Tell Moziko what you want, in a few words. About a minute later you’re listening to a full song, drums, bass, chords and melody, written for you. Then change any note, sing over it, or ask the AI Producer for anything in plain English.
Your first song in about a minuteNo card to try itBrowser, or Mac (macOS 13+)
Arrangement view · a song made from one sentence
159131721252933374145495357616569737781858993
Showcase
Every sound on this page came out of Moziko.
Deep house, drum & bass, future bass, trap, afrobeats and orchestral pieces, composed in the app by Claude working through the MCP server, then mixed and mastered with Moziko’s own tools. Press play, and open “How it was made” to see each step.
Cutlass at Dawn
Adventure Score100 BPMD minor
0:00 / 1:34
How it was made
Composed note by note in Moziko by Claude, starting from the prompt “a swashbuckling pirate-adventure theme: galloping 6/8 strings in D minor, heroic horns, brass stabs and timpani, building to a full-orchestra climax”.
New song at 100 BPM in D minor, each beat a dotted quarter so everything gallops in triplet eighths; sections Intro 4 · Theme 8 · Theme 2 · 8 · Storm 8 · Climax 8 · Ending 2
Cello Section Staccato and Double Bass Staccato: a non-stop galloping ostinato on the chord roots (Dm – Bb – F – C – Dm – Gm – A – Dm), the cellos alone in the Intro and crescendoing in
French Horn: an original heroic theme over the gallop; Trombone doubles it an octave down from Theme 2, Violin Section takes it an octave up, and the Climax puts all three together
Viola Section Staccato and Trumpet Staccato: chord stabs on the off dotted-quarters; Violin Section Tremolo shimmering under the first Theme and the Climax
Storm: Trombone and Tuba Staccato growl a call on Gm and Dm, String Ensemble Staccato answers with rising arpeggios, a snare roll and a Timpani Roll on A pull into the Climax
Timpani on the chord roots with pickups, Orchestral Percussion bass drum, galloping snare, crashes, a cymbal swell into the Climax and a gong on the last chord
Ending: two A7 hits and a final D minor chord for the whole orchestra, no fade; mastered with Punchy to −12 LUFS
Listening: The gallop never stops: cellos and basses hammer triplet eighths under every section, so the theme, the brass stabs and the timpani pickups all ride the same 6/8 swing, and the orchestra keeps adding layers until the two A7 hits and the final D minor chord.
new_project “Monsoon Circuit”, 174 BPM, F minor; set_sections Intro 16 · Build 8 · Drop 16 · Breakdown 8 · Drop 2 16 · Outro 4
add_track: a 909 “Beat” bus, an Acoustic Kit “Break” layer, Reese Bass + Sub Bass, Dark Pad, FM Bell motif, Pluck stabs, noise riser
set_instrument: Reese with 22-cent detune, 3-voice unison and a slow filter LFO; add_effect saturator + chorus on it, 6 s reverb on the pad
create_clip: two-step beat (kick 1 & the and-of-3, snare 2 & 4, ghost snares, tom fills) under an Amen-style break layer high-passed at 320 Hz
create_clip: atmospheric intro — Fm9 – Dbmaj7 – Bbm9 – Cm7 pad with the break fading in at bar 9 and a dotted-8th-delayed bell motif
create_clip: two-bar reese phrases with octave flicks and fifth/third pickups, doubled by the sub; a variation in Drop 2
create_clip: off-beat pluck stabs answering the snare, snare rolls and risers into each drop
analyze_audio found the drum bus 14 dB over the reese and the pad bed louder than the motif → beat −3 dB, reese +9 dB, pad −3 dB, break/stabs/motif up
analyze_audio: breakdown dominated by the snare roll → softer roll velocities
master punchy, export −14 LUFS
Listening: The first drop render measured −11.1 LUFS with the drum bus at −20 LUFS and the reese at −34.5 LUFS (no band of its own); after rebalancing the drums and reese sat within 2 dB of each other and analyze_audio reported no problems. In the breakdown the snare roll read 9 dB over the motif and was softened.
