A complete groovebox in a single file — drums, two synth engines, a 16-pad sampler, an arrange timeline and a lyric view that turns into a karaoke screen when you press play. No installs, no account. Most unfinished tracks die as loops; Odra is built to get you past that.
Lines live on the timeline, not in a notepad — each one owns the bars it occupies. A syllable counter warns before you write a line nobody can sing at that tempo, and a counter tells you how much of the song is still empty. Press play and the screen becomes a karaoke view: words lighting up in time, next line waiting, count-in before every entry. It disappears when you stop.
Ten synthesized voices — 808-style kick, snare, triple-burst clap, closed and open hats, tom, rim, cowbell, crash and a filtered bass. Four pattern banks, tempo 60–180, adjustable swing, per-track mute and level. Patterns autosave as you draw.
Two engines under one keyboard: a warm analog voice and a glassy digital one. Play from your laptop keys with the classic DAW layout — A through ; for notes, Z/X for octaves. Fully polyphonic.
A scrolling 128-bar timeline that zooms and grows as the song does. Arm a track, hit record — a bar of clicks counts you in first — and play over the looping drums. Blocks drag along the bar grid and trim from either edge without stretching what is inside them — narrow one and the tail goes quiet, widen it and the notes come back. Every region stores a snapshot of the synth settings it was played with, so layers keep their own sound.
One click renders the kit offline to a clean 44.1 kHz / 16-bit WAV, a 192 kbps MP3, or separate stems per drum voice — ready to drop into Logic, Reason, LUNA or anything else in your studio.
A selector in the transport reopens any previous release — from the drums-only v1.0 to the full arrange-view build. Your patterns survive the trip both ways.
Four banks of sixteen. Drop a file on a pad, load one, or record straight off the mic. Trim it on the waveform, pick how it behaves — one shot, gate, loop, reverse — then shape it: pitch in semitones and cents, a filter, an ADSR envelope, drive and crush. Every pad keeps its own chain and survives a reload.
Web MIDI, no driver. Tap all sixteen pads once and Odra learns the exact map your hardware sends. Keys are split off by channel, so a pad never fires a note by mistake. Pitch bend and the mod wheel are wired to the synth — bend to ±2 semitones, wheel to filter cutoff.
Hit SING and the screen turns into a karaoke view over your own beat — words lighting up in time, count-in before each entry, mic recording as you go. The take lands on the timeline exactly where playback started, so it lines up on replay. Copy it, drag it, keep the one that worked.
Every drum and synth voice is synthesized, so the whole instrument fits in a single HTML file and works offline. Open it, press space, make noise. That's the entire onboarding.
Saw and square oscillators with a sine sub an octave below, driven through a resonant low-pass filter with its own envelope. A stereo chorus built from two LFO-modulated delays turns any patch into a wall of velvet. Think fat mono-synth bass meets silky string machine pads.
A frequency-modulation voice with a decaying FM index for that struck-key feel, plus an airy shimmer partial two octaves up. Whole-number ratios give glassy electric pianos; odd ratios give bells and metal. The workstation sound, synthesized from nothing.
Sixty-four pads instead of sixteen, in four banks, switched from the top of the pad column. A bank you are not looking at is not asleep: it keeps its samples, its trim points and its whole TONE chain, and the arrangement can still trigger it while you work on another. Blocks on the timeline say which bank they were played from, so a part recorded from bank 3 still reads as bank 3 a week later.
Four patterns instead of one — A, B, C, D — and the drums lane stopped being a single strip running the length of the song. A block is one bar, it points at a bank, and it moves, copies, duplicates and trims like every other block on the timeline. Verse on A, chorus on B, drop the blocks where they belong; bars with no block are simply silent. Drag a lettered button straight onto the lane to place that pattern where you drop it — it carves its own bar out of whatever was there. Double-click a block to open the pattern it plays. Old projects keep sounding exactly as they did — the pattern that used to run everywhere becomes one long block you can cut up whenever you like.
METRONOME switches the click on where you are working, next to record; the MET knob in the transport sets how loud it is. It runs unswung on every beat, higher on the downbeat, and never reaches an export. COUNT-IN gives you the bar every DAW gives you — hit record and you get four clicks before the transport moves, so the take starts where you meant it to instead of two seconds late. Nothing you play during that bar is captured.
