b5e071ca680903551f820cbfa30812423c205c9c
31
Commits
| Author | SHA1 | Message | Date | |
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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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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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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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7a17030472 |
Give every sound FX effect a Bypass and a Wet (#354)
A node could only be taken out of a sound FX by unplugging it, and only six of them could be blended with the sound they get. Every effect now has both, in the sound FX graph and in the instrument graph alike. The Mix, the Input and the Output have neither. - Bypass is a checkbox setting. A bypassed node is left out when the graph is compiled, so it costs nothing and holds nothing back. The graph draws it faded, and its body says "Bypass: true". - Wet is a number input like the others. It can be a parameter, be moved by Set sound FX parameters and, where the node allows it for its other numbers, follow an Envelope. - A blend is a stage of its own (`wet`) around what the node adds. The sound as it came in is held back as far as the node is late, so a Compressor, a Limiter or a Vibrato do not comb it out. - The six nodes that had a Mix keep their key `mix` and only call it Wet. Saved values, parameters and edges stay as they were. - The Delay crossfades now: the sound alone at 0, the sound and its echoes in full at 0.5, the echoes alone at 1. Before, the sound was always in full and `mix` was the echoes. - The Pitch takes its semitones by Wet instead of blending, through a share `times` on the amount that an instrument binds as well. Findings: - A Delay saved before this sounds different. It sounds the same at half its old value. The two chip presets with a Delay (Echo Lead, Bell) are halved to keep their sound. - Project cbbf160bb7e8 has two Delays (mix 1 and 0.5). They are left as they are. Tests: - Unit: soundfx 65 (8 new), sound-library 107 (3 new), instrument 35 (1 new), envelope 13. Two delay tests and the filter ports test follow the new numbers. - Counter-checks: 8, each turns its test red. - e2e 34 (melektaus-atx): ALL PASSED, 83 checks (2 new). The ping-pong check at wet 0.25 measures what it did at mix 0.5. - Gate (melektaus-atx): CHECK EXIT 0, 268 files, 4154 tests. - After the gate the derived ports of a blend are asked for once instead of twice: typecheck, lint and the three unit files green again (113 tests). Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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d349251a01 |
Put a sound in a room, a hall or a cave with a Reverb node (#328)
A sound FX had no space around it. The Reverb node folds the sound with an impulse response: one it makes itself, or a sound asset as the answer of a real space. It works on a voice and on a bus. - Type: Room, Hall, Cave and Plate have fixed numbers. Custom shows Decay (up to 10 s), Damping and Pre-delay. Sound shows the pick of a sound asset and Pre-delay. The rows are derived ports, the sound pick an idle param, so they only appear for their type. - The made impulse response is seeded noise per side, 60 dB down at Decay, through a low-pass closing from 20 kHz toward 500 Hz as far as Damping says. It is made once per rate, decay and damping, the last 16 are kept. - A sound as impulse response: the sound FX compilers now get the project, so a node can turn a sound asset into its file. The build key holds that file, so a cut or swapped sound builds again. The instrument compiler does the same for a Reverb inside an instrument. - The library loads that file with the voice, a sequence or before a bus builds its chain. A missing file leaves the reverb silent. - Mix blends dry and reverb and is the only number that moves while the sound plays, as the issue said. The voice rings for pre-delay plus decay, or as long as its sound. - The open point from #325 about sends on project buses is #351, not part of this. Tests: - Unit reverb (new) 4, soundfx 57 (4 new), sound-library 104 (2 new), green. - Counter-checks, each turns one test red: the impulse file not loaded with the voice, the tail without the length of the sound. - e2e 34 (melektaus-atx): ALL PASSED, 81 checks (1 new). Chrome offline: silent during the pre-delay, 35.9 dB fall over 0.6 s of a 1 s decay (36 expected), the dry half at 0.25 for mix 0.5. A sound with one sample at 0.2 s gives the impulse back 0.25 s later and nowhere else. - Gate (melektaus-atx) over the end of this series #318 to #328: CHECK EXIT 0, 267 files, 4134 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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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> |
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adminandClaude Opus 5.5
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3a52f2290f |
Mix sounds through buses and a master (#325)
