ce933a4f321acdceb7d93838e7fddb3403ad33fc
100
Commits
| Author | SHA1 | Message | Date | |
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  adminandClaude Opus 5.5
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ce933a4f32 |
Let a drag change only the picked clip in the Sound and Video tab (#403)
A drag with a clip picked could span a new clip in the strip or span the picked one anew over the wave. Both happened by accident while working on a clip. Now a drag only makes a new clip while none is picked. With one picked it moves its edges or the whole of it. - With no clip picked, a drag in the strip or over the wave (in the Video tab the track) spans a new clip, as before. - A click over the wave or in the track picks the clip at that point, as a click on its band does. Beside the clips it picks the sound or the video. The picked clip wins where clips lie over each other. - With a clip picked, its handles move its edges as before. A drag on its band in the strip moves the whole clip, its length kept and inside the file. Any other drag does nothing. - The rules live in waveView.ts (clipGrip, clipToPick, movedSpan) and both tabs use them. The cursor shows grab over the picked band. - The Video tab's track draws the clips not picked faint, as the wave does, so a click there has something to aim at. Tests: - Unit wave-view.test.ts: 16 tests (4 new) - Counter-check: a strip drag beside the picked clip spanning a new one again fails the picked-clip rule test - e2e 34 + 66 (atx): ALL PASSED, 162 checks, 1 new check in each - Gate (atx): 295 files, 4527 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c815d2c35f |
Keep a playing video when the window comes back to the front (#402)
Chrome draws no frames for a hidden page, so the scene stopped asking
for its videos. The sweeper of the VideoLibrary kept running and
dropped every player after 2 s. Back in the window, the video started
over, and Pixi warned that a texture source was destroyed while still
bound to a shader.
- The sweeper skips a hidden page. The time hidden does not count as
idle, the 2 s start once the page is shown again.
- A dropped player only unloads its video source instead of destroying
it. A shader that still holds the source no longer warns.
- CI serves videos through a new router for php -S. The built-in
server answers no Range requests, so Chrome could not seek. e2e 66
had 4 red checks in the suite job of
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adminandClaude Opus 5.5
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d48f174caf |
Play videos on sprites, converted on the server with clips (#402)
A video becomes an asset like a sound: uploaded once, converted to one format by a worker of its own, cut into clips in its tab, and worn by a sprite through its Texture row. Only Chrome is a target, without alpha. - Server: POST ?r=videos queues the upload under the hash of its bytes, so the MP4's name is known at once. The worker (VideoWorker over VideoFormat) writes H.264/AAC, yuv420p, constant frame rate, a keyframe every 15 frames, at most 1920x1080, with a poster and the details beside it. A failed job says why and is tried again on the next upload. - An upload may be up to 2 GB. It is streamed from the request to disk and hashed there, so php-fpm holds none of it in memory. The other routes keep their 256 MB. - The worker runs in the container game-maker-video on stein2, a compose project of its own (tools/video/), and in CI beside the PHP server. The CI image has ffmpeg for it. - Model: asset type video with size, length, frame rate and sound, and clips like a sound's. The clip helpers and commands serve both. - A sprite's Texture row offers videos and clips after the pictures. resolvePicture names a playing video by a key, and the texture library hands it to a VideoLibrary with one player per key. - The editor shows a placed video as a quiet preview. Play starts it over at its clip's start and lets it be heard through the master bus, a pause holds it, Esc makes it quiet again. - Video tab: the picture, a ruler, the clip strip and a track on the Sound tab's time axis. A drag spans a clip, a handle moves an edge, Play plays the picked clip. - The picker shows a video on its way with its progress and adopts an upload from it once it is ready. Dropping a video file does the same. Decided on my own: - Two sprites wearing the same clip share one player and show the same picture. Control per instance belongs to the follow-up with nodes. - A video plays in real time, the game's time scale does not slow it. - The container may use 3 of the 4 cores of stein2. Findings: - The first real upload (279 MB) got 413: the API's own ceiling of 256 MB for every request, not nginx or the Brandmauer. - Chrome has no picture of a video that never played, and a Pixi VideoSource drawn before the first frame stays empty for good. The texture is made in the first frame callback (openVideo). - A player nobody asks for in 2 s is let go. The inspector's PREVIEW asked only on an edit, so with the sprite not on screen its texture was destroyed under it and the batcher threw on every frame. The preview now redraws every frame while it shows a video, like a Time shader. A let-go texture keeps an empty source instead of none. - VideoSource.load() reloads the element and cuts off an earlier play(). Playing starts after loadeddata. Tests: - PHP videos.test.php: 68 checks, with the real ffmpeg - 300 MB upload through Brandmauer and nginx: 201 in 21 s, php-fpm at 13.7 MB RSS at most - Unit videos.test.ts: 20 tests - e2e 66 (stein2, atx was off): ALL PASSED, 18 checks; e2e 04 with the new asset count green - Gate (atx): 294 files, 4520 tests. serialize.test.ts used video as its example of an unknown type and now uses a made-up one. - Counter-checks: a keyframe gap of 30 fails the PHP check, a key that keeps the video's end fails 2 unit tests, a clip without its end fails "plays only its stretch" in e2e 66 Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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2f376262d3 |
Let the Reverb's screen ring out and its reflections drift (#401)
The round screen of the Reverb stood still. It now moves, only for the look of it, and says nothing it did not say before. - The sound rings out again and again in real time. The dot in the middle flashes, and a thin front runs out over the rings as fast as the tail does. It fades as the tail falls, then 0.8 s of quiet. - A reflection lights up for a moment once the front has passed it. - The reflections turn slowly round the dot, each at its own pace and way (at most 0.16 rad/s). They sway 1.5 px in and out and twinkle. Their drift comes from a noise of its own, so they sit where they always did. - Rings, grid and dashed end stay one drawing. Only the dots, the front and the flash are drawn again each frame. - Nothing moves without a tail to see: no sound picked, or wet at 0. Tests: - reverb-view: 13 tests green (3 new) - e2e 34 on melektaus-atx: ALL PASSED, 144 checks - gate on melektaus-atx: 293 files, 4498 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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742f240a62 |
Make the Bitcrusher and Delay plates shorter (#399, #393)
Both devices were 280 tall, but their knobs end well above that. The gap between the lamps or levers and the knobs was wide, and below the knobs about 70 units stayed empty. - The Bitcrusher is 680x220. Its knobs sit 14 higher, closer to the row of bit lamps. - The Delay is 680x224. Its knob groups start 16 higher, closer to the two levers. - The screen's frame is now worked out from the plate's bottom edge. It stays as far from the bottom as from the side, so the screen shrinks with the plate (116 and 120 tall). Tests: - crusher-view and delay-view: 30 tests green - e2e 34 on melektaus-atx: ALL PASSED, 144 checks - gate on melektaus-atx: 293 files, 4495 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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6383cc0d8e |
