The best idea in a session does not have to be yours.

Throw objects into a space. Get music out.

Balls in flight across the Kine canvas, each leaving a trail.
PriceFree
FormatsVST3, AU, AU MIDI FX
SystemmacOS 11+, Windows 10+
Size12 MB

A canvas with physics, wired to MIDI

Everything is snapped to a key you choose, so what comes out is stranger than anything you would sit down and play, and still in tune.

Many balls at once build up rhythms that are too dense to play by hand. Kine makes MIDI first: route it to your own synths and samplers, or drag it into the project as a clip. It also has a built-in voice, so you hear something the moment it loads.

Drop. Click to place a ball. Drag before you let go and you throw it. Direction and speed are your gesture.

Bounce. Gravity has an amount and a direction. Elasticity and air friction take it from tight rebound to slow decay. Zero gravity drifts forever.

Note. Every impact fires a note. Position along the wall selects the scale degree, harder hits play louder, and the note name flashes where it happened.

Keep it. The last 32 bars are always recording. When something works, drag the lane onto a track.

Why it never sounds wrong

Each of the four walls is a pitch zone mapped across the scale you picked. Thirteen scales, every mode and the pentatonics, plus a custom editor if none of them fit.

Per wall

Mute a wall, offset it by an octave, or switch it to drum mode so it fires one fixed GM note instead of a pitch zone. The same engine becomes a generative drum machine.

Timing

Free mode fires notes sample-accurately at the moment of impact. Synced mode snaps them to a grid from 1/4 to 1/32, with a strength control so timing can be loosely gravitational rather than rigid.

Humanise

Velocity humanise loosens the dynamics. Note length is fixed, or held until the next hit on that wall.

The Kine window: canvas with balls in flight, capture lane below, control strip at the bottom.
Perform

Shape the space

The four walls are the default. Everything else in the canvas is something you put there.

Lines

Draw lines inside the canvas and balls bounce off them with real segment collision. Each line is its own pitch zone with its own octave and colour, or pin it to a single fixed note. Move, rotate and resize them directly, and they travel inside share codes.

Emitters

An emitter is a saved drop that re-fires on a beat interval. They are grid-aligned at creation, so same-rate emitters lock in unison and mixed rates interlock as polyrhythms instead of drifting apart. Up to eight at once.

Perturb

One tap sends a radial impulse through every ball on the canvas and shakes the whole pattern loose.

Speed

A time-scale macro from freeze to full speed, automatable. Pause the simulation mid-phrase or run the whole thing in slow motion.

Four colours, four voices

The same note events feed an internal synth, and each ball colour carries its own patch. A bass, a pluck and a pad can share one canvas.

The Sculpt panel: oscillators, filter, envelopes, LFO and the shared effects rack.
Sculpt
Oscillator
Two oscillators and a sub. Band-limited saw, square, triangle, sine. Detune and mix.
Filter
State variable low, band and high pass. Resonance, key tracking, envelope depth, velocity into cutoff.
Envelopes and LFO
Two ADSRs for amp and filter, with real releases on note-off. One LFO, free or tempo-synced, into pitch, cutoff and amp.
Shared rack
Drive, chorus, delay and reverb across all four, tying the colours into one sound.
Dice
Rerolls one colour’s sound without touching the pattern. Copy All and Reset move patches between colours.
Voice off
Costs no CPU.

Capture and drag out

A piano roll runs under the canvas showing the last 8, 16 or 32 bars as they happen, notes drawn in the colour of the ball that made them.

Grab the lane and drag it onto a track. Type-1 MIDI, one track per channel. What you see in the lane is exactly what lands in the project, and the standalone gives you a save dialog.

MIDI goes the other way too. Note number sets the drop position, velocity sets throw force, channel sets colour. Play Kine from a keyboard, or sequence it from the DAW and let the physics answer.

Capture lane

Where it sits

Native MIDI out where the host supports it, drag-out everywhere else.

FL Studio
MIDI out routes into any instrument on the rack.
Ableton Live
Load on a track, route MIDI to your instruments.
Logic Pro
Ships as a native AU MIDI FX, so it sits pre-instrument.
Reaper, Bitwig, Studio One
Native MIDI-out support.
CPU and memory
Under 1% on a 2015 laptop, under 50 MB RAM, instant load.
Presets
19 factory patches, each carrying its own Sculpt sound.
Share codes
The whole patch serialised to a text string. Paste it into a forum post and someone else hears your exact setup.
Recall
Full state saves with the project, including the seed.

Questions

Who is this for?

Ambient, IDM and downtempo producers use it as an idea engine. Live performers use it because it is visual and playable on stage. It also works as a toy, which is the easiest way in.

Is it really free?

Kine is free to download today. You give an email address to get the installer, and you choose separately whether that also signs you up to hear about new releases.

How do I install it?

The installers for macOS and Windows are signed, and they put each format where your host expects it. Rescan your plugins and Kine appears under Noem.

My DAW does not show MIDI out.

Some hosts hide plugin MIDI output behind a routing setting, and a few do not expose it at all. Use drag-out instead. It produces the same notes and works everywhere.

Something is broken.

Mail us with your operating system, host and version number, and we will fix it.

Download Kine

VST3, AU and AU MIDI FX. macOS 11+, Windows 10+. Signed installers, 64-bit, 12 MB.