8679dfbe65fc56281f53952c7c07da246d03ae0a
490
Commits
| Author | SHA1 | Message | Date | |
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  adminandClaude Opus 5.5
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8679dfbe65 |
Group timeline rows by object and edit values in the row (#408)
The rows of the animation timeline stood in the order they were keyed. With several objects and properties the list was hard to read, and a value could only be changed by picking a key and using the inspector. The Play button also kept saying Pause after scrubbing had paused. - Each object gets a header row with its name, indented by depth. The groups follow the scene hierarchy, the root first. Rows whose object is missing go to the end. - Under an object the rows follow the order in which it lists its properties: X, Y, Z, then the order of the inspector. Only the view is sorted, the animation itself is unchanged and there is no undo step. After a move in the hierarchy the order is right by itself. - The row head shows the same field as the inspector with the value at the playhead. Without keys it shows the value of the object, for a relative row the offset. - A change in that field sets or changes the key at the playhead, selects it and is one undo step. A running playback pauses first. - The Play/Pause button follows every change of the playing state, so scrubbing that pauses shows Play again. Tests: - Unit animation + timeline-view: 100 passed, 3 new. - e2e 25 on melektaus-atx: ALL PASSED, 34 checks, 3 new (groups, order and values at frame 4, a typed 55 becomes a selected key on frame 4, Play then a click on the ruler shows Play and pauses). - Gate on melektaus-atx: exit 0, 297 files, 4561 tests. - tsc, eslint, Prettier clean. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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dd60a795e1 |
Wait for driven videos before a run starts so no sprite flashes (#404)
The game view opens a player for each driven video only when it draws, and it draws only while its tab is visible. Without a detour over the Game tab the players came up with the click on Play. Until a video had loaded, its sprite showed its base colour, white in the user's cut. Sharing the players of the scene view would not have helped. From the Animations tab those are discarded after two to four seconds. - Play holds the run at second 0 until every driven video in the game view has its first picture, at most 3 s. The status line says "Loading the videos… · Esc stops". - The game clock stands while it waits. Behaviors and sounds start only after it, so picture and sound stay together. - Load scene in a running game waits the same way. - A driven video without a picture is not drawn at all instead of white. That holds everywhere, also on a switch to the Game tab without Play and at a cut whose video is not ready. - The exported player waits the same way. - __gm.playInfo() reports waiting for the e2e check. Tests: - e2e 66p puts the sprite in front of the camera and waits 4.5 s so the game view has no player left. Then it reads every frame of the run: 14 frames of waiting on #22252c at time 0, then blue, no white. - Against the old code 66p fails: 14 frames #ffffff, then blue. - Unit video-library: 7 passed, 1 new for loading(). - e2e 66 on melektaus-atx: ALL PASSED, 27 checks. - Gate on melektaus-atx: exit 0, 297 files, 4558 tests. - tsc, eslint, Prettier clean. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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43fd22a763 |
Keep a driven video ready while its sprite is off (#404)
A cut between two videos flashed white: the sprite switched on had no picture yet, because its player only opened then or had been dropped meanwhile. A driven video now waits muted at its time while its sprite is off, in the editor and in a run. - A disabled sprite with Video clock Driven asks for its player without drawing it. A Free video still opens when shown. - A run's draw list keeps disabled driven sprites, marked as off. Before, collectWorldItems dropped every disabled object, so the game view never held a player for them. - VideoLibrary.wear() counts as asking. The sweeper dropped a held player after 2 to 4 s and it was loading again at the cut. - The speed of the asked time is read over a window that grows to 500 ms. Over 100 ms one 1/60 s step more or less read as 17 % off, the playback rate jumped and the sound dropped out. - A stream feeds every packet it has loaded to the decoder at once and waits once. One round trip per 20 ms packet let the decoder fall behind on a busy main thread, which made e2e 34 flaky in CI. Tests: - Unit streaming, video-library, video-follow: green, 4 new - e2e 34 + 66 (atx): ALL PASSED, stream skipped 0, 66m new - e2e 66 (atx), two runs: ALL PASSED, 25 checks, 66n new - Gate (atx): CHECK EXIT 0, 297 files, 4557 tests - Counter-checks: without the draw list fix 66n finds no player, without the wear() fix and with the old speed reading the new unit tests turn red Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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774207208c |
Key a video to its end at 1x and zoom the timeline further out (#407)
To play a clip at its real speed the user had to know its length, work out the last whole frame by hand and then scroll far to the right to set the end key. The timeline now does the sum, and it zooms out far enough to see a long clip in one piece. - The context menu of a Video time row gets "Video at 1x to its end from frame N". It keys the playhead with the row's value there and the last whole frame before the clip ends with the matching time. - The start key turns linear and keys in between are removed. The whole run is one undo step (KeyStraightRunCommand). - The clip is the one the sprite wears at the playhead, also when the texture is keyed in the same animation (rowVideoAt). - The entry is greyed out for relative rows, without a video, while the length is unknown, or when the playhead is already at the end. - The status line names the result, e.g. "frame 572 shows 57.2 s of 57.27 s". - The timeline zooms out to 0.02 px per frame instead of 4 px. The ruler labels follow a 1-2-5 step without an upper limit. Tests: - Unit video-clock + timeline-view: 27 tests green, 8 new - e2e 66 (atx, alone): ALL PASSED, 23 checks, 66l new - Gate (atx): CHECK EXIT 0, 297 files, 4553 tests - Counter-check: the command keeping the keys in between turns exactly the command test red Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c9e8a3f6ac |
Let an animation drive a sprite's video picture by picture (#404)
A video used to run on its own clock as soon as a sprite wore it. An animation could switch the sprite on and off, but never say which picture shows at which frame. Cutting a video in an animation needs the opposite: the animation sets the time and the video follows. - Sprites wearing a video or a clip get two rows, Video clock and Video time. They show only while the texture holds a video. - With Video clock on Driven the video does not play by itself. It shows the picture at Video time, counted from the clip's start. Past the end it goes round with Loop and holds the last picture without. - Video time is a number like any other, so keys, step, easing and curves give stills, slow motion and ramps. - A driven sprite gets a player of its own, keyed by the wearer's name. The same clip can run twice at different times. - Following has two ways (`videoFollow.ts`). Running forward at 0.25x to 4x the video plays at that rate and is nudged. A still, a scrub or a step backwards seeks, and only the newest seek counts. - Sound is heard only near 1x. The animation tab now plays it too, so a cut can follow the sound. Scrubbing is silent. - Scene, game view, the inspector's PREVIEW and the shader preview show the driven picture. In a running game Play animation sets it. Found on the way: - After a scrub the video in the animation tab kept running. The preview redrew only while the playhead moved, so nobody asked for the video once it stood. `AnimationEditor.tick` now redraws it every frame while it shows a video. - Every sprite has two more defaults (`videoClock: 'free'`, `videoTime: 0`). Eight tests in five files pinned the old list and are updated. Tests: - Unit: video-clock and video-follow new, 4 files with 42 tests green. - e2e 66 (melektaus-atx): ALL PASSED, 22 checks, 3 new. 66i: two sprites on one clip stand at 0.2 s red and 0.7 s green. 66j: a scrub to frames 2, 7, 12 and 3 shows red, green, blue, red, and each colour still stands 0.7 s later. 66k: playing runs 10-30 ms behind at rate 1.00-1.03 and is not muted. - Counterchecks: a seek that keeps the rate turns the seek test red. Not seeing Driven turns 66i, 66j and 66k red. - Gate (melektaus-atx): exit 0, 297 files, 4546 tests. - Not tested in the browser: Play animation in a running game. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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ce933a4f32 |
Let a drag change only the picked clip in the Sound and Video tab (#403)
A drag with a clip picked could span a new clip in the strip or span the picked one anew over the wave. Both happened by accident while working on a clip. Now a drag only makes a new clip while none is picked. With one picked it moves its edges or the whole of it. - With no clip picked, a drag in the strip or over the wave (in the Video tab the track) spans a new clip, as before. - A click over the wave or in the track picks the clip at that point, as a click on its band does. Beside the clips it picks the sound or the video. The picked clip wins where clips lie over each other. - With a clip picked, its handles move its edges as before. A drag on its band in the strip moves the whole clip, its length kept and inside the file. Any other drag does nothing. - The rules live in waveView.ts (clipGrip, clipToPick, movedSpan) and both tabs use them. The cursor shows grab over the picked band. - The Video tab's track draws the clips not picked faint, as the wave does, so a click there has something to aim at. Tests: - Unit wave-view.test.ts: 16 tests (4 new) - Counter-check: a strip drag beside the picked clip spanning a new one again fails the picked-clip rule test - e2e 34 + 66 (atx): ALL PASSED, 162 checks, 1 new check in each - Gate (atx): 295 files, 4527 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c815d2c35f |
Keep a playing video when the window comes back to the front (#402)
Chrome draws no frames for a hidden page, so the scene stopped asking
for its videos. The sweeper of the VideoLibrary kept running and
dropped every player after 2 s. Back in the window, the video started
over, and Pixi warned that a texture source was destroyed while still
bound to a shader.