Show a Sample node as a device that draws its waveform (#400)
The Sample was the last node of an instrument that still showed rows. It now draws the sound or clip it plays, so the loop and what plays after the note can be seen instead of read off two numbers. - SamplePanel, SampleFace and sampleView: a compact gold plate of 480x280 with the sound picker beside the name, a waveform screen, the four ways of playing it as buttons two by two, the root as a knob that reads as a note, a lever for following the note and the loop's start above its end. - The waveform comes from the library's peaks of the played sound, a clip's own cut included, scaled by the sound's volume. It is loaded on demand as the Reverb's sound is. - Each part has its colour: played once, looped, played after the note, never heard. The loop is held as playback holds it: an end of 0 or past the sound is the end, a start not before it loops all of it. - Idle settings come from the node's own idleParams, so the device greys out what the rows did. - A new instrument places its Output at x 840, past the device. At 460 it lay under the Sample. - Hook __gm.sample.panel and a check in e2e 34 behind the first instrument check. Tests: - Unit sample-view: 11 tests, new. pattern and chip-presets green. - e2e 34 (atx): ALL PASSED, 144 checks (1 new). - Gate (atx): 293 files, 4495 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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a6c00f7b8b |
Show a Bitcrusher node as a device that draws its pixels (#399)
A Bitcrusher only said what it does in rows of numbers. How coarse its steps and holds are could not be seen. Now the node is a device of its own size. Its screen sends a sine through the node's own crush and draws what comes out in cells, as tall as a step and as wide as a hold, so the coarser the crush, the coarser the picture. - CrusherPanel draws a 680x280 plate in bubblegum pink. Bits and rate are large knobs, wet is small. Rate gives its low end more of the turn, 8 kHz sits just past the middle. - crushTrace runs a 440 Hz sine at 0 dBFS through Crusher at 48 kHz and blends it as the worklet does. Where each hold starts comes from Crusher too: a ramp through it at 16 bits takes a new value per hold. - cellOf shapes a hold. From 5 px a step or hold gets a grid line and a gap. Finer steps give a 2 px bar. A cell is never more than twice as tall as wide, so 1 bit gives bars at -1, 0 and 1. - The screen shows two periods, or 6 holds where the rate is low. The sine going in is a grey ghost. Below wet 1 the heard line lies over the cells. - Above the screen a word for how crushed it is, CLEAN to BROKEN. Under it the noise the bits leave and where the rate folds back. - 16 lamps show the bits kept, the highest on the left. A CRUSH lamp beside the name glows the more it crushes. - COLUMNS_OF gives the Bitcrusher 4 columns in the presets. - Hook __gm.bitcrusher.panel(id) for the sound FX and instrument graphs. Decided myself: - The screen is still. Nothing on it moves, so tick() says false. - How crushed counts whichever of bits or rate takes more, the rate in octaves, times wet. Found: at 8 kHz the first hold is 7 samples long, the rest 6. Six sixths add up to just under 1 in Crusher. The worklet does the same, so the screen shows what is heard. Every sfxr effect preset ends in a Bitcrusher and gets 3 columns wider. The Laser preset still fits whole on Fit. Tests: - Unit: crusher-view 13 tests (new). The screen matches Crusher with its wet on three settings. - Counter-test: without the wet in the blend the worklet test fails. - e2e 34: ALL PASSED, 143 checks (1 new). - Gate: CHECK EXIT 0, 292 files, 4484 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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b145e1f288 |
Draw the Flanger's comb as a thin line with a fading trail (#398)
The comb was still drawn too heavy. Each frame showed the whole band
the comb had swept over the last 1/20 s, edged by two lines 1.5 wide,
and the faster the delay moved, the thicker that band got.
- flangerLine draws the comb where the light is as one line, 1 wide.
It runs through the ends of each column and the peaks and notches
in it, where they are. A comb finer than a column zigzags over it.
- Behind the line a faint trail shows what the comb swept over the
last 1/20 s, and over the last 1/40 s once more, so it fades with
age. A Flanger that stands still has none.
- The line fades out where its teeth move more than a quarter of a
tooth within the trail (clearAt), and is gone from half a tooth on.
There only the calm band of the trail is left, so nothing flickers.
- responseFrame gives the screen the line, how clear each point is,
the sharp columns for the notches and the trail. It replaces
responseColumnsOf, and RESPONSE_BLUR is now RESPONSE_TRAIL.
- The notches are counted on the sharp comb again, not on the band.
- The Phaser's response is drawn as the same thin line, without a
trail.
Tests:
Unit modulation-view (stein2): 26 tests, 2 new. The line holds the
comb's dB at each point and every notch. On a fast swing it fades
out over 8 kHz, stays clear under 1 kHz, and the trail is the same
band over 16 kHz in three frames. A still Flanger has no trail.
Counter-check: with clearAt always 1, the fade test fails.
e2e 34 (atx): ALL PASSED, 142 checks.
Gate (atx): CHECK EXIT 0, 291 files, 4471 tests.
Pictures of the default Flanger, a fast one (2 Hz, 5 ms) and one
sweeping to 20 ms, and of the Phaser: a thin line, the trail
behind it, a calm band high up.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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f9a953f3d3 |
Keep the Flanger's comb calm and smooth where its teeth crowd (#398)
High up the Flanger's comb flickered and looked pixelated. Each column
of its screen took six readings, and its teeth pass there faster than
frames are drawn, up to 0.4 of a tooth a frame at 15 kHz by default.
Each frame caught other teeth, and each column was drawn as a sharp
rectangle.
- flangerColumns reckons each column exactly. The response only hangs
on the phase, and between two multiples of pi it runs one way. So a
column holds its lowest and highest at its ends or on the peaks and
notches inside it.
- Each frame is blurred over the delays of the last 1/20 s
(RESPONSE_BLUR), about what an eye blends. Where teeth pass faster
than that, they become a calm band from the deepest notch to the
highest peak. Further down, where they can be followed, they stay
sharp and move.
- The response is drawn as a band between two smooth lines through
the columns, no longer as one rectangle per column.
- responseColumnsOf picks the Phaser's readings or the Flanger's exact
columns. responseDb had no caller left and is gone.
Measured before choosing the blur, as the mean change of a column from
one frame to the next on the default Flanger (2-5 / 5-10 / 10-20 kHz):
readings as before 5.6 / 10.6 / 14.3 dB
exact, no blur 5.5 / 10.2 / 12.9 dB
exact, 1/60 s 5.0 / 7.6 / 4.0 dB
exact, 1/20 s 3.9 / 2.6 / 0.04 dB
Under 5 kHz most of what is left is the teeth really moving.
Tests:
Unit modulation-view (stein2): 24 tests, 2 new. The exact columns
hold what 4000 readings a column find there, and a fast swing
leaves the same band over 16 kHz in three frames in a row.
Counter-check: without the peaks and notches inside a column, both
new tests fail.
e2e 34 (atx): ALL PASSED, 142 checks.
Gate (atx): CHECK EXIT 0, 291 files, 4469 tests.
