Every stage is a node on an open canvas, wired left to right. Because the wires literally encode processing order, the most powerful idea in the product — that Tone.js and SoundTouch are one interleavable chain — becomes something you can see and rearrange, not a rule you have to remember.
Drag a node to a new slot and the wires re-snap; the signal now flows through it in a new order. EQ → pitch → reverb → stretch is just a left-to-right reading of the graph. The unified-rack architecture isn't hidden behind two tabs — it's the whole screen.
SoundTouch nodes wear a distinct faceplate and their wires pulse, so the high-quality pitch/time passes stand out in the flow. You always know which engine is touching the signal and exactly where in the chain it happens.
A canvas pans and grows without a redesign, so a three-node sketch and a twenty-node sound design sit in the same space. The live waveform on the Output node keeps the result legible no matter how deep the graph gets.
Power users, technical sound designers, and anyone who already thinks in node editors (Blender, TouchDesigner, n8n). The trade-off is approachability — it's the freeform, maximal-control end of the spectrum, opposite the guided and prompt-first variants.
Mocked engine · all four stages share one model · swap in real Tone.js · SoundTouch · lamejs later