- The sweeper skips a hidden page. The time hidden does not count as
idle, the 2 s start once the page is shown again.
- A dropped player only unloads its video source instead of destroying
it. A shader that still holds the source no longer warns.
- CI serves videos through a new router for php -S. The built-in
server answers no Range requests, so Chrome could not seek. e2e 66
had 4 red checks in the suite job of
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adminandClaude Opus 5.5
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d48f174caf |
Play videos on sprites, converted on the server with clips (#402)
A video becomes an asset like a sound: uploaded once, converted to one format by a worker of its own, cut into clips in its tab, and worn by a sprite through its Texture row. Only Chrome is a target, without alpha. - Server: POST ?r=videos queues the upload under the hash of its bytes, so the MP4's name is known at once. The worker (VideoWorker over VideoFormat) writes H.264/AAC, yuv420p, constant frame rate, a keyframe every 15 frames, at most 1920x1080, with a poster and the details beside it. A failed job says why and is tried again on the next upload. - An upload may be up to 2 GB. It is streamed from the request to disk and hashed there, so php-fpm holds none of it in memory. The other routes keep their 256 MB. - The worker runs in the container game-maker-video on stein2, a compose project of its own (tools/video/), and in CI beside the PHP server. The CI image has ffmpeg for it. - Model: asset type video with size, length, frame rate and sound, and clips like a sound's. The clip helpers and commands serve both. - A sprite's Texture row offers videos and clips after the pictures. resolvePicture names a playing video by a key, and the texture library hands it to a VideoLibrary with one player per key. - The editor shows a placed video as a quiet preview. Play starts it over at its clip's start and lets it be heard through the master bus, a pause holds it, Esc makes it quiet again. - Video tab: the picture, a ruler, the clip strip and a track on the Sound tab's time axis. A drag spans a clip, a handle moves an edge, Play plays the picked clip. - The picker shows a video on its way with its progress and adopts an upload from it once it is ready. Dropping a video file does the same. Decided on my own: - Two sprites wearing the same clip share one player and show the same picture. Control per instance belongs to the follow-up with nodes. - A video plays in real time, the game's time scale does not slow it. - The container may use 3 of the 4 cores of stein2. Findings: - The first real upload (279 MB) got 413: the API's own ceiling of 256 MB for every request, not nginx or the Brandmauer. - Chrome has no picture of a video that never played, and a Pixi VideoSource drawn before the first frame stays empty for good. The texture is made in the first frame callback (openVideo). - A player nobody asks for in 2 s is let go. The inspector's PREVIEW asked only on an edit, so with the sprite not on screen its texture was destroyed under it and the batcher threw on every frame. The preview now redraws every frame while it shows a video, like a Time shader. A let-go texture keeps an empty source instead of none. - VideoSource.load() reloads the element and cuts off an earlier play(). Playing starts after loadeddata. Tests: - PHP videos.test.php: 68 checks, with the real ffmpeg - 300 MB upload through Brandmauer and nginx: 201 in 21 s, php-fpm at 13.7 MB RSS at most - Unit videos.test.ts: 20 tests - e2e 66 (stein2, atx was off): ALL PASSED, 18 checks; e2e 04 with the new asset count green - Gate (atx): 294 files, 4520 tests. serialize.test.ts used video as its example of an unknown type and now uses a made-up one. - Counter-checks: a keyframe gap of 30 fails the PHP check, a key that keeps the video's end fails 2 unit tests, a clip without its end fails "plays only its stretch" in e2e 66 Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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2f376262d3 |
Let the Reverb's screen ring out and its reflections drift (#401)
The round screen of the Reverb stood still. It now moves, only for the look of it, and says nothing it did not say before. - The sound rings out again and again in real time. The dot in the middle flashes, and a thin front runs out over the rings as fast as the tail does. It fades as the tail falls, then 0.8 s of quiet. - A reflection lights up for a moment once the front has passed it. - The reflections turn slowly round the dot, each at its own pace and way (at most 0.16 rad/s). They sway 1.5 px in and out and twinkle. Their drift comes from a noise of its own, so they sit where they always did. - Rings, grid and dashed end stay one drawing. Only the dots, the front and the flash are drawn again each frame. - Nothing moves without a tail to see: no sound picked, or wet at 0. Tests: - reverb-view: 13 tests green (3 new) - e2e 34 on melektaus-atx: ALL PASSED, 144 checks - gate on melektaus-atx: 293 files, 4498 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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6383cc0d8e |
Show a Sample node as a device that draws its waveform (#400)
The Sample was the last node of an instrument that still showed rows. It now draws the sound or clip it plays, so the loop and what plays after the note can be seen instead of read off two numbers. - SamplePanel, SampleFace and sampleView: a compact gold plate of 480x280 with the sound picker beside the name, a waveform screen, the four ways of playing it as buttons two by two, the root as a knob that reads as a note, a lever for following the note and the loop's start above its end. - The waveform comes from the library's peaks of the played sound, a clip's own cut included, scaled by the sound's volume. It is loaded on demand as the Reverb's sound is. - Each part has its colour: played once, looped, played after the note, never heard. The loop is held as playback holds it: an end of 0 or past the sound is the end, a start not before it loops all of it. - Idle settings come from the node's own idleParams, so the device greys out what the rows did. - A new instrument places its Output at x 840, past the device. At 460 it lay under the Sample. - Hook __gm.sample.panel and a check in e2e 34 behind the first instrument check. Tests: - Unit sample-view: 11 tests, new. pattern and chip-presets green. - e2e 34 (atx): ALL PASSED, 144 checks (1 new). - Gate (atx): 293 files, 4495 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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a6c00f7b8b |
Show a Bitcrusher node as a device that draws its pixels (#399)
A Bitcrusher only said what it does in rows of numbers. How coarse its steps and holds are could not be seen. Now the node is a device of its own size. Its screen sends a sine through the node's own crush and draws what comes out in cells, as tall as a step and as wide as a hold, so the coarser the crush, the coarser the picture. - CrusherPanel draws a 680x280 plate in bubblegum pink. Bits and rate are large knobs, wet is small. Rate gives its low end more of the turn, 8 kHz sits just past the middle. - crushTrace runs a 440 Hz sine at 0 dBFS through Crusher at 48 kHz and blends it as the worklet does. Where each hold starts comes from Crusher too: a ramp through it at 16 bits takes a new value per hold. - cellOf shapes a hold. From 5 px a step or hold gets a grid line and a gap. Finer steps give a 2 px bar. A cell is never more than twice as tall as wide, so 1 bit gives bars at -1, 0 and 1. - The screen shows two periods, or 6 holds where the rate is low. The sine going in is a grey ghost. Below wet 1 the heard line lies over the cells. - Above the screen a word for how crushed it is, CLEAN to BROKEN. Under it the noise the bits leave and where the rate folds back. - 16 lamps show the bits kept, the highest on the left. A CRUSH lamp beside the name glows the more it crushes. - COLUMNS_OF gives the Bitcrusher 4 columns in the presets. - Hook __gm.bitcrusher.panel(id) for the sound FX and instrument graphs. Decided myself: - The screen is still. Nothing on it moves, so tick() says false. - How crushed counts whichever of bits or rate takes more, the rate in octaves, times wet. Found: at 8 kHz the first hold is 7 samples long, the rest 6. Six sixths add up to just under 1 in Crusher. The worklet does the same, so the screen shows what is heard. Every sfxr effect preset ends in a Bitcrusher and gets 3 columns wider. The Laser preset still fits whole on Fit. Tests: - Unit: crusher-view 13 tests (new). The screen matches Crusher with its wet on three settings. - Counter-test: without the wet in the blend the worklet test fails. - e2e 34: ALL PASSED, 143 checks (1 new). - Gate: CHECK EXIT 0, 292 files, 4484 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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b145e1f288 |
Draw the Flanger's comb as a thin line with a fading trail (#398)
The comb was still drawn too heavy. Each frame showed the whole band
the comb had swept over the last 1/20 s, edged by two lines 1.5 wide,
and the faster the delay moved, the thicker that band got.
