28909f0adfb81b99d65618957db9dff1bd9fe334
24
Commits
| Author | SHA1 | Message | Date | |
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  adminandClaude Opus 5.5
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d4a45c127b |
Show a Delay node as a device with its echoes over time (#393)
After the Chip, the Envelope, the Reverb and the one-knob devices, the Delay is drawn as a device of its own size too. Its screen shows what time, feedback, damping, wet and ping-pong make of a sound, and a light runs over the echoes at the beat they come at. - DelayPanel: a 680x280 plate in the Compressor's brushed aluminium, now exported as ALUMINIUM. A screen, levers for Sync and Ping-pong, knobs for Time, Feedback, Damping and Wet, and an Echo lamp. - The screen draws the sound as a white bar and each echo as a bar one step later. A bar is as tall as the echo is loud, evenly in dB to -60. It turns from warm white to rust as the damping takes the highs. With ping-pong the bars alternate above and below, the first left. - At most 24 bars are drawn, and the screen says how many more are heard. Under it stand the step and the end of the tail, above it where the highs of the first echo end. - The running light: DelayFace.tick returns true while the node is in the picture, so the editor keeps drawing, as for the Particles tab. The light goes round the span in real time, a bar glows as it is passed, and the lamp blinks with every echo but not with the sound. - On beats the screen counts at 120 BPM, as the tempo of the voice is not known in the graph. The time knob then names the note, dotted and triplet ones included. In seconds, 2 s and up reads "2 s max". - delayView holds the rules apart from the drawing: layout, tapers, echoTrain, echoCutoff for k rounds of the Butterworth low-pass, sweepAt and the texts. At wet 0 the rest is drawn faint. - delayEchoes in the core counts the echoes heard. The tail of a voice and the screen use it both. DELAY_ROWS, DELAY_SYNC and PING_PONG are exported. - Knob.reformat writes the number anew when its format changes, here when Sync switches between seconds and beats. - The test hook __gm.delay.panel returns knobs, levers, idle settings, the echoes drawn, the texts and where the light is. - Instrument presets give the Delay 4 columns. Echo Lead and Bell use one. In the picture of Echo Lead nothing overlaps. Found on the way: a node with a face draws no setting rows. The e2e check of a bypassed Delay (#354) read "Bypass: true" from them. It now checks the faded node and the stages heard, as before. Tests: - Unit delay-view: 17 tests, new. Counter-check: the first ping-pong echo on the right turns the side test red. - e2e 34 (melektaus-atx): 136 checks, 1 new. - Gate (melektaus-atx): 288 files, 4416 tests. - Pictures looked at: default, ping-pong, beats with damping, 83 echoes at 50 ms, wet 0, and the preset Echo Lead. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e70954115c |
Show Pitch and Mix nodes as one-knob devices in green and blue (#390)
The Gain has been a small device with one big knob since #384. The Pitch and the Mix are just as much a single number, so they now look and work the same way. The Mix also gets a lever for its curve, which until now was only a row in the inspector. - GainPanel and GainFace become KnobPanel and KnobFace. Each node is described by a KnobDevice: its plate, its row, how the knob turns, and an optional lever. The Gain looks as before. - Pitch: a green 160x160 plate with a bipolar knob for Semitones. 0 stands straight up and taper 2 puts an octave at 43 % of each half, so small steps near 0 are easy and the full +-64 is still there. - Mix: a blue 180x200 plate, the lever on top and the knob below. The knob has A and B engraved at the ends of its turn. The lever reads "crossfade" down and "both at center" up with its lamp lit. A flip is one undo step. - A wired Semitones or Mix greys the knob, as for the Gain. - The instrument presets give Pitch and Mix two columns. In the graph they are 281 and 261 units wide, more than one column of 240. - The test hooks __gm.pitch.panel and __gm.mix.panel return the same shape as __gm.gain.panel, plus the lever. Tests: - Unit hardware-view: 15 tests, 3 new (Pitch turn, lever above the knob and ends on the Mix plate). Counter-check: taper 1 turns the Pitch test red. - e2e 34 (melektaus-atx): 134 checks, 1 new. - Gate (melektaus-atx, together with #391): 287 files, 4397 tests. - Pictures looked at: Gain, Pitch and Mix in a row, Pitch at -24.5, Mix with both curves, the Bell preset without overlaps. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c75e72d4ee |
Show an Envelope node as a device with its ADSR curve (#388)
