BROWSER MUSIC TRACKER
Everything you need to get an idea out of your head and into a finished track — in a browser tab, with no install and no account. Type notes with the keyboard; when you stall, it writes the melody, the chords and the variations for you.
FREE The whole thing. Sixteen tracks, the send buses, the master chain, WAV export — no trial, no watermark, no account, no upsell.
That is not a video. It is the tracker, in a frame, playing Falcon Decending by Thricona — all eight parts of a real track, on the same engine the full app runs. Press play, then click a cell and type a note with your keyboard.
Falcon Decending — Thricona, used with permission. Every part is here, looping the figure the song is built on; the app keeps the artist's 64-row arrangement, where some parts enter and leave. The full app has sixteen tracks, a mixer with EQ and sends, scenes, the Generate menu and WAV export.
Not one synthesizer with a lot of knobs — six different ways of making a sound, because a plucked string, a drum skin and a grain cloud are not variations on a theme. Each engine brings its own eight macros, so the row of knobs at the top is the row that matters for the sound you are actually making.
The general-purpose one, and where most sounds start.
Bells, electric pianos, and sounds that change character as they ring.
Strings, bells and skins. Modelled rather than sampled, so they respond to how you play them.
One row per pad. A kit is not a sample you have to play in key.
Your own audio, played back in key.
Clouds. A sample smeared into grains you can walk through.
The same pattern, seen the way each job needs to see it. Switching is one click or one keystroke, and nothing you are working on moves when you do.
The grid. Hex row numbers, four sub-columns per track — note, instrument, volume, effects — and a keyboard that writes straight into it. This is where you spend your time, and it never asks you to reach for the mouse.
One row per drum pad, for kits. Click to place a hit, drag across to paint a run, drag up and down inside a cell to set how hard it lands. Rhythm without any note-reading.
A strip per track: fader, pan, mute, solo, meter, sends, and three EQ knobs you can reach without opening anything. Click a track for the full EQ, the insert and the sends — and the spectrum above draws your EQ curve over the live mix, so you can see the mud you are cutting.
An oscilloscope with the limiter's ceiling drawn on it — so you can see the limiting — plus a spectrogram, a goniometer, and the compressor and limiter controls.
The song's scenes as pads, launched on the next bar so a change lands with the beat instead of against it. The armed scene pulses, the playing one is filled in, and every track has a mute, a solo and a level. Number keys launch, arrows move, M and S mute and solo — no mouse needed mid-set.
Two projects at once, each with its own engine and its own scenes: a crossfader, a level and a filter per deck, and one master meter. Sync copies a tempo and starts the second deck on the first one's next bar. Neither project can touch the other.
Everything follows the pointer: faders, knobs, the numbers under them and the curve on the spectrum all move as you drag. One gesture is one undo step.
Dark for a dim room, Light for a bright one, High contrast for a projector or tired eyes, and Minimal when you want the data and nothing else. A skin is a stylesheet: the grid, the pads, the waveform and the meters all read their colours from it, so switching changes the whole instrument rather than repainting the panels.
The theme is remembered per browser, and it is the same choice in every view.
The whole point of a tracker is that an idea reaches the speakers before you lose it. Here is the path, in the order you actually take it.
Click a cell and type. Notes, chords, drums — the keyboard writes straight into the grid, and the step length is yours to set so you can punch in a run without counting. Drum kits get the pad grid instead: click to place a hit, drag to paint a run.
The Generate menu writes a melody in your song's key. Choose the shape — arch, rise, fall, wave, flat — how busy it is, and how far it wanders. Because it only ever writes notes from your scale, it cannot write a wrong one: the worst case is something you find dull, and you press Ctrl+Z once and ask again.
Seven variations — octave, thin, fill, ornament, answer, invert, shuffle. Each one keeps the rhythm and moves the notes, which is what makes the result sound like the same part played differently rather than a new one. It also means a varied bar still lines up with the drums.
Pick a progression from a list: the four chords behind a thousand songs, the doo-wop turn, a ii–V–I, the twelve-bar shape. It is written in your key, with the numerals describing the chords you actually get — so it reads the minor ones as minor — and the voicing is set to suit, so it arrives as chords rather than as single notes.
A scene gives every track its own clip with its own loop length. Write a two-bar bass line once and let it run four times under an eight-bar drum part — no duplicate patterns, no counting bars, and the long part is never cut off.
One strip per track — fader, pan, EQ, sends — and the EQ curve drawn over the live spectrum. Sends belong to the track, so two parts using the same instrument can still have different reverb: a dry lead over a wet pad.
Bounce the master or one file per track, whole song or a single pattern. The stems add up to the master, so a mix you hand to somebody else is the mix you approved.
Most of the work of making music in software is not making music. This is the part that is deliberately absent.
Bounce the master mix, or one file per track, as the whole song or a single pattern. Nothing is normalised, compressed or faded on the way out — a bounce is a copy of what you heard, not a second opinion about it.
Projects are files too, and the samples travel inside them — so a song opens on another machine intact, and there is no account holding your work.
It is a page, and it is free — the demo above is already the real thing, with nothing held back and nothing to sign up for.