- flangerLine draws the comb where the light is as one line, 1 wide.
It runs through the ends of each column and the peaks and notches
in it, where they are. A comb finer than a column zigzags over it.
- Behind the line a faint trail shows what the comb swept over the
last 1/20 s, and over the last 1/40 s once more, so it fades with
age. A Flanger that stands still has none.
- The line fades out where its teeth move more than a quarter of a
tooth within the trail (clearAt), and is gone from half a tooth on.
There only the calm band of the trail is left, so nothing flickers.
- responseFrame gives the screen the line, how clear each point is,
the sharp columns for the notches and the trail. It replaces
responseColumnsOf, and RESPONSE_BLUR is now RESPONSE_TRAIL.
- The notches are counted on the sharp comb again, not on the band.
- The Phaser's response is drawn as the same thin line, without a
trail.
Tests:
Unit modulation-view (stein2): 26 tests, 2 new. The line holds the
comb's dB at each point and every notch. On a fast swing it fades
out over 8 kHz, stays clear under 1 kHz, and the trail is the same
band over 16 kHz in three frames. A still Flanger has no trail.
Counter-check: with clearAt always 1, the fade test fails.
e2e 34 (atx): ALL PASSED, 142 checks.
Gate (atx): CHECK EXIT 0, 291 files, 4471 tests.
Pictures of the default Flanger, a fast one (2 Hz, 5 ms) and one
sweeping to 20 ms, and of the Phaser: a thin line, the trail
behind it, a calm band high up.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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f9a953f3d3 |
Keep the Flanger's comb calm and smooth where its teeth crowd (#398)
High up the Flanger's comb flickered and looked pixelated. Each column
of its screen took six readings, and its teeth pass there faster than
frames are drawn, up to 0.4 of a tooth a frame at 15 kHz by default.
Each frame caught other teeth, and each column was drawn as a sharp
rectangle.
- flangerColumns reckons each column exactly. The response only hangs
on the phase, and between two multiples of pi it runs one way. So a
column holds its lowest and highest at its ends or on the peaks and
notches inside it.
- Each frame is blurred over the delays of the last 1/20 s
(RESPONSE_BLUR), about what an eye blends. Where teeth pass faster
than that, they become a calm band from the deepest notch to the
highest peak. Further down, where they can be followed, they stay
sharp and move.
- The response is drawn as a band between two smooth lines through
the columns, no longer as one rectangle per column.
- responseColumnsOf picks the Phaser's readings or the Flanger's exact
columns. responseDb had no caller left and is gone.
Measured before choosing the blur, as the mean change of a column from
one frame to the next on the default Flanger (2-5 / 5-10 / 10-20 kHz):
readings as before 5.6 / 10.6 / 14.3 dB
exact, no blur 5.5 / 10.2 / 12.9 dB
exact, 1/60 s 5.0 / 7.6 / 4.0 dB
exact, 1/20 s 3.9 / 2.6 / 0.04 dB
Under 5 kHz most of what is left is the teeth really moving.
Tests:
Unit modulation-view (stein2): 24 tests, 2 new. The exact columns
hold what 4000 readings a column find there, and a fast swing
leaves the same band over 16 kHz in three frames in a row.
Counter-check: without the peaks and notches inside a column, both
new tests fail.
e2e 34 (atx): ALL PASSED, 142 checks.
Gate (atx): CHECK EXIT 0, 291 files, 4469 tests.
Pictures of the default Flanger and of one sweeping to 20 ms, near
and far, two of each 40 ms apart: smooth edges, the band the same.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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b6749cc43d |
Show Tremolo, Vibrato, Phaser and Flanger as devices that swing (#398)
The four effects that swing were still drawn as rows of numbers. Like
the Delay, the Saturation and the Limiter, each node now shows a device
of a fixed size. Its screen draws what it does over the first seconds
of a sound, and a light plays that in real time, over and over.
- One device for all four (ModulationPanel, ModulationFace and
modulationView), as KnobPanel is for Gain, Pitch, Mix and Pan. A short
description gives each its title, plate, buttons and knobs.
- Tremolo, 640x280 in cream: a wave its volume shapes, the volume as
its outline. It says DOWN TO 50%, EVERY 200 ms and DIPS -6 dB.
- Vibrato, 640x280 in plum: the pitch in semitones, cool below and warm
above. Under a wet below 1 the dry pitch stands beside it. It says
how late the voice is (LATE 0.93 ms).
- Phaser, 760x280 in mustard, and Flanger, 680x280 in steel blue: the
response from 20 Hz to 20 kHz, and under it a lane of the turn or the
delay over time. The response is drawn where the light is, so the
notches swirl and the comb jets. A comb finer than a column fills it.
- The light loops over 1, 2, 4 or 8 s, two LFO swings at least, for a
Flanger as long as its sweep takes to reach 20 ms. The face only
keeps the editor drawing while something swings and is heard.
- A Rate lamp beside each name goes from dark to lit with the swing.
- Nothing is listened to. The pictures use the worklets' own numbers:
lfoAt, vibratoSpeedUp (now exported from lfo.ts), the allpass chain
with its feedback, and the comb, reckoned at 48 kHz.
- Phaser and Flanger take 4 preset columns. Phased Pad was looked at
in a picture, nothing overlaps.
- Exported from nodes.ts: LFO_SHAPE, lfoShapeOf, TREMOLO_ROWS,
VIBRATO_ROWS, PHASER_STAGE_ROW and phaserStagesOf. FLANGER_MAX_MS is
exported from phaser.ts.
Decided here, as the request left the look open:
- A notch counts where the response falls below -3 dB, not some dB
under the loudest point. Feedback rings peaks far above 0 dB, and the
first rule counted 7 notches on a Phaser of 12 stages.
- Rate and Depth of Tremolo and Vibrato are big knobs, Wet is small.
Tests:
Unit modulation-view (stein2): 22 tests, new. Phaser and Flanger
give the dB of their worklets on a sine within 0.005 dB, the
Tremolo its samples, the Vibrato the pitch it reads at.
Counter-check: with the sign of the Phaser's feedback flipped in one
place, exactly the worklet test fails.
e2e 34 (atx): ALL PASSED, 142 checks, 4 new. Each device has its
size, its ports outside, a light that runs by itself, and a button
and a knob as one undo step each. Picking 8 stages on the Phaser
draws 4 notches.
