Particle-1 vs Claude Haiku 5.5
Particle-1 took 7 min 13 s and $0.056 at list price, Claude Haiku 5.5 took 4 min 43 s and $0.035 at list price. Particle-1 took 1.5× as long and cost 1.6× as much.
Particle-1
Particle AI · $0.5/M out · 17 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 the repair and restoration of vintage synthesizers. We are engineers, musicians, and collectors who believe these instruments are not museum pieces but tools meant to be played, heard, and trusted on stage or in the studio. Our bench has seen everything from stubborn Moogs and fragile ARP boards to polysynths with corroded traces and keyboards that have traveled too many miles. We approach each repair with patience, documentation, and respect for the original design, while making sensible updates only where reliability demands them. Because we are a small team, you work directly with the person handling your instrument, from the first diagnosis to the final calibration. We also advise on maintenance, source hard-to-find parts, and help you decide when a repair is worthwhile. Patchbay exists to keep old synthesizers making new music.
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.