The Compressor, the Gain and the Chip are devices in the graph. The Envelope was still a list of rows, and its shape was left to the imagination of whoever read the numbers. - The node is a plate of 520x280 in pale sea green. Its inputs are on the left, out and value on the right. - A dark screen draws the curve over a note in amber. A letter sits above each stage, its time below it, and the sustain in percent above its line. - The time on the screen is squeezed. Each stage is as wide as the root of its seconds, at least 3 %, and the hold has a fixed fifth. So 5 ms of attack still shows beside a release of 3 s. - The falls use SETTLE, as the player does. With sustain 0 there is no hold and no release, and the screen says NOTE ENDS. - Attack, Decay, Sustain and Release are chrome knobs. The times use taper 4, so 5 ms sits an eighth of the way and 1 s not quite half. - From and To have no range a knob could turn through. They are NumberFields on the plate, typed in or scrubbed. - The decay at sustain 1 and From/To while nothing takes value are faded. While a link takes value, the bezel says what it moves between, as VALUE 400 TO 3500. The UI font has no arrow. - Instrument presets give an Envelope 3 columns of 240. - Test hook __gm.envelope.panel(nodeId). Tests: - Unit envelope-view: 6 new tests for the plate, the knob turn, the idle settings and the curve. A linear decay turns two of them red. - e2e 34 (atx): 1 new check on the Laser preset (device between its ports, curve ends with the decay, decay knob and scrubbed To field each one undo step). - Probe pictures on stein2: Synth Brass preset, pad, pluck, organ and an Envelope whose value moves a Chip. - Gate (atx): CHECK EXIT 0, 286 files, 4383 tests. The first run was red on the font test (#214) for an arrow in the bezel text. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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eb78f3cbf3 |
Show a Chip node as a device with its wave and its pitch (#386)
The Chip had eleven numbers in rows and nothing that showed what they do to a note. Its node is now a device of one size like the Compressor's, and two screens draw the wave and the pitch from the settings, worked right in the instrument graph. - ChipPanel is 840x280 in the warm grey of a handheld console. A button per wave, the "follow note" lever and a chrome knob per number, grouped Oscillator, Slide, Vibrato, Arpeggio and Repeat. - The wave screen draws two periods as loud as the Chip plays them, a square at its duty. toneValue and periodicSteps come out of chip.ts, so the screen and the worklet share one formula. - The pitch screen draws what slide, delta slide, vibrato, arpeggio and repeat make of the pitch over a note. It ends where the note falls below "min frequency" and starts from A4 while the Chip follows the note. - Idle settings are faded, wired ones greyed and locked, as the rows were. Every change is one undo step. - Knobs take a bipolar range: 0 straight up, the taper bends each half. Slide, delta slide, duty sweep and arpeggio use it. - The Compressor's auto-gain lever is now a Lever with a name of its own, which the Chip uses for "follow note". - Presets give a Chip five columns, as a Filter has four since #385. Found on the way: - With the Chip this wide the Laser preset is about 3060 units. In a 1280 px window Fit stops at the least zoom of 0.25 and cuts the Notes node off. The zoom limit is left as it is. Tests: - Unit: chip-view (9 new), knob (1 new), chip, chip-presets and hardware-view, 53 green - e2e 34 on melektaus-atx: ALL PASSED, 131 checks (1 new). The first run was red on the check itself: a Laser's "min frequency" can lie above A4, and the screen then rightly says the note ends at once. - Gate on melektaus-atx: CHECK EXIT 0, 285 files, 4377 tests - Counter-check: a square drawn with its duty mirrored turns the wave test red Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c087993000 |
Edit a Filter in its node and resize EQ and Filter nodes (#385)