Gate (atx): CHECK EXIT 0, 291 files, 4467 tests.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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28909f0adf |
Show a Limiter node as a device that holds what it took away (#397)
A Limiter only said what it does in rows of numbers. How much it took away, and when, could not be seen at all, and a short sound is over before any needle could show it. Now the node is a device of its own size, and its screen catches the reduction from the moment a sound starts and holds it once the sound ends. - LimiterPanel draws a 720x280 plate of brushed brick. The threshold knob is large, ceiling and release are small beside it, auto-gain is a lever. A LIMIT lamp lights while it takes something away. - The screen hangs the reduction down from the top, 0 to 24 dB by the square root like the Compressor's meter. The level coming in runs along the bottom, orange above the limit. Time runs from the start of the sound over 1, 2, 4 or 8 s, and a longer sound rolls. - ReductionCapture in limiterView holds the capture after 0.4 s of silence, without the silence, until the next sound. It writes the most taken away and when, and NOW or LASTED on the right. - The Limiter is tapped now, like the Compressor. The face reads the loudest sample since the last frame on both sides. - SpectrumTaps.levels takes a lateBy. The side in front is read 5 ms earlier, so a peak going in is met by what it became. - limiterReduction leaves the auto-gain out and solves Wet's blend for the limited part. Less than 0.2 dB counts as none. - A capture is also held when the node leaves the picture. Changing a knob or the lever leaves it as it is. - Hook __gm.limiter.panel(id) for the sound FX and instrument graphs. Decided myself: - The capture stays held until the next sound, not for a fixed time. - The screen has no wet knob, as the Compressor's has none. - The Limiter's two taps cost two gains of 1 per voice. The analysers only exist while the node is in the picture. Measured on stein2: the seeded blip at -4.4 dBFS against -12 dB showed 7.56 dB. Three hits at 0, -8 and -2 dBFS showed 11.9 dB at the first. In e2e 34 on melektaus-atx, -10.44 dBFS in against -20 dB showed 9.56 dB, the difference to the hundredth. Tests: - Unit: limiter-view 13 tests (new), spectrum 6 (1 new), soundfx 67 with the Limiter's taps. - Counter-test: without Wet's share in the formula the blend test fails. - e2e 34: ALL PASSED, 138 checks (1 new). - Gate: CHECK EXIT 0, 290 files, 4445 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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80b25488ce |
Show a Saturation node as a device that glows with its drive (#396)
A Saturation in the graph was a stack of rows. The user wanted a device of its own style and size, like the Delay and the Reverb, that shows warmth and heat the harder the sound is driven. - The node is a copper plate of 720x280 with a button per type, the auto-gain lever, a big drive knob and small knobs for tone, output and wet. Each change is one undo step, wired numbers lock their knob. - The screen draws a sine at -12 dBFS, the level auto-gain is reckoned at, as a grey ghost. Over it is the wave that comes out: bent by the type, its DC taken out, auto-gain and output after it, blended by wet. Under it stand the auto-gain and the peak. - The heat is the drive over 48 dB, as far as wet lets it be heard. The wave goes from cold steel through ember red to white, a glow rises from below and flickers, and embers fly up from about 8 dB on. A lamp beside the name glows with it. - The node keeps the editor drawing only while there is heat. Without drive it draws nothing, unlike the Delay, which always animates. - The Reverb's private type button is now PickButton with its own colours, and the Saturation's type buttons use it as well. - No instrument preset uses a Saturation, so no preset needs more columns. Tests: - Unit saturation-view: 14 new tests. - Counter-check: without taking out the DC, exactly the DC test fails. - e2e 34 (atx): ALL PASSED, 137 checks, one new for type, lever and drive with undo. - Gate (atx): CHECK EXIT 0, 289 files, 4431 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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8c53ce0cbe |
Replace the 5-Band-EQ with the Parametric EQ and remove it (#395)
The Parametric EQ does all the 5-Band-EQ did and more, so the editor keeps only one EQ. The old node was used in one project only, with nothing linked to its band inputs. - "Garden of Sacrifices" was converted once on the project file, not by a load migration (#137). Its 5 nodes are Parametric EQs now with the same filters: low shelf 80 Hz, peaks at 250 Hz, 1 kHz and 4 kHz with Q 1, high shelf 12 kHz. A band at 0 became no band. - Two values below -24 dB were held to -24, as the Parametric EQ goes no further. Both are in the asset "Delay" (high -60, low -36). The user will rework them by ear. - The write went through the API's own Store (lock, revision 20181 to 20182), so a tab with the old revision gets a 409 instead of overwriting it. - Removed with the node: its stage kind "filter" and the type FxFilter, which nothing else made, and the player's branch for it. A Pan is now the last branch of fxNodes, a Flanger that of stagesOf. - Tests that took the 5-Band-EQ as "some effect" use the Pan or the Parametric EQ now. The test for a parameter feeding a band now feeds the cutoff of a Filter, which had no such test yet. - A project that still names the type, such as an old snapshot of "Garden of Sacrifices", loads without those nodes. Unknown types were always left out on load. Tests: - Unit (stein2): soundfx 67, instrument 36, envelope 13, sound-library 127, all green - Counter-check: with the cutoff not taken from the parameter, only the new Filter test goes red - The converted project loads and compiles: Delay, Vocals and Drums play their bands (3+1, 4 and 5) - e2e 34 (atx): ALL PASSED, 136 checks, the palette check now looks for the Parametric EQ - Gate (atx): CHECK EXIT 0, 288 files, 4417 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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cb3183227b |
Keep drags at full speed in large projects (#394)
Dragging a band of a Filter or a Parametric EQ ran at about 30 fps in a large project. Each frame of a drag announces the changed project, and every listener of that event ran, also those whose work nobody sees while the drag goes on. - FramePreview marks its own frame, read through isDragFrame(). - The Scene view behind another tab skips such a frame and draws on coming back, as it already did while a game runs (#265). - preloadProjectFiles skips it as well. It walks every asset and checks every bake, which costs milliseconds in a large project. - The command that ends a drag emits for itself, and a drag that changes nothing ends with a plain preview, so both catch up then. - This holds for every drag through FramePreview, the knobs of the devices in the graph included. Measured on stein2 with a copy of a project of 162 assets, a band of a Parametric EQ dragged at 250 pointer moves a second for 3 s: - Listeners per frame: 17 ms before, 7.4 ms after. - Hidden Scene view: 814 ms before, 53 ms after. - preloadProjectFiles: 514 ms before, 0.4 ms after. - What is left is mostly the Hierarchy and Assets panels on screen (about 3 and 1.3 ms a frame). They stay as they are. Tests: - Unit frame-preview, play-throttle: 29 passed (1 new) - Counter-check: without the mark the new test fails - e2e 34 (melektaus-atx): ALL PASSED, 136 checks - Gate (melektaus-atx): CHECK EXIT 0, 288 files, 4417 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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3f7eb03143 |
Check what a streamed sound holds by the library's own count (#378)
The e2e check that a streamed sound costs less than a decoded one compared how much the renderer process grew. Alone, module 34 saw it grow by 1 to 8 MB while streaming. After the 33 modules before it in CI it grew by 25 to 66 MB, and suite went red (CI tasks 611, 614 and 617, the last with 66.7 MB streamed against 95.9 MB decoded). - SoundLibrary.stats tells decodedBytes, the samples of every file decoded whole, and streaming.held, every head of a copy and what is sent ahead to the worklet. - StreamFile.headBytes and StreamFeed.ahead give their share. - The e2e check now asks the library: streamed it holds less than 4 MB more than before and nothing decoded whole, decoded it holds more than 40 MB, the five minutes being 50 MB at 44.1 kHz. - The growth of the renderer stays in the log of that check. The counter-proof that the renderer grows by more than 40 MB when the sound is decoded stays as it was. Tests: - Unit sound-library: the streaming test also checks the bytes held. - e2e 34 (melektaus-atx): 136 checks. Streamed 0.76 MB more held and none decoded whole, decoded 50.5 MB. The renderer grew by 4 MB and 49 MB. - Gate (melektaus-atx): 288 files, 4416 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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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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389d9555fa |
Show a Pan node as a one-knob device in cyan (#392)
After the Gain, the Pitch and the Mix, the Pan is the next node that is just one number. It now gets the same device in the graph instead of a row for its pan. - PAN_DEVICE: the Gain's 160x160 plate in cyan with one bipolar knob for Pan. The middle stands straight up, and the turn goes evenly to L and R, which are engraved at its ends like A and B on the Mix. - PAN_TAPER in hardwareView is 1, so left and right are heard alike. Device and unit test read the same constant. - PAN_ROW is exported from the core, so the knob has the node's range. - A linked Pan greys the knob, as for the Gain. - The test hook __gm.pan.panel returns the same shape as the Gain's. - No instrument preset uses a Pan, so no preset columns change. Tests: - Unit hardware-view: 17 tests, 2 new (the turn, and L and R inside the plate and clear of the screws). Counter-check: PAN_TAPER 2 turns the turn test red. - e2e 34 (melektaus-atx): 135 checks, 1 new. - Gate (melektaus-atx): 287 files, 4399 tests. - Pictures looked at: Gain, Pitch, Mix and Pan in a row, Pan at -0.35. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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fe4e0d9f1a |
