Kimi K3.1 Pro vs Ember-1
Kimi K3.1 Pro took 32 min 17 s and $1.27 at list price, Ember-1 took 25 min 56 s and $1.78 at list price. Kimi K3.1 Pro took 1.2× as long, and Ember-1 cost 1.4× as much.
Kimi K3.1 Pro
Moonshot AI · $10/M out · 1,168 HN pts
Ember-1
Fireworks · $15/M out · 589 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.
Patchbay is a three-person studio in Rotterdam devoted to keeping vintage synthesizers alive, playable, and full of character. We work on instruments that have spent decades in studios, bedrooms, and tour cases, and we believe each one deserves more than a quick fix. From drifting oscillators and noisy sliders to tired keybeds and mysterious faults, we take the time to listen, diagnose, and repair with care.
Our approach combines patient troubleshooting, period-correct components where possible, and a deep respect for the original sound. We do not believe in erasing an instrument’s history; we preserve the quirks that make it worth loving. Whether your synthesizer needs a full overhaul or a little help getting back on stage, you will always know who is working on it and why. Patchbay exists for the joy of switching on an old machine and hearing it come back to life.
Patchbay is a three-person workshop in Rotterdam dedicated to keeping vintage synthesizers alive. We work on the machines that shaped electronic music — analog polysynths, temperamental drum machines, early digital oddities — replacing tired capacitors, rebuilding keybeds, and coaxing silent oscillators back into tune.
Between us we bring decades of experience in electronics, instrument design, and music-making, but what unites us is simpler: we believe these machines were built to be played, not displayed. Every repair happens by hand at our benches, with period-correct components wherever possible and thoughtful modern solutions where reliability demands it. We test everything the only way that matters — by listening.
Whether your Juno has lost a voice, your 808 has lost its kick, or a flea-market find needs a full restoration, we treat each instrument as if it were heading back to a studio, a stage, and a long life of making noise. Because it is.