Say it in English.
Get real Csound back.

A new door onto an old, deep house

Csound's power was never in doubt — its cost of entry was. Sixty-plus years of synthesis knowledge sits behind a syntax most musicians never get past. We didn't set out to replace any of it. We built a way in: describe the sound, read what got written, keep the file.

From a sentence to a p-field

Nothing here is a metaphor for what happens — this is what happens. The phrase maps to a typed edit, the edit lands on a named p-field, and the p-field is a number in the score line Csound reads. Pick a phrase; the lines it moves light up.

One parameter at a time, rendered and measured

Four compiles of the same eight bars, each moving exactly one FM p-field off its default. Same notes, same filter, same seed. Each player below holds the first twelve seconds of a render made by Csound 6.18 from the .csd beside it, and the numbers are measured from those renders — spectral centroid of the opening chord, and how far the brightness falls across it.

Measured on the opening chord — four voices, 1.6 s window: centroid is the spectral centre of mass — the honest proxy for "bright." Decay span is the centroid at the attack minus the centroid late in the chord: a big span means the tone opens bright and closes dark, which is what a bell does. Note the instrument's own low-pass sits at 3 kHz, so this is a warm Rhodes by design — none of these edits are trying to be glassy in the DX sense.

The synthesis surface you can talk to

Every voice parameter below is a real p-field on a real instrument — reachable by sentence, by knob, or by API, and identical in all three paths because they write the same field.

An honest boundary: the one-word chips are mix and arrangement moves, not sound design. "Dreamier" and "punchier" push bus parameters — reverb feedback and return, delay feedback, duck depth — and layer levels, which reach the score only as each note's amp p-field. "Darker" pulls the reverb cutoff and the master lowpass down. Per-voice timbre — cutoff, drive, resonance, ratio — moves through the sentences and knobs above. We'd rather tell you where the line is than let you find it.

The conversation doubles as the lesson

A student who cannot yet write an orchestra can describe one, then read what was written for them — with their own words still attached to the lines those words moved. The file that comes out is not a toy export; it is real Csound, emitted the way a machine emits it — the standard table set and the bus plumbing spelled out whether or not a piece leans on them — and it runs anywhere Csound runs.

The agent works from the same material a student would: it can pull any voice's actual orchestra text mid-conversation — the same code you can download here. Chord harmony is walled off from it entirely: the agent names chords by symbol, never sees a voicing, and the THIRI engine resolves each symbol to pitches server-side — chord tones are computed, not guessed. Melodic lines are the exception, and we'd rather name it: solos and licks do let the agent place explicit note numbers, and the compiler honours them verbatim.