At its core, TetraTone draws from the organic palette of Audiofier Tetrality 1 and 2, including Felt piano, Kora, Kalimba, Kantele, Musicbox, Gamelan, Celtic Harp, mallet instruments like Xylophone, Vibraphone & Celesta, delicate strikes, felted and acoustic tones, and other detailed sound sources shaped for rhythmic interaction. These are not flat static samples, but expressive instruments enriched with velocity layers and round robins for a more natural and responsive feel.
Alongside these organic sources, TetraTone also includes processed motion textures, trailing rhythmic beds and flowing supportive layers designed to accompany and enrich the main arpeggiations. These subtle moving elements add width, atmosphere and forward motion, helping patterns feel more cinematic, more immersive and less mechanical.

TetraTone is built for interplay. Instead of relying on a single repeated line, it allows up to four layers to combine into shifting, intertwining patterns that create the impression of a living ensemble in motion. One layer can define the pulse, another can provide sparkle or detail, another can introduce body or harmonic support, while another can add trailing motion and texture underneath.
This layered approach makes TetraTone especially effective for cues that need movement without clutter, rhythm without aggression, and detail without losing emotion.