01fd6e6464e9d2fff0ca64af3a6fb9836c5af588
25
Commits
| Author | SHA1 | Message | Date | |
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  adminandClaude Opus 5.5
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01fd6e6464 |
Swirl and comb a sound with a Phaser and a Flanger node (#341)
sfxr's "phaser" is a comb filter, the sound plus a copy delayed by up to 2.9 ms. That is a flanger, not the phaser a guitarist knows. Both effects come in as nodes of their own, so each name fits its sound and sfxr is covered in full. Both run on the FX worklet like the Bitcrusher, because a feedback loop in Web Audio costs a render quantum per round. - Phaser: first-order allpasses (Stages 2, 4, 6, 8, 12) around Frequency, moved by a sine LFO Depth octaves wide at Rate Hz, with Feedback and Mix. An Envelope can move Frequency and Mix. - Flanger: a delay line of Offset ms. Sweep moves it on in ms/s from the start of the voice, an LFO adds up to Depth ms. As in sfxr the delay is mirrored at 0, and it never goes past 20 ms. Feedback comes back exactly one delay later. An Envelope can move Offset and Mix. - Mix 0 leaves the sound as it is, 1 is half sound and half copy. The notches are deepest there and the peaks stay at the sound's level. sfxr adds both at full, so its sound comes out 6 dB louder. - The Flanger's processor gets the start of its voice and begins the sweep on that sample. stageNodes takes it as a new argument `at`. - Explosion gets a Flanger in one draw out of two, with sfxr's offset and sweep and no LFO. Offset is offset^2 * 2.89 ms, Sweep is ramp^2 * 125 ms/s, signed so the direction holds. - Randomize draws a Flanger's offset and sweep like sfxr. Its LFO and feedback and all of a Phaser are drawn within bounds of their own. Mix and Stages stay, as a Bitcrusher's Mix does. Mutate moves them too, and a 0 stays 0. - New instrument preset Phased Pad: saw, Envelope, low-pass, Phaser of six stages. The other 14 are unchanged. - The Bitcrusher's worklet setup is now shared with both nodes (workletNodes), its behaviour is unchanged. Tests: - Unit phaser (new): 8 green. Counter-check with clamping at 0 instead of mirroring and a flipped allpass coefficient: 3 red. - Unit soundfx, sound-library, chip-presets: 45 / 76 / 14 green. Counter-checks: start time not passed on, phaser frequency eased linearly, sweep sign dropped, Phaser left out of Mutate, each red. - Unit core, viewport, graph: 179 files, 2979 tests green. - e2e 34 (melektaus-atx): ALL PASSED, 70 checks (1 new), first run. Chrome offline: 1 kHz notch RMS 0.0000 with two stages, 0.5657 with four. Flanger echo after 48 samples, swept echo at 533/534. About 47 Phasers (12 stages) or 63 Flangers fill the audio thread. - Gate (melektaus-atx): CHECK EXIT 0, 257 files, 3991 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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29b604dc07 |
Fade a sound's start and end apart, each along its own curve (#345)
A cut sound had one edge fade for both ends, always a straight ramp. Now its start and its end each have a fade of their own, and each fade has a curve of its own. - Fade in (ms) and Fade out (ms) replace Edge fade (ms), 5 ms each by default. Like before they apply only to an edge inside the file. - Fade in curve and Fade out curve each offer Linear (the default), Equal power, S-curve, Exponential and Logarithmic. A fade out runs its curve backwards. - The Sound tab's header has a field and a curve dropdown per edge. Each dropdown shows its curve as a small picture, rising or falling, and names it in its tooltip. With two named dropdowns the header was too wide at 1280 px and cut off the readout on the right. - The inspector shows the same four rows, the curves by name. - The wave draws each ramp in its curve rather than as a line. - A cut plays by <file>#<start>~<end>~<fadeIn>~<fadeOut>~<curveIn>~<curveOut>. - No migration, as asked in the issue: the old fade key is no longer read, so saved sounds start with 5 ms each and Linear on both. Tests: - Unit sounds, sound-library: 96 tests - Counter-check (fade out along the fade in's curve): 1 red - e2e 34 (melektaus-atx): ALL PASSED - 69 checks - Gate (melektaus-atx): CHECK EXIT 0, 256 files, 3978 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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6b49a0bea7 |
Give each account its own folder of uploaded files to delete (#344)
Uploaded images, fonts and sounds belonged to nobody. Every account saw every file in the pickers, and only an administrator could delete one, through the API alone. Now every account uploads into a folder of its own, sees its own files and nobody's, and can delete a file of its own that no project uses. - Files are stored as data/<kind>/<folder>/<sha256>.<ext>, and the folder is part of asset.file. A name without a folder belongs to nobody. - The folder is a random 12-character name kept in users.json and given with the first upload. Renaming an account moves no file, and a released game's URLs carry no account name. - The list shows the caller's own files and nobody's. An administrator sees all, each with owner and deletable. - DELETE takes the name with its folder. It answers 403 unless the file is the caller's or the caller is an administrator, and 409 while a project, snapshot or release of any account names it (FileUsage). The 409 names the caller's own projects only. - The pickers have a Delete button. The first press asks, the second deletes, and a refusal shows the server's reason. - A deleted account's folder stays and only administrators see it. - tools/migrate-file-owners.php moved every used file into the folder of the account using it (a copy each for two accounts) and rewrote projects, snapshots and releases. A project's revision goes up, so an open editor gets a conflict instead of saving old names back. - Font families are named after the hash alone, so a folder never ends up in a CSS family name. Run on stein2 on 2026-10-07, backup in /root/config-backup-20261007/data-before-344: 25 files used, 27 copies, 8 projects, 53 snapshots and 1 release rewritten, 30 unused files stay nobody's. Afterwards all 600 references resolve to a file in their owner's folder. Found while building: the Delete button cut its new label to "Del…" because a button does not measure itself again on a new text. The picker now lays its button row out again. Tests: - PHP files.test.php (new): 46 checks, counter-check 3 red - Unit core + editor: 220 files, 3403 tests - e2e 34 (melektaus-atx): ALL PASSED - 67 checks (2 new) - Gate (melektaus-atx): CHECK EXIT 0, 256 files, 3977 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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a2d0a02645 |
Play tunes on 14 instrument presets next to the sfxr sounds (#329)
