the production: sidechain pump, gated room, chorus, tape, bit crush, phaser, width and tape hiss, with a plate, a hall, a spring and a tempo-synced delay on the master. Every track is built from its seed. Write the seed down and you can have that exact track again, note for note. A seed from the browser version rebuilds the same track here. 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. The sixteen-step lane stays in key when the writer picks a new track, and it follows your host. Both play any of 22 voices through that voice's own channel and out on its MIDI channel. Turn on RADIO and it keeps playing, picking a new style, key, scale and tempo for every track. You also get: • 11 styles, 21 scales, 12 keys, tempo and density • 22 voices: pads, leads, brass, FM bells and keys, arps and basses • 4 drum machines, 14 channel voicings, 6 speakers, 8 racks and 8 effects • Seven-part mixer with a meter on every part • MIDI in, so your keyboard plays whichever voice you have selected • Export a MIDI file, a WAV mix, or stems, one WAV per part (in the app; in a host you record the audio there) • A note and a MIDI channel for every drum and every riser and impact • UI scale, so the panel is not tiny on a big iPad • Live spectrum and waveform, and the chaos engine drawn as it runs There are two Audio Units, an instrument and a MIDI processor. Each part sends on its own MIDI channel and every drum has its own note and channel, so one instance can drive a whole rack of synths. The MIDI version passes your keyboard through. Both follow your host's tempo and transport, and 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. No account, no ads, no subscription. Works offline.