The Glass Studio
Watch a record get made.
Below is a finished track — composed, arranged, performed, mixed and mastered end to end by the Conservatory engines — played back with every decision that made it left visible: the arrangement lanes, the theory verdicts, the measured mastering, the energy arc. Every sound but the synth pad and lead is a recording of a person playing an instrument: a drum kit through thirteen microphones, a Jazz Bass, two guitars, a grand piano — chosen strike by strike and played with a human's timing. Every number on this page was measured. Nothing is a mock-up, and nothing was copied from any recording.
The track, and its decisions
Press play and the timeline follows the music: each lane brightens while that instrument is sounding, and the playhead crosses the sections as they pass. The audio does not start by itself.
The full timeline as text
| Section | Time | Layers sounding |
|---|---|---|
| intro | 0–16 s | Hats & ride, Jazz Bass, Archtop, Grand piano |
| verse1 | 16–32 s | Kick, Hats & ride, Jazz Bass, Rhythm guitar, Archtop, Grand piano |
| pre1 | 32–48 s | Kick, Snare, Hats & ride, Jazz Bass, Rhythm guitar, Grand piano, Lead |
| drop1 | 48–80 s | Kick, Snare, Hats & ride, Claps, Jazz Bass, 808 sub, Deep boom, Drop guitar, Archtop, Grand piano, Pad, Lead, Risers & FX |
| verse2 | 80–96 s | Kick, Snare, Hats & ride, Jazz Bass, Rhythm guitar, Archtop, Grand piano |
| pre2 | 96–112 s | Kick, Snare, Hats & ride, Jazz Bass, Rhythm guitar, Grand piano, Lead |
| drop2 | 112–144 s | Kick, Snare, Hats & ride, Claps, Jazz Bass, 808 sub, Deep boom, Drop guitar, Archtop, Grand piano, Pad, Lead, Risers & FX |
| breakdown | 144–160 s | Kick, Jazz Bass, Archtop, Grand piano, Risers & FX |
| build | 160–168 s | Kick, Snare, Hats & ride, Jazz Bass, Grand piano, Pad |
| drop3 | 168–184 s | Kick, Snare, Hats & ride, Claps, Jazz Bass, 808 sub, Deep boom, Drop guitar, Archtop, Grand piano, Pad, Lead, Risers & FX |
| outro | 184–192 s | Hats & ride, Jazz Bass, Rhythm guitar, Archtop, Grand piano |
The players
| Lane | Source | What it played | License |
|---|---|---|---|
| drums | DRSKit — real kit, 13 microphones, up to 49 strikes per drum | 1642 performed hits, 11 fills, ghost notes, swung 16ths; close mics time-aligned; record drum-mix | CC-BY 4.0 |
| bass | Karoryfer Growly Bass — Squier Jazz Bass, recorded direct | 635 notes, legato, approach notes, slides | CC0 1.0 |
| guitars | Karoryfer Emily — Epiphone electric; notes + recorded barre chords | double-tracked strums L/R, muted drop chucks, recorded chords under the drops; amp chain + room | CC0 1.0 |
| archtop | Karoryfer Shinyguitar — archtop, microphone signal | 439 picked notes — the hook, the verse motif, the breakdown line | CC0 1.0 |
| piano | Salamander Grand Piano — 960 recorded samples | 751 notes, rolled chords | CC-BY 3.0 |
| pad/lead | Surge XT synthesiser — the only synthesised layer | a quiet high-passed pad under the drops only + the two-layer drop lead | GPL-3.0 |
A harder hit is a different recording, not the same one turned up; two hits in a row are two different takes. The drummer's timing is not on the grid — the snare sits a few milliseconds behind the kick, the sixteenth-note hats swing, there are ghost notes and a fill every eight bars. The rhythm guitar was played twice and panned left and right, as records are. The bass player slides into notes and lets them ring into the next. Those are performance rules, applied to an original score the theory gates had already verified.
The sound, measured live
While the track plays, this is its frequency content measured in your browser in real time — the low end on the left, the air on the right. The mastering numbers above were measured on the finished file itself.
Studied, not copied
| Band | Reference | This track |
|---|---|---|
| Below 60 Hz (sub) | 25.4% | 14.9% |
| 60–120 Hz (boom) | 15.6% | 22.4% |
| 120–350 Hz (low mid) | 15.8% | 30.8% |
| 350 Hz–2 kHz (music) | 39.7% | 26.4% |
| 2–6 kHz (presence) | 2.3% | 3.7% |
The brief for this track came from measuring a commercial dance record: its tempo, key, how its energy is spread across the spectrum, and the shape of its arrangement. Those are measured facts about a style — not anyone's melody. The hook and the harmony here are original, written by the engines and proven in key before a note was rendered; the section plan follows the genre's standard arc — intro, verse, build, drop, breakdown, drop, outro — which is a form, not a work. The engines and instruments are license-clean; the reference recording was analysed, never sampled, stored or extended.
- Same tempo family — 120 BPM, four on the floor.
- Same key family — A minor.
- Zero copied notes — the melody is an original two-bar cell, theory-verified.
- Zero synthesised drums, bass or guitar — every one is a recording of the instrument.
The DJ's view
Energy arc — measured per second
The loudness of the finished master, measured second by second — the shape a DJ builds a room around: lift, peak, breathe, peak again, land.
Harmonic mixing
On the Camelot wheel, a track blends cleanly with its own position, its neighbours one step either side, and its relative major — the rule the set-planning engine checks on every transition it proposes.
Use it on your own music
Everything on this page ran through the same engines that power the free tool on the front page:
- The producer's read — free, no account. Upload a track you hold and get its tempo, key, chord loop and cadence, groove and mix metrics in seconds, each with its confidence.
- The handback. Stems, MIDI for every pitched stem plus the drums, and — if you tell it what you want — a new track composed in your reference's musical DNA, audited by the ear, with a verifiable record of how it was made.
- Own what you get. The engines and instruments are license-clean, so what comes back is yours to use — with a record you can verify, not a licence you rent.