The Preset menu only had sfxr's effects: each a fixed pitch on every key that dies away by itself. Now its top half holds instruments to play melodies, basses and drums on. - Instruments: Square Lead, Pulse Lead, Echo Lead, Octave Arp, Synth Brass, Detuned Saws, String Pad, Organ, Flute, Bell, Pluck, Triangle Bass, Pluck Bass and Drum Kit. A line in the menu parts them from the seven effects below. - Their Chips follow the note, and all but Bell, Pluck and the drums hold it while the key is held. - They come out the same every time they are picked. Randomize and Mutate make a variant, as before. - They use what the graph already has: two Chips through a Mix for Detuned Saws, String Pad, Organ, Flute and Bell, an Envelope on a Filter's cutoff for Brass, Pluck and Pluck Bass, a Pitch for the detune and the octave, a Delay for Echo Lead and Bell. - Drum Kit uses single notes 36 to 46: kick, snare, closed and open hat on their General MIDI keys, each ending by itself. - A small Sketch helper lays the nodes on a grid. The sfxr presets use it too and come out as before. - Numbers keep to the steps of their rows. Pulse Lead's duty is 0.13, not 0.125, because the field rounds to 0.01. Tests: - Unit chip-presets: 12 green (5 new). Every instrument compiles without a problem, doubles its frequency an octave up, holds unless struck and is the same on every pick. The drum kit sounds on exactly 36, 38, 42 and 46. Countercheck with Follow note forced off: red. - e2e 34 (CI image on stein2, melektaus-atx was off): ALL PASSED, 65 checks (1 new). A first run had the scheduler's looped-bar check red by 10 ticks between two clock reads, which the presets do not touch; the second run was green. - Gate (stein2): CHECK EXIT 0, 256 files, 3974 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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f3ae19431a |
Make an 8-bit sound with a Preset, Randomize or Mutate (#329)
A Chip could play a sound, but finding a good one meant typing a dozen numbers. sfxr's buttons do that in one click: a kind of sound drawn anew every time, a wild draw, or a small nudge. The Instrument tab now has the same, and plays the result at once. - Preset menu with Pickup, Laser, Explosion, Powerup, Hit, Jump and Blip. It puts a new graph in place of the instrument's, as one undo step: Notes for all 128 notes, Chip, Envelope, Filter, Bitcrusher, Output. The Chip keeps its own frequency with follow note off, so every key plays the same effect, and sustain 0 ends it by itself. - The presets are sfxr's generators, worked out into Hz, semitones and seconds with sfxr's own formulas, in chipPresets.ts. sfxr's envelope holds and falls in a line, ours falls quick at first. So the decay is three times sfxr's hold and fall. - Randomize draws every number of the Chips, Envelopes, Filters and Bitcrushers anew, as sfxr's randomizer does. Waves, filter types, the Bitcrusher's mix and an Envelope's from and to stay. - Mutate moves each of those numbers a little, one in two. A 0 stays 0, so nothing that was off comes on. - An input fed by an edge is left alone by both. Both are grey while the graph has none of those nodes. - Audition, off by default as in the Pattern tab, plays the note last played again 150 ms after a change to the graph rests. - Preset, Randomize and Mutate always play that note, for up to 2 s. - ReplaceGraphCommand swaps nodes and edges and keeps groups and notes. - The info on the right of the header kept 220 px and was cut off with the four new buttons. 140 px still fit "No sound picked". Not done: punch, filter sweeps and the phaser of sfxr (#341). Tests: - Unit chip-presets (new) 7. Counter-check: a wrong Hz formula and fed inputs not left alone turn 3 of them red. Unit tests of the instrument tab, graph commands and sound FX nodes: 49 files, 851 green. - e2e 34 (melektaus-atx): ALL PASSED, 64 checks (4 new): Preset, Randomize and Mutate, Audition, three undos back to the Sample. - Screenshot with a Laser preset: the header fits at 1280 px, the chain is fitted, the Chip is a saw with its duty grey. - Gate (melektaus-atx): CHECK EXIT 0, 256 files, 3969 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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f46b2316f2 |
Make 8-bit sounds without a file with a Chip node in instruments (#329)
An instrument could only play sound files so far. The Chip makes the sound of a note itself, the way old game consoles and sfxr did: a raw wave and what its frequency does over the note. A laser, a jump or a pickup is now an instrument and ends by itself. - Chip node with wave (square, triangle, saw, sine, noise and the periodic noise of the NES), follow note, frequency, duty, duty sweep, slide, delta slide, min frequency, vibrato, arpeggio and repeat. It counts in Hz, semitones and seconds, not sfxr's 0 to 1. - It runs as a third processor in the FX worklet. The math is a plain class, ChipPlayer, tested in Node. Every sample is worked out 8 times and averaged, as sfxr does. - Frequency and duty are AudioParams, so an Envelope can move them and a parameter can tune them while the note plays. A Pitch behind a Chip moves its frequency directly, without the phase vocoder. - Below its min frequency a Chip ends and tells the page. Without the worklet it is silent and its note ends at once. - An Envelope with sustain 0 now ends its note once the decay is over, for every source under it, Samples too. Before, a note with duration 0 ran on silently until a Stop sound. - A note made of Chips alone needs no file. playNote and the wait for the bytes no longer drop it for having none. - Inputs that do nothing as things stand are grey in the inspector. idleParams is told which inputs are connected, so a connected one always counts. The credit names sfxr (Tomas Pettersson, MIT) and jsfxr, which turned out to be public domain, not MIT as the plan in #329 said. Tests: - Unit chip (new) 12, sound-library +4. All of tests/core, tests/viewport, tests/editor/graph and tests/editor/inspector: 178 files, 2953 green. - Counter-checks: semitones read as /24 turn 4 chip tests red. Without the sustain rule and the file check 4 library tests fail. - e2e 34 (melektaus-atx): ALL PASSED, 60 checks (2 new). Offline in Chrome a square at 220 Hz plus 12 semitones and duty 0.25 gave 329 periods in 0.75 s, up 0.249. 64 noise voices for 2 s rendered in 2.0 s, about 63 at once. Live a 0.2 s note with sustain 0 was gone after 0.26 s. - Gate (melektaus-atx): CHECK EXIT 0, 255 files, 3962 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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165f022fc0 |
Crush a sound to fewer bits and a lower rate with a Bitcrusher (#322)
A new effect for sound FX and instruments makes a sound rough like an
old console. It rounds the sound to fewer steps and holds it at a lower
sample rate, and all three of its numbers move while the sound plays.