Pictures of the default Flanger and of one sweeping to 20 ms, near
and far, two of each 40 ms apart: smooth edges, the band the same.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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b6749cc43d |
Show Tremolo, Vibrato, Phaser and Flanger as devices that swing (#398)
The four effects that swing were still drawn as rows of numbers. Like
the Delay, the Saturation and the Limiter, each node now shows a device
of a fixed size. Its screen draws what it does over the first seconds
of a sound, and a light plays that in real time, over and over.
- One device for all four (ModulationPanel, ModulationFace and
modulationView), as KnobPanel is for Gain, Pitch, Mix and Pan. A short
description gives each its title, plate, buttons and knobs.
- Tremolo, 640x280 in cream: a wave its volume shapes, the volume as
its outline. It says DOWN TO 50%, EVERY 200 ms and DIPS -6 dB.
- Vibrato, 640x280 in plum: the pitch in semitones, cool below and warm
above. Under a wet below 1 the dry pitch stands beside it. It says
how late the voice is (LATE 0.93 ms).
- Phaser, 760x280 in mustard, and Flanger, 680x280 in steel blue: the
response from 20 Hz to 20 kHz, and under it a lane of the turn or the
delay over time. The response is drawn where the light is, so the
notches swirl and the comb jets. A comb finer than a column fills it.
- The light loops over 1, 2, 4 or 8 s, two LFO swings at least, for a
Flanger as long as its sweep takes to reach 20 ms. The face only
keeps the editor drawing while something swings and is heard.
- A Rate lamp beside each name goes from dark to lit with the swing.
- Nothing is listened to. The pictures use the worklets' own numbers:
lfoAt, vibratoSpeedUp (now exported from lfo.ts), the allpass chain
with its feedback, and the comb, reckoned at 48 kHz.
- Phaser and Flanger take 4 preset columns. Phased Pad was looked at
in a picture, nothing overlaps.
- Exported from nodes.ts: LFO_SHAPE, lfoShapeOf, TREMOLO_ROWS,
VIBRATO_ROWS, PHASER_STAGE_ROW and phaserStagesOf. FLANGER_MAX_MS is
exported from phaser.ts.
Decided here, as the request left the look open:
- A notch counts where the response falls below -3 dB, not some dB
under the loudest point. Feedback rings peaks far above 0 dB, and the
first rule counted 7 notches on a Phaser of 12 stages.
- Rate and Depth of Tremolo and Vibrato are big knobs, Wet is small.
Tests:
Unit modulation-view (stein2): 22 tests, new. Phaser and Flanger
give the dB of their worklets on a sine within 0.005 dB, the
Tremolo its samples, the Vibrato the pitch it reads at.
Counter-check: with the sign of the Phaser's feedback flipped in one
place, exactly the worklet test fails.
e2e 34 (atx): ALL PASSED, 142 checks, 4 new. Each device has its
size, its ports outside, a light that runs by itself, and a button
and a knob as one undo step each. Picking 8 stages on the Phaser
draws 4 notches.
Gate (atx): CHECK EXIT 0, 291 files, 4467 tests.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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28909f0adf |
Show a Limiter node as a device that holds what it took away (#397)
A Limiter only said what it does in rows of numbers. How much it took away, and when, could not be seen at all, and a short sound is over before any needle could show it. Now the node is a device of its own size, and its screen catches the reduction from the moment a sound starts and holds it once the sound ends. - LimiterPanel draws a 720x280 plate of brushed brick. The threshold knob is large, ceiling and release are small beside it, auto-gain is a lever. A LIMIT lamp lights while it takes something away. - The screen hangs the reduction down from the top, 0 to 24 dB by the square root like the Compressor's meter. The level coming in runs along the bottom, orange above the limit. Time runs from the start of the sound over 1, 2, 4 or 8 s, and a longer sound rolls. - ReductionCapture in limiterView holds the capture after 0.4 s of silence, without the silence, until the next sound. It writes the most taken away and when, and NOW or LASTED on the right. - The Limiter is tapped now, like the Compressor. The face reads the loudest sample since the last frame on both sides. - SpectrumTaps.levels takes a lateBy. The side in front is read 5 ms earlier, so a peak going in is met by what it became. - limiterReduction leaves the auto-gain out and solves Wet's blend for the limited part. Less than 0.2 dB counts as none. - A capture is also held when the node leaves the picture. Changing a knob or the lever leaves it as it is. - Hook __gm.limiter.panel(id) for the sound FX and instrument graphs. Decided myself: - The capture stays held until the next sound, not for a fixed time. - The screen has no wet knob, as the Compressor's has none. - The Limiter's two taps cost two gains of 1 per voice. The analysers only exist while the node is in the picture. Measured on stein2: the seeded blip at -4.4 dBFS against -12 dB showed 7.56 dB. Three hits at 0, -8 and -2 dBFS showed 11.9 dB at the first. In e2e 34 on melektaus-atx, -10.44 dBFS in against -20 dB showed 9.56 dB, the difference to the hundredth. Tests: - Unit: limiter-view 13 tests (new), spectrum 6 (1 new), soundfx 67 with the Limiter's taps. - Counter-test: without Wet's share in the formula the blend test fails. - e2e 34: ALL PASSED, 138 checks (1 new). - Gate: CHECK EXIT 0, 290 files, 4445 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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80b25488ce |
Show a Saturation node as a device that glows with its drive (#396)
A Saturation in the graph was a stack of rows. The user wanted a device of its own style and size, like the Delay and the Reverb, that shows warmth and heat the harder the sound is driven. - The node is a copper plate of 720x280 with a button per type, the auto-gain lever, a big drive knob and small knobs for tone, output and wet. Each change is one undo step, wired numbers lock their knob. - The screen draws a sine at -12 dBFS, the level auto-gain is reckoned at, as a grey ghost. Over it is the wave that comes out: bent by the type, its DC taken out, auto-gain and output after it, blended by wet. Under it stand the auto-gain and the peak. - The heat is the drive over 48 dB, as far as wet lets it be heard. The wave goes from cold steel through ember red to white, a glow rises from below and flickers, and embers fly up from about 8 dB on. A lamp beside the name glows with it. - The node keeps the editor drawing only while there is heat. Without drive it draws nothing, unlike the Delay, which always animates. - The Reverb's private type button is now PickButton with its own colours, and the Saturation's type buttons use it as well. - No instrument preset uses a Saturation, so no preset needs more columns. Tests: - Unit saturation-view: 14 new tests. - Counter-check: without taking out the DC, exactly the DC test fails. - e2e 34 (atx): ALL PASSED, 137 checks, one new for type, lever and drive with undo. - Gate (atx): CHECK EXIT 0, 289 files, 4431 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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8c53ce0cbe |
Replace the 5-Band-EQ with the Parametric EQ and remove it (#395)