Snap to the grid from the start in every graph tab (#391)
Laying out a graph by hand mostly means lining nodes up, so the magnet was switched on in nearly every session. Every graph tab now starts with it lit: Behavior, State machine, Shader, Particles, Sound FX, Instrument, the song's Routing and the Routing tab. - SnapToggle takes the state it starts in and lights its button to match. GRAPH_SNAPS_AT_FIRST sets it for the toggles and for GraphCanvas alike, so button and canvas cannot disagree. - Curve and Vector Art are no graphs and still start without it. - New hook __gm.graphSnapping(on?) reads every graph tab's magnet, or "mixed" where button and canvas differ, and switches them all. - The e2e harness reads the magnets after each navigate() and then switches them off, as it already sets the zoom transition to 0. Most checks drag a node to an exact spot. e2e 45 does the same itself, because the editor comes up there through the sign-in. - e2e 06 checks that all eight graph tabs started with the magnet on. The checks in 06, 26 and 65 that read it off now say they read what the harness left. Tests: - Unit snap-toggle: 4 tests, 1 new (lit at first, nothing asked of the target before a click). - e2e 06 (melektaus-atx): 150 checks, 1 new. e2e 34: 134 checks. - Gate (melektaus-atx, together with #390): 287 files, 4397 tests. - Pictures looked at: none, the state comes from the hook. 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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e8021b1fd3 |
Show a Reverb node as a device with a round screen of its tail (#389)
The Compressor, the Gain, the Chip and the Envelope are devices in the graph. The Reverb was still a list of rows, and how long and how dark its tail rings was left to the numbers. - The node is a plate of 640x280 in pale lavender. Its inputs are on the left, its output on the right. - A round screen draws the tail as rings out from the sound. A ring's radius is its time, as the root of its seconds, on one scale up to 10.5 s for every Reverb. So a Room is a small disc and a Cave fills two thirds. - A ring is as bright as the tail is loud there, evenly in dB. Its colour is how much of the highs is left, from ice to violet, with the cut-off of the impulse response (reverbCutoff, now shared). - The pre-delay is a dark gap round the dot, a dashed ring marks -60 dB. Seeded dots stand for the reflections. Wet fades the tail against the dot. - A type of Sound draws the peaks of its sound from the library, each against its loudest. It says LOADING until they are there. - A button for each type, a list of the sounds and four chrome knobs: Decay, Damping, Pre-delay and Wet. - A knob the type does not take is greyed but turns. It goes over to Custom with the type's numbers, as one undo step. Picking a sound makes the type Sound, also one step. - NodeParamDrag can write several settings as one drag for that. - Test hook __gm.reverb.panel(nodeId), for the sound FX and the instrument graph. Tests: - Unit reverb-view: 10 new tests for the plate, the knob turn, the numbers per type, the scale, the tail and the texts. A screen that ignores damping turns the highs test red. - e2e 34 (atx): 1 new check (device between its ports, decay knob of a Hall goes to Custom as one undo step, Cave button, a sound from the list makes it Sound and draws that sound). - Probe pictures on stein2: Room, Hall, Cave, Plate, Custom with damping 1 and pre-delay 0.3 s, Sound. - Gate (atx): CHECK EXIT 0, 287 files, 4393 tests. 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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ab37d3423a |
Let graphs zoom out to an eighth (#387)
With the Chip and the Filter drawn as devices, a preset such as the Laser is about 3060 units wide. In a window of 1280 px a fit then hit the floor of 0.25 and cut the Notes node off on the left. - ZOOM_LIMITS.min goes from 0.25 to 0.125. The graph zooms without steps, so one more step is the floor halved. 0.125 is also the smallest step of the scene view. - It holds for the wheel, for Fit and for the node board of plugins. - The grid still hides itself below 8 px, so it does not flicker. Tests: - Unit plugins and graph-framing: 55 tests green, the floor test now expects 0.125. - e2e 06 (atx): ALL PASSED, 149 checks. Only a comment that named 0.25 changed there. - Gate (atx): CHECK EXIT 0, 285 files, 4377 tests. 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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17f47f6956 |
Drop the Gain's engraved name and centre its knob (#384)
The plate was taller than its one knob needs, and the engraved "GAIN" only repeated the node's title. Without it the plate is square, and the knob sits in its middle. - The plate is 160x160 instead of 160x220, without the "GAIN" engraving. - The knob is centred on what it shows: the "DB" caption and the dial. Since #382 its number hangs inside the dial's open bottom, so it adds no height. - CAPTION_AIR (4) takes out the empty space above the caption's capitals. Without it the knob sat a little too low. Measured on a picture at zoom 0.8: 19 px of air above "DB" and 19 px below the number. The user's screenshot showed about 14 above and 35 below. Tests: - Unit hardware-view: 12 tests green. The layout test now asks for the same air above and below. - e2e 34 (melektaus-atx): ALL PASSED, 126 checks. - Gate (melektaus-atx): CHECK EXIT 0, 283 files, 4359 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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01ee61868b |
Show a Gain node as an orange device with one knob (#384)
A Gain node now draws a small device in the graph, as the Compressor does since #380: the brushed plate in orange, 160x220 graph units, with one chrome knob between its inputs and its output. - GainPanel and GainFace join the node faces. The knob drags, resets on a double-click and keeps the wheel for the graph (#383). Each turn is one undo step, a linked Gain (dB) greys it. - The knob turns with a taper of 0.26, so 0 dB stands straight up and the range below -24 dB takes a fifth of the turn. - drawPlate, engrave and the brushed look move out of CompressorPanel so both devices share them. The Knob takes an arc colour, because the orange arc vanished on the orange plate. - No meter and no tap. Gain sits in every voice of an instrument, and a tap would add two audio nodes to each note for a display nobody asked for. Found on the way: - Knob.dialGlobal added half the dial unscaled. In a zoomed graph it pointed beside the dial. The Compressor's e2e only hit by luck. Tests: - Unit: 2 new for the Gain plate and its taper. - e2e 34 on atx: ALL PASSED, 126 checks (1 new). - Gate on atx: CHECK EXIT 0, 283 files, 4359 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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79a04e6764 |
Edit a Parametric EQ in its node, let the wheel only zoom graphs (#381)
The small curve below the EQ node's rows (#375) only showed the bands. Like the Compressor since #380, the node now shows the editor of its tab between its inputs and its output, and is worked right there. A double-click on the node still opens the same editor in a tab. Two wishes for the nodes with a panel came on top and share the same files, so they are in this commit as well: the numbers below the Compressor's knobs read as plain labels (#382), and the wheel over a node zooms the graph instead of turning a value (#383). #381, the EQ in its node: - EqPanel holds the curve, the band's numbers and the help line, taken out of EqEditor. The tab puts its one panel under a header, each EQ node has a panel of its own at 720 x 360 (EqFace). - A press on the curve neither picks nor moves the node. A double-click on the curve adds a band, one on the title or the edge opens the tab. - In the node a press on the Type or Slope button stays with the button, so the node is not picked or moved. - The spectrum runs in the node while it is in the picture. The tab lets go of the tap once, like the Compressor's, and Editor.tick lets every unseen tab and graph go before any seen one listens. - The count of bands moved from the tab's header into the band row, so the node shows it as well. - The node picture of #375 is gone with its only user: NodePicture, EQ_PICTURE and NodeView's drawing of it. #382, the numbers below the Compressor's knobs in its node: - A Knob with typed: false shows its number as a centred Label without a box, in the panel's ink. The ratio reads 4:1 (ratioText). - The label is as high as its text and sits up in the dial's open bottom, right under the ends of the scale. - Label takes a colour of its own. #383, the wheel in a graph: - GraphCanvas takes the wheel on the way down and stops it there. It zooms over a node too, and no knob or curve in a node sees it. - The tabs keep their wheel: a knob's step, a band's Q and the zoom of the EQ's dB. Found on the way: - A Menu opened below a button in the zoomed graph would have been placed by the button's own height. openBelow now takes the bottom edge as drawn. - The band row did not lay out its labels after a text change when its own size stayed. In the tab a later resize hid it, in the node "Band 1" and the count were missing. The row now lays out itself. - Handle and point positions for the checks were unscaled. They now go through toGlobal and hold at the graph's zoom. Tests: - Unit parametric-eq: 16 tests. The #375 tests now check eqCurvePoints and eqRangeOf directly. compressor-view: ratioText. - e2e 34 (atx): ALL PASSED, 125 checks (3 new: the EQ panel and its ports, editing in the node, the spectrum in the node with the tab open). The Compressor node's check reads its numbers as labels and 8:1. Both node checks now expect the wheel to zoom the graph and leave the ratio, the Q and the dB zoom alone. - The unseen-tab check now leaves for the Scene tab, since the node in the graph listens to the same tap. - Counter-check: the tab letting go of the tap every unseen frame stalls the node's spectrum with the tab open (1 frame against 22, probe on stein2). - Gate (atx): CHECK EXIT 0, 283 files, 4357 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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1f2b64fb4c |
