This saved sequencer has three sixteen-step patterns. Its timer interval is sixty divided by tempo divided by four, converted to milliseconds. At default one hundred eighteen beats per minute, each step takes about one hundred twenty seven point one two milliseconds and sixteen steps about two point zero three four seconds. At illustrative one hundred twenty beats per minute, each step is one hundred twenty five milliseconds and a cycle two seconds. Bars use one display pixel per millisecond, widths about one hundred twenty seven point one two and one hundred twenty five. Each tick increments the current step before triggering notes, so playback from initial step zero first triggers step one. A browser interval is not a sample-accurate audio transport; real playback timing requires separate evidence. The visual pulse runs from animation frames, rather than once per musical tick. On every frame, if the current lead or drum pad is active, it adds point three five times intensity, caps at one, then multiplies by point eight eight. Bass alone does not activate this visual test. At illustrative pulse zero and intensity point eight five, one active frame ends at point two six one eight. Starting from that value, an inactive frame ends at point two three zero three eight four. Bars share one thousand pixels per pulse unit, widths two hundred sixty one point eight and two hundred thirty point three eight four. Repeated active frames can keep adding even while playback is paused on an active step. The animation is therefore driven by pad state and frame rate, not an audio spectrum measurement. Export bundle serializes configuration: tempo, filter mode, intensity, bloom radius and three pad arrays. Three tracks times sixteen steps equals forty eight binary pad values. The diagram uses six pixels per pad slot, one ninety six pixel bar for each track. It does not contain rendered music, microphone recordings or a movie file. Export telemetry sets status active literally; stop playback also leaves the state status label unchanged, so that label does not prove audible playback. Tone synthesis and native Web Audio fallback use different note paths: the fallback lead frequencies are five hundred twenty plus index modulo four times eighty Hertz. These are source-defined sounds, not the named artist recording. Actual sound output and synchronization remain separate checks.