909 KitAcoustic KitReese BassSub BassDark PadBellPluckWarm Pad (noise riser)
Paper Satellites
Future Bass150 BPMEb major
0:00 / 1:45
How it was made
Made by Claude over MCP.
new_project “Paper Satellites”, 150 BPM, Eb major; set_sections Intro · Verse · Build · Drop 16 · Breakdown · Build 2 · Drop 2 · Outro (64 bars)
add_track: Trap Kit (kick on its own track), Sub Bass, Supersaw chords, Grand Piano, Supersaw lead, FM Bell, Glass Pad, noise riser
set_instrument: 7-voice supersaw with an 85 ms attack so every chord hit re-swells after the kick (sidechain-style pump)
create_clip: an 8-bar lead hook, doubled two octaves up on the bell and an octave down on the Grand Piano in Drop 2
create_clip: half-time drums (kick 1 + the and-of-3, clap+snare on 3, triplet hat rolls), a doubling snare roll into each drop
duplicate_track: split the chords into Saws L / Saws R panned ±0.75 with different detune after analyze_audio reported a nearly mono drop (corr 1.0)
analyze_audio: chords buried (−35.8 LUFS) and sub-heavy → chords +5 dB per side, sub −2 dB, kick +3 dB, lead +6 dB
analyze_audio: build louder than the drop and a 500 Hz piano build-up in the breakdown → softer roll and saw pulses, piano EQ −3.5 dB at 450 Hz
master punchy, export −14 LUFS
Listening: The first drop render read −16.9 LUFS, nearly mono (correlation 1.0) and sub-heavy, with the chords at −35.8 LUFS; after splitting the chords into a wide L/R pair and rebalancing, it read −14.4 LUFS at correlation 0.92 with no warnings. The build was louder than the drop and the breakdown had a +4.3 dB piano bump at 500 Hz; both were fixed.
Trap KitSub BassSupersaw Lead (chords, ×2)Supersaw Lead (mono lead)Grand PianoBellGlass PadWarm Pad (noise riser)
Smoke & Satin
Deep House122 BPMA minor
0:00 / 1:45
How it was made
Made by Claude over MCP.
new_project at 122 BPM in A minor (titled with set_song); set_sections Intro 8 · Groove 8 · Drop 16 · Breakdown 8 · Drop 2 8 · Outro 4
add_track ×9: separate Kick, Tops and Perc drum tracks (909 + Afro kits), Sub Bass, Chord Stab, Pluck, E-Piano, Warm Pad, a noise riser
set_instrument: turned the Pluck into a band-passed, gliding mono “vocal chop”; noise riser with a 4 s filter sweep
create_clip: drum grids with hand-placed shuffle (off-16ths late by ~20 ms), conga/clave groove, clap roll into Drop 2
create_clip: Am9 – Dm9 – Fmaj9 – Em11 as rootless stabs (x..x..x....x..x.), last stab pushing the next chord
create_clip: off-beat rolling sub with 16th ghost notes and octave flicks
create_clip: two-cell chop hook sequenced down the progression; E-Piano plays it an octave down in the breakdown
analyze_audio found the kick buried and the sub too heavy → kick +6 dB, F/E bass roots up an octave, stabs −1 dB with EQ −3 dB at 350 Hz
analyze_audio found the hook 15 dB under the stabs → opened its band-pass and lifted it 11 dB in two passes
analyze_audio found a 500 Hz build-up in the breakdown → EQ −3.5 dB at 500 Hz on the E-Piano, −2.5 dB on the pad, hook moved up an octave
master punchy, export −14 LUFS
Listening: First pass: the drop measured −16.9 LUFS with the kick 4 dB under the bass, the chop hook at −46 LUFS and a sub-heavy warning; after rebalancing it measured −14.1 LUFS with no findings. The breakdown flagged a +5 dB low-mid bump at 500 Hz from the E-Piano, cleared with EQ cuts and by moving its hook up an octave.
Made by Claude over MCP, starting from the prompt “dark trap with eerie bells, hard 808 glides and rolling hi-hats”.
create_song “dark trap with eerie bells, hard 808 glides and rolling hi-hats”, short form, then set_sections to Intro 8 · Hook 16 · Verse 8 · Hook 2 16 · Outro 4 and cleared the generated clips
write_chords: Fm – Dbmaj7 – Bbm – C (harmonic-minor V) on Dark Pad, two bars each
create_clip: 8-bar bell hook in 3-3-2 rhythm that lands on E natural over the C chord
add_track Grand Piano: the same motif an octave down plays the intro alone, then doubles the bells in Hook 2
set_instrument 808 Bass: glide 0.09 s, decay 2.2 s, drive 0.32, pitch punch 14 st; 808 line follows the kick and slides into each new root
create_clip drums by hand: half-time snare+clap, 8th hats with 1/16-triplet, 1/32 and triplet-8th rolls every second bar, open hats in Hook 2
analyze_audio on Hook 2: bells 7 dB under the drums and 'sub-heavy' → bells +7 dB, piano +5 dB, kick low shelf 2.5→0.5 dB, 30 Hz high-pass on 808 and kick
analyze_audio flagged a +4.3 dB low-mid bump at 500 Hz → EQ cuts on bells (−3.5 dB @ 450 Hz), piano (−3 dB @ 400 Hz) and pad (−2 dB @ 350 Hz)
master punchy, 808 −1.5 dB more, export −14 LUFS
Listening: First pass of Hook 2 had the bells at −26 LUFS against −19 for the drums and a sub-heavy warning; after the level moves the bells sit at −19 LUFS, then a +4.3 dB low-mid bump at 500 Hz went down to +2.9 dB with three EQ cuts, and Hook 2 came back with 'no obvious problems'.