- Bitcrusher node with bits (1 to 16, not only whole), rate (100 Hz to
48 kHz, sample-and-hold) and mix. A mix typed in at 0 leaves it out.
- It runs on the audio thread as a second processor next to the pitch
player. The module is now fxWorklet.ts and the test hook is called
fxWorkletUrl.
- A play that needs the worklet waits for it, for a Pitch or a
Bitcrusher alike. Without the worklet the sound goes through as is.
- Bits and mix move in what they hold, the rate in octaves. An
Envelope can move all three in an instrument.
- A stage that runs on the worklet is stopped with its voice, like the
drivers of an Envelope or a Mix.
- The math is a plain class, Crusher, so it is tested in Node.
The cleanup check of e2e 64 from
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adminandClaude Opus 5.5
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f1f4a57589 |
Cut a sound to a stretch of its file in its own Sound tab (#343)
A sound asset now opens in a tab that shows its file as a waveform. Two handles set where the sound starts and ends in the file, and that stretch is the sample: Play sound, a song item and an instrument's Sample all play it and nothing else. The file itself is never changed. - The asset has three new rows: Start (s), End (s) and Edge fade (ms). End 0 is the end of the file, the fade is 10 ms by default. Older assets have no values and play the whole file as before. - Every way of playing asks playedSoundOf() for a name instead of the file: the file, or <file>#<start>~<end>~<fade> for a cut. - SoundLibrary makes the cut from the decoded file the first time that name plays and ramps each edge inside the file over the fade. Length and peaks of a cut are read from the file without a copy. - Cut buffers can be made again at any time, so the library lets the oldest go past 64 Mi samples. A voice holds its buffers itself. - The tab draws min/max per pixel from 256-sample block peaks, and the samples as a line when zoomed in far. Wheel zooms, the middle button pans, as in the music tabs. Wave, cut and ruler sit under a mask, so a handle panned out of view does not draw over the panels beside. - Dragging a handle moves that edge, dragging elsewhere spans a new stretch. One drag is one undo step for both edges. Whole file puts the handles back, Play or Space plays the stretch with a playhead. - The inspector preview and the Sound FX preview play the cut too, and the song lanes draw and repeat it. Tests: - Unit: sounds 20, wave-view 8 (new), sound-library 68, plus 258 in the touched areas (instrument, song, pattern, inspector, tabs) - e2e 34 on melektaus-atx: ALL PASSED, 57 checks (7 new) - Gate on melektaus-atx: CHECK EXIT 0, 253 files, 3936 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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9c71eb1a0d |
Shape notes with an Envelope and move numbers with its curve #335
Without an envelope a note set in hard and broke off 10 ms after its end. An instrument now has an Envelope node with attack, decay, sustain and release. On the way of the sound it is the volume. Its output "value" moves a number of the note with the same curve, from "From" to "To", for a filter sweep among others. A new Filter node gives that sweep something to move. - Envelope (instrument only): attack a straight line, decay and release ease out and are 60 dB of the way at their time. A release takes 10 ms at least. Defaults 0.005 / 0.1 / 1 / 0.1. - The end of a note goes to the Envelope instead of the 10 ms fade. A Gate or Loop Sample under it plays on through the release, "Loop, then release" leaves its loop too, and the voice ends with the release. A One-shot under an Envelope of its own plays through. - A note ending before attack and decay releases from the level it has reached. Chrome holds it with cancelAndHoldAtTime, Firefox gets the level worked out from the shape. - New port type "envelope" (coral). It fits only a number input that says it can follow one (PortDef.followsEnvelope): Filter cutoff and resonance, Pitch, Gain, the EQ bands and Mix. Not the Delay, not the Envelope's own numbers. portsMeet() decides it for ConnectCommand, the drag and the drawn edges. - On the audio thread every Envelope of a note is one ConstantSourceNode. A number it moves gets the curve through a WaveShaper, in equal ratios for a cutoff and a gain. A number an Envelope moves is no longer reached by a parameter. - Filter (sound FX and instrument): low-, high- or band-pass, cutoff in Hz, resonance 0 to 1 as a Q. A low- or high-pass is flat at 0 and rises 20 dB at 1, a band-pass goes from Q 0.7 to 20. - Stop sound with "let ring" lets a note with an Envelope fall away in its release. Without it, and with Stop in the tab, it is cut. - The same note again during a release is a voice of its own. - The Envelope's numbers are set when the note starts. They can come from velocity or a parameter, later changes do not bend the note. Tests: - envelope.test.ts (new, 12): curve, ratios, Filter Q, compiling an Envelope, its value into each number, a Delay refused - sound-library +7: attack and decay on the clock, release from the level reached, One-shot held, Stop sound with and without let ring, a cutoff and a pitch moved by the curve - e2e 34: ALL PASSED, 50 checks (+2). Offline in Chrome the curve rendered 0.5 / 1 / 0.5005 at 0.05 / 0.1 / 0.3 s, released at 0.5 s it was 0.0158 at 0.65 s and 0.0005 at 0.8 s, released mid-attack it fell from 0.5 to 0.05 in 0.1 s. A Gain moved 0.25 to 1 was 0.5 halfway. A looped note of 0.2 s with a release of 1 s was gone after 1.32 s. - Five counter-checks (release end, One-shot hold, the follows check, ratios, pitch sum) failed 3, 1, 1, 2 and 2 tests. - Gate on melektaus-atx: CHECK EXIT 0, 245 files, 3812 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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fb4d65a2ab |
Keep both sounds full at the middle of a Mix with a curve #331
A Mix crossfaded: at 0.5 each sound was at half. Layering two sounds in an instrument now goes through a Mix ( |
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adminandClaude Opus 5.5
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23bdc3f775 |
Play notes in time on the audio clock with a scheduler #332
Patterns and songs (#333, #334) have to play sample-accurate in time,
whatever the frame rate does. What is counted in game time runs away
from the sound. This lays the ground: musical time, a scheduler that
plans notes ahead on the audio clock, and a player that starts and ends
a note at a given second. Nothing in the editor plays a sequence yet,
the check scripts drive it through `__gm.music`.
- Ticks, 480 to the quarter as in MIDI files (decided in #332).
Triplets and quintuplets land on whole ticks. Any meter, a beat being
the note value under the line. The tempo always counts quarters.
- `core/music/sequence.ts` is a pure rule: the notes starting in a
window of playing time. Across the end of a loop it looks into the
next round, so the seam has no gap. A note past the loop end ends
there. Windows are whole ticks, and the seam is stepped exactly, so
no rounding can drop the first note of a round.
- `core/music/Scheduler.ts` plans the next 100 ms every 25 ms through a
host, so it is tested with a clock of its own. The first note sounds
50 ms after the start. Changes to the sequence are heard from the
next window on. Stop and seek fade what it started. A new tempo or
loop counts from what is planned, and the playhead keeps its old
pace until the clock gets there.
- The position is the audio clock less `outputLatency`, as bar, beat
and tick.
- The beat comes from a Web Worker (`viewport/musicTimer.ts`), which
keeps its pace in a hidden tab.
- The sound library starts a note at `timing.at`: a buffer source by
`start(when)`, the pitch worklet by counting down inside the render
block it falls in. A note's end is set on the clock at once, its
fade to the sample. Leaving a loop still waits for the page.
- Delay synced to beats (decided in #332, noted from #327): a setting
`Sync` (Seconds / Beats), `time` then in quarter notes, held to the
2 s of the line. Play sound and Play note have an input `tempo`,
120 BPM where nothing is connected. A scheduled note carries the
tempo of its sequence.
- Swing is left for #333/#334, as decided.
Also fixes the red suite of
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adminandClaude Opus 5.5
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144dee0a97 |
Let a looped sample play out past its loop when the note ends #331
With "Mode" and "Loop" as two fields, One-shot plus Loop ran until Stop was pressed: letting go of the key did nothing. The two fields are now one, "Play", with four entries that each say what happens while the note is held and when it is let go. - Gate and One-shot play the sound once, as before. Loop repeats it and fades out with the note. - "Loop, then release" is new: the sampler's sustain loop. Let go, it finishes the round it is in and plays what comes after "Loop end" to the end of the sound. - A buffer source stops looping and plays on by itself. The pitch worklet gets a "leave" message. The phase vocoder then lets the round finish that its newest frame has read into, so nothing read already changes under the frames still sounding. - Samples saved with "Mode" and "Loop" are turned into "Play" on load. Gate and One-shot stay, either with Loop becomes Loop, since playing until stopped is gone. - The keys of the Instrument tab stay half lit while a note let go is still heard. Esc on the keys stops everything, like Stop. - Striking a ringing key again plays a new note beside it rather than stopping the old one, so a drum can be hit quickly. This differs from what was proposed in the issue discussion. Tests: - instrument + pitch-player + sound-library + node-catalog: 477 tests, green (12 new). - e2e 34 (melektaus-atx): ALL PASSED, 45 checks (+1). Let go after a loop of 0.05 s, the note played out for 0.31 s on the audio clock, the key half lit meanwhile. - Counter-check: a release that does not leave the loop fails the 2 new player tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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8a4e4a6762 |
Play sounds as notes of an instrument asset #331
A sound could only be played as it was, one at a time. An instrument
is a node graph that makes a note a sound: Notes nodes bring the note
in, Samples play sound assets for it, the effects of a sound FX shape
it and the Output sums the layers. Its tab plays it from a keyboard,
a behavior with Play note. It is what patterns and songs (#330) will
play.
- New asset type instrument, under the heading Music, not placeable.
A new one starts as Notes into a Sample into the Output.
- Notes are counted as MIDI does: 60 is C4, names like C#4, sharps
only, the lowest C-1. Notes has From and To, outputs any, note,
frequency and velocity, and with Single notes a trigger per note,
each with an optional name for a drum kit.
- New port type trigger, only into the trigger of a source. Inputs
can take any number of edges now (PortDef.many): a trigger, and
the Output, which plays everything into it side by side.
- Sample plays a sound asset. Follow note shifts it by note - root
through the pitch worklet of #317, so it keeps its length. Gate
fades it out at the end of the note, One-shot plays through. Loop
runs between Loop start and Loop end, also in the worklet.
- Parameters declares the instrument's own parameters with a
default. Sound FX sends the sound through a sound FX asset, its
parameters as inputs, the sound set in where its Input was.
- compileInstrument walks the graph once per note. A trigger is on
only for the notes it stands for, a silent source silences what it
alone feeds, a Mix with a silent side is the other side. velocity
and the parameters stay open for the voice. Builds are cached per
note until the graph or a sound or FX it names changes.
- The player takes a note as one voice of several layers, each way
with its own file and volume. release fades the gated ways out,
one-shots play on. playNote can release after a duration.
- Play note plays one note with velocity, volume, duration and
detached, and hands out voice for Set sound FX parameters and
Stop sound. Velocity is always loudness. Instrument parameters
picks values for the instrument's parameters like Sound FX
parameters does for an FX, renames follow.
- The tab has the graph, a header field per parameter, Stop, and
128 keys below. Keys without sound are grey. A key plays while it
is held. Focused, the computer keyboard plays as in a tracker by
KeyboardEvent.code, the arrows move the octave.
Findings:
- A label of the keys set fill on the shared small text style and
darkened every small label of the editor. Caught in a screenshot
before the commit, the keys have a style of their own now.
- Suite task 523 on
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adminandClaude Opus 5.5
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cf6799a784 |
Let echoes ring on with a Delay node in sound FX #324 #327
A voice used to end the moment its sources did, and Stop sound cut it dead. An echo has to outlive its sound, and a stop must not click. - Delay node: a delay line with a damped feedback loop, added at mix next to the untouched sound. Time 0.01 to 2 s, feedback up to 0.95, damping 20 kHz to 500 Hz evenly in octaves, all fed by parameters and moved by Set sound FX parameters like any other number. - Ping-pong is a setting of the node. It takes the sound into the left of the line and swaps the sides every round. - A voice with an echo rings on for its tail: until the last echo is 60 dB below the sound, from time, feedback and mix (fxTailOf). It stays reachable meanwhile, and a change counts the tail again. - The end of a tail is timed on the audio clock with a silent ConstantSourceNode, so a paused run holds it. Then the voice is disconnected, since an echo is a loop of nodes. - Stop sound fades a voice out in 10 ms instead of cutting it. Let ring fades only its sources and keeps the voice for its echoes. Where the context is suspended it cuts at once. - Stop sound takes a voice. Connected, it stops only that play, and a 0 from a Play sound that played nothing stops nothing. - Play sound hands out tail: length plus the echoes at its start values. - Destroying a behavior and ending a run still cut, echoes included. - No limit on voices. The emit of a sound FX node now also gets the node's settings. Finding: in Chrome every round of a feedback loop comes one render quantum late (128 samples, 2.7 ms at 48 kHz), measured as 0, 128, 256, 384 for the first four echoes. Left so, since a browser without it would then hear the echoes early. Written in the wiki. Tests: - sound-library, soundfx, node-catalog, sounds, keep-on-scene-load: 489 tests green. New: fade on stop, cut while suspended, echo and ping-pong wiring, ringing until the tail, tail counted again, let ring, stop by voice, echo knobs, delay compile, tail sums. - Counter-checks: no tail, a stop without fade, a connected voice 0 read as unconnected. Each fails its tests, files back by cmp. - e2e 34 (melektaus-atx): ALL PASSED, 37 checks. A blip through a ping-pong Delay (0.3 s, 0.5, 0.5) rang 2.97 s, 2.95 s worked out. Let ring kept the voice, a stop after it cut it. Rendered offline with the player's own stageNodes the echoes are 0.25 left, 0.125 right, 0.063 left. 64 stereo voices of it took about 0.3 s for 2 s, so about 400 play at once. - Gate (melektaus-atx): CHECK EXIT 0, 242 test files, 3713 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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6e70421b92 |
Keep the length of a sound whatever its pitch does #317
A Pitch used to keep the length only for the pitch a voice started at. Set sound FX parameters changed it by speed, so a sweep made the sound longer or shorter, and length into time no longer spanned the sound. Now a way with a Pitch is played by an AudioWorklet, a phase vocoder whose pitch is an AudioParam in semitones. The length never changes, and a pitch glides, ramps and eases like a Gain. - PitchPlayer (core/soundfx) is the vocoder as a plain class, so it runs in a unit test. Frames of about 43 ms, four overlapping, a real FFT done as a complex one of half the size. - Peaks are moved with the bins around them (Laroche and Dolson's phase locking), and frames are turned by half their size so a phase is the one at the middle. Without both, a tone beat against itself and dipped to 0.54 of its loudness while the pitch moved. - It reads the sound itself rather than being fed it. It looks ahead as far as a frame reaches, so a voice starts with its first sample and every way of a Mix stays in step. A change of pitch is heard about half a frame (20 ms) late. - At exactly 0 a frame is the sound itself and costs next to nothing. Coming back to 0, the phases are pulled round to the sound's for about half a second before it switches, so the switch does not dip. - pitchWorklet (viewport) is the processor, bundled by Vite through ?worker&url. It is loaded with the first play that has a Pitch, which waits for it like for its bytes. A file's samples are sent with its first voice only and kept in the worklet's scope. - A way has the worklet when its plan has a Pitch, a typed-in 0 excepted (FxChain.shifted). A way without one stays a plain buffer source. Without AudioWorklet a Pitch is not heard, and the console says so. - The pitched copies (WSOLA, pitchShift.ts) and their cache are gone. - Decisions of the user: the player at the source rather than an effect in the chain, a phase vocoder rather than WSOLA, no limit on voices, no range tighter than the node's -64 to +64. - stats() says whether the worklet is there, levels() gives a pitch in semitones, and __gm.sound.pitchWorkletUrl() lets a check run it. Tests: - pitch-player.test.ts (new, replaces pitch-shift.test.ts): 11 tests. Pitches from -30.5 to +12 within 2 %, the length to the sample, 0 exact to 1e-5, a sweep half a frame behind, 8 kHz sounds, loops, ramps there and back without a dip. - sound-library.test.ts: 23 tests (+4), soundfx.test.ts: 31 (+1). - Counter-checks: no worklet in the player, shifted taken from the value, no pull back to 0. 15 tests fail, files restored by cmp. - e2e 34 on melektaus-atx: ALL PASSED, 34 checks (+1). In real Chrome the worklet is there and the pitch param glides to 3.0007. Offline: 880.0 Hz for 440 an octave up, 48000 of 48000 samples, a sweep 0 to -12 at 392 then 248 Hz, still 48000 samples. - Gate on melektaus-atx: 242 test files, 3690 tests, CHECK EXIT 0. - Cost: 53 ms per second of a stereo voice at +5 in Node on stein2, 5 ms at 0. In headless Chrome 16 voices for 2 s took 1.3 s, about 24 fill the audio thread. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e7a360db73 |
Offer the easings of an animation key on Lerp and sound FX ramps
A timed Set sound FX parameters ran only linearly, and a Lerp had four quadratic eases of its own. An animation key already had the full set. Now all three offer the same choice: Linear, Step, the ten curves from Sine to Bounce with In, Out or In-out, and a drawn Curve asset. - easingParams in src/core/graph/nodes/easing.ts gives a node the fields Easing, Direction and Curve from the key's own lists, and easingOfParams reads them back as a key interpolation. - There is no migration. A Lerp saved with the old in, out or inOut runs linear until its easing is picked again. - Set sound FX parameters hands the easing to the player. Linear and Step stay ramps of the audio clock, every other easing goes to setValueCurveAtTime as 200 samples a second, in semitones and dB. - Step now reaches its end at t 1. A key never asked for that, it reads the next key itself, so animations play as before. - The curve-in-use count and the warning for a gone curve cover the sound node too. Tests: - node-catalog: Lerp with cubic in, quad out and in-out, a curve without a direction, step, an unknown easing as linear. The sound node hands on a curve, step and a gone curve as linear. - sound-library: an eased change becomes a curve in semitones and decibels, a step a jump at the end. - node-catalog and curve after dropping the old values: 399, green. - e2e 6, 34, 53 on melektaus-atx: ALL PASSED, 198 checks. In Chrome a 2 s Quad in from depth 7 to -5 read speed 0.864 early and 0.5 at the end, a 1 s Step held 1 and then jumped to 0.5. - Counter-check: with curves sent as linear ramps, the curve test of the sound library fails. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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501a1524ed |
Ramp sound FX parameters over a time on the audio clock
A pitch sweep counted down in On update or On fixed update runs in game time, while the sound runs on the clock of the audio device. A short sound magnifies any offset between the two, so the sweep came out different on every play and most of all on the first. - Set sound FX parameters has a new input time in seconds. The values run evenly to their target in that time, scheduled on the audio clock with linearRampToValueAtTime or exponentialRampToValueAtTime. - Evenly in their own unit: a pitch in semitones and a gain in decibels, an EQ band and a Mix share linearly in their value. - A time of 0 or below keeps the quick glide of about 0.1 s. - Each change starts from where the voice is now. Whatever was still planned is dropped, so a change never queues behind an older one. Firefox lacks cancelAndHoldAtTime, there the value is held by hand. - A voice still waiting on its bytes starts a timed change with the sound, so the whole sweep is heard. Tests: - node-catalog: time is handed on, a time below 0 is a quick glide. - sound-library: semitones and decibels ramp in their own steps, a timed change on a waiting voice starts with the sound. - sound-library + node-catalog + soundfx: 419 tests, green. - e2e 34 on melektaus-atx: ALL PASSED, 31 checks. A 2 s ramp from depth 7 to -5 read speed 0.979, 0.926 and 0.778 half a second on. - Counter-check: folding a timed change on a waiting voice into its start values fails the new test. - The gate did not run. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c7e9769f90 |
Change the sound FX parameters of a sound while it plays #315
Until now a value handed to a sound FX counted from the start of the voice only. An engine whose pitch follows the speed, or a loop that gets quieter, could not be built. Every play of Play sound now gives out the number of its voice, and a new node lets the knobs of that one voice glide to new values while it plays. - Play sound has a new output voice: the number of this one play, or 0 where nothing was played. Kept in a Number variable it reaches the voice from another event. Two plays of one sound are two voices. - New action node Set sound FX parameters (exec, voice, fx params). It reaches exactly the voice it is given, a detached one too. A voice that has ended, or voice 0, is not reached. - AudioSink.play returns the voice number and takes the plan and the values (FxVoice) instead of a finished chain. AudioSink.tune takes a voice number and new values. A name the voice's FX does not have is left out, one not given keeps its value. - SoundLibrary hands out the number at once, before the bytes are there, and never twice. A voice still waiting for its bytes starts with the values handed in meanwhile. - Every knob of a voice moves with setTargetAtTime (30 ms time constant). A knob whose value did not change is not sent again, so a tune every frame costs next to nothing. - A pitch on a playing voice glides by playbackRate. A new WSOLA copy in the middle of a sound is not worked out, so the voice gets shorter or longer while it is moved. On a loop that is not heard. - fxChainOf now gives a chain whose shape depends on the plan alone. A stage fed by a parameter stays at 0 dB, and a Mix fed by a parameter keeps both ways. A typed-in 0 or Mix at 0/1 is still left out by the compiler. - Every way of a voice has a source of its own, also at the same pitch, so each can glide on its own. The pitched copy is shared. - The tab keeps the numbers of what it plays, so moving a parameter field is heard at once. - Test hook __gm.sound.levels(file) reads the knobs of every voice of a file, oldest first, and stats() counts the voices tuned. Tests: - soundfx.test.ts: 29 tests (+2 for the node in a running world: the voice of the first of two plays of one sound, and a play that played nothing) - sound-library.test.ts: 15 tests (+3: glide, reach by number, pending voice) - node-catalog.test.ts: 370 tests (+2, Play sound checks its voice) - sounds + keep-on-scene-load: 31 tests, unchanged - Counter-test: a tune that reaches every voice of the same file makes the reach test fail. - e2e 34 (melektaus-atx): ALL PASSED - 30 checks (+1). In Chrome two looping voices of one sound start at depth 7. The one whose number sits in a variable glides to 0.7938 (2^(-4/12) = 0.7937), the other stays at 1. Both gains stay at 0.5012. - The gate ran before voices got a number (CHECK EXIT 0, 241 files, 3658 tests), not after. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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072537b2e8 |
Blend two ways of a sound FX with a Mix node #316
A sound FX was a single line from Input to Output, so two versions of one sound could not be heard together. The new Mix node joins two ways again, and each way can carry its own effects, its own Pitch included. - Mix has the audio inputs a and b and a number input mix (0 to 1, default 0.5). At 0 only a is heard, at 1 only b. Like every number it can come from a parameter of the Input and is held to its range. - The compiled plan and the chain a voice gets are now a tree. A source carries a pitch and stages, a mix carries a, b and the stages after it. A Mix that ends at exactly 0 or 1 collapses to the one way heard, so the silent way is never worked out. - A Pitch is still worked out on the sound as it starts (#312). Behind a Mix it goes to both of its sounds. An effect before a Pitch therefore acts as if it came after it, the node now says so. - The player starts one source per pitch, all at once and all of the same length, and two ways at the same pitch share one. A mix becomes two gain nodes with 1 - mix and mix into a sum. A voice leaves the count when all of its sources have ended. - stats().last reports pitches (one per source) instead of pitch. Tests: - soundfx.test.ts: 27 tests (+5), sound-library.test.ts: 12 (+2), node-catalog.test.ts: 368, all green. Typecheck, ESLint, Prettier clean. - Counter-check: a Pitch behind the Mix given to a only, and b mixed at 1 - mix, each fails its new test. - e2e 34 on melektaus-atx: ALL PASSED, 29 checks (+1). The new check plays the pitched way mixed with the dry Input in the browser: two sources at 5 and 0 semitones, as long as the sound itself. - The full gate did not run before this commit. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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790e483198 |
Pitch a sound FX without changing its length #312 #313 #314
The Pitch node changed the playback speed, so a sound pitched up was also shorter and one pitched down longer. A pitch now keeps the length, takes fractions and reaches further. Gain and the EQ bands reach further down, and the EQ is renamed so a parametric one can come later without a mix-up. - Pitch shifting is the pure function pitchShift in core/soundfx/pitchShift.ts. It reads the sound faster or slower and stretches it back by WSOLA: 40 ms frames under a Hann window, each moved within 12.5 ms to where it continues the frame before it. A looping sound reads on across its end. - SoundLibrary plays a pitched copy of the decoded buffer instead of setting playbackRate. Copies are kept per file, pitch and loop, the last 32 of them. - stats().last tells the duration of what was played, so a check can see that the length is kept. - Pitch: -64 to +64 semitones, scrubbed in steps of 0.1 (#312). - Gain: -120 to +24 dB (#313). - EQ is now labelled "5-Band-EQ", its bands go -60 to +24 dB (#314). The node type stays SoundFxEq, so saved graphs load unchanged. Findings: - A plain granular shifter was tried first and missed the pitch: at +0.5 semitones it measured 438 Hz instead of 452.9 Hz, because every grain restarts at the phase of the original. WSOLA measures 452 Hz. - Far ends: +64 semitones from 440 Hz lands above half the sample rate and folds back, -64 is below what a 40 ms frame can follow. Nobody has listened to either. - Speed: 3 s of a 48 kHz channel take 47 ms at +3 and +64, 171 ms at -64 (measured in Node). Tests: - pitch-shift (new): 7 tests. A 440 Hz sine at +12, -12, +7, +0.5 and -30.5 semitones is within 2 % of the target and keeps its length. Level stays at most 1, a loop does not fade at its seam. - sound-library: 10 tests (+1), soundfx 22, node-catalog 368. - Counter-check: with the pitched copy switched off the new sound-library test fails. - e2e 34 (melektaus-atx): ALL PASSED - 28 checks. Its octave-down voice is now also checked for the length of the sound. - Typecheck, ESLint and Prettier clean. The gate did not run. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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183f356c99 |
Let a game hand values to the parameters of a sound FX #311
A sound FX played the same every time: its numbers were settings of the nodes. Now the Input declares parameters with a default, every number of Gain, Pitch and EQ is an input they can feed, and a Play sound hands in values for them. - Input declares number parameters in the inspector, each with a Default (DeclaredPort.default, SetPortDefaultCommand). They are outputs of the Input. Input and Output count as terminals now, one of each per graph. - Gain, Pitch and EQ take their numbers at inputs under the keys the settings had, so saved graphs sound as before without a migration. Each value is held to its range however it arrives. - The compiler gives an FxPlan with the parameters still open. fxChainOf fills them in when a voice starts. The player still only sees an FxChain. - New behavior node Sound FX parameters: names an FX and picks its parameters like a Variables node picks variables. Each picked one is a number input that starts at the FX's default. Its output has the new port type fxparams, which only fits Play sound's fx params. - Play sound warns when the parameters name another FX than the one it plays. Names the FX does not know are left out. - Renaming a parameter at the Input renames it in every Sound FX parameters node naming that FX, edges and values included. - The Sound FX tab has a number field per parameter in its header. Play uses those values, they are never written into the asset. - A value counts from the start of a voice. Changing a playing voice is #315, a Mix node is #316. Tests: - soundfx.test.ts 22 (+11): parameters in the plan, held values, a 0-by-default stage, EQ band, save with defaults, wrong port types, default command with undo, Sound FX parameters into Play sound, defaults of picked ones, node problems, mismatch, rename with undo - node-catalog 368 (+3): Play sound fx params, Sound FX parameters - e2e 34: ALL PASSED - 28 checks (+2: header field plays depth 5, a Sound FX parameters node gives the game's voice depth 7) - Gate on melektaus-atx: typecheck, lint, prettier clean, 240 test files, 3636 tests green - Counter-check: with fxChainOf ignoring the values and the rename not followed, 5 of the new tests fail. - Browser probe: header fields, inspector Default and the picked parameter looked at in two screenshots. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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de14f0f9e2 |
Play a sound through a graph of gain, pitch and EQ effects #311
A sound could only be played as it was uploaded. A Sound FX asset is
a node graph like a shader: Input, effects, Output. Play sound has a
new input fx that sends the voice through it.
- New asset type soundfx ("Sound FX"), not placeable, with a graph
and its own tab. The heading in the asset panel is "Sound effects",
so it does not take the click meant for the + menu entry.
- Nodes in core/soundfx/nodes.ts, category sound, port type audio
that only fits audio: Input, Output, Gain (dB), Pitch (semitones),
EQ (80 Hz and 12 kHz shelves, peaks at 250 Hz, 1 kHz and 4 kHz).
- compileSoundFx walks back from the Output with the shared graph
emitter. An input takes one edge, so the result is one line: a
pitch and a list of gain and filter stages. A node without input
or a graph without Output reports a problem on the node.
- Pitch is the playback rate of the source. It applies to the whole
sound and also changes its length, the node description says so.
- The BehaviorSystem resolves fx and hands the line to the AudioSink.
An fx that is missing or does not compile plays the sound dry.
- SoundLibrary wires source, stages, volume, destination in that
order. stats().last now also names pitch and stage count.
- The tab header picks one of the project's sounds and plays it
through the graph as it stands. Stop there ends only its own voice.
Tests:
- soundfx.test.ts (new, 11), sound-library (9, +2 for the wiring),
node-catalog (+1 for fx), graph and asset-groups adjusted
- e2e 34: ALL PASSED - 26 checks (+5: + menu opens the tab, palette,
2 effects, tab Play and game Play through the FX at -12 st)
- Gate on melektaus-atx: typecheck, lint, prettier clean, 239 of 240
test files green. The red one was sound-library (its fake
AudioContext had no playbackRate), fixed afterwards, gate not
re-run in full.
- Counter-check: without the audio rule in portsCompatible the port
test fails.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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admin
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7e5003b590 |
A test that waits for a deadline somebody guessed is waiting for the wrong thing, so it waits for the editor (#93)
game-maker / suite (push) Successful in 6m48s
The suite spent 88% of its step time asleep: 564 s of steps, 496 s of
them in sleep(n) - fixed spans estimated by hand and then copied from
step to step. That is why it was slow, and why it flickered.
The signal is afterFrames(count, timeout) in ui/render.ts, exposed as
__gm.afterFrames(). It wakes the loop itself, because an editor that
draws nothing would never redeem a promise of a frame, and it gives up
after a timeout instead of hanging the run. settle() in the harness
waits two drawn frames (~32 ms) instead of 150-300 ms and falls back to
sleep(150) when the hook is missing (an old build): silently not
waiting would make every later check a coin toss.
Every action goes through it now - click, doubleClick, wheel, drag,
dragAsset, press, typeText, select, mutate, undo, redo - and with that
about 550 sleep() calls behind those actions became redundant, helpers
that are nothing but a mutate in a coat included. What a frame cannot
answer got its own condition instead: waitUntil(expr), play()/stop()
waiting on __gm.state.mode rather than on 300 ms, saved() for the
autosave (the two hand-written polling loops sampled at 300 ms for
something that arrives after a second), and showTab() as a real tool -
47 places called evaluate("__gm.showTab(...)") raw, and 24 of them
waited for nothing at all and read the old panel.
564 s -> 243 s of step time, the waiting share 88% -> 76%. Three kinds
of wait were kept, and each one bit when it was taken away: loading
bytes (textures, fonts), game time that a repaint cannot stand in for
(time scale, shader and particle clocks, the live values a running
graph carries), and the inertia the scroll step measures on purpose.
Two things the new speed uncovered, both real: 25-animation read the
frame menu unfiltered and had frozen an incomplete list (the CI failure
on
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admin
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1e9d21cd5d |
A game that is more than one scene needs a way from one to the next, so the graph can load one (#39)
game-maker / suite (push) Failing after 11m6s
Load scene sets a flag on the World like Stop and Restart do; the swap happens after the tick, and the last wish of a tick wins. Exactly one thing crosses over: the SharedState, so global variables and global machines keep what they know while everything local is built anew. Loading the scene that is already running rebuilds it, which is what "reset the level" means when the score must survive. A run starts either from the start scene (a new project field, set from the asset panel and marked with an arrow in the list) or from whatever scene is open. The toggle next to Play says which question is asked and remembers the answer in localStorage: it is a way of working, not part of the game. Sounds no longer end because a scene ends. A voice belongs to the behavior that started it and stops right after On destroy, so the scene swap is no longer a special case at all. For the enemy that plays its explosion and destroys itself in the same breath there is now a detached input on Play sound. The scene selector stays usable while a run plays, because a double click in the asset panel already did the same thing unguarded. It moves what the editor looks at, not what the run plays. |
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admin
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5671a38044 |
A game that stays silent is only half a game, so a sound is an asset like any other (#45)
game-maker / suite (push) Successful in 12m1s
Sounds follow the road fonts already paved: the file goes to the server content-addressed under its sha256, the project keeps a named asset that points at it, and nothing is ever re-encoded. The format is read from the file's own signature, not from what the browser claims - the same .m4a arrives as audio/mp4, audio/x-m4a or as nothing at all. Playing is two nodes. "Play sound" takes the asset and may raise or lower its volume; every call is its own voice, so two jumps in a row are two jumps heard. Its loop input is a choice of three - from the asset, on, off - because a checkbox has to spend one of its two positions on "not set" and would lose a case: an asset that loops could then never be played once. Below the graph core stays browser-free: NodeContext hands out an asset id, BehaviorSystem resolves it against the project and folds the asset's own volume and loop into the call, and only viewport/SoundLibrary knows about Web Audio. A run without a sink plays nothing instead of throwing. The CI browser is muted, so the ear is no witness: the debug hook counts started and stopped voices, and step 34 reads that counter. |