How this started
I started making music in 2016. Like most producers, I went through a small library of synths over the years, learned each one's ergonomics, and kept running into the same wall: the sound I was chasing was always one tool away from where I currently was. After enough of that, I started writing my own.
Laura is the result. It's the synth I wanted on my own template: wavetable, FM, classic analog, and fractal oscillators under one signal path, with a modulation matrix that gets out of the way and an FX rack that doesn't ask for ten plugins to make a patch feel finished. The fractal engines, in particular, were the reason I kept going. There's a whole class of timbre nobody is shipping, and once you've worked with it you don't want to go back.
My background
I'm a senior software engineer by day, mostly backend, with about a decade of C++, Ruby on Rails, Python, and Node.js under my belt. The DSP, the plugin host integration, the licensing infrastructure, the website you're reading, the manual, the release pipeline. All of it is built by one person on weekends and evenings. That's the upside of being a studio of one: every decision is consistent, and you're never one acquisition away from the product going stale.
It's also the reason Laura's licensing is offline and the activation never phones home. I don't want to depend on a server staying up, and I don't think you should either.
What's next
Laura is under active development, with a long roadmap of new FX modules, preset packs, and DSP refinements. Every build ships inside the two-year free-update window that comes with every license, no extra charge. If you have a synth feature you've always wanted and never had, write to me. The studio is one person, so your email reaches the person who actually decides what gets built next.