Show a Compressor's panel in its node, its tab on a double-click (#380)
The panel of #379 opened in a window of its own and replaced the tab. The user wanted the device in the graph instead, and the tab of #378 back on a double-click. The switch Hardware look goes again. - A node can show a face instead of its rows (`NodeFace`). Its inputs sit on the left of it and its outputs on the right, in the middle of the height. Each side is as wide as its longest port name. - A Compressor node shows the panel at full size, 820x280 graph units. Its settings and numbers are not listed as rows, the panel has them. - The knobs and the lever work in the node. A drag, a notch of the wheel and a double-click are one undo step each. A press on them neither picks nor moves the node, and the wheel does not zoom the graph. The number below a knob is only shown, typing stays in the tab and the inspector. - The meter and the LEDs run while the node is in the picture of a sound FX or instrument graph that is seen. Out of the picture, folded or hidden, the node lets go of its taps. - The window of one size, `fixedSize`, `refit`, `keptSize` and the rule that kept a Compressor out of the tab row are gone again. - A knob's drag as one undo step lives in `nodeParamDrag.ts` now, for the tab and the node. The numbers of a node and what auto-gain says moved to `compressorView.ts`. Found and fixed on the way: - The tab and the node listen to the same taps. The tab let go of them on every frame it was not seen, so the node's meter stood still while the tab was open. Now the tab lets go once, and in a frame everything unseen lets go before anything seen listens. Tests: - Unit: compressor-view (2 new), documents (the test of `keptSize` is gone with it) - e2e 34 (stein2, melektaus-atx was off): ALL PASSED, 122 checks. The four checks of #379 are now four of the node: ports beside the panel, knobs and lever in the node, the needle when played (21.7 dB with the tab open), and the double-click opening the tab. - Gate (stein2): CHECK EXIT 0, 283 files, 4356 tests - Counter-checks: an old auto-gain number read as off turns exactly its unit test red. A tab that lets go on every frame leaves the node's needle at 0 dB and no LED lit (probe on stein2). Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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9917253751 |
Open a Compressor as a device in a window of one size (#379)
The tab from #378 shows a Compressor as an editor. The user wanted it to look like a device as well, after a brushed aluminium plug-in, with a meter of the gain reduction instead of the pictures. The tab stays and is switched to per node. - Hardware look is a switch under Settings, on by default for new and existing Compressors. Only the editor reads it. - The panel is 820x280 px and opens straight in a window of that size. The window has no sizing corner and no Dock. A pane says so through `fixedSize`, and `keptSize` keeps the window's middle when it changes to that size. - A Compressor in this look never sits in the tab row. Opening one floats it, and switching the look on moves its tab into the window. - The panel has chrome knobs (threshold and makeup large), a meter with a needle that moves like a VU's, an LCD with the name and the reading, a lever with a lamp for auto-gain, and LEDs for the level going out. Everything is drawn in code. - The Knob takes a size and a chrome look, and leaves out its caption when it has no name, so the panel engraves its own. - `autoGainOn` is now `switchOn`, because the new switch reads the same way. - Where parts sit, the meter's scale, the needle's speed, the LEDs and the plate's grain are in `hardwareView.ts`, apart from the drawing. Decided myself: - The meter's scale runs by the square root, so the first dB is about as wide as the last nine. It is red from 10 dB on. - The LEDs light one every 3 dB from -39 to 0 dB and fall by 20 dB a second. - Switching the look changes the graph's fingerprint, like any other setting of a node. The sound FX is built again once. Findings, fixed on the way: - Pixi's `arc` goes on from the last point of the path. The meter's scale had a line from the corner of the face until each arc got a `moveTo` to its own start. - A text put into a Graphics makes Pixi warn that only Containers take children. The LCD is a Container now. - The first browser check read the needle at one moment and missed the short sound. The panel keeps the most its needle and LEDs showed. Tests: - Unit: hardware-view (10 new), documents (1 new) - e2e 34 (melektaus-atx): ALL PASSED, 122 checks (4 new). Played, the needle reached 20.9 dB and 5 LEDs lit. - Gate (melektaus-atx): CHECK EXIT 0, 283 files, 4355 tests (11 new) - Counter-checks: a window that keeps its corner instead of its middle, and a linear meter scale, each turn exactly their test red. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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2d4909d248 |
Fit the Compressor's tab to any size, make auto-gain a switch (#378)
Two things came up on the new tab. Floated and sized down, it spilled its knobs out of its window, and sized up it left the window empty. Auto-gain lifted far too much: it brought 0 dB back to 0 dB, which at -40 dB, 4:1 and knee 6 is +28.1 dB, so a sound at -24 dB came out at -6 dB. And as a knob from 0 to 1 it blended between makeup and auto-gain, so at 1 the makeup knob did nothing. Layout: - The knobs stay on the bottom line, centred, with the help line above them. - The levels fill the height left above. The curve is a square at their right, centred up and down. It grows with the tab from 180 to 360 px and takes no more than 40 % of its width (picturesLayout). - A floated window cannot be sized below what its pane needs. A pane says so in its minWidth and minHeight, and the Compressor's is every knob and the smallest pictures. Other panes keep 320 x 200. - A pane put into an open window that is too small grows the window. Auto-gain, as decided in #378: - A Compressor's auto-gain gives back what it takes from a sound at -18 dB, so that one comes out as loud as it went in. At the numbers above that is +14.6 dB. - Auto-gain is a switch on the Compressor, the Limiter and the Saturation alike, a setting and no longer an input. The makeup or output is added on top of it instead of being blended with it. - A project from before reads a number as on above 0. Nodes never set keep their defaults: off on the Compressor, on on the other two. - The tab shows the switch at the right of the knobs, with the dB it gives below it. With it on, the curve has a line at -18 dB from the curve up to the diagonal. - Every level reading keeps the gain of its time. Before, the whole picture was read by the current makeup, so after a change the tinting of the last seconds was wrong or missing. Findings: - My first e2e run of the layout clicked Dock where it was before the window was sized up, so the window stayed open and the next check went red. The check reads the button again. Tests: - Gate (melektaus-atx): 282 files, 4344 tests (6 new) - e2e 34 (melektaus-atx): ALL PASSED, 118 checks (2 new) - Offline in Chrome: a sine at -18 dB through -24 dB and 4:1 came out at -17.92 dB with auto-gain on and -22.42 dB with it off. - Counter-checks: the curve set at the top instead of the middle, and every reading read at a gain of 0, each fail exactly their test. - Looked at the window in screenshots: at its least every knob and the switch show. At 1280 x 797 the levels fill the height, the curve is centred at the right and the knobs are at the bottom. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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1df38bd430 |
Edit a Compressor in a tab of its own, with knobs and levels (#378)
A Compressor had only its number rows in the node. Its numbers are
easier to set by feel on a dial, and what it does is easier to judge
when the level going in and the level going out are seen side by side.
- Knob is a new widget in the toolkit: a slider bent into a circle,
its name above and a number field below. A drag up or down turns
it, Shift a tenth as far, a notch of the wheel a fiftieth of the
turn, a double-click sets the default, the number takes a typed
value. A taper gives the low end more of the turn.
- The Compressor's tab opens on a double-click, one per node, like
the Parametric EQ's. It has a knob for each of the seven numbers,
greyed while its input is linked.
- Its curve shows level in to level out from -60 to 0 dB. The point
where it bends sets the threshold, the end of the curve sets the
ratio that ends there.
- Its levels show the last 4 s on both sides of the node. Where it
takes more than 0.5 dB away, the stretch below the level coming in
is tinted. The makeup is left out of that.
- The Compressor is tapped like the EQ. SpectrumTaps listens to more
than one node at once and reads the loudest sample of the last
25 ms on each side.
- The node tabs share one map in the editor (nodeTabs), so a third
kind needs no new plumbing.
Findings:
- CI task 614 for
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adminandClaude Opus 5.5
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23922ee4a2 |
Show the zoom of the music tabs and the EQ as a transition (#377)
The zoom transition of #309 left out the Pattern, Song and Sound tabs
and the Parametric EQ's curve. There a wheel step or Fit still jumped,
whatever "Zoom (ms)" in the general settings said.
- axisTween wraps ViewTween for a single axis. The music tabs zoom
their time across and their rows, tracks or height down apart, so
each keeps one tween per axis and either goes its own way.
- Fit by its button is shown as a transition too, as in the other
tabs. The fit on opening a document still jumps.
- A middle-button pan first lands a transition under way, and saving
a document's view lands it on the step it was heading for.
- The EQ's range is saved on the node at once. While the zoom is on
its way the curve draws a range of its own and writes nothing.
Its dB lines are those of the new range, sliding to their place,
so no line shows a crooked number.