The Parametric EQ does all the 5-Band-EQ did and more, so the editor keeps only one EQ. The old node was used in one project only, with nothing linked to its band inputs. - "Garden of Sacrifices" was converted once on the project file, not by a load migration (#137). Its 5 nodes are Parametric EQs now with the same filters: low shelf 80 Hz, peaks at 250 Hz, 1 kHz and 4 kHz with Q 1, high shelf 12 kHz. A band at 0 became no band. - Two values below -24 dB were held to -24, as the Parametric EQ goes no further. Both are in the asset "Delay" (high -60, low -36). The user will rework them by ear. - The write went through the API's own Store (lock, revision 20181 to 20182), so a tab with the old revision gets a 409 instead of overwriting it. - Removed with the node: its stage kind "filter" and the type FxFilter, which nothing else made, and the player's branch for it. A Pan is now the last branch of fxNodes, a Flanger that of stagesOf. - Tests that took the 5-Band-EQ as "some effect" use the Pan or the Parametric EQ now. The test for a parameter feeding a band now feeds the cutoff of a Filter, which had no such test yet. - A project that still names the type, such as an old snapshot of "Garden of Sacrifices", loads without those nodes. Unknown types were always left out on load. Tests: - Unit (stein2): soundfx 67, instrument 36, envelope 13, sound-library 127, all green - Counter-check: with the cutoff not taken from the parameter, only the new Filter test goes red - The converted project loads and compiles: Delay, Vocals and Drums play their bands (3+1, 4 and 5) - e2e 34 (atx): ALL PASSED, 136 checks, the palette check now looks for the Parametric EQ - Gate (atx): CHECK EXIT 0, 288 files, 4417 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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cb3183227b |
Keep drags at full speed in large projects (#394)
Dragging a band of a Filter or a Parametric EQ ran at about 30 fps in a large project. Each frame of a drag announces the changed project, and every listener of that event ran, also those whose work nobody sees while the drag goes on. - FramePreview marks its own frame, read through isDragFrame(). - The Scene view behind another tab skips such a frame and draws on coming back, as it already did while a game runs (#265). - preloadProjectFiles skips it as well. It walks every asset and checks every bake, which costs milliseconds in a large project. - The command that ends a drag emits for itself, and a drag that changes nothing ends with a plain preview, so both catch up then. - This holds for every drag through FramePreview, the knobs of the devices in the graph included. Measured on stein2 with a copy of a project of 162 assets, a band of a Parametric EQ dragged at 250 pointer moves a second for 3 s: - Listeners per frame: 17 ms before, 7.4 ms after. - Hidden Scene view: 814 ms before, 53 ms after. - preloadProjectFiles: 514 ms before, 0.4 ms after. - What is left is mostly the Hierarchy and Assets panels on screen (about 3 and 1.3 ms a frame). They stay as they are. Tests: - Unit frame-preview, play-throttle: 29 passed (1 new) - Counter-check: without the mark the new test fails - e2e 34 (melektaus-atx): ALL PASSED, 136 checks - Gate (melektaus-atx): CHECK EXIT 0, 288 files, 4417 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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3f7eb03143 |
Check what a streamed sound holds by the library's own count (#378)
The e2e check that a streamed sound costs less than a decoded one compared how much the renderer process grew. Alone, module 34 saw it grow by 1 to 8 MB while streaming. After the 33 modules before it in CI it grew by 25 to 66 MB, and suite went red (CI tasks 611, 614 and 617, the last with 66.7 MB streamed against 95.9 MB decoded). - SoundLibrary.stats tells decodedBytes, the samples of every file decoded whole, and streaming.held, every head of a copy and what is sent ahead to the worklet. - StreamFile.headBytes and StreamFeed.ahead give their share. - The e2e check now asks the library: streamed it holds less than 4 MB more than before and nothing decoded whole, decoded it holds more than 40 MB, the five minutes being 50 MB at 44.1 kHz. - The growth of the renderer stays in the log of that check. The counter-proof that the renderer grows by more than 40 MB when the sound is decoded stays as it was. Tests: - Unit sound-library: the streaming test also checks the bytes held. - e2e 34 (melektaus-atx): 136 checks. Streamed 0.76 MB more held and none decoded whole, decoded 50.5 MB. The renderer grew by 4 MB and 49 MB. - Gate (melektaus-atx): 288 files, 4416 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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d4a45c127b |
Show a Delay node as a device with its echoes over time (#393)
After the Chip, the Envelope, the Reverb and the one-knob devices, the Delay is drawn as a device of its own size too. Its screen shows what time, feedback, damping, wet and ping-pong make of a sound, and a light runs over the echoes at the beat they come at. - DelayPanel: a 680x280 plate in the Compressor's brushed aluminium, now exported as ALUMINIUM. A screen, levers for Sync and Ping-pong, knobs for Time, Feedback, Damping and Wet, and an Echo lamp. - The screen draws the sound as a white bar and each echo as a bar one step later. A bar is as tall as the echo is loud, evenly in dB to -60. It turns from warm white to rust as the damping takes the highs. With ping-pong the bars alternate above and below, the first left. - At most 24 bars are drawn, and the screen says how many more are heard. Under it stand the step and the end of the tail, above it where the highs of the first echo end. - The running light: DelayFace.tick returns true while the node is in the picture, so the editor keeps drawing, as for the Particles tab. The light goes round the span in real time, a bar glows as it is passed, and the lamp blinks with every echo but not with the sound. - On beats the screen counts at 120 BPM, as the tempo of the voice is not known in the graph. The time knob then names the note, dotted and triplet ones included. In seconds, 2 s and up reads "2 s max". - delayView holds the rules apart from the drawing: layout, tapers, echoTrain, echoCutoff for k rounds of the Butterworth low-pass, sweepAt and the texts. At wet 0 the rest is drawn faint. - delayEchoes in the core counts the echoes heard. The tail of a voice and the screen use it both. DELAY_ROWS, DELAY_SYNC and PING_PONG are exported. - Knob.reformat writes the number anew when its format changes, here when Sync switches between seconds and beats. - The test hook __gm.delay.panel returns knobs, levers, idle settings, the echoes drawn, the texts and where the light is. - Instrument presets give the Delay 4 columns. Echo Lead and Bell use one. In the picture of Echo Lead nothing overlaps. Found on the way: a node with a face draws no setting rows. The e2e check of a bypassed Delay (#354) read "Bypass: true" from them. It now checks the faded node and the stages heard, as before. Tests: - Unit delay-view: 17 tests, new. Counter-check: the first ping-pong echo on the right turns the side test red. - e2e 34 (melektaus-atx): 136 checks, 1 new. - Gate (melektaus-atx): 288 files, 4416 tests. - Pictures looked at: default, ping-pong, beats with damping, 83 echoes at 50 ms, wet 0, and the preset Echo Lead. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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389d9555fa |
Show a Pan node as a one-knob device in cyan (#392)
After the Gain, the Pitch and the Mix, the Pan is the next node that is just one number. It now gets the same device in the graph instead of a row for its pan. - PAN_DEVICE: the Gain's 160x160 plate in cyan with one bipolar knob for Pan. The middle stands straight up, and the turn goes evenly to L and R, which are engraved at its ends like A and B on the Mix. - PAN_TAPER in hardwareView is 1, so left and right are heard alike. Device and unit test read the same constant. - PAN_ROW is exported from the core, so the knob has the node's range. - A linked Pan greys the knob, as for the Gain. - The test hook __gm.pan.panel returns the same shape as the Gain's. - No instrument preset uses a Pan, so no preset columns change. Tests: - Unit hardware-view: 17 tests, 2 new (the turn, and L and R inside the plate and clear of the screws). Counter-check: PAN_TAPER 2 turns the turn test red. - e2e 34 (melektaus-atx): 135 checks, 1 new. - Gate (melektaus-atx): 287 files, 4399 tests. - Pictures looked at: Gain, Pitch, Mix and Pan in a row, Pan at -0.35. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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fe4e0d9f1a |
