Objects that respond
Attach rules to any object and let it react at playback time — to head movement, heart rate, time of day, ambient noise or session state.
What is saimox
If you only read one section, read the next one. Everything after it is detail.
saimox is a three-dimensional sound format — and the standalone workstation that makes it.
This is where you finally build the space you have been hearing in your head. Sounds that move where you want them, in a real room measured in metres or an endless free space, with a freedom you never had in a stereo picture.
What you build travels intact. Every sound stays its own object all the way to whoever is listening, whatever they are listening on. So what arrives is what you imagined — on their headphones, their soundbar, their car, their room, their…
And whoever you send it to just opens it. Free player, any device, no account, nothing to install on their side.
saimox is not a DAW and does not want to be. Your session stays where it is. You finish there, the way you always have, and bring the result here. And now the magic starts — in space and time.
What it does
A full authoring environment, not a plugin bolted onto someone else's renderer.
Attach rules to any object and let it react at playback time — to head movement, heart rate, time of day, ambient noise or session state.
Orbits, spirals, hypocycloids, physics and chaos attractors — each tiltable and stretchable on all three axes. Keyframes where you need precision, a pattern where you need life.
Define the world as a sphere or box in actual metres, place the listener, and true Doppler at 343 m/s and distance attenuation follow as consequences rather than effects you dial in. The room's reverb time comes out of its volume, measured rather than guessed.
Separate an existing master into stems on your own machine, then distribute them into the room with genre-aware presets instead of guessing.
Import and export the formats distributors already accept, with lossless ADM round-trip and bit-exact IAMF. Conversion is a feature, not the product.
Every function is reachable without the mouse. Arrows navigate, Enter fires, Delete removes, transport has shortcuts — the way professional tools are supposed to work.
That is the short version. The full feature list → · How the pieces fit together →
Who it is for
Some of this is shipping today. Some of it is a door the reactive layer opens that nobody has walked through yet. Both are stated as what they are.
You have a pair of headphones, a room that is not treated, and no budget for either. That is enough. Binaural monitoring is a real authoring path here, not a downgrade — and the same project exports a stereo master and an immersive one without mixing anything twice.
Nobody has to certify your room before you are allowed to participate. That was always a business decision, not an acoustic one.
You have a finished catalogue in two channels and no appetite for remixing it. Lift separates an existing master into placeable objects on your own machine, and genre-aware presets put them somewhere sensible before you touch anything.
Start from what you already have, not from an empty room.
Frame-locked picture in its own window, timecode, loop regions, non-destructive editing and an ADM-BWF master at the end that distributors already accept. Cinema IAB and NHK 22.2 where the delivery spec demands them.
Precision where the job needs it, and no format to fight on the way out.
You already think in triggers and states. This carries that thinking into everything you deliver outside the engine — objects that respond to sensors, environment and session, inside a file you can ship to a listener rather than only to a build.
The part nobody has built with yet. Objects that react to a pulse, to a room's noise floor, to the time of day or to a visitor walking past — for installations, performances and pieces that are genuinely different every time they run.
A rendered format cannot do this, which is why it has not been done.
We hold no patents on it, charge no per-unit decoder fee, and run no certification programme to join. Whether the target is a vehicle, a venue, a television or a platform, licensing is not the reason it does not happen. Any channel count, any geometry, described in configuration rather than negotiated in a contract.
The player is free and stays free. Playback is never capped, never watermarked and never behind an account — a 1024-object piece plays exactly as intended on a licence that costs nothing.
A format nobody can play is not a format.
Still reading
Five pieces play in your browser, with nothing to install. That settles more than another paragraph can.