Found on the way, not part of #377:
- CI task 611 for
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adminandClaude Opus 5.5
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82e96e680f |
Decode a clip from a file of its own, not its whole sound (#349)
A clip was cut from its sound's file, so a game decoded the whole file for it and held it for as long as the page was open. A long recording played through a few short clips cost the recording. Every clip now has a copy of its cut as Opus, with Stream on or off, and a game decodes that instead. - StreamKeeper makes the copy of each clip whether its sound streams or not. Stream only decides whether a sound gets a copy of its own. - clipCopyTable says which cut decodes from which copy. The sound library loads the copy for a clip unless the whole file is decoded already. Then the clip is cut from that as before. - projectFiles decodes the whole file ahead only where something may play the sound itself: no clips, a clip without a fitting copy, or the sound's id anywhere in an asset that can name one. That last test walks the data, not the fields, so no place is missed. - A copy that cannot be had falls back to the whole file. A library that bakes keeps to the whole files, as the bake's fingerprint does. Tests: - Gate: CHECK EXIT 0, 280 files, 4319 tests (7 new: streams +4, sound-library +3). - e2e 34: ALL PASSED, 108 checks (2 new). With Stream off a fresh library decodes the ten-second reversed clip's copy and not the five-minute file. It is the cut made from the original to within 0.0091 a sample and 0.013 dB in any 20 ms. Once a node plays the sound itself, the whole file is decoded ahead again. - e2e 65: all passed with this change. - Counter-checks red as they should be: the library ignoring copies, the whole file always decoded ahead, clip copies only with Stream. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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2764919bb8 |
Stream long sounds from an Opus copy instead of decoding them (#349)
A sound was decoded whole as soon as the project opened, in the editor and in a released game: five minutes of stereo held some 115 MB for as long as the page was open. A sound with Stream on now plays from a copy as Opus in Ogg, fetched a piece at a time and decoded a few seconds ahead by WebCodecs, so a game holds a few megabytes for it. - The Stream switch is a row of the sound, off by default. The Sound tab suggests it from a minute on and says how far the copy has got. - StreamKeeper makes the copies in the browser, a moment after the last change, one at a time: the sound's own and one per clip of its cut, fades and Reverse baked in. A copy that is no longer wanted is taken off and deleted once the project is saved without it. - streamTable says which played names stream from which copy. A clip without a fitting copy, a Sample and a Reverb impulse stay decoded. A sound with Stream on is never decoded ahead. - The page fetches by Range and takes the whole file from a server that ignores it, as the CI's PHP server does. It keeps the bytes and the first two seconds decoded, the rest goes four seconds ahead. - A jump decodes 32 packets before the place first. Measured in Chrome, what follows is then the same to the bit as decoding from the start. With 4 packets it was 0.06 off. - The stream-player on the FX worklet reads the samples at the rate of the context along a Catmull-Rom curve. What comes late is silent and skipped once it is there, so a clip keeps its beat. - The opening stretch goes with the player as it is made. Sent by message it came a few milliseconds late, and 557 samples of the attack were lost. - Pitch on a streamed sound is a shifter after the player, as on a bus: the length stays and it is heard 42.7 ms late. - Bakes of patterns and songs (#340) always stream now. - The song timeline draws a streamed sound from its copy decoded at 8 kHz, keeping only the peaks. Tests: - Gate: CHECK EXIT 0, 280 files, 4312 tests (31 new: ogg +3, stream-queue 6, streams 11, streaming 6, sound-library +5). - e2e 34: ALL PASSED, 106 checks (7 new). Five minutes of mono, 4.8 MB as WAV, 3.6 MB as its copy: streamed the renderer grows by 5.8 MB, decoded by 69.6 MB. Offline at 48 kHz, start, loop seam and a reversed clip are the copy decoded whole to the sample (0). - Counter-checks red as they should be: no pre-roll, no catch-up of late samples at the end, no opening stretch, a streamed sound decoded ahead. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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84cd36f902 |
Bake a pattern or song to Opus, played in its place by a game (#340)
A pattern or song played by a game runs every note through the scheduler, the instruments and their FX, live. Bake works that out once, keeps it as a file on the asset, and Play pattern and Play song play the file instead, as one voice, for as long as nothing it is made of has changed. The tabs always play live. - Bake is an icon in the header of the Pattern and the Song tab, lit while the bake holds. A click bakes, cancels a bake that runs, or offers Bake again and Remove bake. The toolbar shows the progress. The info of the tab says "baked" or "bake outdated". - The bake holds everything up to the output of the pattern or song. The sound FX of the node, fx params, volume, fade in, bus, Master routing and stopping with a fade stay live. - A print of the worked-out plan decides whether it holds: notes and clips, tempo, length, loop, tracks, the build of each instrument for each note, sound FX, files, cuts and levels. A rename keeps it, an undo back to the baked state makes it hold again. - The file holds the straight run and then one more round of the loop as heard the second time, tails included. Looped, it plays to the loop end and then round that round, to the sample. Once, it fades out over its last 10 ms. Let ring fades it out over 0.3 s. - It is worked out by a second SoundLibrary on an OfflineAudioContext, its scheduler woken by suspends of the offline clock, and what reaches the master is taken. A worklet probe tells whether that was mono, so a mono bake goes on exactly as the notes did. - Opus in Ogg, 160 kbit/s stereo or 96 kbit/s mono, encoded with WebCodecs, the Ogg pages written by hand. Normalized to full scale, the peak kept and played back. - The file goes up into the sounds of the account as "[bake] name", which the sound picker leaves out. An old bake file is deleted once the project is saved without it. Only a bake that holds is loaded. - Ogg files are decoded at 48 kHz: resampled to 44.1 kHz, the loop of a bake lost a sample a round. - Baking and removing a bake are no undo steps, like the EQ's zoom. Findings: - Chrome's AudioEncoder refuses opus.format 'ogg' (NotSupportedError) but hands out the OpusHead with a pre-skip of 312 for 'opus'. - The Song tab's header is full at 1280 px: a captioned Bake pushed Fit off the tab. Hence the icon. Tests: - Unit: tests/core/ogg.test.ts (6), tests/core/bake.test.ts (16), four new in sound-library.test.ts, one in song-play.test.ts. One test cuts, reverses and fades a clip on a song's track: each change outdates the bake, each undo makes it hold again. - e2e 64 (melektaus-atx): ALL PASSED, 36 checks (6 new). Live and baked rendered offline differ by at most 0.06 dB over 114 windows of 20 ms, two loop ends among them. e2e 65 had no red check with the icon in its header. - Gate (melektaus-atx): CHECK EXIT 0, 277 files, 4281 tests. - Counter-checks: print without instrument builds, print taking the sound's file instead of the clip's cut, round taken from the first pass, bake voice without its looping source, Play pattern or Play song ignoring the bake: one unit test red each. Pre-skip set to 0: the e2e comparison 4.8 dB off, only that check red. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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3377524958 |
Zoom the Parametric EQ's dB with the wheel, saved on its node (#376)
Close moves of a few dB were hard to set and to see on a curve that always spans -24 to +24 dB. The wheel on free space now zooms the dB the curve shows, and the node's small curve shows the same range. - The range is one of ±3, ±6, ±12, ±24 and ±48 dB, always the same either side of 0. Up zooms in. - It is saved on the node as `range`, so it is back after loading. Like the game scale (#226) it is no undo step. EditorState gets `setNodeView` for such a setting of a node. - The lines across the curve follow the range: every 1, 2, 3, 6 or 12 dB. A handle whose gain lies beyond the range stays on the edge, in sight and in reach. - The wheel over a handle still turns the band's Q. It no longer does so anywhere while a band is picked: after opening, a band nearly always is, and the zoom would be out of reach. - `EqArea` carries the range, so the tab and the node map dB alike. The spectrum keeps its own scale. Tests: - Unit parametric-eq: 16 green, 5 new (range in compile and save, node picture, wheel steps, grid lines, handle on the edge) - Counter-check: the node's picture without the saved range turns the new picture test red - e2e 34 (melektaus-atx): ALL PASSED, 99 checks, 1 new - Gate (melektaus-atx): CHECK EXIT 0, 275 files, 4252 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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41af1a6e51 |
Refactoring round 11: drop what only tests asked of the EQ (#85)
Refactoring round 11 covers what came since round 10 ( |
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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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76f5097a38 |
Float a document's tab in a window of its own, and dock it (#371)
