Explore sound with Anukari’s physics playground

Anukari virtual instrument with physics-based gameplay is described as part synth and part virtual physics playground. Users can build virtual objects such as masses, springs, mallets, and bows, and then play those constructions to create sounds. The system can operate as a plugin or as a standalone instrument and is described as “built more like a game.” Users can shape how objects behave and place virtual microphones around them to capture the sounds they produce.

Anukari functions both as a virtual instrument and as an effects processor and can process external audio sources such as vocals, guitars, and other instruments. Outputs from the instrument can be shared on social media. The project launched after a beta testing phase and several years of development. Evan Mezeske is identified as the founder and creator; he is a musician, an autodidact, and a former Google engineering leader. Mezeske says 3D graphics and physics make audio tangible, that visuals are essential for the audio to occur, and that Anukari is “ridiculously efficient” due to the way it is designed.

Anukari provides a physics-based toolkit that lets users construct virtual components such as masses, springs, mallets and bows and then play those constructions to generate sound. Users can shape how these objects behave within the simulation and position virtual microphones around them to capture and sculpt the resulting audio. The instrument is described as being “built more like a game” with 3D graphics and real-time physics that make audio interactions visually tangible. The developer states the visuals are essential to the audio process rather than merely being decorative.

Anukari can run as a standalone application or as a plugin inside other audio software. It functions both as a virtual instrument and as an effects processor, enabling it to generate internal sounds and to process external audio inputs such as vocals, guitars and other instruments. Outputs produced within Anukari can be exported or shared on social media. Users can place virtual microphones to capture sounds from constructions and from processed external sources.

The product launched after a beta testing phase and several years of development. Founder and creator Evan Mezeske is identified as a musician, an autodidact and a former Google engineering leader who says concepts from large-scale distributed systems influenced the plugin’s architecture. Mezeske describes Anukari as “ridiculously efficient” thanks to the way it is designed. The instrument is presented as an experimental alternative to efficiency-focused music tools and is aimed at discovery and sonic exploration.

More information and a free trial are available on the Anukari website, and pricing was announced with an introductory price of $99 and a standard price of $149.

Anukari launched after a beta testing phase following several years of development. The instrument is distributed both as a plugin and as a standalone application, and its design is described as being “built more like a game” with 3D graphics and physics integral to operation. The release included mechanisms for users to try the software before purchase, and additional details are available on the product website. Outputs created in the instrument can be shared on social media.

Pricing at launch was announced with an introductory price of $99 and a standard price of $149. Evan Mezeske is identified as the founder and creator who led the multi-year development effort. Mezeske’s prior work included a leadership role at Google, and he states that concepts from large-scale distributed systems influenced the plugin’s architecture. The product is presented as an experimental alternative focused on discovery rather than efficiency-driven workflows.

Evan Mezeske has shared insights into the development and inspiration behind the Anukari virtual instrument. Mezeske describes his childhood fascination with mechanical objects, recalling experiences in his grandfather’s auto shop surrounded by machinery like pistons and crankshafts. This early exposure led to his fascination with building mechanical things, translating real-world mechanisms into simulations, and how these experiences influence the feel and sound of Anukari.

Mezeske explains the importance of 3D graphics and physics in Anukari, stating that while chips or transistors are abstract, the inclusion of visual elements allows users to see and interact with the sound in real time, providing a tactile experience. He notes, “the 3D visuals make the audio happen,” asserting that without them, the instrument wouldn’t function as intended. This approach underscores the belief that the tangible interaction with physics and visuals is essential to Anukari’s design.

Describing his creation as a tool for the “intrepid sonic explorer,” Mezeske emphasizes that Anukari is designed for both playful exploration and professional experimentation. He encourages users to “push it, try to break it, and to see what surprises emerge” in their creative processes. This philosophy positions Anukari as a disruptive alternative to conventional music tools, focusing on innovation and discovery.

His professional background at Google also plays a pivotal role in Anukari’s development. He compares his experience in managing large-scale distributed systems at Google to the architectural design of the Anukari audio plugin, connecting the parallels between coordinating complex systems and creating a sophisticated audio tool. He describes Anukari as “ridiculously efficient” as a result of its carefully considered design.

Anukari presents a hands-on user experience where people construct and interact with virtual objects — masses, springs, mallets and bows — inside a 3D physics environment and then play those constructions to produce sound. The interface is described as being “built more like a game,” with real-time graphics and physics designed to make interactions visually and physically tangible rather than abstract. Users can shape object behavior, position virtual microphones, and route or process audio, enabling direct manipulation of sonic outcomes through visual and physical interaction.

The tool is positioned as an alternative to efficiency-focused music tools by prioritising experimentation and discovery over streamlined, prescriptive workflows. The creator frames the product as suitable for exploratory play and open-ended sound discovery, encouraging users to push boundaries and observe emergent results from their manipulations. Visual feedback is emphasised as integral to the experience, with the design treating graphics and physics as central to generating audio rather than as secondary visualisation.

The stated target audience ranges from curious, exploratory users to professional artists and producers seeking new sounds or inspiration. The instrument’s ability to run as a plugin or standalone application and to act as both a sound generator and an effects processor is presented as supporting multiple workflows and use cases. Social sharing of outputs is available, which is noted as part of how users can distribute work created within the environment.

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Anukari is described as part synth and part virtual physics playground that lets users construct virtual objects such as masses, springs, mallets and bows and then play those constructions to produce sound. The application presents real-time 3D graphics and physics and is described as “built more like a game”, with visuals treated as integral to sound generation rather than as mere visualisation. Users can shape object behaviour, place virtual microphones around constructions, and use Anukari as both a sound generator and an effects processor capable of processing external audio sources such as vocals, guitars and other instruments. The software runs either as a plugin or as a standalone instrument and can export outputs that are shareable on social media.

Anukari launched after a beta testing phase following several years of development and is offered with an introductory price of $99 and a standard price of $149, with more information and a free trial available on the product website. The creator and founder, Evan Mezeske, is described as a musician, autodidact and former Google engineering leader whose experience with large-scale distributed systems informed aspects of the plugin’s architecture and design. The product is positioned as an experimental alternative to efficiency-focused music tools, aimed at users who prioritise exploration and discovery in sound design. Mezeske describes Anukari as “ridiculously efficient” as a result of its design.