Until now every sound went straight to the speakers. There was no point where all of them came together, so nothing could turn the music down against the effects, and a compressor or a shared echo over everything had nowhere to sit. The bus technique of #346 was there already, only the end of the chain was missing. - Bus asset (Audio): Volume, Sound FX and Into. Into is empty for the master and never offers the bus itself nor a bus that already goes into it. The list is worked out when the menu opens, so a change made meanwhile counts. A loop that is in a project anyway sends the buses on it into the master. - The master is no asset. Its volume and sound FX are two new rows under Master in Project settings, one undo step each. A project written before has 1 and none, which is how it sounded. - Sound, instrument, pattern and song have a row Bus, empty for the master. Play sound, Play note, Play pattern and Play song have an input bus: From the asset, Master or a bus. Inside a song or a pattern only the bus of the song or pattern counts. - Set bus volume (bus, volume, time, easing) and Bus volume. An empty bus is the master. The volume set holds for the whole run, across scenes, over that of the asset. GameRun resets it at start and end. Set sound FX parameters without a voice now reaches the sound FX of the bus picked in its new bus input. - SoundLibrary: the master is the bus "mix", each bus "mix:<id>". Every bus, the playing masters of #346 included, ends there, and only the master is heard. setMix sets them up once a context exists, so an editor nobody listened to opens no audio device. The same mix again changes nothing, which lets the editor hand it over on every change of the project. - The tabs play as the game does: Sound, Sound FX, Instrument, Pattern and Song tab through the bus of their asset and the master. - Pause game does nothing to the buses (the user's answer 4b). A game that wants quiet in its pause menu sets a bus volume itself. - Streaming long music files is #349, split off as asked. Finding on the way: the Into menu first worked from a list made when the inspector row was built. After another bus was sent into the open one, e2e 34 saw it still offered. It is now asked on open. The SoundLibrary tests expected voices to end at the destination. They now end in the master, which adds its input, level and pan to every wiring and two gains to every list. Those expectations are updated, nothing else in them changed. Tests: - Unit buses (new): 15 green. Ten counter-checks, each red on its own: loop check, bus picked, reset at run start, bus of Set sound FX parameters, master volume in the settings, and in SoundLibrary default into the master, voices into the master, run volume over the mix, no context before a play, a playing on its bus. - Unit sound-library: 90 green (5 new). Node catalog: 416 green (9 new cases). - e2e 34 (melektaus-atx): ALL PASSED, 75 checks (3 new). The voice of the Sound tab was heard on mix:<bus>, that bus into the other, that one at 0.5 into the master. Master volume 0.6 via the dialog, undo back to 1. - Gate (melektaus-atx): CHECK EXIT 0, 262 files, 4072 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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b519cd192f |
Send a track, a pattern item or a whole song through a sound FX (#346)
A sound FX could only be put on a single sound. Now a track, a pattern item, a Play pattern and a Play song send everything they play through one chain of it, as an insert in a DAW. A Play note gets one of its own. - Track: an FX box in the head next to M and S opens a menu of the project's sound FX, and the track's inspector has the row too. Order: items, track FX, volume, pan. - Pattern item: Sound FX in its inspector. Its notes play on a bus of their own into the track's bus. - Play pattern and Play song take fx and fx params. The chain sits on the master of the playing, after the tracks and before the level and the fades. Set sound FX parameters reaches it by the playback. - Play note takes fx and fx params next to the instrument's params. The FX parameters go by "fx:" so the two sets stay apart. Set sound FX parameters on a note changes a name both have in both. - A Pitch on a bus is a new PitchShifter: the phase vocoder of the PitchPlayer, fed while it plays. It cannot look ahead and is exactly one frame late at every pitch, 2048 samples. - That latency is made up. The other way of a Mix is held back by a delay of the same length. Every note and clip starts as much earlier as the buses it passes are late. The scheduler plans that much further ahead, and the first note waits that much after Play. - The Song tab waits for the chains before it plays and lets its buses go a moment after Stop. A playing in a game lets them go after its echoes and what the shifters still hold. - songBuses moved to its own file. Kept in song.ts it pulled the FX compiler into the node registry through an import cycle. Decisions of the user: one chain for the whole (1a), FX everywhere asked for (2a), Set sound FX parameters on playbacks (3a), and a pitch shifter of its own with exact latency compensation for a Pitch on a bus. Tests: - Unit pitch-shifter (new): 11 green. At 0 semitones the output is the input 2048 samples later, off by at most 1.2e-7. - Unit sound-library: 84 green, 8 new. Counter-checks (no early start, no Mix delay, chain made every time, tune misses the master) each turned their test red. - Unit bus-fx (new): 6 green, 4 counter-checks red. Scheduler ahead: 1 new, its counter-check red. - e2e 65 (melektaus-atx): ALL PASSED, 35 checks, 4 new, first run. Chrome at 44.1 kHz: the bus was 0.046440 s late, the note started exactly that much early. Offline the shifter moved 1 kHz to 2000 Hz and passed a click 2048 samples later. - Gate (melektaus-atx): CHECK EXIT 0, 259 files, 4021 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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01fd6e6464 |
Swirl and comb a sound with a Phaser and a Flanger node (#341)