Every pad gets its own chain now, not just a trim. Pitch it in semitones and cents, run it through a low-, high- or band-pass filter, shape it with a real ADSR, then push it into drive and bit crush. The panel sits under the pads as its own full-width row, so opening it never covers the waveform. Later fixes in this line brought copy, paste and duplicate to every block on the timeline and put dragging back on the bar grid.
Double-click any synth region and the notes open on a pitch-by-time grid. Draw them in, drag them around, pull an edge to change the length, right-click to delete. Region trim stays non-destructive underneath — notes past the edge go quiet rather than disappearing.
Press SING and the beat starts with your lyrics running over it, count-in and all, while the mic records. The take lands on the timeline at the bar playback started from, so it lines up every replay. Audio lives in the browser database, not localStorage, so takes survive a reload. The mixer gained a vocal channel to sit them against the band.
Regions stopped being percentages and became pixels. That fixed the thing that made no sense: shrinking a block used to squeeze the notes inside it and speed them up. Now trimming clips at the edge the way it does in a video editor — the tail goes silent, the timing never moves, and widening the block brings it back.
Sixteen bars was never a song. The arrangement scrolls now, zooms with the wheel or the buttons, holds 128 bars and quietly grows past that when you reach the end. FIT drops the whole arrangement onto one screen.
Export gained a 192 kbps MP3 next to the WAV, plus separate stems per drum voice. Dropping an audio file straight onto a pad started working — no dialog, no file picker.
The controller's left hand finally does something. Pitch bend runs ±2 semitones across both engines, the mod wheel is wired to filter cutoff, and the octave buttons can be learned from any CC your hardware sends.
Record a sample straight off the microphone into a pad, and pick which mic when you have several. Web MIDI came with it: tap the sixteen pads once and Odra learns the exact note map, keys split off by channel so a pad never fires the synth by accident.
Seven faders in one dialog — master, drums, the three synth tracks and the pads, each with mute. Synth tracks got their own buses so one layer can sit behind another instead of everything sharing a single output.
CLEAR used to wipe everything and ask nothing. It opens a dialog now: pattern, arrangement, pads, synth — tick only what you meant.
Arm a track, hit REC and play over the loop. Pad hits and synth notes land on the timeline as you play them, in the bar you played them, and the block appears under your hands as it fills.
Four voices joined the drum machine — tom, rim, cowbell and crash. Still no samples anywhere: every one is synthesized on the fly, so the file weighs the same as it did with six.
The sequencer and the arrangement no longer share one screen — a tab switches between them, and each gets the full height. That room went straight into the timeline: three synth tracks now, plus a sampler track that records your pad hits and plays them back in place.
Write the song against the bars, not in a notepad. Lines sit on the timeline as regions, a syllable counter warns when a line will not fit the beats it has, and a progress readout shows how much of the song is still empty. Hit play and a karaoke view takes over the screen — words lighting up in time, the next line waiting below, a count-in before each entry. It leaves the moment you stop.
A waveform view next to the pads: drag the handles to trim start and end, then choose how the pad behaves — ONE SHOT or GATE, LOOP between the handles, REVERSE. Every setting is stored per pad and survives a reload.
A layout experiment you can judge yourself: pads sit under the arrange view, the synth gets its own panel below. Both instruments stay visible; keyboard focus follows a click on a panel or the Tab key. Prefer the old tabs? Flip the version selector back to 1.6.
A 16-pad sampler with waveform trimming and the classic MPC key grid (ZXCV / ASDF / QWER / 1234). Drop audio files on pads, record straight from the mic, tune pitch and gain per pad. Samples persist in the browser. Keyboard focus follows the SYNTH / PADS tabs, DAW-style.
Ten signature sounds, five per engine — from FAT BASS and JUNO PAD to BELLS and METAL HIT. One selector switches engine, knobs and chorus together; touch anything and it honestly reads CUSTOM.
Reopen any previous release from a selector in the transport. Release snapshots archived in the project.
16-bar linear timeline with a drums lane and two synth tracks. Live MIDI recording with per-region sound snapshots, movable playhead, double-click to delete regions.
Triton-flavoured 2-op FM voice with shimmer layer. Engine tabs with independent controls per engine.
Polyphonic analog engine — saw/square mix, sub oscillator, resonant filter, Juno-style stereo chorus. Laptop-keyboard playing with octave shift.
16-step sequencer, six synthesized drum voices, swing, WAV export, autosave. Born as a browser app with a native macOS build path from day one.