A Filter sounds like one band of the Parametric EQ, but it keeps what the EQ cannot: linked numbers, the all-pass and +-40 dB. So it stays a node of its own and gets the EQ's editor with itself as the one band. The editors also stop running out of their room: what does not fit is left out instead of being cut. - The curve of the EQ is now BandCurve with a host the EQ and the Filter both fill. CurvePanel holds what their panels share. - FilterPanel shows the Filter as one band. A drag of its handle sets frequency and gain as one undo step. A number fed by a link is greyed out and the drag leaves it alone. - A double-click on the Filter's title opens the same in a tab of its own. Delete there does nothing, the node stays. - The Filter is tapped like the EQ, so its node and its tab draw the spectrum of what passes it. A tap is two gain nodes per voice, the analysers are made only while someone listens. - EqFace and FilterFace are one CurveFace now, given the panel. - EQ and Filter nodes have a corner to resize them, drawn like the floating window's. The size is saved on the node as `size`, each drag is one undo step, the least is 240 x 120. - In the node the help line is gone. The row of numbers comes in only once the curve keeps 120 px of height. A group of the row that does not fit is not drawn, the one on the right first. - A frequency or dB label that would run into the one before it is left out. - The all-pass is drawn flat. The curve's maths takes every shape a Filter has. Found on the way: - The instrument presets set nodes 240 apart. A Filter with its editor is about 700 wide and covered the Bitcrusher, so a Filter now takes four columns. Tests: - Unit: 8 new (filter band, resize command and save, fitting rules), stage lists with a Filter now hold its taps - e2e 34 (atx): ALL PASSED, 130 checks (4 new) - Gate (atx): CHECK EXIT 0, 284 files, 4367 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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687377682c |
Draw the EQ's curve in its node and a spectrum behind it (#375, #374)
Both were asked for in #367 "for later". The node of a Parametric EQ now shows its curve in small, and its tab shows what passes the node while it is seen. #375, the curve in the node: - NodeDef has an optional `picture`: a height, and shapes made from the settings as plain point lists (guide, area, line). It is general, the Parametric EQ is its first user. - NodeView draws it in a box below the rows, again only when the box or the settings change. A drag in the EQ tab changes them, so the node follows it live. - Without a band the box stays, flat on its 0 dB line, so the node does not grow at the first band. - The axes of the curve, `eqCurvePoints` and `fillShapes` move from editor/soundfx/eqView to core/soundfx/parametricEq. Tab and node draw the sum from the same function. #374, the spectrum: - A node marked `tapped` gets a `tap` stage in front of its own stages and one behind them when compiled, in a sound FX and in an instrument alike. Its id is asset and node, since a copied asset keeps its node ids. - A tap is a gain of 1. SpectrumTaps (new, viewport/spectrum.ts) holds the tap of every voice and bus while it plays. - While the EQ tab is seen, in the tab row or in a window, the taps of that node feed one analyser per side (8192 points). Nothing is made before a tap of the node plays, so no AudioContext is opened early. - The tab draws both behind the curve, on a scale of 0 to -96 dBFS: the sound coming in faint and grey, the sound going on in the colour of a sound port. The analyser smooths it, and once the sound has gone the sum still hands it silence, so it falls away. - Once the tab is not seen, Editor.tick lets the analysers go, like the meters of the Song tab. - A tap does nothing to the sound, so `stats().last.stages` leaves it out, and a bypassed EQ keeps its taps. Decided on my own: - Every sound passing the node counts: Play of the sound FX tab, an instrument's keys, a song, a run. The issue proposed that. - The spectrum has no labels of its own. Its scale is in the wiki. Tests: Gate (melektaus-atx) 275 files, 4247 tests (11 new), EXIT 0 e2e 34 (melektaus-atx) ALL PASSED, 98 checks (2 new), twice Counter-checks, each put back by copy and compared with cmp: - The node's curve drawn without its bands: 2 unit tests fail. - The spectrum without the loudest bin between two points: 1 fails. - SpectrumTaps.stop leaving the taps linked: 1 fails. - Taps that never feed the analyser: e2e 34 fails in exactly the spectrum check (frames 0). Run in the container only. The screenshots of the second run were looked at: the blip as one peak behind the curve, and the dip at 4 kHz in the node. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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25084f8576 |
Refactoring round 10: split SoundLibrary, fold sound duplicates (#85)
Refactoring round 10 covers everything since round 9 ( |
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adminandClaude Opus 5.5
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42a3759d9d |
Cut a sound into named clips, as a texture into frames (#357)
A sound could only be cut to one stretch, set on the asset itself. To
play two parts of one file, the file had to be imported twice. Now a
sound is always the whole file, and its clips are the stretches of it,
each with a name and a cut of its own.
