TIME — 16 STEPS, 4 TRACKS
Each track carries its own offset in milliseconds and its own quantize mode; the printed grid never moves, the hits do.
CHOP — YOUR AUDIO, CUT HERE
Drop a local audio file and it is cut into slices across the steps; it is decoded in this browser and nowhere else.
No audio loaded. Preset pieces carry their own synthesized source, rendered on load.
BUS — ONE OUTPUT STAGE
Everything passes through this: saturation, crush, one compression stage, gain.
NOTES
Each track carries its own offset in milliseconds and its own quantize mode. GRID: offset ignored, hits on the step. FREE: offset applied as written. 96: offset rounded to the nearest tick of a 96-per-quarter grid; both numbers are shown. The printed grid never moves. The hits do.
Drop an audio file. It is decoded in this browser and nowhere else; nothing is uploaded. Slices are cut from a start point you set, each step plays one slice, and RESIDUE keeps the sound after the slice instead of cutting it clean.
Everything passes through this: saturation, crush, one compression stage, gain.
TIME is modeled on the Akai MPC3000, released in 1994 and designed with Roger Linn. Its sequencer resolves 96 pulses per quarter note, and its nudge function shifts a hit forward or back. Offsets here are per track because the documented habit was selective: some tracks quantized, some played by hand, in the same beat. Traits are from Dan Charnas, Dilla Time (2022).
CHOP follows MPC sampling work: start a loop on any count, cut on a kick or snare hit, keep the residue after the hit. The gear story told about Donuts is contested in Charnas's research, so this page names no machine for that record.
BUS has no single source machine. Everything leaves through one stage, so the three machines stay one beat.
James Dewitt Yancey, J Dilla: born in Detroit on Feb 7, 1974, died Feb 10, 2006. Jun Seba, Nujabes: born in Tokyo on Feb 7, 1974, died Feb 26, 2010. The two were born on the same day.