sfxr's "phaser" is a comb filter, the sound plus a copy delayed by up to 2.9 ms. That is a flanger, not the phaser a guitarist knows. Both effects come in as nodes of their own, so each name fits its sound and sfxr is covered in full. Both run on the FX worklet like the Bitcrusher, because a feedback loop in Web Audio costs a render quantum per round. - Phaser: first-order allpasses (Stages 2, 4, 6, 8, 12) around Frequency, moved by a sine LFO Depth octaves wide at Rate Hz, with Feedback and Mix. An Envelope can move Frequency and Mix. - Flanger: a delay line of Offset ms. Sweep moves it on in ms/s from the start of the voice, an LFO adds up to Depth ms. As in sfxr the delay is mirrored at 0, and it never goes past 20 ms. Feedback comes back exactly one delay later. An Envelope can move Offset and Mix. - Mix 0 leaves the sound as it is, 1 is half sound and half copy. The notches are deepest there and the peaks stay at the sound's level. sfxr adds both at full, so its sound comes out 6 dB louder. - The Flanger's processor gets the start of its voice and begins the sweep on that sample. stageNodes takes it as a new argument `at`. - Explosion gets a Flanger in one draw out of two, with sfxr's offset and sweep and no LFO. Offset is offset^2 * 2.89 ms, Sweep is ramp^2 * 125 ms/s, signed so the direction holds. - Randomize draws a Flanger's offset and sweep like sfxr. Its LFO and feedback and all of a Phaser are drawn within bounds of their own. Mix and Stages stay, as a Bitcrusher's Mix does. Mutate moves them too, and a 0 stays 0. - New instrument preset Phased Pad: saw, Envelope, low-pass, Phaser of six stages. The other 14 are unchanged. - The Bitcrusher's worklet setup is now shared with both nodes (workletNodes), its behaviour is unchanged. Tests: - Unit phaser (new): 8 green. Counter-check with clamping at 0 instead of mirroring and a flipped allpass coefficient: 3 red. - Unit soundfx, sound-library, chip-presets: 45 / 76 / 14 green. Counter-checks: start time not passed on, phaser frequency eased linearly, sweep sign dropped, Phaser left out of Mutate, each red. - Unit core, viewport, graph: 179 files, 2979 tests green. - e2e 34 (melektaus-atx): ALL PASSED, 70 checks (1 new), first run. Chrome offline: 1 kHz notch RMS 0.0000 with two stages, 0.5657 with four. Flanger echo after 48 samples, swept echo at 533/534. About 47 Phasers (12 stages) or 63 Flangers fill the audio thread. - Gate (melektaus-atx): CHECK EXIT 0, 257 files, 3991 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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165f022fc0 |
Crush a sound to fewer bits and a lower rate with a Bitcrusher (#322)
A new effect for sound FX and instruments makes a sound rough like an
old console. It rounds the sound to fewer steps and holds it at a lower
sample rate, and all three of its numbers move while the sound plays.
- Bitcrusher node with bits (1 to 16, not only whole), rate (100 Hz to
48 kHz, sample-and-hold) and mix. A mix typed in at 0 leaves it out.
- It runs on the audio thread as a second processor next to the pitch
player. The module is now fxWorklet.ts and the test hook is called
fxWorkletUrl.
- A play that needs the worklet waits for it, for a Pitch or a
Bitcrusher alike. Without the worklet the sound goes through as is.
- Bits and mix move in what they hold, the rate in octaves. An
Envelope can move all three in an instrument.
- A stage that runs on the worklet is stopped with its voice, like the
drivers of an Envelope or a Mix.
- The math is a plain class, Crusher, so it is tested in Node.
The cleanup check of e2e 64 from
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adminandClaude Opus 5.5
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f97961c8ff |
Play and stop a song from a behavior in the game #336
A song could only be heard in its tab. Now a game plays it through Play song and ends it through Stop song, with its tracks as they are set. A playing pattern or song also no longer undoes the pause of the toolbar. - Play song plays from the start of the song and then round the loop of its ruler, so an intro is heard once. Without loop it plays once to its end. Inputs are song, volume, fade in, loop (on by default) and detached (off by default). It gives out playback. - Stop song stops one song, every song for none, or one playback by its number, over its fade out. Stop sound with no sound named stops songs too. Stop pattern with no pattern named stops only patterns. - Songs play side by side, as patterns do. They are owned like a sound, so leaving the scene ends one unless it is detached. Pause game and the time scale leave the music alone. - Each playing is heard through a master of its own, silent until its first note. The fades move it, and a song's tracks sit inside it on buses of their own. They go once the playing and its voices have. - Notes and clips are struck the same way in the editor and the game (strikeNote, playClip). What a sequence needs comes from one place (core/music/needs). Findings: - Reading the audio clock resumed a suspended context. A playing pattern read it every 25 ms and so undid the toolbar's pause. The library now leaves a context alone while the toolbar holds it. - A pattern played once to its end asked the list of playings about its voices, and that list asked the pattern again. Once its last voice was gone this ran until the stack overflowed. The scheduler of a playing now asks only after voices. - e2e 64 reads the playings through __gm.sound.playbacks() now. Tests: - song-play.test.ts (new): 8 tests, node catalog +8 cases - sound-library.test.ts: 66 tests, 4 new - e2e 64 (melektaus-atx): 23 of 23 checks passed - e2e 65 (melektaus-atx): ALL PASSED, 22 checks (+4) - Gate (melektaus-atx): CHECK EXIT 0, 251 files, 3903 tests - Counter-checks: the old way of asking after voices, a clock read that wakes a held context, and a start after a fade out began each fail 1 test Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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2a3b90b017 |
Play and stop a pattern from a behavior in the game #336