Trap Kit808 BassBellGrand PianoDark Pad
Lekki Sundown
Afrobeats105 BPMD major
0:00 / 1:34
How it was made
Made by Claude over MCP, starting from the prompt “bouncy afrobeats with log drum bass, marimba hook and warm rhodes chords”.
create_song “bouncy afrobeats with log drum bass, marimba hook and warm rhodes chords”, then set_song swing 14 % and set_sections Intro 4 · Verse 8 · Hook 8 · Bridge 8 · Hook 2 8 · Outro 4
set_instrument: turned the Sub Bass into a log drum (square overtone, 9-semitone pitch drop, 0.42 s decay, drive 0.3)
create_clip: Gmaj9 – A6/9 – F#m7 – Bm9 on E-Piano, hand-voiced around a held F#4, sustained in the intro, comping in the verse, syncopated stabs in the hooks
create_clip: 8-bar Concert Marimba hook in off-beat 16th pickups, answered by a Kalimba counter-figure in Hook 2
create_clip drum step grids on the Afro Kit: 3-3-4 rim, accented 16th shaker, conga calls, claps and hats only in the hooks, cowbell for the peak
Bridge for contrast: kick and clap drop out, the log drum goes sparse and a recorded Flute sings a long line over sustained Rhodes
analyze_audio: log drum at −30 LUFS under −22 drums, kalimba/pad inaudible, 500 Hz build-up and a 'nearly mono' verse → log drum +7 dB, Rhodes chorus + pan, marimba EQ dip at 520 Hz, widePad chain on the pad
Second listen: Rhodes was louder than the hook → Rhodes −3.5 dB, marimba +2.5 dB, flute and kalimba up
master punchy, export −14 LUFS
Listening: First pass of Hook 2 measured the log drum at −30 LUFS against −22 for the drums, flagged a +4.8 dB build-up at 500 Hz and called the verse nearly mono; after the level, EQ and chorus moves every section reported 'no obvious problems' with the marimba hook on top (−18.5 LUFS) and the flute leading the bridge.
Afro KitSub Bass (log drum design)E-PianoConcert MarimbaKalimbaFluteWarm Pad
Genre, mood, tempo, key and instruments: “dreamy lo-fi with rhodes in F minor, 80 bpm”, “piano ballad with cello”, “no drums”. Or pick one of 17 genres.
Get a song, not a loop
Drums, bass, chords, pad, melody and arpeggio that share one chord progression, laid out as intro, verse, chorus, bridge and outro, with matching Session scenes.
Make it yours
Everything is editable MIDI on real instruments. Change a chord, redraw the hook, swap the kit, or ask the Producer to do it.
Home
AI · Producer
Ask for changes the way you’d ask a producer.
The Producer edits the open song with Claude, built in, so open-ended requests like “write a counter-melody for the second chorus” just work. Each song keeps its own conversation. Every change is one undo step.
Press space to hear it. Not quite right? Ask for “another arp” or hit Regenerate on the clip.
make the drums hit harder and master it
Wrote drums on Drums (148 notes)
Mastered (Balanced) ≈ −14.0 LUFS
Mixed and mastered — export from the top-right when you’re happy.
change key to D minor and slow it down
Tempo → 112 BPM
Key → D Minor
Studio
A real studio underneath.
The AI gets you started; the studio is where you finish. Session and Arrangement views, a piano roll with Live 12-style MIDI tools, a drum sequencer, synths, effects, a mixer and recording.
Session view
Launch clips and scenes in time, then record them into the arrangement.
Piano roll
Scale-aware piano roll with 31 MIDI tools: humanize, harmonize, strum, arpeggiate, continue and more.
Drum sequencer
Step sequencer with accents, ghosts and per-step chance.
Mixer
Mixer with sends, returns and a master chain. AutoMix balances it for you.
26 real instruments, from a concert grand to a full orchestra.
Multi-sampled recordings with dynamic layers, alternating takes and seamless sustains: grand piano, pipe organ, solo violin and string sections, harp, brass, woodwinds, timpani, mallets and an orchestral percussion kit. Strings switch between sustain, staccato, pizzicato and tremolo.
