b5ea7524e6b1c010c577141dde588d013411f077
16
Commits
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  adminandClaude Opus 5.5
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e53121a0bb |
Let a behavior hear a song, pattern or sound come to its end (#373)
A game should be able to start the next piece of music when one is over, or wait for a sound before it goes on. Until now a behavior could start and stop music and sounds, but never learn that they had ended. - Two new events: On music finished with the fields Song and Pattern and the input playback, and On sound finished with the field Sound and the input voice. Both give out what ended and stopped. - Two new data nodes, Music playing and Sound playing, ask whether something is still heard. - Over means nothing is heard any more: no tail of the effects, and a fade-out has run down. - stopped is on for Stop song, pattern or sound, when the behavior that owns it ends and on a scene change. For a sound also when a newer voice needs its place or the file does not load. - Only what the Play nodes of this run started is heard, across scene changes too. Previews in the tabs, compositions and notes of instruments do not count. - Switch song ends nothing. The number goes on, and the end is told under the song heard last. - Playbacks and the SoundLibrary tell each end once to a new PlayedEnds per run. The AudioSwitch passes them on from both sinks. Found and fixed: a pattern whose last bar ends in silence counted as done up to one planning window before its end. In e2e 65 the next pattern started after 1.962 s instead of 2 s. Scheduler.done now also wants the playhead to have reached the end. Cleaning up done playbacks therefore comes a few tenths of a second later. One test that expected the early end is adjusted. Tests: - Unit: 23 new (played-ends 12, sound-library 5, node catalog 5, audio-switch 1), all green. - Counter-probes: 19 bends, all red. One was green at first for want of a case, which is added now. - e2e 65 on atx: ALL PASSED, 78 checks. New 65k6: the event came once with stopped off, and the second pattern started 2.051 s after the stinger. Stop song gave exactly one end with stopped on, and the switch from 65k3 gave none. - Gate on atx: CHECK EXIT 0, 337 files, 5222 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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f9428c5bc2 |
Let a game take a song's automation lane over and give it back (#338)
A game should be able to steer a lane of a song, the filter of the
pads in a fight, the pan of a track when the player turns, and later
hand it back to the curve the composer drew. Set song lane holds a
lane of a track at a value, Release song lane glides it back.
- Set song lane takes playback, track ("Song / Track"), lane, value,
fade and quantize (Next bar by default). lane is volume, pan or a
parameter name, with or without "param:".
- From where the lane stands it goes over fade to value and stays.
The value is clamped to the lane's range. It replaces the lane and
is not mixed with it (decision 10).
- Release song lane glides over fade back to the curve, to where the
curve stands at the end of the fade. Then the lane follows the
curve again.
- The override sits in the Scheduler, where the lane marks are made.
Volume, pan and parameters go one way. The maths is pure functions
in the new module laneHolds.ts.
- Notes that start during a parameter hold get the held value. A
Switch song to the same song keeps the holds.
- The holds are a list per lane. The running one holds until the next
one lands. A key held down fires the node on every beat, and with a
single hold per lane the new call replaced the running one before it
landed, so the lane fell back to the curve. e2e 65 found this.
- A track without that lane and a baked song write a line to the log
(with a hint at "live tracks").
- The test harness knows the keys l and r.
Tests:
- Unit: 24 new (lane-holds 14, song-play 5, sound-library 2, node
catalog 3), affected groups 748/748.
- Counter-probes: 12 bends, all red.
- e2e 65 on atx: ALL PASSED, 76 checks. New 65k5: the hold landed on
the bar line, curve until 0.02 s before, -40 dB 0.14 s after, no
values between. It stood 1.8 s. The release began at -39.8 dB and
followed the curve again from 0.55 s on. With one hold per lane
65k5 is red.
- Gate on atx: CHECK EXIT 0, 335 files, 5176 tests.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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e390d39314 |
Let a sound, note or pattern land on the beat of the music (#338)
A stinger has to start on the next beat or bar of the song that is playing, not whenever the frame happens to run. Play sound, Play note and Play pattern now take the number of a song or pattern playback and plan their start on the audio clock, as the music is heard. - New inputs sync (a playback number) and quantize (Next bar by default, decision 6) on Play sound, Play note and Play pattern. - The landing is worked out in Playbacks (landOn), on the next beat, bar or marker of the playback as it is heard. SoundLibrary and the audio switch only pass it on, and only on the clock the stinger plays on. - A pattern with sync plays in the tempo of the playback. It takes its bake only when both tempos match. - Without a link, or when the playback is not heard, the node starts at once as before. - The sync ports live in their own module musicSync.ts. Putting them in songSync.ts would have made an import cycle through Play song. Tests: - Unit: 8 new (6 in song-play, 1 each in sound-library and audio-switch), all green. - Counter-probes: 12 bends, all red. - e2e 65 on atx: ALL PASSED, 74 checks. New 65k4: the pattern (own tempo 100) started exactly 8 beats after the song and played at the song's 120 BPM. Without sync it is red (6.2 beats, 100 BPM). - Gate on atx: CHECK EXIT 0, 334 files, 5152 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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53ec1094f4 |
Let a game switch songs and turn their tracks on the beat (#338)
A game could start and stop a song, but not steer one while it plays. The battle theme could not take over on the next bar, a song could not jump to a marker, and a track could not fall away when the player hides. This is stage 3 of 5 in #338. - Quantize: now, next beat, next bar (the default) or next marker. The spot is the next one as the song is heard, and the change is planned on the audio clock to the sample, round the loop as the ruler counts. - Set song track turns one track in dB on top of the song's level, over a fade, on the bus input before its FX and sends. - Switch song plays another song, or the same one from a marker, in place of the playing one. It keeps the playback number, so Stop song, Set song track and On beat go on reaching it. - A playing now has a key for its buses apart from its public number. During a switch the old and the new song each have buses of their own. - Play song has a "live tracks" switch. With it off a baked song plays its bake, and Set song track on it writes a line to the log. - A Switch song to a marker plays the notes, as a bake only plays from its start. Found on the way: - A cut on a bar line faded over seconds in Chrome. cancelAndHoldAtTime holds nothing where nothing is planned later, so the ramp ran from the bus's last change. The turn now sets its start value on the spot. It had been measured at 0.52 of full level 0.2 s past the bar line. Tests: - Unit: 23 new cases in beats, song-play, sound-library and the node catalog. Counter-checks: 17 bends, all compile, all red. - e2e 65 (atx): ALL PASSED, 73 checks. 65k3 is new. The switch landed three bars after the start under the same number, and the track cut on the next bar line with nothing in between. With the old ramp 65k3 is red (0.53 and 0.51 between). - Gate (atx): CHECK EXIT 0, 334 files, 5144 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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a6a41b6b69 |
Let a behavior follow the beat, bar and markers of the music (#338)
Stage 2 of #338. A game that syncs to its music has to know where the music is heard. This stage reads that on the audio clock and hands it to behaviors as events and as a position. - New event nodes On beat (playback, bar, beat, late), On bar (playback, bar, late) and On song marker (playback, marker, name, late). - New data node Song position with bar, beat, fraction, seconds and playing. - The nodes have the fields Song and Pattern. With neither picked, every playback counts. A linked playback input picks that one. Compositions do not count. - The Marker field offers the markers of all songs as Song / Marker, as a sound field offers its clips. - Everything follows what is heard: the audio clock minus the output latency. That holds for baked songs and for Play pattern too. - Only the last beat since the frame before fires, and only when it is at most half a beat late, 0.15 s at most. Bars and markers alike. - A copied song gets markers with ids of its own, so a Marker field never names two songs. - The audio clock is only asked while something plays. Asked in every frame, it made the AudioContext without a user gesture (#436). Tests: - beats 14 and music-events 6 new, 4 in song-play, 2 in song-markers, 2 catalog cases, the touched groups 756/756 - 16 counter-probes, all compile, all red - e2e 65 on atx: ALL PASSED, 71 checks, 65k2 new: 11 beats 1.1 to 2.4 and 2.1 again, none missing or twice, across the pause too. late 0.015 to 0.027 s. Counter-probe without the last position: red - gate on atx: CHECK EXIT 0, 334 files, 5121 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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b50c7dbc35 |
Let a song track automate parameters of its sounds and FX (#337)
Stage 3 of #337. Lanes moved volume and pan only. Now a lane can steer a parameter of anything on its track, and a voice already planned or still waiting for its file follows it too. - A lane may aim at param:<name>. A parameter has no range of its own, so the lane keeps min and max. A parameter lane stays without points, so its range is not lost. Remove lane takes it away. - It reaches the track FX, the FX of an item, the instrument of a note with its own FX, and the FX of a clip. When several have the name, all of them change, as with Set sound FX parameters. - The scheduler hands the lane value to a note or clip at its start. Values a voice only reads at its start act from the next note. - While a voice sounds, the knobs of buses and voices of the track follow the lane on the audio clock, read every 10 ms, because a knob is not always the parameter itself (trackParams.ts). - A voice waiting for its file takes the marks when it starts. - When a lane is removed, the parameter goes back to its default. An edit while playing does not reset a parameter a lane rules. - This holds in the song tab, for Play song, in compositions and in the bake. - Song tab: Add parameter lane in the track head menu opens a dialog for parameter and range (ParamLaneDialog.ts). The lane head menu has Range and Remove lane. - Inspector: while a lane rules a value, a hint at the track names the lanes and says the fields act once the lane is gone. Known limit: a knob that depends on two automated parameters reckons each lane with the last value of the other, so it may lag one window. Tests: - automation-params.test.ts (9, new), 3 new in sound-library and 3 in song-lanes. Affected files 407/407. - 17 counter checks, all compile, all red. - e2e 65 on melektaus-atx: ALL PASSED, 67 checks. 65h3 is new: a clip with FX parameter cut starts at the lane value and its knob stays within 0.04 dB of the lane. It goes red when automateBus does not pass parameters on. - Gate on melektaus-atx: CHECK EXIT 0, 330 files, 5080 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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389a7c0fd1 |
Let volume and pan of a song track follow automation lanes (#337)
A song track can now change its volume and pan over time, played on the audio clock wherever the song is heard. This is stage 1 of #337: the model and the playback. Lanes cannot be drawn in the song tab yet. - A track holds automation lanes for volume (dB) and pan. Each point has a tick, a value and an easing from the shared list, curve assets included. Two points on one tick make a jump. Before the first point its value holds, after the last point the last value holds. - The rules are pure functions in core/music/automation.ts: the value at a tick and the pieces of a lane inside one scheduling window. - The scheduler hands those pieces to the host in every window. The host sets them as ramps or jumps on the gain and panner of the track's bus. Shapes the clock cannot ramp directly (dB as gain, curved easings) are sampled every 10 ms. At the loop end the value jumps back with the playhead. - This works in the song tab, for Play song, inside a composition (across the song loop, on the item's own bus) and in a bake. - While a lane has points the fader no longer sets that value. When the lane goes, the fader takes over from the current value. - Automation enters the bake fingerprint only when there is some, so existing bakes stay valid. - The level helpers moved to core/music/level.ts, so song.ts and automation.ts do not import each other. Known gap: a delaying sound FX on a bus after the track (a pitch shifter) makes the automation late by that delay. Tests: - automation.test.ts (13, new), 3 new in sound-library.test.ts. Song, bake and composition tests together 286/286. - 12 counter-checks, all compile, all red. - e2e 65 on atx: ALL PASSED, 60 checks. New 65h2: in the song tab the bus level follows a volume lane, 0.09 dB off, also with the fader at -60 dB. Red when the song tab does not pass the automation on. - Gate on atx: 328 files, 5053 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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acd12326dc |
Fade sounds and videos in and out on the items of a composition
A trailer needs its music and its clips to come in softly and leave
softly. Until now an item of a composition could only play at one
level, and a video item could not even be turned down on its own.
- Every item with sound gets a grip at its upper left and upper right
corner. Dragging one inwards fades the item in or out. Dragging it
back to the edge removes the fade. Lower down the same edge still
trims as before.
- The fade is drawn as its curve, with the part above it darkened.
The inspector shows Fade in and Fade out in seconds, each with the
curves sound clips already know.
- The model keeps fadeIn and fadeOut in frames plus curveIn and
curveOut on the item. Old projects load unchanged. An item shorter
than its fades plays them cut to its length but keeps the setting.
- Sound, pattern and song items ramp the gain of their own bus. The
scheduler plans the ramps on the audio clock next to the notes.
Starting in the middle of a fade picks it up from there.
- Video items set the new sprite property Video volume each frame.
It multiplies with the fade and is only shown for a driven video.
The player glides to each new level over 15 ms so it does not click
between frames.
Not covered: a container item that carries a video further down gets
no grips. Only a video on the item's own sprite counts.
Tests:
- tsc, eslint, Prettier clean.
- Unit tests for composition, music, song and sound (12 files): 269
passed, 7 of them new.
- e2e 69 on melektaus-atx: ALL PASSED, 21 checks. 69p drags a grip to
a fade in of 10 frames and hears the item bus rise from 0.127 over
0.229 and 0.339 to 1 within one second.
- Counter-checks as unit tests: without the audio ramps, and without
the level on the video sprite in the game, both go red.
- Gate on melektaus-atx: 309 files, 4796 tests passed, 8 more than
at
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adminandClaude Opus 5.5
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77ac9d1aaf |
Play sounds, patterns and songs on the tracks of a composition (#418)
A trailer needs its music and effects on the same timeline as its pictures. Until now a composition could only place objects, so sound had to be started by hand from a behavior and drifted against the picture. - Audio items: a sound, a clip of a sound, a pattern or a song dragged from the asset panel onto a track becomes an item as long as one pass of it. It may share a track with object and video items and overlap them. - Editing works as for other items: move, resize, trim on the left (moves the offset), fit to media, delete, copy and paste, box selection. Sounds draw their waveform, the colour tells the kind. - The inspector shows what it plays, start, length, offset, volume (-60 to +12 dB) and bus. The bus is "From asset", the master or one of the buses, as asked for in the issue. - An item longer than its material plays in rounds. Sounds and patterns start over, a song runs on in its loop. Loop marks on the item follow the same rule, a song's first mark sits at its loop end. - compositionAudio.ts turns the items into sequences, each with its own tempo. CompositionSound plays them, in the tab and in a game. - In the tab the items are heard from the playhead on, straight into the master like every tab. A scrub is silent. Playing a song or pattern in its own tab stops the composition, and the other way round. - In a game they are planned on the audio clock for the moment the composition clock reaches them, with the scheduler's LEAD made up. While the clock stands (waiting for a video, paused, placement off) they are silent and resume at the right spot. Found along the way: - The asset panel never let a song out of its list, so a song could not be dragged anywhere. Song and scene tab reject it as they reject a pattern. - The asset panel scrolled to the selected asset on every rebuild of its list, so folding a group far below the selection jumped back up. Only a new selection scrolls now. - At the end of the list, folding a group pulled every row down by the rows that went away. ScrollContainer has a new opt-in holdOffset, set only in the asset panel, that keeps the offset until the user scrolls up. Limits: a time scale other than 1 or a frame longer than 0.1 s moves the picture and not the sound. A baked song plays its notes here, not the bake. Tests: - tsc, eslint, Prettier clean. Gate on melektaus-atx green, 309 files, 4788 tests (4772 plus 16 new). - Unit: composition-audio.test.ts 13 new, scroll-container 3 new. Counter-checks: without catching up on load time or without the silence on pause the unit tests go red. - e2e 68h: the sound is planned 1.2 ms after the composition reaches 0.5 s. Without the LEAD make-up it is 54 ms late and red. - e2e 04 and 69 ALL PASSED, 86 checks. 69o-ii drags a pattern and a song onto a track, 20 frames each. - e2e 04: folding Sound at the end of the list keeps its header at y 234. With the old panel it jumps to 984 and the check is red. - Not run in a browser: the loop marks of a song item, copy and paste of audio items, the bus choice. - README and wiki count 2072 checks. 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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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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daeffe0f9d |
Route the tracks of a song through a graph (#350)
Every track of a song went straight into its output. Now the Song tab has a second view, Routing: a graph with a node per track and one Output, the links between them sends. A track can go into other tracks, into several at once, and a link has its own volume and the point of the track it taps. - The song asset has a graph like an instrument (SongTrack, SongOutput). heldSongGraph keeps it in step with the tracks on load and in SetSongCommand: a node per track named after it, one output, a new track and every track of an old song linked to the output. Links of gone tracks, doubled links and links closing a loop are dropped. - A link carries an optional send (volume in dB, tap). The inspector shows Volume and Mode for a picked link of a song: Post volume (Post pan), Pre volume (Post FX), Pre volume (Pre FX). SetSendCommand. - NodeDef has two new flags. `fixed` nodes are never added or deleted by hand. Links between `acyclic` nodes may not close a loop, checked in canConnect, dropTargetPort and ConnectCommand. - songBuses gives each track its sends instead of one `into`, and a bus `song:<song>:<track>:#items` for its own items. That bus is what solo closes on a track that only passes a soloed one on. - Mute and solo now act on the sends (trackGates). A muted track passes nothing on, on any tap. A soloed track is heard with what goes into it, through the tracks it goes through, their own items silent. Only sends on a way through a soloed track stay open, so a track going into it and into the output is heard through it only. - SoundLibrary: a bus has either `into` or sends. Each send is tap, delay, level, target. busLatency takes the latest way (arrivalOf), and each send is held back so all ways of a track arrive together (sendDelays). Taps are wired again whenever a chain comes or goes. - The Song tab has Timeline and Routing in its header. The routing uses GraphCanvas with an empty palette. A track linked nowhere shows "Goes nowhere". Delete takes links, never a track node. - Game playings route the same way, the output being the master of the playing. Decided without asking: a send ranges -60 to +12 dB like a track, default 0 dB Post. Mute closes the sends, the track's own level stays. Found on the way: the inspector built the Mode row with the send as it was when the rows were made. Setting Volume and then Mode wrote the old volume back. Both rows now read the current send when they change. Tests: - Unit song-routing (new): 13 green. Sound library: 4 new, 94 green. 11 counter-probes (loop on load, canConnect, solo, solo past the soloed track, mute, preFx latency, graph sync, delete guard, delays, taps, glide), each red. - Existing tests adjusted to the new bus names and send shape: song, bus-fx, song-play, graph registry, edge description. - e2e 65 on melektaus-atx: ALL PASSED, 43 checks (5 new). The first run caught the inspector bug. Counter-probe with the old closure: 2 FAILED. - Gate on melektaus-atx: typecheck, lint, format clean, 2 tests red (registry rule, edge shape), fixed and rerun locally: 56 green. - Not rerun after the per-send solo fix: e2e 65 and the gate. 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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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> |