A pattern could only be heard in its tab. Songs come with #334, and only then can #336 play them in a game. Until then a game plays a single pattern, looped or once, through two new nodes. - Play pattern plays the whole pattern through its instrument at its own tempo. The loop on the ruler is only for editing. Inputs are pattern, volume, loop (on by default) and detached. It gives out playback, 0 where there is no instrument or no note. - Stop pattern stops one pattern, every pattern for none, or one playback by its number. Let ring lets notes with an Envelope fall away in their release. - A playing is numbered and owned like a voice. Destroying the object, Stop sound with nothing named and the end of the run stop it. Stop sound with a voice takes a playback too. - Each playing runs on a scheduler of its own (core/music/playbacks). It waits for its files first, and a stop that came earlier wins. - The scheduler has an end for a sequence that does not loop. It stops waking there and is done once its last notes are. - The worker clock moved to viewport/wake.ts, so SoundLibrary can use it without importing music.ts. Tests: - pattern-play.test.ts (new): 8 tests, node catalog +7 cases - e2e 64 (melektaus-atx): ALL PASSED, 23 checks (+3) - Gate (melektaus-atx): CHECK EXIT 0, 248 files, 3854 tests - Counter-checks: no end in the scheduler, and no owner for the playing, each fail 1 test Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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9c71eb1a0d |
Shape notes with an Envelope and move numbers with its curve #335
Without an envelope a note set in hard and broke off 10 ms after its end. An instrument now has an Envelope node with attack, decay, sustain and release. On the way of the sound it is the volume. Its output "value" moves a number of the note with the same curve, from "From" to "To", for a filter sweep among others. A new Filter node gives that sweep something to move. - Envelope (instrument only): attack a straight line, decay and release ease out and are 60 dB of the way at their time. A release takes 10 ms at least. Defaults 0.005 / 0.1 / 1 / 0.1. - The end of a note goes to the Envelope instead of the 10 ms fade. A Gate or Loop Sample under it plays on through the release, "Loop, then release" leaves its loop too, and the voice ends with the release. A One-shot under an Envelope of its own plays through. - A note ending before attack and decay releases from the level it has reached. Chrome holds it with cancelAndHoldAtTime, Firefox gets the level worked out from the shape. - New port type "envelope" (coral). It fits only a number input that says it can follow one (PortDef.followsEnvelope): Filter cutoff and resonance, Pitch, Gain, the EQ bands and Mix. Not the Delay, not the Envelope's own numbers. portsMeet() decides it for ConnectCommand, the drag and the drawn edges. - On the audio thread every Envelope of a note is one ConstantSourceNode. A number it moves gets the curve through a WaveShaper, in equal ratios for a cutoff and a gain. A number an Envelope moves is no longer reached by a parameter. - Filter (sound FX and instrument): low-, high- or band-pass, cutoff in Hz, resonance 0 to 1 as a Q. A low- or high-pass is flat at 0 and rises 20 dB at 1, a band-pass goes from Q 0.7 to 20. - Stop sound with "let ring" lets a note with an Envelope fall away in its release. Without it, and with Stop in the tab, it is cut. - The same note again during a release is a voice of its own. - The Envelope's numbers are set when the note starts. They can come from velocity or a parameter, later changes do not bend the note. Tests: - envelope.test.ts (new, 12): curve, ratios, Filter Q, compiling an Envelope, its value into each number, a Delay refused - sound-library +7: attack and decay on the clock, release from the level reached, One-shot held, Stop sound with and without let ring, a cutoff and a pitch moved by the curve - e2e 34: ALL PASSED, 50 checks (+2). Offline in Chrome the curve rendered 0.5 / 1 / 0.5005 at 0.05 / 0.1 / 0.3 s, released at 0.5 s it was 0.0158 at 0.65 s and 0.0005 at 0.8 s, released mid-attack it fell from 0.5 to 0.05 in 0.1 s. A Gain moved 0.25 to 1 was 0.5 halfway. A looped note of 0.2 s with a release of 1 s was gone after 1.32 s. - Five counter-checks (release end, One-shot hold, the follows check, ratios, pitch sum) failed 3, 1, 1, 2 and 2 tests. - Gate on melektaus-atx: CHECK EXIT 0, 245 files, 3812 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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fb4d65a2ab |
Keep both sounds full at the middle of a Mix with a curve #331
A Mix crossfaded: at 0.5 each sound was at half. Layering two sounds in an instrument now goes through a Mix ( |
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adminandClaude Opus 5.5
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23bdc3f775 |
Play notes in time on the audio clock with a scheduler #332
Patterns and songs (#333, #334) have to play sample-accurate in time,
whatever the frame rate does. What is counted in game time runs away
from the sound. This lays the ground: musical time, a scheduler that
plans notes ahead on the audio clock, and a player that starts and ends
a note at a given second. Nothing in the editor plays a sequence yet,
the check scripts drive it through `__gm.music`.
- Ticks, 480 to the quarter as in MIDI files (decided in #332).
Triplets and quintuplets land on whole ticks. Any meter, a beat being
the note value under the line. The tempo always counts quarters.
- `core/music/sequence.ts` is a pure rule: the notes starting in a
window of playing time. Across the end of a loop it looks into the
next round, so the seam has no gap. A note past the loop end ends
there. Windows are whole ticks, and the seam is stepped exactly, so
no rounding can drop the first note of a round.
- `core/music/Scheduler.ts` plans the next 100 ms every 25 ms through a
host, so it is tested with a clock of its own. The first note sounds
50 ms after the start. Changes to the sequence are heard from the
next window on. Stop and seek fade what it started. A new tempo or
loop counts from what is planned, and the playhead keeps its old
pace until the clock gets there.
- The position is the audio clock less `outputLatency`, as bar, beat
and tick.
- The beat comes from a Web Worker (`viewport/musicTimer.ts`), which
keeps its pace in a hidden tab.
- The sound library starts a note at `timing.at`: a buffer source by
`start(when)`, the pitch worklet by counting down inside the render
block it falls in. A note's end is set on the clock at once, its
fade to the sample. Leaving a loop still waits for the page.
- Delay synced to beats (decided in #332, noted from #327): a setting
`Sync` (Seconds / Beats), `time` then in quarter notes, held to the
2 s of the line. Play sound and Play note have an input `tempo`,
120 BPM where nothing is connected. A scheduled note carries the
tempo of its sequence.
- Swing is left for #333/#334, as decided.
Also fixes the red suite of
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adminandClaude Opus 5.5
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8a4e4a6762 |
Play sounds as notes of an instrument asset #331
A sound could only be played as it was, one at a time. An instrument
is a node graph that makes a note a sound: Notes nodes bring the note
in, Samples play sound assets for it, the effects of a sound FX shape
it and the Output sums the layers. Its tab plays it from a keyboard,
a behavior with Play note. It is what patterns and songs (#330) will
play.
- New asset type instrument, under the heading Music, not placeable.
A new one starts as Notes into a Sample into the Output.
- Notes are counted as MIDI does: 60 is C4, names like C#4, sharps
only, the lowest C-1. Notes has From and To, outputs any, note,
frequency and velocity, and with Single notes a trigger per note,
each with an optional name for a drum kit.
- New port type trigger, only into the trigger of a source. Inputs
can take any number of edges now (PortDef.many): a trigger, and
the Output, which plays everything into it side by side.
- Sample plays a sound asset. Follow note shifts it by note - root
through the pitch worklet of #317, so it keeps its length. Gate
fades it out at the end of the note, One-shot plays through. Loop
runs between Loop start and Loop end, also in the worklet.
- Parameters declares the instrument's own parameters with a
default. Sound FX sends the sound through a sound FX asset, its
parameters as inputs, the sound set in where its Input was.
- compileInstrument walks the graph once per note. A trigger is on
only for the notes it stands for, a silent source silences what it
alone feeds, a Mix with a silent side is the other side. velocity
and the parameters stay open for the voice. Builds are cached per
note until the graph or a sound or FX it names changes.
- The player takes a note as one voice of several layers, each way
with its own file and volume. release fades the gated ways out,
one-shots play on. playNote can release after a duration.
- Play note plays one note with velocity, volume, duration and
detached, and hands out voice for Set sound FX parameters and
Stop sound. Velocity is always loudness. Instrument parameters
picks values for the instrument's parameters like Sound FX
parameters does for an FX, renames follow.
- The tab has the graph, a header field per parameter, Stop, and
128 keys below. Keys without sound are grey. A key plays while it
is held. Focused, the computer keyboard plays as in a tracker by
KeyboardEvent.code, the arrows move the octave.
Findings:
- A label of the keys set fill on the shared small text style and
darkened every small label of the editor. Caught in a screenshot
before the commit, the keys have a style of their own now.
- Suite task 523 on
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adminandClaude Opus 5.5
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cf6799a784 |
Let echoes ring on with a Delay node in sound FX #324 #327
A voice used to end the moment its sources did, and Stop sound cut it dead. An echo has to outlive its sound, and a stop must not click. - Delay node: a delay line with a damped feedback loop, added at mix next to the untouched sound. Time 0.01 to 2 s, feedback up to 0.95, damping 20 kHz to 500 Hz evenly in octaves, all fed by parameters and moved by Set sound FX parameters like any other number. - Ping-pong is a setting of the node. It takes the sound into the left of the line and swaps the sides every round. - A voice with an echo rings on for its tail: until the last echo is 60 dB below the sound, from time, feedback and mix (fxTailOf). It stays reachable meanwhile, and a change counts the tail again. - The end of a tail is timed on the audio clock with a silent ConstantSourceNode, so a paused run holds it. Then the voice is disconnected, since an echo is a loop of nodes. - Stop sound fades a voice out in 10 ms instead of cutting it. Let ring fades only its sources and keeps the voice for its echoes. Where the context is suspended it cuts at once. - Stop sound takes a voice. Connected, it stops only that play, and a 0 from a Play sound that played nothing stops nothing. - Play sound hands out tail: length plus the echoes at its start values. - Destroying a behavior and ending a run still cut, echoes included. - No limit on voices. The emit of a sound FX node now also gets the node's settings. Finding: in Chrome every round