The Parametric EQ has a tab of its own since #370, but Play is in the sound FX's tab. A tab that can float keeps both in view. There is one editor per kind, so the kind's pane is lent to the window and given back on Dock, the way fullscreen moves the game view. - A right-click on a document's tab opens a menu with Float and Close. `DocumentTab` passes the press to `TabStrip`'s new `onMenu`. - `FloatWindow` sits on the overlay. Its title bar moves it, its lower right corner sizes it, Dock and the x close it. A press brings it to the front. - `floating.ts` is the pure part: where a window opens, held whole on the screen, sized down to 320 x 200. Nothing of it is remembered. - One window per kind. Another document of that kind opens there and closes the one it had. Its tab, if it had one, leaves the row. - When the row showed the kind, it shows the nearest document whose kind is not in a window, else the scene (`neighbourOf`). - Delete, Copy and Paste go to the window pressed last, and back to the tab showing after a press in the editor (`keyTab`). - Previews tick and redraw for a kind in a window as for the tab showing. Fullscreen hides the windows. Loading a project or signing out closes them. - Only documents float, Scene and Game stay in the row. - Hooks: `floatWindows`, `floatDocument`, `keyTarget`. Tests: - Unit documents: 16 green, 5 new. Counter-check: `neighbourOf` without the window check turns its test red. - e2e 44 (melektaus-atx, after steps 1-12 and 37): ALL PASSED, 505 checks in the chain, 6 new for float, move, size, another texture, keys, Dock and x. - Gate (melektaus-atx): CHECK EXIT 0, 274 files, 4236 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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db15422372 |
Keep a bus's level when a tab plays the first sound of a page (#369)
A bus of the mix played at full level, without its sound FX and straight into the master, until something on it changed. It happened when the first sound after loading came from the Song or Pattern tab. - `bus()` looked a bus up before it asked for the audio context. The context made then sets up the whole mix, this bus too, and `bus()` overwrote it with a fresh one at gain 1. - `setMix` does nothing for the same mix again, so the wrong bus stayed until the mix changed. - Since #368 the tabs play into the master, so it was the master's volume and FX that went missing on the first preview. - `bus()` now asks for the context first and looks the bus up after. Tests: - Unit sound-library, buses, master-routing: 139 green, 1 new. - The new test was red before the fix: mix:b at gain 1 into the master instead of 0.25 into mix:a. - Gate (melektaus-atx): CHECK EXIT 0, 274 files, 4231 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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1f13794b0c |
Shape a sound with a Parametric EQ and its own curve editor (#367)
A sound FX or an instrument had a 5-Band-EQ with fixed bands and a Filter with one band. The Parametric EQ holds up to ten bands of any type, and a double-click on the node opens an editor that draws the curve they make together. - The bands are a list on the node (`bands`): type, frequency, gain, Q and slope. A hand-edited project is held to the editor's ranges and to ten bands. - Each band compiles to the existing `pass` stage, so the audio core is unchanged. A peak or a shelf at 0 dB is left out. - The curve is worked out in `parametricEq.ts` with the biquad formulas of the Web Audio spec, so the editor draws what is heard. - The editor is a window that floats over the editor without a backdrop, so the tab's Play stays usable. A double-click adds a peak, a drag moves a band, the wheel turns its Q, a right-click removes it. Fields below the curve set the picked band. It opens in the middle of the screen and moves by its title bar. - A drag or a scrub writes the node as a preview and makes one undo step on release. The panels hear of the preview once a frame, and the window lays itself out only when one of its texts changes. - The area under the curve is filled as one shape for each side of 0 dB. As a single shape it crossed itself and came apart. - The curve works out each band's coefficients once and adds the sum up from the bands. A drag took 295 ms of script time in a profile before and 64 ms after. Decided on my own: - Bands are added by a double-click, so a single click can let go of the picked band without adding one. - The cuts are labelled "Low cut" and "High cut" as in an EQ, not "High-pass" and "Low-pass" as on the Filter. - The bands have no input, so no parameter or Envelope moves them. Tests: - Unit parametric-eq (new) and soundfx: 69 green. Counter-probe with no stages emitted: the compile test red. Counter-probe with one fill shape: the fill test red. - e2e 34 (melektaus-atx): ALL PASSED, 96 checks (3 new). - Counter-probe e2e: no stages emitted, the playing check red. - Gate (melektaus-atx): CHECK EXIT 0, 274 files, 4230 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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f840ec3c44 |
Snap a new song to 1/16, and route new assets as the others (#365)
A new song snapped to whole bars, too coarse to lay out a beat. And a new or duplicated sound, instrument, pattern or song went to the master alone, so every one had to be linked into the buses by hand again. - A song without a grid of its own snaps to 1/16. The songs in the user's project have Bar written in and keep it. - A new or duplicated sound, instrument, pattern or song gets the links of the one whose targets most others of its type share, at their volume. On a tie the latest of them decides, so a single song decides for the next one. - Where nothing of its type is linked yet, it goes as most of all that plays, and where nothing is, to the master. A new bus still goes to the master alone. - Assets made at once are matched against what stood before, not against each other. A project from before the routing still opens with everything on the master. - The song tab has a gridAt hook. e2e 65 checks the new grid and sets Bar, which its checks go by. Tests: - Unit master-routing (1 new) and song (1 rewritten): 26 green. Counter checks (rule off, grid back to Bar) red. - e2e 65 (melektaus-atx): ALL PASSED, 58 checks (1 new). - Gate (melektaus-atx): CHECK EXIT 0, 273 files, 4226 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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0e73fd85b9 |
Route sounds, songs and buses in one Master routing graph (#351)
A project bus could only go into one other bus, and a sound, an
instrument, a pattern or a song into exactly one bus. A shared reverb
needs a sound to go there in part and on dry at the same time. Instead
of a list of sends on every asset, the project gets one routing graph
like the routing of a song (#350), one level up.
- Menu -> Master routing opens a tab with one graph per project. It has
a node per sound, instrument, pattern, song and bus, named after its
asset, and one Master. Embedded assets have none, their song routes
them.
- The nodes follow the assets. Every edit settles the routing in the
same undo step (KeepRoutingCommand), so an undone delete brings the
links of its asset back. A new asset gets a node and a link to the
master. What went only into a deleted bus goes to the master.
- New nodes start in three columns: what plays, the buses, and the
master a row above, so no link into it runs behind a bus.
- Links are sends: -60 to +12 dB, and a Mode on links out of a bus or a
song. Out of a sound, an instrument or a pattern a link always takes
the sound after its volume and FX. Loops are refused.
- A node without a link is silent and says "Goes nowhere".
- The rows Bus and Into are gone. Play nodes with a picked bus still
overrule the routing.
- A click on a node shows its asset in the inspector, the Master shows
the master volume and sound FX. A double click opens the asset's tab.
- The graph lives in project.routing and is held to the assets when a
project is read, but nothing is added there. The editor adds the
nodes when it opens a project. An asset without a node plays on the
master, so old projects sound as before without a migration.
- In the mix an asset with one link at 0 dB goes straight into that bus.
A sound or instrument with more gets a bus of its own with the sends.
A pattern or song sends from the master of its playing, which is
where its Mode taps. Buses of the mix can have sends now too.
Found:
- The check "the scheduler plans a looped bar" in e2e 34 wobbles. It
failed in 2 of 5 runs here and in CI task 580 at
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adminandClaude Opus 5.5
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8891f027db |
Pick a pattern's sign in one row, as a song's (#364)
A pattern had two rows for its meter, Beats per bar and Beat, while a song has had one row Sign since #363. Both now pick from the same list. - The list of signs and how a sign becomes a meter moved to time.ts. Song and pattern share it. - A pattern keeps its meter in `sign`. The fields `beats` and `beat` are gone, a sign that is not in the list counts as 4/4. - Create pattern in a song hands the song's sign to the new pattern. - The four patterns of cbbf160bb7e8 were moved to `sign` by hand (three 4/4, one 3/4). The other projects only had 4/4, which stays the default. Tests: - Unit pattern/embedded: 30 green (1 new, 2 rewritten), the counter-test reading `beats` again turns 2 red - e2e 64 + 65 (melektaus-atx): ALL PASSED, 85 checks - Gate (melektaus-atx): CHECK EXIT 0, 272 files, 4215 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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0d57a2f3c4 |
Pick a song's sign in one row, and let its patterns keep theirs (#363)
A song had two rows for its meter, Beats per bar and Beat, and the patterns it kept to itself took both from it on every change. Their length is counted in bars, so a new sign cut or stretched them and their items. - The song has one row Sign with 1/2, 2/2, 3/2, 1/4 to 6/4 and 5/8 to 9/8, 4/4 by default. It is stored as `sign`. A value not in the list reads as 4/4. - An embedded pattern keeps its own tempo and meter, as a project pattern does. Its inspector shows Tempo, Beats per bar and Beat again and hides only Bus. - A pattern made in a song still starts with the song's tempo and sign, so its first bar fits the item it gets. - A copy (Embed a copy, a paste from another song) keeps its clock. `clockFollowers` and the follow step in `AssetPropertyCommand` are gone. - No load migration. The two songs of the user's project were moved from `beats`/`beat` to `sign` by hand. No other project had a song with a meter of its own. Tests: - Unit song + embedded + pattern: 44 green, 1 new, 4 rewritten. Counter-probes: a copy taking the song's clock and a sign outside the list both turn a test red. - e2e 65 (melektaus-atx): ALL PASSED, 57 checks (1 new: Sign picked from its list in the inspector). - Gate (melektaus-atx): CHECK EXIT 0, 272 files, 4214 tests. After it, `SIGNS` lost its `as const` and the cast went with it. Typecheck, lint and the 44 unit tests ran again, all green. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |