b16fe8c71826303b3527c964e2b3fc2deda612fc
363
Commits
| Author | SHA1 | Message | Date | |
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  adminandClaude Opus 5.5
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b16fe8c718 |
Drop a picture or video onto a composition track (#419)
A track item has always carried an object, and an object needs an asset. Instead of objects without one, a dropped picture or video gets a sprite the composition owns, the way a song owns its sounds (#355). To the rest of the code it is a sprite like any other. - The asset list starts a drag for textures, vector art, pixel art and videos. Dropped on a track, they make the sprite and the item in one undo step. A video item is as long as the video and follows it. - One sprite per picture and composition. A second drop of the same video shares it. Once no item wears it, it goes in the same step. - Deleting a composition takes its sprites along. A duplicate gets sprites of its own. - Pasting into a scene or container turns the sprite into a project asset. Pasting into another composition gives that one a copy. The clipboard carries the sprite, so cut and paste loses nothing. - Owned sprites stay out of the asset list and the pickers. The inspector shows them with a dot in front. - "Make project asset" in the item's menu, on the timeline and in the hierarchy, turns the sprite into an ordinary one. - The first track of the Composition tab gets its top line, as the Song tab's has. Found on the way: loading kept an owner only for the asset types a song can hold. A composition's sprite would have lost its owner and turned up in the list after a reload. Tests: - Unit composition-sprites: 11 new. Without the rule 5 of them are red, without the loading fix the loading test is. - e2e 69 on melektaus-atx: ALL PASSED, 15 checks, 69k new - Gate on melektaus-atx: 305 files, 4714 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c425eea004 |
Key what an empty timeline row shows on a double-click (#412)
A double-click into a timeline row without keys set the property's
default, while the field in the row header showed the value the target
actually holds. A sprite standing on x 40 got a key with 0, so the
first key moved it. The double-click now keys the value the row shows.
- trackHeld in src/core/model/animation.ts says what a row without keys
holds. The field in the row header and SetAnimationKeyCommand both
ask it, so they cannot drift apart again.
- A relative row still gets 0, a row with keys still takes the value of
its curve at that frame, and a row whose target is gone still only
gives a notice and no key.
- README and the wiki page Development name 2047 checks.
Tests:
- Unit animation: 87 green, 1 new. A sprite on x 40 with the override
scale 2 gets keys with 40 and 2. Red with the old def.default.
- e2e 25 on melektaus-atx: ALL PASSED, 35 checks, 25i-ii new. The arm
stands on x 40 and a double-click on frame 3 keys { frame: 3,
value: 40 }.
- Gate on melektaus-atx: green, 304 files, 4703 tests.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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d4fc425233 |
Draw the editor's mouse pointer from SVG files, on screen too
The pointer drawn into an editor recording lived as paths in code, so it could not be looked at or edited by hand. The shapes are now SVG files, and the editor can show the same pointer on screen, so what is recorded is what was seen. - src/core/recording/cursors/ holds one file per shape: arrow, hand, open-hand, fist, move, crosshair, text and resize. Resize is turned for the vertical and diagonal directions. - data-hot="x y" on the <svg> is the hotspot in viewBox units. Width and height in the file are ignored, and anything before <svg>, such as <?xml ...> from a drawing program, is cut off. - The open hand had six fingers. It has a thumb and four now, the middle one longest. - CURSOR_SIZE = 0.8 scales every pointer the same on screen and in a recording, so the files keep their units. - General settings has "Custom mouse pointer", on by default. It hangs the files into Pixi's cursorStyles as CSS cursors with the keyword as fallback, so the system still draws the pointer and the canvas does not. Off gives Pixi's own values back at once. - A recording draws the pointer from the same files at its own size, so it stays sharp in 4K. It still reads the shape from the canvas when that holds a url(...) cursor. Tests: - Unit recording and view-tween: 3 new, green. They read viewBox and data-hot in an edited form, the boxes of turned shapes, the default size and old settings without the switch. Red without data-hot and without cutting before <svg>. - e2e 46i-ii: the canvas cursor is a url(...) ending in default and the image loads. Off gives inherit and stores false, on brings the file back. Red without useCursorFiles. - e2e 67e: the recording is still black at the mouse position. - The README names 2046 e2e checks. - Gate on melektaus-atx: 304 files, 4702 tests green. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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ba01d146e9 |
Choose size, rate and what follows when recording the editor
The editor recording had fixed settings: the canvas size at 60 fps,
always converted and imported. Recording in 4K needs a choice, and the
server shrank every video to 1080p anyway. Start recording... now opens
a dialog, and a recording always goes to the server as it is.
- The dialog holds name, resolution (Screen, 1080p, 1440p, 4K), fps
(60 or 30), mouse pointer, sound, Convert and Import after
conversion. Import is greyed out while Convert is off. The browser
keeps the last choice, not the name.
- A larger resolution makes the editor draw finer while it records,
so 4K is sharp, not stretched. It is never below the screen's own
resolution and goes back after Stop.
- Stop always uploads. Without Convert the file only stays on the
server. Without Import it is converted but no asset is added. Both
are found in the video picker.
- The server keeps the original next to each MP4 for every upload, so
Download in the video tab and the picker gives the original. Videos
from before have none, they still download their MP4.
- A file left unconverted shows in the picker as not converted, with
a Convert button. POST videos/{file}/convert queues it, and upload
takes convert=0.
- The worker now caps a video at 3840x2160 instead of 1920x1080. Videos
converted before stay as they are.
Tests:
- PHP videos.test.php: 81 checks green, with the original, convert=0,
a later Convert and the 4K cap.
- Unit recording: 5 new, green. Red without the rule that a recording
is never below the screen's resolution.
- e2e 67e-ii: the video tab downloads the .source.mkv, a Matroska
file. 67f: 1440p from a 1280x800 window gives 2304x1440 at 30 fps
without sound, kept and not imported, then converted in the picker.
Both red with the MP4 download and without the finer drawing.
- The README names 2045 e2e checks.
- Gate on melektaus-atx: 304 files, 4699 tests green.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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93190e185c |
Route a video's sound through its own Master routing node
An editor recording had no sound while the video tab played a video. The tab played its <video> straight to the speakers, past the Web Audio graph, so the recording tap behind the limiter never heard it. Fixing only that would have left videos as the one sound source the Master routing cannot reach, so they get their own node, like sounds. - A video asset with sound has a routing node labelled "Video". One without sound has none, it would have nothing to send. - Its links take the sound after volume and FX. Several links or another level give the video its own bus, as with a sound. - A new video follows the bus most other videos use. With none linked yet it goes to the Master, not to where the sounds go. Songs and sounds no longer follow videos either. - Players only know their file, so videoBusesOf maps each file to the bus of its first asset. setMix takes that map and moves the gains of running videos at once when the routing changes. - In the game, played in the editor or released, a video's sound follows its links. The tabs (video, composition, animation preview) play straight into the Master, as the sound tabs have since #368. - The video tab's sound now goes through the Master, so its volume, FX and limiter apply there and the editor recording hears it. - The recording badge beside the menu is an HTML element over the canvas now. The second render that drew it on the desynchronized canvas let the screen show a frame without it, so it flickered. The element is never in the copy, and clicks go through it. Tests: - Unit master-routing and sound-library: 3 new, green. Red without video in the routing kinds, without moving the gains, and with the old rule for the links of a new video. - e2e 66e-iii: the tab plays a video linked to a bus, the level is 0.09 on the Master and 0 on the bus. 66g: in the game the bus has 0.09. Both red with the old ways. - e2e 67e reads the badge from a real screenshot, still green. - The README names 2043 e2e checks. - Gate on melektaus-atx: 304 files, 4694 tests green. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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f177ee90a4 |
Record the whole editor from the main menu
The game view could already record itself through nodes. Making a video of the editor itself, to show how something is done, needed an outside screen recorder. The main menu now starts and stops one, with no options to set. - "Start recording" sits in its own group before General settings, and reads "Stop recording" while one runs. The name is "Recording <time>", the size is the whole canvas in device pixels (an odd row or column is cut), 60 fps always. Sound is the master, saving goes the same way as for the game view. - The encoder, the sound and the Matroska writing of a take moved from GameRecorder.ts to RecordingTake.ts. A take now reads its pictures from a FrameSource, so the game view and the editor share it. - The editor's picture is copied from the canvas after each render, in the same frame, so nothing is drawn twice. A resting editor does not render, and the recording repeats its last picture. - The mouse pointer is drawn into the recording in the shape the editor shows (arrow, hand, resize arrows, I-beam, crosshair, move). - A red dot with the running time stands beside the menu button on screen only. It is drawn after the copy, and the toolbar makes room for it. - Drawing that dot made Pixi take it as the root for every hit test, and the menu would not open any more. The stage is set back as the last rendered object after it. Tests: - Gate on melektaus-atx green: 303 files, 4686 tests. - Unit recording: 20 green, 5 new. - e2e 67: 8 checks, 67e new. It records through the menu and decodes the MP4: 1280x800 at 60 fps, the pointer black at the mouse, the dot missing, 238 plain spots alike with the canvas. Without the pointer and with the dot drawn before the copy, 67e is red. - e2e 46: the main menu lists "Start recording". Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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b2b4cbad28 |
Keep a video's loading out of recordings and first frames (#417)
A Start recording right after Play composition still began with empty frames. The composition's clock waited for its video, but the recording went on and took every frame while the video loaded. A clip that starts later in the video also slipped through, because its player already had one picture while it still sought to the clip's start. - The view now counts every video sprite it leaves out as missing, not only one without any first picture. - GameRecorder takes no frame while the game view misses a video, for at most VIDEO_WAIT_MS (3 s) at a time. The recorded time stands and the sound of that time is dropped, so it stays in sync. - RecordingClock.start forgets a hold from before the first frame. Without that, the first real frames all got the time 0. - A followed player starts at 1x until the first speed reading. Before, it paused and sought every frame for about 100 ms, so the first pictures after a wait stuck and then jumped. A step faster than 4x and a time running backwards do not count as a start. - Test hooks: __gm.gameVideo(id) reads the game view's own player, TakeInfo.lastFrameAt shows when the last frame was taken. Tests: - Unit recording (clock after an early hold), video-follow (2 new, 1 adapted): 449 green in tests/core/recording, tests/viewport and tests/core/composition* - e2e 68e (a clip from 0.8 s shows that picture first and then plays), 68f (a recording that already runs takes no frame while the composition's video loads) - 68e is red without the start at 1x, 68f without the hold - README: 2038 editor checks Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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6e6b6a4d9a |
Wait for a composition's videos and copy and paste its items (#417)
A composition lost the first frames of a video item. Its clock ran while the player was still loading, in the tab and in the game. The game only waited for videos once, when it started. A composition that a behavior starts later spawned its items after that wait. - The view now records which video sprites it left out for lack of a first picture, one entry per object. - The composition tab holds its playhead while the preview misses a video, for at most VIDEO_WAIT_MS (3 s) like the game. - CompositionSystem holds a composition's clock while one of its live items misses its video. The rest of the game keeps running. - The editor play and the published game pass their view to the run as RunServices.pictures. - VIDEO_WAIT_MS moves to core/model/video.ts, because the runtime does not import from viewport/. - Videos loaded ahead for coming items do not hold the clock. Items can now be copied and pasted inside the composition tab. - Ctrl+C keeps the timing of the copied items next to the objects. - Ctrl+V pastes objects and items in one undo step. The earliest item lands at the frame under the pointer, on the track there. - Without the pointer over the tracks it lands at the playhead, on the selected track or on the top track of the selected items. - Several items keep their distances and tracks to each other. - The same copy pastes into a scene as plain objects. Objects copied from a scene do not paste into a composition, they have no timing. Tests: - Unit composition-edit, clipboard, composition-play: 3 new for pasting, 1 new for the clock waiting in the game - e2e 69i (play from the end waits for the video), 69j (paste under the pointer and at the playhead), 68d (a composition started from On start waits for its video) - each new check is red without its fix - README: 2036 editor checks Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c4650e43f0 |
Let composition items overlap and show where their video lies (#417)
Trying the tab turned up six things to fix. Items of a track could not overlap, so a drag stalled as soon as the pointer reached another item. An item's ends gave no hint they could be dragged, a trimmed video showed nowhere, clip names were hard to read and vanished when picked, and the track menu did not match the song tab. - Items of a track may overlap and nothing is cut or pushed aside. The later one lies in front, in the picture and on the timeline. The overlap is shaded and a line marks the covered end. - Edges win over bodies when hit, so the covered end of the lower item can still be dragged. Hovering an edge lights it up and shows the ew-resize cursor, as in the song tab. - A clip in the overlap plays on both items. Clips themselves still do not overlap; a moved clip now runs up to its neighbour instead of stopping short. - Fit to media and a new video no longer cap the length at the next item, which only made sense while overlaps were forbidden. - The left edge can be trimmed past the start of the video. The offset goes negative and the sprite shows the first picture until the video begins. - Video marks: a corner triangle where the item cuts into its video, a line with a triangle like the song loop where the video starts or ends inside the item. Edges snap to the video's ends within 6 px. - Clip names sit in their own layer above the bars, in text colour. - The track menu matches the song tab: add above or below, move up or down, delete. It opens on the head and on an empty spot of the track. The Remove track button left the inspector. Tests: - Unit composition and composition-edit: 67 green, several new or rewritten. Bending three spots in the rules turned their tests red. - e2e 69: ALL PASSED, 12 checks. 69b and 69c now drop the second item over the first and drag the covered end past it. Without edges winning the hit, 69c fails with hover: null. - Gate on melektaus-atx: CHECK EXIT 0, 302 files, 4672 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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4f0272638e |
Load the next item's video before a composition cuts to it (#417)
Two sprites with videos back to back left a blank frame at the cut. The video player only came into being once the item began, and a sprite is not drawn until its video has a first frame. So the second item was missing until its video had loaded. - compositionAhead lists the items that begin within the next second. Near the end of a looping composition it also lists the items at its start. - An item that is alive already is not loaded ahead. Two times would otherwise pull at the same player. - The frame carries these videos hidden and paused on their first picture at the item's offset. Their players get the id the item will have, so the cut reuses them instead of opening a second one. - This works the same in the tab's preview and in the game. - One second of lead (AHEAD_SECONDS) is an assumption. It can go up if large videos still flash. Tests: - Unit composition: 27 green, 2 new. Unit composition-play: 14 green, 1 new for the path in the game. - e2e 69: ALL PASSED, 12 checks. The new 69h puts two video items back to back and checks the second player is open and paused at its offset before the cut, and drawn in the same redraw as the cut. - Without loading ahead in the preview 69h fails with cut: null. Bending two spots in the model turned their unit tests red. - Gate on melektaus-atx: CHECK EXIT 0, 302 files, 4665 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e435c54afb |
Edit a composition's tracks, items and clips in its own tab (#417)
A composition could be placed and played, but not filled. Its tab puts the picture at the playhead above a timeline of tracks, so a cut or a cutscene is laid out by dragging assets onto tracks. - The timeline takes the song tab's geometry with frames for ticks: ruler in seconds, scrubbing, play and pause, + Track. Zoom and pan glide through viewTween like the other tabs. - A placeable asset dropped on a track becomes an item, 3 s long or as long as its sprite's video. Dropped on an item it lands behind. - Items move without overlapping. The right edge stops at the next item. The left edge trims into a video and not before its start. - An animation dropped on a track becomes a narrower clip bar above the item it plays on. The asset panel now starts a drag for animations too. - The picture is a scene view over compositionHolder. A click picks an item or its child, a drag moves the real object. It takes no assets, since an object there would have no item. - The hierarchy lists the items alive at the playhead. Reparenting is off there, items stay at the top level. - The inspector shows a TIMING block on an item (start, length, offset for a video, Fit to media) and edits tracks and clips. - Delete, the context menu and Remove item take item and object in one undo step. - fitMedia: an override that gives an item another video sets its length in the same undo step, capped at the next item. Dragging an edge or typing a length turns it off. - A composition inside a composition is refused. Tests: - Unit composition-edit (new): 19 tests. Four counter-checks each turned their test red. The "back to 3 s" test got a step in between after one stayed green. - e2e 69 (new): 11 checks, 9 own. The hierarchy check reads the rows shown, after a counter-check on the model's rows stayed green. - Gate on melektaus-atx: CHECK EXIT 0, 302 files, 4662 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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0334d2508d |
Place compositions in scenes and play them from behaviors (#417)
A composition can now sit in a scene like a container and play there. Its items become real objects while they run, so behaviors, colliders and events work on them as on any other object. - A composition is placeable with its own symbol, transform and render layer. The scene view shows its picture at frame 0. A click on that picture selects the placement, not a single item. - CompositionSystem spawns each item as an object under the placement when it begins, with the id <placement>~<item>. On start and the other events run. The object is destroyed when the item ends. - The top track lies in front no matter which item started first. World.arrange() orders the entity list and the scene objects. - Clips and driven videos follow the same rules as compositionAt(). Loop, restart, stop and the game pause work. - New nodes: Play composition (with restart), Stop composition and the event On composition finished. They were planned for step 4 but come now, because without autoplay nothing could play otherwise. - The editor run ignores Play composition and says so in the log. It writes into the saved project, and the items would stay behind. - contentId() moved to instance.ts. The animation system uses it for nested ids too. - Compositions get no "Sort with parent" for now. Tests: the gate passed with 301 files and 4643 tests, 18 more than step 1. 13 of them are in tests/core/composition-play.test.ts. The first gate run failed in event-order.test.ts, which counts the event nodes and now finds 19. Five counter-checks each turned exactly their test red. Two order tests stayed green without the fix at first and were rebuilt. e2e 68 is new and passed with 5 own checks. Its counter-check without arrange() failed as expected. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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73e675835e |
Add the composition asset with its tracks, items and clips (#417)
A composition is a timeline of scene objects for cuts and cutscenes. This first step brings the model and the pure evaluation behind it. The tab and placing it in a scene follow in the next steps. - CompositionAsset holds objects, tracks, items and clips. Each item owns exactly one object with overrides and container edits. - The composition is a third object holder next to scene and container. Delete cascade, undo, usages and references work with it. - Duplicating gives the copy new object ids and moves the item ids along with them. - compositionAt() tells which items live at a frame. The top track is drawn in front. - A clip acts on the item of its own track that it overlaps. After its end it holds the last value until the item ends. The animation's play mode is ignored, a clip is one pass. - Clip targets are found by template path, else by name path, like the runtime's animation system. - The root sprite of an item plays its video driven at offset plus time. Children follow unless they are already driven by hand. - fittedLength() gives the video or clip length minus the offset, or 3 s without media. - fps (60) and loop live in their own properties file. Keeping them in PropertySchema would close an import cycle. - The type is listed under Visuals with its own icon. It is not placeable yet. Tests: the gate passed with 300 files and 4625 tests. That is 25 new tests in tests/core/composition.test.ts and 2 icon checks that run for every icon. Four counter-checks (track order, overlap rule, child videos, ids on duplicate) each turned exactly their test red. e2e 04 passed with 67 checks and now counts 33 asset types. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e191dc4b2e |
Record the game view from a behavior into a video asset (#405)
A game can now film itself. A behavior starts and stops a take, and the editor turns it into a video asset with the run's picture and the sound the player hears. The exported game hands the file over as a download, since there is no project to keep it in. - New action nodes `Start recording` (Name, Resolution, FPS) and `Stop recording`. An empty name becomes `Recording <timestamp>`. - Resolution is `Game view`, `720p` or `1080p`. For the fixed sizes the height is set and the width follows the camera. - The picture is the camera only, without hints, overlays or the letterbox. It is drawn into a render texture of the target size, so a smaller window still gives full 1080p. - `PictureReader` reads the texture back through pixel buffers with a fence. The editor never waits on the GPU, and a frame with all three buffers busy is dropped and counted. - Nothing of the take reaches the visible canvas. A first version drew tiles into it and copied them out, and with the low-latency canvas that midway state flickered on screen. - The sound is tapped behind the master limiter in the FX worklet and encoded as Opus. - H.264 is chosen when the browser has it, VP9 otherwise. A small own Matroska writer packs both tracks, no new dependency. It names the frame rate and BT.709 so ffmpeg keeps both. - A second `Start recording` is ignored with a warning in the log. A take goes on through `Load scene` and a restart, pauses with the editor and is saved when the run ends. It stops at 2 GB. - The editor uploads the take on the existing video route and makes the asset once the run is over. The video tab gets a Download button for the converted MP4. - `downloadBlob` in `src/ui` replaces the song editor's own copy. Findings: - `On start` runs before the game screen knows the world. A take therefore fixes its size on the first frame that has a camera. - Without a frame rate in the file, ffmpeg turned 30 fps into 59.94. - The worker's poster JPEG is off in colour for every upload (red 255 comes out as 229, BT.601). Not touched here. Tests: - Unit recording + matroska: 21 green, plus the node catalog cases. The Matroska test reads the file back with its own EBML reader. - e2e 67 (new) on melektaus-atx: ALL PASSED. 1080p30 from a 1280x800 window gives a 1920x1080 MP4 with sound and no dropped frame. Every 4th pixel is checked, a green quarter catches an upside-down picture. A take ended by Esc is saved with the timestamp name. - e2e 60j: the exported game downloads an `.mkv` with EBML magic. - The flicker is gone on the user's machine without `?vsync`. - Gate on melektaus-atx: CHECK EXIT 0, 299 files, 4586 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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8118b8042b |
Let Texture size feed the Vertex output to scale about the middle (#409)
A scale about the picture's middle moves each corner by its distance to the middle times (scale - 1). In pixels that distance needs the picture's size, and Texture size was locked at the Vertex output as a per-pixel node. So the size had to be typed in by hand and was only right for pictures of exactly that size. - At a corner Texture size reads the uniform uPictureSize. It holds the size the Vertex output counts its pixels in, the same number the node gives in the fragment. The offset is divided by that size again, so a scale comes out right for every picture and sprite size. - A node can say what it is at a corner through emitPerCorner. The walker takes it there and emit everywhere else. - Fed a Pass's picture, Texture size stays locked at the Vertex output. A Pass has no picture at a corner. - 9-slice, field and camera shaders do not move corners. Their size is 0 there and nothing changes for them. Tests: - Unit shader-vertex: the node compiles at a corner to uPictureSize and the Output still reads textureSize. shader-passes: a Pass's picture into Texture size at the Vertex output is refused. - Against the old perPixel flag the new unit test fails. - e2e 28l-iv: width * 0.5 at x moves the 32 px picture as far as the constant 16 did, same three colours. With the size forced to 0 on the GPU the check fails and the picture stands still. - The case "Texture size is refused at a corner" left the it.each that lists refused nodes, so the test count stays the same. - e2e 28 on melektaus-atx: ALL PASSED, 101 checks. - Gate on melektaus-atx: CHECK EXIT 0, 297 files, 4562 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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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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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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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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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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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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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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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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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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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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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> |
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adminandClaude Opus 5.5
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dc666016db |
Let solo win over the mute of the same track (#358)
A track with both M and S on stayed silent: the mute closed every send before solo was asked. Pressing S on a muted track is meant to hear it. - trackGates in routing.ts opens the sends of a soloed track even while it is muted. Its own items are heard as with solo alone. - A muted track that a soloed one goes through, or that goes into it, stays silent as before. Tests: - Unit song-routing and song: 28 green (1 new), a counter-check red Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e721bba120 |
Let the places of a song share what it keeps to itself (#357)
With clips, one take serves many items: four items on the four clips of one take. The rule from #355 gave every further place its own copy of an embedded asset, so a cut made in the Sound tab reached one item only. Now the song, its tracks and its items share a sound, a pattern or a sound FX the song keeps. - settleEmbedded no longer copies within the song. An embedded asset stays as long as one place names it, and goes with the last one. - A paste from another song still gets a copy, but one copy for all the places naming the same asset, with its clip ids mapped. - The picks in a song offer what the song keeps, under a line after the project's assets: the Sound row of an item the song's sounds and their clips, the Pattern row its patterns, every sound FX pick its sound FX. - Make project asset and Embed a copy are unchanged. The project cbbf160bb7e8 was merged by hand afterwards: the items of Song 2 on three copies of Take 1 now play the same clips of the first one, and the copies are gone. Tests: - Unit embedded, sound-clips, own-fx and the song tests: 66 green, 3 counter-checks red as expected - e2e 65 on melektaus-atx: ALL PASSED, 52 checks - Gate on melektaus-atx: CHECK EXIT 0, 271 files, 4198 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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42a3759d9d |
Cut a sound into named clips, as a texture into frames (#357)
A sound could only be cut to one stretch, set on the asset itself. To
play two parts of one file, the file had to be imported twice. Now a
sound is always the whole file, and its clips are the stretches of it,
each with a name and a cut of its own.
- A clip is { id, name, props } on SoundAsset.clips. Its id shares the
generator with asset ids, so a sound field holds a sound or a clip,
as a texture field holds a texture or a frame.
- props are the cut: start, end, the fades and their curves, reverse.
Volume, loop, sound FX and bus stay on the sound for all its clips.
The cut rows left the sound's schema for CLIP_ROWS.
- findSound resolves either id. Play sound, the Sample of an
instrument, a Reverb impulse, song items, the scheduler and the test
sound of the Sound FX tab all go through it.
- Every sound field offers each sound followed by its clips, "Kick",
"Kick / Clip 1". A clip that is gone reads as "<id>?".
- The Sound tab has a strip under the ruler with the clips as bands.
A drag there makes a clip, a click picks one, beside the bands the
sound. Only the picked clip has handles. Reverse, fades and curves
in the header work on it and are greyed out without one.
- Whole file is gone from the header, as the user asked.
- Picking a clip is a selection of its own, like a frame. The
inspector shows its name, its cut rows and Delete clip. Delete
takes it away without asking, as with a frame. Ctrl+Z brings it
back.
- Copies get fresh clip ids: Duplicate, Embed a copy, a song
duplicated with its takes, and the copy a split or paste makes of
an embedded take. An item on a clip plays the same clip of its copy.
- A double-click on a song item playing a clip opens its sound with
the clip picked. The Sound row of an item on an embedded take
offers the take and its clips, which no list shows.
- A new take stays the whole sound. Clips are made by hand, as the
user decided.
- No migration in the code, as the user decided. The one project
with cut sounds was changed over by hand.
Deviation from the issue: deleting a used clip does not warn. A frame
does not warn either, and the issue had promised "like a frame".
Tests:
- Unit sound-clips (new): 11 green, 7 counter-checks each red
- Unit sounds, embedded: adjusted to clips, green
- e2e 34 (melektaus-atx): ALL PASSED, 90 checks (3 new, 12 rewritten)
- Counter-check in the browser: clips left out of the sound fields,
the picker check fails
- Gate (melektaus-atx): CHECK EXIT 0, 271 files, 4194 tests
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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668682c4ff |
Give a song, a track or an item a sound FX of its own (#355)
A sound FX for one place in a song had to be a project asset, which then stood in every picker. Now every pick of a sound FX in a song can make one the song keeps for that place alone, on top of the embedded assets of the first two parts. - Create sound FX sits at the end of the Sound FX row of the song, a track and an item, and of the menu of a track's FX button. It makes "Sound FX 1", 2, … per song with the Input wired to the Output, picks it and opens it. That is one undo step. - Embed a copy, while the place names a project FX, gives the place a copy under the same name. - While the place names its own, the menu shows it with the mark and offers Edit sound FX and Make project asset. - Picking anything else lets it go in the same undo step. For a track or an item `settleEmbedded` did that already. For the song's own row `AssetPropertyCommand` now settles the song after `fx`. - The mark `•` moved to the core. `assetRefLabel` puts it in front of an embedded asset, so the inspector rows show it like the timeline. - `FieldHandlers.moreChoices` lets a caller end a reference menu with entries of its own. `embeddedPatternName` is `embeddedName` with a base now. Tests: - Unit own-fx (new): 6 green, 6 counter-checks each red - Unit embedded and 80 neighbouring files: 1434 green - e2e 65 (melektaus-atx): ALL PASSED, 51 checks (2 new) - Gate (melektaus-atx): CHECK EXIT 0, 270 files, 4178 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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49669017b1 |
Make a pattern right in a song with a right-click (#355)
A pattern for one song had to be made in the Assets panel first and dragged in, and then stood in every picker of the project. Now a right-click on an empty spot of a track makes one the song keeps to itself, on top of the embedded assets of the first part. - Create pattern lays an item from the grid line before the spot, a bar long, and opens the pattern in its tab. Pattern, item and name are one undo step. The name is "Pattern 1", 2, … per song. - It plays the instrument of the track's pattern item that starts last before the spot, else of the first one after it. An item's own pick counts before its pattern's. - An embedded pattern runs on the song's clock. It takes the tempo and the meter of the song, and a change on the song moves it along in the same undo step (`AssetPropertyCommand`). - Its rows Tempo, Beats per bar, Beat and Bus are hidden, as the song decides them. Length, grid, instrument and sound FX stay. - A copy that comes to a song (Embed a copy, a paste from another song) takes that song's clock. Made a project asset, it keeps the values it had. - `CreateAssetCommand` takes an owner. `embeddedCopy` takes the song now, not its id. - The cleanup of e2e 65 also takes what the song keeps. Tests: - Unit embedded: 18 green (5 new), 6 counter-checks each red - Unit take, song, pattern and the asset commands: green - e2e 65 (melektaus-atx): ALL PASSED, 49 checks (2 new) - Gate (melektaus-atx): CHECK EXIT 0, 269 files, 4172 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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23cb34f781 |
Keep a recorded take inside its song (#355)
A take used to land in the Assets panel as "Song – Take N", next to every other sound of the project. Now a song can keep a sound, a pattern or a sound FX to itself: an ordinary asset whose new field `owner` names the song. Everything that finds an asset by its id finds it, so playing, the tabs and the game need no change. Only the places that list assets leave it out. - `core/music/embedded.ts` holds the rules: which types can be embedded, `listedAssets`, the title "Song › Take 1", and the rows an embedded sound hides (Loop, Bus). - One user per embedded asset. `SetSongCommand` settles the song after every edit: a place naming an asset an earlier place claimed, or one of another song, gets a copy, and what nothing names any more goes in the same undo step. The outcome is worked out once, so a redo brings back the same copies. - A split, Ctrl+D and a paste get that for free. The clipboard keeps the embedded assets of the copied items, so a paste after a delete brings the take back. - Deleting a song deletes what it keeps. Duplicating it copies that and points the copy at the copies. A duplicate of an embedded asset is a project asset. - The item menu has Open, Make project asset and Embed a copy. - An embedded item carries a bullet in front of its name. The first pick was a diamond, which the gate's font test refused: the UI font has no glyph for it. - A take is "Take 1", 2, … numbered per song. With the song gone while it uploads, it becomes a project sound under a free name. - Left out of: the Assets panel, every asset picker, the sound FX menu of a track, the test sound of the Sound FX tab and the naming of new assets. Delete on an embedded asset only says where it lives. A ping lights up its song. - Loading drops an `owner` whose song is gone, the asset stays as a project asset. No migration: older projects have no owner. Tests: - Unit embedded (new): 13 green, 6 counter-checks each red - Unit take, song, song-edit, asset-fx, asset-ref, serialize and neighbours: 116 green - e2e 65 (melektaus-atx): ALL PASSED, 47 checks (1 new) - Counter-check e2e 65 (asset panel unfiltered): exactly that check red - Gate (melektaus-atx): CHECK EXIT 0, 269 files, 4167 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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7a17030472 |
Give every sound FX effect a Bypass and a Wet (#354)
A node could only be taken out of a sound FX by unplugging it, and only six of them could be blended with the sound they get. Every effect now has both, in the sound FX graph and in the instrument graph alike. The Mix, the Input and the Output have neither. - Bypass is a checkbox setting. A bypassed node is left out when the graph is compiled, so it costs nothing and holds nothing back. The graph draws it faded, and its body says "Bypass: true". - Wet is a number input like the others. It can be a parameter, be moved by Set sound FX parameters and, where the node allows it for its other numbers, follow an Envelope. - A blend is a stage of its own (`wet`) around what the node adds. The sound as it came in is held back as far as the node is late, so a Compressor, a Limiter or a Vibrato do not comb it out. - The six nodes that had a Mix keep their key `mix` and only call it Wet. Saved values, parameters and edges stay as they were. - The Delay crossfades now: the sound alone at 0, the sound and its echoes in full at 0.5, the echoes alone at 1. Before, the sound was always in full and `mix` was the echoes. - The Pitch takes its semitones by Wet instead of blending, through a share `times` on the amount that an instrument binds as well. Findings: - A Delay saved before this sounds different. It sounds the same at half its old value. The two chip presets with a Delay (Echo Lead, Bell) are halved to keep their sound. - Project cbbf160bb7e8 has two Delays (mix 1 and 0.5). They are left as they are. Tests: - Unit: soundfx 65 (8 new), sound-library 107 (3 new), instrument 35 (1 new), envelope 13. Two delay tests and the filter ports test follow the new numbers. - Counter-checks: 8, each turns its test red. - e2e 34 (melektaus-atx): ALL PASSED, 83 checks (2 new). The ping-pong check at wet 0.25 measures what it did at mix 0.5. - Gate (melektaus-atx): CHECK EXIT 0, 268 files, 4154 tests. - After the gate the derived ports of a blend are asked for once instead of twice: typecheck, lint and the three unit files green again (113 tests). Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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a295d233ed |
Give sounds, instruments, patterns and songs a sound FX (#352)
A sound FX could only be picked where something was played: on a Play
node, a track or an item of a song. A sound that should always sound
through the same effect needed that pick everywhere it was used. Now
the asset says it once, and every place that plays it follows.
