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Synthesizers, built in

Subtractive, FM, wavetable, additive, granular. Below, the three-oscillator synth plays an arpeggio through a resonant filter and a ping-pong delay, using the same DSP code as the editor. The knobs are live.

Modeled, not sampled

The piano contains no recordings. Each note is up to three simulated strings on a shared soundboard, struck by a felt hammer: playing harder shortens the hammer contact and brightens the tone, and held notes ring into each other through the board. Hammer voices the felt, Body fades out the soundboard.

Over 60 effects

EQs, filters, single-band and multiband compressors, spectral denoise, gate and morph, reverbs, delays, choruses, resonators, amps, degraders. Below, a bundled drum loop runs through a ping-pong delay and a diffusion reverb.

Drums from scratch

The drum synthesizer generates kicks, snares, toms, hats and cymbals without samples. Tap the pads.

Cables, not channel strips

There is no fixed mixer. Devices sit on an open workspace and connect with cables: audio cables carry sound, orange cables carry MIDI. Split a signal and process the copies differently, feed a compressor’s sidechain from another chain, or give each frequency band of a track its own effects. Some devices take a second input, like the resonator, which rings with the spectrum of whatever you feed it.

Rendered, not real-time

Most DAWs compute audio live during playback and stutter once a project outgrows the CPU. soundwork renders instead: every edit re-renders the affected audio in the background, spread across CPU cores, starting at the playback position so you hear the change where you are listening. Playback only reads finished audio, so it cannot glitch, and the exported WAV is exactly what you heard. No track freezing, no bouncing in place.

This also removes the real-time budget: an instrument or effect can spend as much computation as it needs, which is what makes the physical models above possible. And since every clip holds rendered audio, its waveform shows the actual result after synths and effects, not the raw source. Change something upstream and the waveform updates with it.