Nemotron 3.5 Super VL vs Claude Haiku 5.5
Nemotron 3.5 Super VL
NVIDIA · free route · 11 HN pts
Claude Haiku 5.5
Anthropic · $0.5/M out · 1,071 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 dedicated to bringing vintage synthesizers back to life. We started with a shared obsession for the circuits, keyboards, and sonic quirks of the instruments that shaped electronic music, and we turned that obsession into a careful, hands-on repair practice. Every synth that comes through our door is treated as its own project—diagnosed by ear, opened with care, and restored using a mix of original components and thoughtful modern solutions where needed. We work with collectors, studios, and musicians who value the character of older gear and want it to keep sounding its best. Based in Rotterdam, we combine technical precision with a deep respect for the history inside every chassis. At Patchbay, repairing isn’t just about getting a machine working again; it’s about preserving the voice of an instrument and keeping it ready for the next recording, performance, or moment of inspiration.
Patchbay is a three-person studio in Rotterdam, and we spend our days inside vintage synthesizers. We are repair technicians first: we open the cases, replace the leaking capacitors, re-tune the oscillators that have drifted out of pitch, and bring back the filters that went silent decades ago. Our bench is crowded with service manuals, spare chips, and a soldering station that has seen more Moog panels than we can count. We started the studio because we kept meeting musicians whose favourite instruments sat unused in cupboards, not because they were broken beyond saving but because nobody nearby knew how to fix them. We still believe most of these machines can be made to sing again, and we would rather spend an afternoon finding the one bad resistor than see another good synth end up in a skip.