- New row Sound FX on a sound, an instrument, a pattern and a song,
right before Bus. A sound goes through it on every voice, an
instrument on every note after its graph, a pattern on all its
notes together and a song on its output.
- The fx input of Play sound, Play note, Play pattern and Play song
and the Sound FX of a song item now read "From the asset" while
empty. None is a pick of its own, stored as `#none` like `#master`.
A pick replaces the FX of the asset, it does not come on top.
- A pattern item's Instrument reads "From the asset" instead of None.
The meaning is unchanged.
- A double-click on a sound item opens the sound, as one on a pattern
item opens the pattern.
- The tabs play through the FX of their asset. The Pattern and Song
tab put it on a bus of their own between the output and the bus of
the asset. The keys of the Pattern tab play there too.
- Notes of a pattern or song go through the FX of their instrument.
Its chain is loaded with the other needs of the sequence.
Decided without asking:
- Old items and Play nodes with an empty fx now mean "From the
asset". No asset has an FX yet, so nothing sounds different.
- The label is "From the asset" as on Loop and Bus, not "From asset".
- A sound used as a Sample, as the impulse of a Reverb or as the test
sound of the Sound FX tab plays without its own FX.
Findings:
- In e2e, `__gm.inspectorField('Sound FX')` and `('Instrument')` find
the group of the Assets panel first. The check asks for the last
match.
Tests:
- Unit asset-fx (new): 8 green. Six counter-checks each turned red.
- Field lists of sound, pattern and song: Sound FX added.
- e2e 65 (melektaus-atx): ALL PASSED, 46 checks (3 new). Counter-check
without the FX bus of the tab: that check red.
- Gate (melektaus-atx): CHECK EXIT 0, 268 files, 4142 tests.
- Not checked: how it sounds, the Sound, Instrument and Pattern tab
in the browser.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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d349251a01 |
Put a sound in a room, a hall or a cave with a Reverb node (#328)
A sound FX had no space around it. The Reverb node folds the sound with an impulse response: one it makes itself, or a sound asset as the answer of a real space. It works on a voice and on a bus. - Type: Room, Hall, Cave and Plate have fixed numbers. Custom shows Decay (up to 10 s), Damping and Pre-delay. Sound shows the pick of a sound asset and Pre-delay. The rows are derived ports, the sound pick an idle param, so they only appear for their type. - The made impulse response is seeded noise per side, 60 dB down at Decay, through a low-pass closing from 20 kHz toward 500 Hz as far as Damping says. It is made once per rate, decay and damping, the last 16 are kept. - A sound as impulse response: the sound FX compilers now get the project, so a node can turn a sound asset into its file. The build key holds that file, so a cut or swapped sound builds again. The instrument compiler does the same for a Reverb inside an instrument. - The library loads that file with the voice, a sequence or before a bus builds its chain. A missing file leaves the reverb silent. - Mix blends dry and reverb and is the only number that moves while the sound plays, as the issue said. The voice rings for pre-delay plus decay, or as long as its sound. - The open point from #325 about sends on project buses is #351, not part of this. Tests: - Unit reverb (new) 4, soundfx 57 (4 new), sound-library 104 (2 new), green. - Counter-checks, each turns one test red: the impulse file not loaded with the voice, the tail without the length of the sound. - e2e 34 (melektaus-atx): ALL PASSED, 81 checks (1 new). Chrome offline: silent during the pre-delay, 35.9 dB fall over 0.6 s of a 1 s decay (36 expected), the dry half at 0.25 for mix 0.5. A sound with one sample at 0.2 s gives the impulse back 0.25 s later and nowhere else. - Gate (melektaus-atx) over the end of this series #318 to #328: CHECK EXIT 0, 267 files, 4134 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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071f194326 |
Swing the volume or the pitch with Tremolo and Vibrato (#320)
Alarms, sirens and wobbly retro sounds need a volume or a pitch that swings. Two new nodes do that, on a voice and on a bus alike. - Tremolo: Rate (0 to 20 Hz), Depth (0 to 100 %), Shape (Sine, Triangle, Square, Saw). The volume swings between full and 1 - depth. - Vibrato: Rate (0.5 to 20 Hz), Depth (0 to 4 semitones), Shape. The shape is the curve of the pitch, a Square jumps between two pitches. - As the issue decided: two nodes, phase 0 on the first sample of the voice, no fade-in time. Both run on the FX worklet, the classes are in lfo.ts and tested in Node. - Deviation from the issue text, as in the plan: the Vibrato is a delay that swings, not playbackRate. A bus has no playbackRate, and the sound keeps its length. - The delay swings around a center taken from the start values. The center counts as the latency of the node, so a voice starts that much earlier and a Mix and a bus make up for it. - Known limit, in the node text and the wiki: a depth turned up or a rate turned down after the start asks for a delay below 0. The lower half of the swing then flattens. Finding: the first e2e run was red at the edge of a window. The phase is summed up, so the square flips one sample later than 2400 steps of 10/48000 suggest. The check keeps 10 samples away from the edges. Tests: - Unit lfo (new) 5, soundfx 53 (2 new), sound-library 102 (1 new), green. - Counter-checks, each turns one test red: the swing turned over (up and down swapped), the start time not passed to the worklet. - e2e 34 (melektaus-atx): ALL PASSED, 80 checks (1 new). Chrome offline: Tremolo square silent before its voice, then 0.5 and 0 for 50 ms each. Vibrato square at 5 Hz, 1 semitone: 1059.5 Hz and 940.5 Hz. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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d3a4cb7d0e |