- A clip is { id, name, props } on SoundAsset.clips. Its id shares the
generator with asset ids, so a sound field holds a sound or a clip,
as a texture field holds a texture or a frame.
- props are the cut: start, end, the fades and their curves, reverse.
Volume, loop, sound FX and bus stay on the sound for all its clips.
The cut rows left the sound's schema for CLIP_ROWS.
- findSound resolves either id. Play sound, the Sample of an
instrument, a Reverb impulse, song items, the scheduler and the test
sound of the Sound FX tab all go through it.
- Every sound field offers each sound followed by its clips, "Kick",
"Kick / Clip 1". A clip that is gone reads as "<id>?".
- The Sound tab has a strip under the ruler with the clips as bands.
A drag there makes a clip, a click picks one, beside the bands the
sound. Only the picked clip has handles. Reverse, fades and curves
in the header work on it and are greyed out without one.
- Whole file is gone from the header, as the user asked.
- Picking a clip is a selection of its own, like a frame. The
inspector shows its name, its cut rows and Delete clip. Delete
takes it away without asking, as with a frame. Ctrl+Z brings it
back.
- Copies get fresh clip ids: Duplicate, Embed a copy, a song
duplicated with its takes, and the copy a split or paste makes of
an embedded take. An item on a clip plays the same clip of its copy.
- A double-click on a song item playing a clip opens its sound with
the clip picked. The Sound row of an item on an embedded take
offers the take and its clips, which no list shows.
- A new take stays the whole sound. Clips are made by hand, as the
user decided.
- No migration in the code, as the user decided. The one project
with cut sounds was changed over by hand.
Deviation from the issue: deleting a used clip does not warn. A frame
does not warn either, and the issue had promised "like a frame".
Tests:
- Unit sound-clips (new): 11 green, 7 counter-checks each red
- Unit sounds, embedded: adjusted to clips, green
- e2e 34 (melektaus-atx): ALL PASSED, 90 checks (3 new, 12 rewritten)
- Counter-check in the browser: clips left out of the sound fields,
the picker check fails
- Gate (melektaus-atx): CHECK EXIT 0, 271 files, 4194 tests
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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7a17030472 |
Give every sound FX effect a Bypass and a Wet (#354)
A node could only be taken out of a sound FX by unplugging it, and only six of them could be blended with the sound they get. Every effect now has both, in the sound FX graph and in the instrument graph alike. The Mix, the Input and the Output have neither. - Bypass is a checkbox setting. A bypassed node is left out when the graph is compiled, so it costs nothing and holds nothing back. The graph draws it faded, and its body says "Bypass: true". - Wet is a number input like the others. It can be a parameter, be moved by Set sound FX parameters and, where the node allows it for its other numbers, follow an Envelope. - A blend is a stage of its own (`wet`) around what the node adds. The sound as it came in is held back as far as the node is late, so a Compressor, a Limiter or a Vibrato do not comb it out. - The six nodes that had a Mix keep their key `mix` and only call it Wet. Saved values, parameters and edges stay as they were. - The Delay crossfades now: the sound alone at 0, the sound and its echoes in full at 0.5, the echoes alone at 1. Before, the sound was always in full and `mix` was the echoes. - The Pitch takes its semitones by Wet instead of blending, through a share `times` on the amount that an instrument binds as well. Findings: - A Delay saved before this sounds different. It sounds the same at half its old value. The two chip presets with a Delay (Echo Lead, Bell) are halved to keep their sound. - Project cbbf160bb7e8 has two Delays (mix 1 and 0.5). They are left as they are. Tests: - Unit: soundfx 65 (8 new), sound-library 107 (3 new), instrument 35 (1 new), envelope 13. Two delay tests and the filter ports test follow the new numbers. - Counter-checks: 8, each turns its test red. - e2e 34 (melektaus-atx): ALL PASSED, 83 checks (2 new). The ping-pong check at wet 0.25 measures what it did at mix 0.5. - Gate (melektaus-atx): CHECK EXIT 0, 268 files, 4154 tests. - After the gate the derived ports of a blend are asked for once instead of twice: typecheck, lint and the three unit files green again (113 tests). Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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d349251a01 |
Put a sound in a room, a hall or a cave with a Reverb node (#328)
A sound FX had no space around it. The Reverb node folds the sound with an impulse response: one it makes itself, or a sound asset as the answer of a real space. It works on a voice and on a bus. - Type: Room, Hall, Cave and Plate have fixed numbers. Custom shows Decay (up to 10 s), Damping and Pre-delay. Sound shows the pick of a sound asset and Pre-delay. The rows are derived ports, the sound pick an idle param, so they only appear for their type. - The made impulse response is seeded noise per side, 60 dB down at Decay, through a low-pass closing from 20 kHz toward 500 Hz as far as Damping says. It is made once per rate, decay and damping, the last 16 are kept. - A sound as impulse response: the sound FX compilers now get the project, so a node can turn a sound asset into its file. The build key holds that file, so a cut or swapped sound builds again. The instrument compiler does the same for a Reverb inside an instrument. - The library loads that file with the voice, a sequence or before a bus builds its chain. A missing file leaves the reverb silent. - Mix blends dry and reverb and is the only number that moves while the sound plays, as the issue said. The voice rings for pre-delay plus decay, or as long as its sound. - The open point from #325 about sends on project buses is #351, not part of this. Tests: - Unit reverb (new) 4, soundfx 57 (4 new), sound-library 104 (2 new), green. - Counter-checks, each turns one test red: the impulse file not loaded with the voice, the tail without the length of the sound. - e2e 34 (melektaus-atx): ALL PASSED, 81 checks (1 new). Chrome offline: silent during the pre-delay, 35.9 dB fall over 0.6 s of a 1 s decay (36 expected), the dry half at 0.25 for mix 0.5. A sound with one sample at 0.2 s gives the impulse back 0.25 s later and nowhere else. - Gate (melektaus-atx) over the end of this series #318 to #328: CHECK EXIT 0, 267 files, 4134 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e1ca6a5f5a |
Shape a sound with every filter type, a Q and a slope (#318)
The Filter node from #335 only knew low-pass, high-pass and band-pass and had a Resonance from 0 to 1. It now has every type Web Audio offers, a Q as a plain factor and a slope up to 48 dB per octave. - Types: low-pass, high-pass, band-pass, notch, low shelf, high shelf, peaking and all-pass. The cutoff row is now labelled Frequency, its key stays `cutoff`. - Q from 0.1 to 30, 0.707 by default, replaces Resonance. Web Audio takes the Q of a low- or high-pass in dB, so it is converted when the voice is wired. No project used the node. - Gain in dB is an input only for the shelves and the peak. It is a derived port, so the sound FX compiler now resolves derived ports. - Slope 12, 24 or 48 dB/oct runs 1, 2 or 4 filters in a row. They share one cutoff carried by a ConstantSource, only the last has the Q. Shelves, peak and all-pass hide the row. - The Chip Presets get the Q their resonance gave before. Mutate moves Q in octaves and gain by up to a dB. - bindStage in the instrument compiler binds every amount of a stage generically, so new stages need no case of their own there. Finding: FLAT_Q was in dB and the delay damping used it. It is a factor now, the damping takes it through passQ and is unchanged. Tests: - Unit envelope 13, sound-library 96 (2 new), chip-presets 14, soundfx 45, all green. - Counter-checks: the Q on every filter in a row, the gain row for every type. Each turns one test red. - e2e 34 (melektaus-atx): ALL PASSED, 76 checks (1 new). Chrome offline, 2 kHz through a low-pass at 1 kHz: -12.37 dB at 12 dB/oct, -49.5 dB at 48. A +6 dB peak gives 6.00 dB, a notch -124 dB. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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b519cd192f |
Send a track, a pattern item or a whole song through a sound FX (#346)
A sound FX could only be put on a single sound. Now a track, a pattern item, a Play pattern and a Play song send everything they play through one chain of it, as an insert in a DAW. A Play note gets one of its own. - Track: an FX box in the head next to M and S opens a menu of the project's sound FX, and the track's inspector has the row too. Order: items, track FX, volume, pan. - Pattern item: Sound FX in its inspector. Its notes play on a bus of their own into the track's bus. - Play pattern and Play song take fx and fx params. The chain sits on the master of the playing, after the tracks and before the level and the fades. Set sound FX parameters reaches it by the playback. - Play note takes fx and fx params next to the instrument's params. The FX parameters go by "fx:" so the two sets stay apart. Set sound FX parameters on a note changes a name both have in both. - A Pitch on a bus is a new PitchShifter: the phase vocoder of the PitchPlayer, fed while it plays. It cannot look ahead and is exactly one frame late at every pitch, 2048 samples. - That latency is made up. The other way of a Mix is held back by a delay of the same length. Every note and clip starts as much earlier as the buses it passes are late. The scheduler plans that much further ahead, and the first note waits that much after Play. - The Song tab waits for the chains before it plays and lets its buses go a moment after Stop. A playing in a game lets them go after its echoes and what the shifters still hold. - songBuses moved to its own file. Kept in song.ts it pulled the FX compiler into the node registry through an import cycle. Decisions of the user: one chain for the whole (1a), FX everywhere asked for (2a), Set sound FX parameters on playbacks (3a), and a pitch shifter of its own with exact latency compensation for a Pitch on a bus. Tests: - Unit pitch-shifter (new): 11 green. At 0 semitones the output is the input 2048 samples later, off by at most 1.2e-7. - Unit sound-library: 84 green, 8 new. Counter-checks (no early start, no Mix delay, chain made every time, tune misses the master) each turned their test red. - Unit bus-fx (new): 6 green, 4 counter-checks red. Scheduler ahead: 1 new, its counter-check red. - e2e 65 (melektaus-atx): ALL PASSED, 35 checks, 4 new, first run. Chrome at 44.1 kHz: the bus was 0.046440 s late, the note started exactly that much early. Offline the shifter moved 1 kHz to 2000 Hz and passed a click 2048 samples later. - Gate (melektaus-atx): CHECK EXIT 0, 259 files, 4021 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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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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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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4ea752feef |
Draw notes for an instrument in a piano roll and loop them #333
Notes could only be played one at a time, by a key or a behavior. A pattern is a stretch of notes for one instrument, drawn in a piano roll and played in time through the scheduler of #332. Songs (#334) will lay patterns out on tracks. - New asset type pattern under the heading Patterns. Instruments are listed under Instruments now, since a heading is one per type. - Notes are a start and a length in ticks, a note number and a velocity, kept to their rules on load and in every command. The instrument, the length in bars, the grid, the meter and the tempo are rows in the inspector. The loop is the asset's own data, the whole pattern while none is set. - Grids from 1/1 to 1/32 and the triplets 1/4T to 1/32T, all whole ticks. The meter only moves the bar lines, the notes stay put. - The tab shows the keys down the left, a ruler with bars, beats, loop and start along the top, the notes between them and a velocity lane below. Keys the instrument plays nothing for are grey, the names of a drum kit stand on its keys. - A click draws a note on the grid line before the pointer, as long as the last one drawn or lengthened and as hard as the last velocity set. The body moves a note, the right end lengthens it, Alt leaves the grid. A drag on empty grid picks with a band, Shift adds, a right-click deletes. - Keys: Space plays, Delete, Ctrl+C/V/D/A, the arrows by a semitone or a grid step and with Shift by an octave or a bar. A paste lands where playing starts. Every gesture is one undo step. - A click on the ruler sets where playing starts, a drag the loop or one of its ends, its menu loops a bar or the whole pattern. - The wheel scrolls, Shift across, on the ruler or with Alt it zooms. Ctrl+wheel stays with the browser, Pixi listens passively. - Play runs the loop through the scheduler. An edit goes to it on the next window without a restart, a new loop or tempo counts from what is planned. Another pattern shown or a project opened stops it. - The time axis and the ruler are their own pieces in editor/music for the song tab. The rules of the roll are pure functions in rollView and rollEdit. Findings: - Music.play could start after a stop that came while it was still loading its files. A run counter makes the late start give up. Music.edit now loads what a new note needs as well. - A click on an end of the loop would have set the loop again. A press there only moves the end once it is dragged. Tests: - pattern.test.ts (new, 9) and piano-roll.test.ts (new, 16): model, grids, meter, held notes, sequence, commands, loop, round trip, drum names, time lines, rows, hits, bands, lane, edit rules. - e2e 64 (new) on melektaus-atx: ALL PASSED, 20 checks. e2e 4 with 29 asset types: ALL PASSED, 62 checks. - Gate on melektaus-atx: CHECK EXIT 0, 247 test files, 3839 tests. - Counter-checks: the move without its clamp, the sequence without the end of the pattern, the duplicate offset without whole grid steps each fail 1 test. Without passing edits to the scheduler the e2e check for a note drawn while playing fails, the rest passes. - Probe on stein2: the tab with a drum kit, before and while playing, 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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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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076c564415 |
Take one sound at the Output of an instrument, mixed by a Mix #331
The Output summed any number of edges as layers. That made it the only sound input of its kind, and it read as if a note could be several voices. A note was always one voice, but the graph did not say so. Now the Output takes one sound like every other sound input, and several are put together with a Mix in front of it (decided by the user after #331). - The Output's input is no longer `many`. A second edge replaces the first, as at any data input. - With only one drum sounding for a note, a Mix is its other side. A drum kit keeps the volume of each drum. - An instrument saved with several edges into the Output keeps them but does not compile. The Output says "Takes one sound: put a Mix in front of it to play several". No saved project has one: the only instrument there (cbbf160bb7e8) has a single edge. - An Output with nothing in it is a problem now, not silence. - The compiler gathers only triggers from several edges. The player still takes a list of layers, which an instrument fills with one. Tests: - instrument.test.ts: drum kit through a Mix, a second edge replacing the first, an old Output with two edges, an empty Output (33 tests) - Counter-check: `many` back on the Output turns 15 tests red, the new one about the second edge among them - e2e 34 on melektaus-atx: ALL PASSED, 47 checks - Gate on melektaus-atx: CHECK EXIT 0, 244 test files, 3789 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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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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