Thunresdaeg

Þunresdæg has no samples and no recordings in it. Every sound comes from three oscillators built out of small equations run over and over — the tent map and its relatives — fed into a board of effects you patch with cables.

Nothing is random. The maps are deterministic: put the instrument back where it was and the same sound comes back. What sounds like noise is a number sequence that has not repeated yet.

The board holds six pedals — two phasers, a bucket-brigade delay, a ladder filter with an envelope follower, a ring modulator, a modulated delay from chorus to flanger, an FM oscillator with hard sync, and a stepped bank of eight band-passes. Patch them in any order, feed any output back into any input, and cross the paths through a 4×4 matrix.

The eight XY pads are not knobs. They are control voltage sources. What each one moves is decided on the board, so the same gesture can sweep a filter, drive a phaser and retune an oscillator at once.

The camera can take over the pads: light and movement in frame become the pointers. Your own sound can be played through the board from the microphone. Presets store the whole instrument — cables, matrix, every knob and switch, the pads, the oscillators, the exit EQ and the camera settings.

Landscape only. Everything happens on the device: no accounts, no network, no analytics. Camera frames are read and discarded, never stored. Headphones or a decent speaker recommended.