Warm up or distort a sound with a Saturation node (#323)
A sound FX had no way to bend a sound. The Saturation node pushes it into a curve, from warmth to a hard distortion, on a voice or a bus. - Eight types, each a fixed curve made once: Soft (tanh), Cubic, Hard clip, Tube, Fuzz, Foldback, Sine fold and Rectify. The issue asked for as many as useful. - Drive (0 to 48 dB) is a gain in front of the curve. The curve spans 256 times full scale, so the drive glides like any gain. - Output and Auto-gain blend as on the Compressor. Auto-gain brings a sine at -12 dBFS back to the RMS it came in with. - Tone is a low-pass after the curve, 1 kHz at 0 to 20 kHz at 1, as recommended in the plan. A 10 Hz high-pass takes out the DC the lopsided types make. - Mix blends with the dry sound. The 4x oversampling is 192 samples late in Chrome, so the dry way is held back as far. The node counts as late by that much for voices, Mixes and buses. - A test hook gives e2e the auto-gain at a drive. Tests: - Unit saturation (new) 5, soundfx 51 (2 new), sound-library 101 (1 new), green. - Counter-checks, each turns tests red: no hold-back of the dry way (1), the level without auto-gain (2). - e2e 34 (melektaus-atx): ALL PASSED, 79 checks (1 new). Chrome offline: 192 samples late at 48 and at 44.1 kHz. Half dry at 1125 Hz 0.00 dB. A sine at -12 dBFS driven 24 dB into Soft comes out at 0.00 dB with full auto-gain. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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a645026568 |
Tame the loudness with a Compressor and a Limiter node (#326)
A sound FX could not control dynamics. A Compressor squeezes the loudness together, and a Limiter keeps every peak below a line. Both work on a voice and on a bus, where they tame everything at once. - Compressor: DynamicsCompressorNode with Threshold, Ratio, Knee, Attack and Release, then Makeup and Auto-gain from 0 to 1. After the node the sound gets (1 - w) * makeup + w * A dB. A is what the curve takes off at 0 dBFS. - The node adds 0.6 of A by itself, as the spec says. That gain is taken back out, so 0 really means no makeup. - The knee shape is left to the browser by the spec. dynamics.ts ports Chromium's curve. It gives the gain Chrome was measured to add at four settings to three places. - Limiter: a class on the FX worklet with Threshold, Ceiling, Release and Auto-gain. It looks 5 ms ahead: the smallest gain of the window ahead, averaged over the window, then a release. No sample passes the lower of threshold and ceiling. Auto-gain raises it toward the ceiling. - Deviation from the plan in the issue: the Limiter has a Threshold as well. Without it Auto-gain has nothing to measure against. - Latency is made up on voices now too. A voice starts as much earlier as its stages are late (Compressor 6 ms, Limiter 5 ms). The other way of a Mix and the other layers of a note are held back to the latest, and a bus counts it into its latency. - A voice with a Limiter counts as ringing, so the worklet is stopped only after what it still holds is out. Tests: - Unit dynamics (new) 8, soundfx 49 (3 new), sound-library 100 (4 new), green. - Counter-checks, each turns tests red: no look-ahead in the Limiter (3), no taking back of the node's gain (1), a voice not started earlier (1), no stage latency on a bus (1), no hold-back in a Mix (1). - e2e 34 (melektaus-atx): ALL PASSED, 78 checks (1 new). Chrome offline: Compressor 288 samples late, Limiter 240. Full scale through -12 dB 4:1 hard knee: +0.19 dB with full auto-gain, -8.81 dB without. A sine at 2 through the Limiter at -6 dB peaks at -6.00 dB, with auto-gain 1 at -1.00 dB. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c99bda6489 |
Move a sound left or right with a Pan node (#319)
A sound FX had no way to place a sound in the stereo field. The new Pan node does that on a voice, a bus and a track alike. - One input, Pan from -1 (left) to 1 (right), 0 by default. Behind it is a StereoPannerNode. A typed-in 0 leaves the node out, a pan fed from a parameter stays at any value. - It moves with Set sound FX parameters, and an Envelope can move it in an instrument. - As the issue decided, no pan from the position in Play sound and no width control for stereo sounds. Finding: the issue and the plan said a stereo sound gets a balance. Web Audio pans stereo differently: the side it goes to stays and the other side moves over into it. The node description and the wiki say so, the e2e check measures it. Tests: - Unit soundfx 46 (1 new), sound-library 97 (1 new), green. - Counter-check: a pan from a parameter at 0 left out, 1 test red. - e2e 34 (melektaus-atx): ALL PASSED, 77 checks (1 new). Chrome offline, a mono sine at 0.5 gives 0.5 / 0 at -1 and 0.354 / 0.354 at 0. A stereo one at 0.5 panned 0.5 gives 0.354 / 0.854. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |