Gemini 4 Argon vs GPT-6.1 Sol
Gemini 4 Argon
Google · $10/M out · 2,027 HN pts
GPT-6.1 Sol
OpenAI · $10/M out · 1,164 HN pts
Pelican
Generate an SVG of a pelican riding a bicycle
Watch
Draw a mechanical wristwatch that shows the current local time, with a sweeping seconds hand and a date window. Make it look expensive.
Landing
Build the landing page for Lumen Cycles, a Copenhagen workshop that builds custom cargo bikes to order. Make it look like a real brand you would trust with 4,000 euros.
Breakout
Make a Breakout game I can play right now with the keyboard or the mouse. Give it several levels, a score and some juice.
Logo
Design a logo for Night Heron, an independent bookshop that only opens after dark.
About
Write the opening of the About us page for Patchbay, a three-person studio in Rotterdam that repairs vintage synthesizers. About 150 words.
In a quiet industrial building overlooking the Maas, the air smells of warm dust, solder flux, and ozone. This is Patchbay, a three-person workshop in Rotterdam dedicated to keeping the golden age of electronic music alive. We don’t view vintage synthesizers as museum pieces to be locked behind glass. To us, a Roland Jupiter-8 or an ARP Odyssey is a living, breathing instrument meant to be played, gigged, and pushed to its sonic limits.
Between the three of us, we have spent decades deciphering faded schematics, hunting down obsolete transistors, and cleaning decades of club grime from beneath weighted keys. Rotterdam is a city built on raw electronics and relentless rhythms, and we take pride in keeping its hardware running. Whether you bring us a touring workhorse with a dead voice chip or a garage-find modular rig that hasn’t powered on since 1984, we are here to make it sing again.
Patchbay is a three-person studio in Rotterdam, keeping vintage synthesizers in working hands. We repair the instruments that have picked up a crackle, lost a voice, drifted out of tune, or stopped making sound altogether.
We like the patient side of repair: tracing a fault, understanding an old circuit, and finding the right fix rather than the quickest workaround. Our aim is to make each instrument dependable without sanding away the character that made someone fall for it in the first place.
Some synths arrive with a clear problem. Others come with a story and a noise that only happens after twenty minutes. Either way, the work starts with listening—to the instrument and to the person who plays it.
We’re a small studio by choice. It keeps us close to the work, and to the musicians who trust us with something they want to keep making music with.