Moziko has a built-in Model Context Protocol server with 47 tools. Claude Desktop connects in one click; Claude Code with one command. Claude can compose, arrange, design sounds, mix and master, and then render the song and listen to it, or take a screenshot, to check its own work.
claude mcp add --scope user moziko -e ELECTRON_RUN_AS_NODE=1 -- \
"/Applications/Moziko.app/Contents/MacOS/Moziko" \
"/Applications/Moziko.app/Contents/Resources/mcp/moziko-mcp.cjs"
One plan, everything in it. The studio in your browser and on your Mac, the AI and the library: €2.95 for 7 days, then €49.90 / month. Cancel anytime.
Your songs follow you. Saved to your account in the browser, or on your Mac in the app; export WAV, stems, MIDI or a project file.
The music is yours. Release what you make; the sounds it uses are free to use.
Works offline. The studio, the composer and a built-in Producer need no internet; the AI that reads your ideas and Claude in the Producer use a connection.
What it doesn’t do (yet)
Moziko doesn’t generate sung vocals, it runs on macOS only, and it doesn’t host VST or Audio Unit plug-ins. It is ad-hoc signed rather than notarized, so the first launch needs one click in System Settings. How to open it
Questions
Questions people ask.
What does it cost?
Making your first song is on us. The Studio plan is €2.95 for 7 days, then €49.90 / month: the studio in your browser, the Mac app, the AI and every library download. Only want library downloads? The Library plan is €0.95 for 7 days, then €49.90 / month. Cancel from your account menu, and billing stops at once. See pricing
Do I need Claude or an API key?
No. Moziko’s AI is built in: it reads your song ideas and runs the Producer. Your own Anthropic API key is optional, and the MCP server lets Claude Desktop or Claude Code drive the app too.
Can I release the music I make?
Yes, what you make is yours. The orchestral, band and world instrument samples are CC0 or public domain and need no credit. The Grand Piano samples are licensed CC BY 3.0, so if a release uses the Grand Piano, crediting “Salamander Grand Piano by Alexander Holm” follows that license; the same goes for the Wurlitzer and Electric Grand with “E-Pianos by Greg Sullivan”, and for the Rock Drum Kit with “MuldjordKit by Lars Muldjord (DrumGizmo)” (CC BY 4.0). Details are on the credits page.
Does it make vocals?
No. Moziko writes and plays instrumental parts. You can record your own vocals onto an audio track, and it can turn a sung or played melody into MIDI.
Why does macOS block it the first time?
The app is ad-hoc signed, not notarized by Apple. Open System Settings → Privacy & Security, scroll to the message about Moziko and click Open Anyway. You only do this once.
Windows or Linux?
Use Moziko in your browser at moziko.co/app: the same studio, AI and instruments, on any computer with a recent Chrome, Edge, Firefox or Safari. The desktop app is for macOS.
Make something tonight.
Your first song is a minute away, in your browser.
Moziko is a music studio for your browser and your Mac. You describe a song in a sentence and it writes a full multitrack arrangement (drums, bass, chords, pads, melody) on real instruments, then you edit it like any DAW: a piano roll, drum sequencer, synths, 26 recorded orchestral and acoustic instruments, effects, a mixer and mastering. An AI Producer makes changes you ask for in plain English.
How much does Moziko cost?
Your first song is on us: make one in your browser, no card needed. To keep going, the Studio plan is €2.95 for 7 days, then €49.90 / month, with the studio in your browser, the Mac app and every library download. The Library plan, for downloads only, is €0.95 for 7 days, then €49.90 / month. Cancel anytime from your account; billing stops at once.
Which computers does Moziko run on?
Any computer with a recent Chrome, Edge, Firefox or Safari, in the browser. The desktop app is for Macs with macOS 13 Ventura or later, both Apple silicon (M1 and later) and Intel.
Can I use the music I make in Moziko commercially?
Yes. Songs you make are yours, and the 10,000 songs in Moziko’s music library are royalty-free with no credit needed, for videos, games, podcasts, apps and commercial releases. The one sound with a credit request is the Grand Piano (CC BY 3.0); see the credits page.
How is Moziko different from Suno or Udio?
Suno and Udio generate a finished audio file. Moziko writes the song as editable notes played by its own instruments, so you can change any part, sound or note, and every AI change is one undo step. Moziko does not sing or generate vocals.
Can Claude use Moziko?
Yes. Moziko has a built-in MCP server with 47 tools, so Claude Desktop, Claude Code and other MCP apps can compose, arrange, mix, master and export songs, and listen to their own renders to check the result.
Does my music leave my Mac?
Your projects and audio stay on your Mac. When you create a song from an idea, the text of the idea is sent to Moziko’s AI to plan it, and Producer requests send your message with a compact summary of the song. You can turn the AI off in Settings to keep everything local.
