About
I'm Sylwester Sosnowski. I build instruments, effects and the hardware some of them run on, in Berlin, and I take on engineering work for people building the same kinds of things.
How it started
I taught myself music first, then everything needed to build the instruments, which turned out to be one subject and not two. Nearly everything here exists because I wanted a thing that wasn't for sale, or because I couldn't stop wondering how an existing one actually worked.
The hardware came first: audio development boards, a Eurorack module, broadcast audio networking running on parts nobody expected to manage it. The plugins came out of the same habit. An instrument you have built is one you understand, and one you can still change afterwards.
How things get made
Some of it is physical modelling. Epi computes eighty-eight hammers and eighty-eight pieces of steel instead of replaying recordings of them. Some of it isn't: Doobie is a tape echo with four heads on one transport, Jove is a synthesizer you can rewire while it plays. What they share is that I would rather take the long route and get it right than ship something familiar quickly.
That is a working preference and not a boast, and it has a cost. It is why there are four plugins here and not twelve.
Everything gets measured before it goes out. Each build renders the factory presets and checks them for level, character and discontinuities, and DSP claims get verified against instrumented harnesses instead of by ear alone. Any number on this site came out of a measurement. Where a model has a gap, Epi ships a document that lists the gaps (I call it the honesty ledger) and prints them on every test run so none of them can quietly disappear between releases.
Where the name comes from
Inertia is what makes a mass resist being moved, then keep moving once it is, which is most of what a struck string, a tine or a reel of tape is doing. The extra n is the joke.
Working together
I take on collaborations: instrument and plugin design, DSP, networked audio, and embedded firmware for products that have to keep time. Artists looking for a sound that doesn't exist yet are welcome, and so are companies who need the engineering behind one.
Tell me what you are building. If it isn't something I am good at I will say so in the first reply, which saves us both a call.