of a feedback loop comes one render quantum late (128 samples, 2.7 ms at 48 kHz), measured as 0, 128, 256, 384 for the first four echoes. Left so, since a browser without it would then hear the echoes early. Written in the wiki. Tests: - sound-library, soundfx, node-catalog, sounds, keep-on-scene-load: 489 tests green. New: fade on stop, cut while suspended, echo and ping-pong wiring, ringing until the tail, tail counted again, let ring, stop by voice, echo knobs, delay compile, tail sums. - Counter-checks: no tail, a stop without fade, a connected voice 0 read as unconnected. Each fails its tests, files back by cmp. - e2e 34 (melektaus-atx): ALL PASSED, 37 checks. A blip through a ping-pong Delay (0.3 s, 0.5, 0.5) rang 2.97 s, 2.95 s worked out. Let ring kept the voice, a stop after it cut it. Rendered offline with the player's own stageNodes the echoes are 0.25 left, 0.125 right, 0.063 left. 64 stereo voices of it took about 0.3 s for 2 s, so about 400 play at once. - Gate (melektaus-atx): CHECK EXIT 0, 242 test files, 3713 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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6e70421b92 |
Keep the length of a sound whatever its pitch does #317
A Pitch used to keep the length only for the pitch a voice started at. Set sound FX parameters changed it by speed, so a sweep made the sound longer or shorter, and length into time no longer spanned the sound. Now a way with a Pitch is played by an AudioWorklet, a phase vocoder whose pitch is an AudioParam in semitones. The length never changes, and a pitch glides, ramps and eases like a Gain. - PitchPlayer (core/soundfx) is the vocoder as a plain class, so it runs in a unit test. Frames of about 43 ms, four overlapping, a real FFT done as a complex one of half the size. - Peaks are moved with the bins around them (Laroche and Dolson's phase locking), and frames are turned by half their size so a phase is the one at the middle. Without both, a tone beat against itself and dipped to 0.54 of its loudness while the pitch moved. - It reads the sound itself rather than being fed it. It looks ahead as far as a frame reaches, so a voice starts with its first sample and every way of a Mix stays in step. A change of pitch is heard about half a frame (20 ms) late. - At exactly 0 a frame is the sound itself and costs next to nothing. Coming back to 0, the phases are pulled round to the sound's for about half a second before it switches, so the switch does not dip. - pitchWorklet (viewport) is the processor, bundled by Vite through ?worker&url. It is loaded with the first play that has a Pitch, which waits for it like for its bytes. A file's samples are sent with its first voice only and kept in the worklet's scope. - A way has the worklet when its plan has a Pitch, a typed-in 0 excepted (FxChain.shifted). A way without one stays a plain buffer source. Without AudioWorklet a Pitch is not heard, and the console says so. - The pitched copies (WSOLA, pitchShift.ts) and their cache are gone. - Decisions of the user: the player at the source rather than an effect in the chain, a phase vocoder rather than WSOLA, no limit on voices, no range tighter than the node's -64 to +64. - stats() says whether the worklet is there, levels() gives a pitch in semitones, and __gm.sound.pitchWorkletUrl() lets a check run it. Tests: - pitch-player.test.ts (new, replaces pitch-shift.test.ts): 11 tests. Pitches from -30.5 to +12 within 2 %, the length to the sample, 0 exact to 1e-5, a sweep half a frame behind, 8 kHz sounds, loops, ramps there and back without a dip. - sound-library.test.ts: 23 tests (+4), soundfx.test.ts: 31 (+1). - Counter-checks: no worklet in the player, shifted taken from the value, no pull back to 0. 15 tests fail, files restored by cmp. - e2e 34 on melektaus-atx: ALL PASSED, 34 checks (+1). In real Chrome the worklet is there and the pitch param glides to 3.0007. Offline: 880.0 Hz for 440 an octave up, 48000 of 48000 samples, a sweep 0 to -12 at 392 then 248 Hz, still 48000 samples. - Gate on melektaus-atx: 242 test files, 3690 tests, CHECK EXIT 0. - Cost: 53 ms per second of a stereo voice at +5 in Node on stein2, 5 ms at 0. In headless Chrome 16 voices for 2 s took 1.3 s, about 24 fill the audio thread. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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804a97b0a9 |
Hand out the length of a played sound from Play sound
Wired into the time of Set sound FX parameters, a change then spans exactly one run of the clip, so a fade or a filter sweep ends with its last sample. - Play sound has a second output, length, in seconds. It is 0 where nothing was played or the sound has not loaded yet. - The AudioSink gives the length of a file, the SoundLibrary takes it from the decoded buffer. A pitch the voice starts on keeps it (#312). - A pitch changed while the voice plays still changes its length, so a pitch sweep over length does not end with the sound. A pitch that keeps the length in real time is #317. Tests: - soundfx, sounds, keep-on-scene-load, node-catalog, sound-library: 462 tests green. - Counter-check: with length always 0, the catalog case and the new soundfx case fail. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c7e9769f90 |
Change the sound FX parameters of a sound while it plays #315
Until now a value handed to a sound FX counted from the start of the voice only. An engine whose pitch follows the speed, or a loop that gets quieter, could not be built. Every play of Play sound now gives out the number of its voice, and a new node lets the knobs of that one voice glide to new values while it plays. - Play sound has a new output voice: the number of this one play, or 0 where nothing was played. Kept in a Number variable it reaches the voice from another event. Two plays of one sound are two voices. - New action node Set sound FX parameters (exec, voice, fx params). It reaches exactly the voice it is given, a detached one too. A voice that has ended, or voice 0, is not reached. - AudioSink.play returns the voice number and takes the plan and the values (FxVoice) instead of a finished chain. AudioSink.tune takes a voice number and new values. A name the voice's FX does not have is left out, one not given keeps its value. - SoundLibrary hands out the number at once, before the bytes are there, and never twice. A voice still waiting for its bytes starts with the values handed in meanwhile. - Every knob of a voice moves with setTargetAtTime (30 ms time constant). A knob whose value did not change is not sent again, so a tune every frame costs next to nothing. - A pitch on a playing voice glides by playbackRate. A new WSOLA copy in the middle of a sound is not worked out, so the voice gets shorter or longer while it is moved. On a loop that is not heard. - fxChainOf now gives a chain whose shape depends on the plan alone. A stage fed by a parameter stays at 0 dB, and a Mix fed by a parameter keeps both ways. A typed-in 0 or Mix at 0/1 is still left out by the compiler. - Every way of a voice has a source of its own, also at the same pitch, so each can glide on its own. The pitched copy is shared. - The tab keeps the numbers of what it plays, so moving a parameter field is heard at once. - Test hook __gm.sound.levels(file) reads the knobs of every voice of a file, oldest first, and stats() counts the voices tuned. Tests: - soundfx.test.ts: 29 tests (+2 for the node in a running world: the voice of the first of two plays of one sound, and a play that played nothing) - sound-library.test.ts: 15 tests (+3: glide, reach by number, pending voice) - node-catalog.test.ts: 370 tests (+2, Play sound checks its voice) - sounds + keep-on-scene-load: 31 tests, unchanged - Counter-test: a tune that reaches every voice of the same file makes the reach test fail. - e2e 34 (melektaus-atx): ALL PASSED - 30 checks (+1). In Chrome two looping voices of one sound start at depth 7. The one whose number sits in a variable glides to 0.7938 (2^(-4/12) = 0.7937), the other stays at 1. Both gains stay at 0.5012. - The gate ran before voices got a number (CHECK EXIT 0, 241 files, 3658 tests), not after. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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072537b2e8 |
Blend two ways of a sound FX with a Mix node #316
A sound FX was a single line from Input to Output, so two versions of one sound could not be heard together. The new Mix node joins two ways again, and each way can carry its own effects, its own Pitch included. - Mix has the audio inputs a and b and a number input mix (0 to 1, default 0.5). At 0 only a is heard, at 1 only b. Like every number it can come from a parameter of the Input and is held to its range. - The compiled plan and the chain a voice gets are now a tree. A source carries a pitch and stages, a mix carries a, b and the stages after it. A Mix that ends at exactly 0 or 1 collapses to the one way heard, so the silent way is never worked out. - A Pitch is still worked out on the sound as it starts (#312). Behind a Mix it goes to both of its sounds. An effect before a Pitch therefore acts as if it came after it, the node now says so. - The player starts one source per pitch, all at once and all of the same length, and two ways at the same pitch share one. A mix becomes two gain nodes with 1 - mix and mix into a sum. A voice leaves the count when all of its sources have ended. - stats().last reports pitches (one per source) instead of pitch. Tests: - soundfx.test.ts: 27 tests (+5), sound-library.test.ts: 12 (+2), node-catalog.test.ts: 368, all green. Typecheck, ESLint, Prettier clean. - Counter-check: a Pitch behind the Mix given to a only, and b mixed at 1 - mix, each fails its new test. - e2e 34 on melektaus-atx: ALL PASSED, 29 checks (+1). The new check plays the pitched way mixed with the dry Input in the browser: two sources at 5 and 0 semitones, as long as the sound itself. - The full gate did not run before this commit. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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790e483198 |
Pitch a sound FX without changing its length #312 #313 #314
The Pitch node changed the playback speed, so a sound pitched up was also shorter and one pitched down longer. A pitch now keeps the length, takes fractions and reaches further. Gain and the EQ bands reach further down, and the EQ is renamed so a parametric one can come later without a mix-up. - Pitch shifting is the pure function pitchShift in core/soundfx/pitchShift.ts. It reads the sound faster or slower and stretches it back by WSOLA: 40 ms frames under a Hann window, each moved within 12.5 ms to where it continues the frame before it. A looping sound reads on across its end. - SoundLibrary plays a pitched copy of the decoded buffer instead of setting playbackRate. Copies are kept per file, pitch and loop, the last 32 of them. - stats().last tells the duration of what was played, so a check can see that the length is kept. - Pitch: -64 to +64 semitones, scrubbed in steps of 0.1 (#312). - Gain: -120 to +24 dB (#313). - EQ is now labelled "5-Band-EQ", its bands go -60 to +24 dB (#314). The node type stays SoundFxEq, so saved graphs load unchanged. Findings: - A plain granular shifter was tried first and missed the pitch: at +0.5 semitones it measured 438 Hz instead of 452.9 Hz, because every grain restarts at the phase of the original. WSOLA measures 452 Hz. - Far ends: +64 semitones from 440 Hz lands above half the sample rate and folds back, -64 is below what a 40 ms frame can follow. Nobody has listened to either. - Speed: 3 s of a 48 kHz channel take 47 ms at +3 and +64, 171 ms at -64 (measured in Node). Tests: - pitch-shift (new): 7 tests. A 440 Hz sine at +12, -12, +7, +0.5 and -30.5 semitones is within 2 % of the target and keeps its length. Level stays at most 1, a loop does not fade at its seam. - sound-library: 10 tests (+1), soundfx 22, node-catalog 368. - Counter-check: with the pitched copy switched off the new sound-library test fails. - e2e 34 (melektaus-atx): ALL PASSED - 28 checks. Its octave-down voice is now also checked for the length of the sound. - Typecheck, ESLint and Prettier clean. The gate did not run. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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183f356c99 |
Let a game hand values to the parameters of a sound FX #311
A sound FX played the same every time: its numbers were settings of the nodes. Now the Input declares parameters with a default, every number of Gain, Pitch and EQ is an input they can feed, and a Play sound hands in values for them. - Input declares number parameters in the inspector, each with a Default (DeclaredPort.default, SetPortDefaultCommand). They are outputs of the Input. Input and Output count as terminals now, one of each per graph. - Gain, Pitch and EQ take their numbers at inputs under the keys the settings had, so saved graphs sound as before without a migration. Each value is held to its range however it arrives. - The compiler gives an FxPlan with the parameters still open. fxChainOf fills them in when a voice starts. The player still only sees an FxChain. - New behavior node Sound FX parameters: names an FX and picks its parameters like a Variables node picks variables. Each picked one is a number input that starts at the FX's default. Its output has the new port type fxparams, which only fits Play sound's fx params. - Play sound warns when the parameters name another FX than the one it plays. Names the FX does not know are left out. - Renaming a parameter at the Input renames it in every Sound FX parameters node naming that FX, edges and values included. - The Sound FX tab has a number field per parameter in its header. Play uses those values, they are never written into the asset. - A value counts from the start of a voice. Changing a playing voice is #315, a Mix node is #316. Tests: - soundfx.test.ts 22 (+11): parameters in the plan, held values, a 0-by-default stage, EQ band, save with defaults, wrong port types, default command with undo, Sound FX parameters into Play sound, defaults of picked ones, node problems, mismatch, rename with undo - node-catalog 368 (+3): Play sound fx params, Sound FX parameters - e2e 34: ALL PASSED - 28 checks (+2: header field plays depth 5, a Sound FX parameters node gives the game's voice depth 7) - Gate on melektaus-atx: typecheck, lint, prettier clean, 240 test files, 3636 tests green - Counter-check: with fxChainOf ignoring the values and the rename not followed, 5 of the new tests fail. - Browser probe: header fields, inspector Default and the picked parameter looked at in two screenshots. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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de14f0f9e2 |
Play a sound through a graph of gain, pitch and EQ effects #311
A sound could only be played as it was uploaded. A Sound FX asset is
a node graph like a shader: Input, effects, Output. Play sound has a
new input fx that sends the voice through it.
- New asset type soundfx ("Sound FX"), not placeable, with a graph
and its own tab. The heading in the asset panel is "Sound effects",
so it does not take the click meant for the + menu entry.
- Nodes in core/soundfx/nodes.ts, category sound, port type audio
that only fits audio: Input, Output, Gain (dB), Pitch (semitones),
EQ (80 Hz and 12 kHz shelves, peaks at 250 Hz, 1 kHz and 4 kHz).
- compileSoundFx walks back from the Output with the shared graph
emitter. An input takes one edge, so the result is one line: a
pitch and a list of gain and filter stages. A node without input
or a graph without Output reports a problem on the node.
- Pitch is the playback rate of the source. It applies to the whole
sound and also changes its length, the node description says so.
- The BehaviorSystem resolves fx and hands the line to the AudioSink.
An fx that is missing or does not compile plays the sound dry.
- SoundLibrary wires source, stages, volume, destination in that
order. stats().last now also names pitch and stage count.
- The tab header picks one of the project's sounds and plays it
through the graph as it stands. Stop there ends only its own voice.
Tests:
- soundfx.test.ts (new, 11), sound-library (9, +2 for the wiring),
node-catalog (+1 for fx), graph and asset-groups adjusted
- e2e 34: ALL PASSED - 26 checks (+5: + menu opens the tab, palette,
2 effects, tab Play and game Play through the FX at -12 st)
- Gate on melektaus-atx: typecheck, lint, prettier clean, 239 of 240
test files green. The red one was sound-library (its fake
AudioContext had no playbackRate), fixed afterwards, gate not
re-run in full.
- Counter-check: without the audio rule in portsCompatible the port
test fails.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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