Snap to the grid from the start in every graph tab (#391)
Laying out a graph by hand mostly means lining nodes up, so the magnet was switched on in nearly every session. Every graph tab now starts with it lit: Behavior, State machine, Shader, Particles, Sound FX, Instrument, the song's Routing and the Routing tab. - SnapToggle takes the state it starts in and lights its button to match. GRAPH_SNAPS_AT_FIRST sets it for the toggles and for GraphCanvas alike, so button and canvas cannot disagree. - Curve and Vector Art are no graphs and still start without it. - New hook __gm.graphSnapping(on?) reads every graph tab's magnet, or "mixed" where button and canvas differ, and switches them all. - The e2e harness reads the magnets after each navigate() and then switches them off, as it already sets the zoom transition to 0. Most checks drag a node to an exact spot. e2e 45 does the same itself, because the editor comes up there through the sign-in. - e2e 06 checks that all eight graph tabs started with the magnet on. The checks in 06, 26 and 65 that read it off now say they read what the harness left. Tests: - Unit snap-toggle: 4 tests, 1 new (lit at first, nothing asked of the target before a click). - e2e 06 (melektaus-atx): 150 checks, 1 new. e2e 34: 134 checks. - Gate (melektaus-atx, together with #390): 287 files, 4397 tests. - Pictures looked at: none, the state comes from the hook. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e70954115c |
Show Pitch and Mix nodes as one-knob devices in green and blue (#390)
The Gain has been a small device with one big knob since #384. The Pitch and the Mix are just as much a single number, so they now look and work the same way. The Mix also gets a lever for its curve, which until now was only a row in the inspector. - GainPanel and GainFace become KnobPanel and KnobFace. Each node is described by a KnobDevice: its plate, its row, how the knob turns, and an optional lever. The Gain looks as before. - Pitch: a green 160x160 plate with a bipolar knob for Semitones. 0 stands straight up and taper 2 puts an octave at 43 % of each half, so small steps near 0 are easy and the full +-64 is still there. - Mix: a blue 180x200 plate, the lever on top and the knob below. The knob has A and B engraved at the ends of its turn. The lever reads "crossfade" down and "both at center" up with its lamp lit. A flip is one undo step. - A wired Semitones or Mix greys the knob, as for the Gain. - The instrument presets give Pitch and Mix two columns. In the graph they are 281 and 261 units wide, more than one column of 240. - The test hooks __gm.pitch.panel and __gm.mix.panel return the same shape as __gm.gain.panel, plus the lever. Tests: - Unit hardware-view: 15 tests, 3 new (Pitch turn, lever above the knob and ends on the Mix plate). Counter-check: taper 1 turns the Pitch test red. - e2e 34 (melektaus-atx): 134 checks, 1 new. - Gate (melektaus-atx, together with #391): 287 files, 4397 tests. - Pictures looked at: Gain, Pitch and Mix in a row, Pitch at -24.5, Mix with both curves, the Bell preset without overlaps. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e8021b1fd3 |
Show a Reverb node as a device with a round screen of its tail (#389)
The Compressor, the Gain, the Chip and the Envelope are devices in the graph. The Reverb was still a list of rows, and how long and how dark its tail rings was left to the numbers. - The node is a plate of 640x280 in pale lavender. Its inputs are on the left, its output on the right. - A round screen draws the tail as rings out from the sound. A ring's radius is its time, as the root of its seconds, on one scale up to 10.5 s for every Reverb. So a Room is a small disc and a Cave fills two thirds. - A ring is as bright as the tail is loud there, evenly in dB. Its colour is how much of the highs is left, from ice to violet, with the cut-off of the impulse response (reverbCutoff, now shared). - The pre-delay is a dark gap round the dot, a dashed ring marks -60 dB. Seeded dots stand for the reflections. Wet fades the tail against the dot. - A type of Sound draws the peaks of its sound from the library, each against its loudest. It says LOADING until they are there. - A button for each type, a list of the sounds and four chrome knobs: Decay, Damping, Pre-delay and Wet. - A knob the type does not take is greyed but turns. It goes over to Custom with the type's numbers, as one undo step. Picking a sound makes the type Sound, also one step. - NodeParamDrag can write several settings as one drag for that. - Test hook __gm.reverb.panel(nodeId), for the sound FX and the instrument graph. Tests: - Unit reverb-view: 10 new tests for the plate, the knob turn, the numbers per type, the scale, the tail and the texts. A screen that ignores damping turns the highs test red. - e2e 34 (atx): 1 new check (device between its ports, decay knob of a Hall goes to Custom as one undo step, Cave button, a sound from the list makes it Sound and draws that sound). - Probe pictures on stein2: Room, Hall, Cave, Plate, Custom with damping 1 and pre-delay 0.3 s, Sound. - Gate (atx): CHECK EXIT 0, 287 files, 4393 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c75e72d4ee |
Show an Envelope node as a device with its ADSR curve (#388)
The Compressor, the Gain and the Chip are devices in the graph. The Envelope was still a list of rows, and its shape was left to the imagination of whoever read the numbers. - The node is a plate of 520x280 in pale sea green. Its inputs are on the left, out and value on the right. - A dark screen draws the curve over a note in amber. A letter sits above each stage, its time below it, and the sustain in percent above its line. - The time on the screen is squeezed. Each stage is as wide as the root of its seconds, at least 3 %, and the hold has a fixed fifth. So 5 ms of attack still shows beside a release of 3 s. - The falls use SETTLE, as the player does. With sustain 0 there is no hold and no release, and the screen says NOTE ENDS. - Attack, Decay, Sustain and Release are chrome knobs. The times use taper 4, so 5 ms sits an eighth of the way and 1 s not quite half. - From and To have no range a knob could turn through. They are NumberFields on the plate, typed in or scrubbed. - The decay at sustain 1 and From/To while nothing takes value are faded. While a link takes value, the bezel says what it moves between, as VALUE 400 TO 3500. The UI font has no arrow. - Instrument presets give an Envelope 3 columns of 240. - Test hook __gm.envelope.panel(nodeId). Tests: - Unit envelope-view: 6 new tests for the plate, the knob turn, the idle settings and the curve. A linear decay turns two of them red. - e2e 34 (atx): 1 new check on the Laser preset (device between its ports, curve ends with the decay, decay knob and scrubbed To field each one undo step). - Probe pictures on stein2: Synth Brass preset, pad, pluck, organ and an Envelope whose value moves a Chip. - Gate (atx): CHECK EXIT 0, 286 files, 4383 tests. The first run was red on the font test (#214) for an arrow in the bezel text. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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ab37d3423a |
Let graphs zoom out to an eighth (#387)
With the Chip and the Filter drawn as devices, a preset such as the Laser is about 3060 units wide. In a window of 1280 px a fit then hit the floor of 0.25 and cut the Notes node off on the left. - ZOOM_LIMITS.min goes from 0.25 to 0.125. The graph zooms without steps, so one more step is the floor halved. 0.125 is also the smallest step of the scene view. - It holds for the wheel, for Fit and for the node board of plugins. - The grid still hides itself below 8 px, so it does not flicker. Tests: - Unit plugins and graph-framing: 55 tests green, the floor test now expects 0.125. - e2e 06 (atx): ALL PASSED, 149 checks. Only a comment that named 0.25 changed there. - Gate (atx): CHECK EXIT 0, 285 files, 4377 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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eb78f3cbf3 |
Show a Chip node as a device with its wave and its pitch (#386)
The Chip had eleven numbers in rows and nothing that showed what they do to a note. Its node is now a device of one size like the Compressor's, and two screens draw the wave and the pitch from the settings, worked right in the instrument graph. - ChipPanel is 840x280 in the warm grey of a handheld console. A button per wave, the "follow note" lever and a chrome knob per number, grouped Oscillator, Slide, Vibrato, Arpeggio and Repeat. - The wave screen draws two periods as loud as the Chip plays them, a square at its duty. toneValue and periodicSteps come out of chip.ts, so the screen and the worklet share one formula. - The pitch screen draws what slide, delta slide, vibrato, arpeggio and repeat make of the pitch over a note. It ends where the note falls below "min frequency" and starts from A4 while the Chip follows the note. - Idle settings are faded, wired ones greyed and locked, as the rows were. Every change is one undo step. - Knobs take a bipolar range: 0 straight up, the taper bends each half. Slide, delta slide, duty sweep and arpeggio use it. - The Compressor's auto-gain lever is now a Lever with a name of its own, which the Chip uses for "follow note". - Presets give a Chip five columns, as a Filter has four since #385. Found on the way: - With the Chip this wide the Laser preset is about 3060 units. In a 1280 px window Fit stops at the least zoom of 0.25 and cuts the Notes node off. The zoom limit is left as it is. Tests: - Unit: chip-view (9 new), knob (1 new), chip, chip-presets and hardware-view, 53 green - e2e 34 on melektaus-atx: ALL PASSED, 131 checks (1 new). The first run was red on the check itself: a Laser's "min frequency" can lie above A4, and the screen then rightly says the note ends at once. - Gate on melektaus-atx: CHECK EXIT 0, 285 files, 4377 tests - Counter-check: a square drawn with its duty mirrored turns the wave test red Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c087993000 |
Edit a Filter in its node and resize EQ and Filter nodes (#385)
A Filter sounds like one band of the Parametric EQ, but it keeps what the EQ cannot: linked numbers, the all-pass and +-40 dB. So it stays a node of its own and gets the EQ's editor with itself as the one band. The editors also stop running out of their room: what does not fit is left out instead of being cut. - The curve of the EQ is now BandCurve with a host the EQ and the Filter both fill. CurvePanel holds what their panels share. - FilterPanel shows the Filter as one band. A drag of its handle sets frequency and gain as one undo step. A number fed by a link is greyed out and the drag leaves it alone. - A double-click on the Filter's title opens the same in a tab of its own. Delete there does nothing, the node stays. - The Filter is tapped like the EQ, so its node and its tab draw the spectrum of what passes it. A tap is two gain nodes per voice, the analysers are made only while someone listens. - EqFace and FilterFace are one CurveFace now, given the panel. - EQ and Filter nodes have a corner to resize them, drawn like the floating window's. The size is saved on the node as `size`, each drag is one undo step, the least is 240 x 120. - In the node the help line is gone. The row of numbers comes in only once the curve keeps 120 px of height. A group of the row that does not fit is not drawn, the one on the right first. - A frequency or dB label that would run into the one before it is left out. - The all-pass is drawn flat. The curve's maths takes every shape a Filter has. Found on the way: - The instrument presets set nodes 240 apart. A Filter with its editor is about 700 wide and covered the Bitcrusher, so a Filter now takes four columns. Tests: - Unit: 8 new (filter band, resize command and save, fitting rules), stage lists with a Filter now hold its taps - e2e 34 (atx): ALL PASSED, 130 checks (4 new) - Gate (atx): CHECK EXIT 0, 284 files, 4367 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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17f47f6956 |
Drop the Gain's engraved name and centre its knob (#384)
The plate was taller than its one knob needs, and the engraved "GAIN" only repeated the node's title. Without it the plate is square, and the knob sits in its middle. - The plate is 160x160 instead of 160x220, without the "GAIN" engraving. - The knob is centred on what it shows: the "DB" caption and the dial. Since #382 its number hangs inside the dial's open bottom, so it adds no height. - CAPTION_AIR (4) takes out the empty space above the caption's capitals. Without it the knob sat a little too low. Measured on a picture at zoom 0.8: 19 px of air above "DB" and 19 px below the number. The user's screenshot showed about 14 above and 35 below. Tests: - Unit hardware-view: 12 tests green. The layout test now asks for the same air above and below. - e2e 34 (melektaus-atx): ALL PASSED, 126 checks. - Gate (melektaus-atx): CHECK EXIT 0, 283 files, 4359 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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01ee61868b |
Show a Gain node as an orange device with one knob (#384)
A Gain node now draws a small device in the graph, as the Compressor does since #380: the brushed plate in orange, 160x220 graph units, with one chrome knob between its inputs and its output. - GainPanel and GainFace join the node faces. The knob drags, resets on a double-click and keeps the wheel for the graph (#383). Each turn is one undo step, a linked Gain (dB) greys it. - The knob turns with a taper of 0.26, so 0 dB stands straight up and the range below -24 dB takes a fifth of the turn. - drawPlate, engrave and the brushed look move out of CompressorPanel so both devices share them. The Knob takes an arc colour, because the orange arc vanished on the orange plate. - No meter and no tap. Gain sits in every voice of an instrument, and a tap would add two audio nodes to each note for a display nobody asked for. Found on the way: - Knob.dialGlobal added half the dial unscaled. In a zoomed graph it pointed beside the dial. The Compressor's e2e only hit by luck. Tests: - Unit: 2 new for the Gain plate and its taper. - e2e 34 on atx: ALL PASSED, 126 checks (1 new). - Gate on atx: CHECK EXIT 0, 283 files, 4359 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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79a04e6764 |
Edit a Parametric EQ in its node, let the wheel only zoom graphs (#381)
The small curve below the EQ node's rows (#375) only showed the bands. Like the Compressor since #380, the node now shows the editor of its tab between its inputs and its output, and is worked right there. A double-click on the node still opens the same editor in a tab. Two wishes for the nodes with a panel came on top and share the same files, so they are in this commit as well: the numbers below the Compressor's knobs read as plain labels (#382), and the wheel over a node zooms the graph instead of turning a value (#383). #381, the EQ in its node: - EqPanel holds the curve, the band's numbers and the help line, taken out of EqEditor. The tab puts its one panel under a header, each EQ node has a panel of its own at 720 x 360 (EqFace). - A press on the curve neither picks nor moves the node. A double-click on the curve adds a band, one on the title or the edge opens the tab. - In the node a press on the Type or Slope button stays with the button, so the node is not picked or moved. - The spectrum runs in the node while it is in the picture. The tab lets go of the tap once, like the Compressor's, and Editor.tick lets every unseen tab and graph go before any seen one listens. - The count of bands moved from the tab's header into the band row, so the node shows it as well. - The node picture of #375 is gone with its only user: NodePicture, EQ_PICTURE and NodeView's drawing of it. #382, the numbers below the Compressor's knobs in its node: - A Knob with typed: false shows its number as a centred Label without a box, in the panel's ink. The ratio reads 4:1 (ratioText). - The label is as high as its text and sits up in the dial's open bottom, right under the ends of the scale. - Label takes a colour of its own. #383, the wheel in a graph: - GraphCanvas takes the wheel on the way down and stops it there. It zooms over a node too, and no knob or curve in a node sees it. - The tabs keep their wheel: a knob's step, a band's Q and the zoom of the EQ's dB. Found on the way: - A Menu opened below a button in the zoomed graph would have been placed by the button's own height. openBelow now takes the bottom edge as drawn. - The band row did not lay out its labels after a text change when its own size stayed. In the tab a later resize hid it, in the node "Band 1" and the count were missing. The row now lays out itself. - Handle and point positions for the checks were unscaled. They now go through toGlobal and hold at the graph's zoom. Tests: - Unit parametric-eq: 16 tests. The #375 tests now check eqCurvePoints and eqRangeOf directly. compressor-view: ratioText. - e2e 34 (atx): ALL PASSED, 125 checks (3 new: the EQ panel and its ports, editing in the node, the spectrum in the node with the tab open). The Compressor node's check reads its numbers as labels and 8:1. Both node checks now expect the wheel to zoom the graph and leave the ratio, the Q and the dB zoom alone. - The unseen-tab check now leaves for the Scene tab, since the node in the graph listens to the same tap. - Counter-check: the tab letting go of the tap every unseen frame stalls the node's spectrum with the tab open (1 frame against 22, probe on stein2). - Gate (atx): CHECK EXIT 0, 283 files, 4357 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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1f2b64fb4c |
Show a Compressor's panel in its node, its tab on a double-click (#380)
The panel of #379 opened in a window of its own and replaced the tab. The user wanted the device in the graph instead, and the tab of #378 back on a double-click. The switch Hardware look goes again. - A node can show a face instead of its rows (`NodeFace`). Its inputs sit on the left of it and its outputs on the right, in the middle of the height. Each side is as wide as its longest port name. - A Compressor node shows the panel at full size, 820x280 graph units. Its settings and numbers are not listed as rows, the panel has them. - The knobs and the lever work in the node. A drag, a notch of the wheel and a double-click are one undo step each. A press on them neither picks nor moves the node, and the wheel does not zoom the graph. The number below a knob is only shown, typing stays in the tab and the inspector. - The meter and the LEDs run while the node is in the picture of a sound FX or instrument graph that is seen. Out of the picture, folded or hidden, the node lets go of its taps. - The window of one size, `fixedSize`, `refit`, `keptSize` and the rule that kept a Compressor out of the tab row are gone again. - A knob's drag as one undo step lives in `nodeParamDrag.ts` now, for the tab and the node. The numbers of a node and what auto-gain says moved to `compressorView.ts`. Found and fixed on the way: - The tab and the node listen to the same taps. The tab let go of them on every frame it was not seen, so the node's meter stood still while the tab was open. Now the tab lets go once, and in a frame everything unseen lets go before anything seen listens. Tests: - Unit: compressor-view (2 new), documents (the test of `keptSize` is gone with it) - e2e 34 (stein2, melektaus-atx was off): ALL PASSED, 122 checks. The four checks of #379 are now four of the node: ports beside the panel, knobs and lever in the node, the needle when played (21.7 dB with the tab open), and the double-click opening the tab. - Gate (stein2): CHECK EXIT 0, 283 files, 4356 tests - Counter-checks: an old auto-gain number read as off turns exactly its unit test red. A tab that lets go on every frame leaves the node's needle at 0 dB and no LED lit (probe on stein2). Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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9917253751 |
Open a Compressor as a device in a window of one size (#379)
The tab from #378 shows a Compressor as an editor. The user wanted it to look like a device as well, after a brushed aluminium plug-in, with a meter of the gain reduction instead of the pictures. The tab stays and is switched to per node. - Hardware look is a switch under Settings, on by default for new and existing Compressors. Only the editor reads it. - The panel is 820x280 px and opens straight in a window of that size. The window has no sizing corner and no Dock. A pane says so through `fixedSize`, and `keptSize` keeps the window's middle when it changes to that size. - A Compressor in this look never sits in the tab row. Opening one floats it, and switching the look on moves its tab into the window. - The panel has chrome knobs (threshold and makeup large), a meter with a needle that moves like a VU's, an LCD with the name and the reading, a lever with a lamp for auto-gain, and LEDs for the level going out. Everything is drawn in code. - The Knob takes a size and a chrome look, and leaves out its caption when it has no name, so the panel engraves its own. - `autoGainOn` is now `switchOn`, because the new switch reads the same way. - Where parts sit, the meter's scale, the needle's speed, the LEDs and the plate's grain are in `hardwareView.ts`, apart from the drawing. Decided myself: - The meter's scale runs by the square root, so the first dB is about as wide as the last nine. It is red from 10 dB on. - The LEDs light one every 3 dB from -39 to 0 dB and fall by 20 dB a second. - Switching the look changes the graph's fingerprint, like any other setting of a node. The sound FX is built again once. Findings, fixed on the way: - Pixi's `arc` goes on from the last point of the path. The meter's scale had a line from the corner of the face until each arc got a `moveTo` to its own start. - A text put into a Graphics makes Pixi warn that only Containers take children. The LCD is a Container now. - The first browser check read the needle at one moment and missed the short sound. The panel keeps the most its needle and LEDs showed. Tests: - Unit: hardware-view (10 new), documents (1 new) - e2e 34 (melektaus-atx): ALL PASSED, 122 checks (4 new). Played, the needle reached 20.9 dB and 5 LEDs lit. - Gate (melektaus-atx): CHECK EXIT 0, 283 files, 4355 tests (11 new) - Counter-checks: a window that keeps its corner instead of its middle, and a linear meter scale, each turn exactly their test red. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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2d4909d248 |
Fit the Compressor's tab to any size, make auto-gain a switch (#378)
Two things came up on the new tab. Floated and sized down, it spilled its knobs out of its window, and sized up it left the window empty. Auto-gain lifted far too much: it brought 0 dB back to 0 dB, which at -40 dB, 4:1 and knee 6 is +28.1 dB, so a sound at -24 dB came out at -6 dB. And as a knob from 0 to 1 it blended between makeup and auto-gain, so at 1 the makeup knob did nothing. Layout: - The knobs stay on the bottom line, centred, with the help line above them. - The levels fill the height left above. The curve is a square at their right, centred up and down. It grows with the tab from 180 to 360 px and takes no more than 40 % of its width (picturesLayout). - A floated window cannot be sized below what its pane needs. A pane says so in its minWidth and minHeight, and the Compressor's is every knob and the smallest pictures. Other panes keep 320 x 200. - A pane put into an open window that is too small grows the window. Auto-gain, as decided in #378: - A Compressor's auto-gain gives back what it takes from a sound at -18 dB, so that one comes out as loud as it went in. At the numbers above that is +14.6 dB. - Auto-gain is a switch on the Compressor, the Limiter and the Saturation alike, a setting and no longer an input. The makeup or output is added on top of it instead of being blended with it. - A project from before reads a number as on above 0. Nodes never set keep their defaults: off on the Compressor, on on the other two. - The tab shows the switch at the right of the knobs, with the dB it gives below it. With it on, the curve has a line at -18 dB from the curve up to the diagonal. - Every level reading keeps the gain of its time. Before, the whole picture was read by the current makeup, so after a change the tinting of the last seconds was wrong or missing. Findings: - My first e2e run of the layout clicked Dock where it was before the window was sized up, so the window stayed open and the next check went red. The check reads the button again. Tests: - Gate (melektaus-atx): 282 files, 4344 tests (6 new) - e2e 34 (melektaus-atx): ALL PASSED, 118 checks (2 new) - Offline in Chrome: a sine at -18 dB through -24 dB and 4:1 came out at -17.92 dB with auto-gain on and -22.42 dB with it off. - Counter-checks: the curve set at the top instead of the middle, and every reading read at a gain of 0, each fail exactly their test. - Looked at the window in screenshots: at its least every knob and the switch show. At 1280 x 797 the levels fill the height, the curve is centred at the right and the knobs are at the bottom. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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1df38bd430 |
Edit a Compressor in a tab of its own, with knobs and levels (#378)
A Compressor had only its number rows in the node. Its numbers are
easier to set by feel on a dial, and what it does is easier to judge
when the level going in and the level going out are seen side by side.
- Knob is a new widget in the toolkit: a slider bent into a circle,
its name above and a number field below. A drag up or down turns
it, Shift a tenth as far, a notch of the wheel a fiftieth of the
turn, a double-click sets the default, the number takes a typed
value. A taper gives the low end more of the turn.
- The Compressor's tab opens on a double-click, one per node, like
the Parametric EQ's. It has a knob for each of the seven numbers,
greyed while its input is linked.
- Its curve shows level in to level out from -60 to 0 dB. The point
where it bends sets the threshold, the end of the curve sets the
ratio that ends there.
- Its levels show the last 4 s on both sides of the node. Where it
takes more than 0.5 dB away, the stretch below the level coming in
is tinted. The makeup is left out of that.
- The Compressor is tapped like the EQ. SpectrumTaps listens to more
than one node at once and reads the loudest sample of the last
25 ms on each side.
- The node tabs share one map in the editor (nodeTabs), so a third
kind needs no new plumbing.
Findings:
- CI task 614 for
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adminandClaude Opus 5.5
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23922ee4a2 |
Show the zoom of the music tabs and the EQ as a transition (#377)
The zoom transition of #309 left out the Pattern, Song and Sound tabs
and the Parametric EQ's curve. There a wheel step or Fit still jumped,
whatever "Zoom (ms)" in the general settings said.
- axisTween wraps ViewTween for a single axis. The music tabs zoom
their time across and their rows, tracks or height down apart, so
each keeps one tween per axis and either goes its own way.
- Fit by its button is shown as a transition too, as in the other
tabs. The fit on opening a document still jumps.
- A middle-button pan first lands a transition under way, and saving
a document's view lands it on the step it was heading for.
- The EQ's range is saved on the node at once. While the zoom is on
its way the curve draws a range of its own and writes nothing.
Its dB lines are those of the new range, sliding to their place,
so no line shows a crooked number.
Found on the way, not part of #377:
- CI task 611 for
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adminandClaude Opus 5.5
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82e96e680f |
Decode a clip from a file of its own, not its whole sound (#349)
A clip was cut from its sound's file, so a game decoded the whole file for it and held it for as long as the page was open. A long recording played through a few short clips cost the recording. Every clip now has a copy of its cut as Opus, with Stream on or off, and a game decodes that instead. - StreamKeeper makes the copy of each clip whether its sound streams or not. Stream only decides whether a sound gets a copy of its own. - clipCopyTable says which cut decodes from which copy. The sound library loads the copy for a clip unless the whole file is decoded already. Then the clip is cut from that as before. - projectFiles decodes the whole file ahead only where something may play the sound itself: no clips, a clip without a fitting copy, or the sound's id anywhere in an asset that can name one. That last test walks the data, not the fields, so no place is missed. - A copy that cannot be had falls back to the whole file. A library that bakes keeps to the whole files, as the bake's fingerprint does. Tests: - Gate: CHECK EXIT 0, 280 files, 4319 tests (7 new: streams +4, sound-library +3). - e2e 34: ALL PASSED, 108 checks (2 new). With Stream off a fresh library decodes the ten-second reversed clip's copy and not the five-minute file. It is the cut made from the original to within 0.0091 a sample and 0.013 dB in any 20 ms. Once a node plays the sound itself, the whole file is decoded ahead again. - e2e 65: all passed with this change. - Counter-checks red as they should be: the library ignoring copies, the whole file always decoded ahead, clip copies only with Stream. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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2764919bb8 |
Stream long sounds from an Opus copy instead of decoding them (#349)
A sound was decoded whole as soon as the project opened, in the editor and in a released game: five minutes of stereo held some 115 MB for as long as the page was open. A sound with Stream on now plays from a copy as Opus in Ogg, fetched a piece at a time and decoded a few seconds ahead by WebCodecs, so a game holds a few megabytes for it. - The Stream switch is a row of the sound, off by default. The Sound tab suggests it from a minute on and says how far the copy has got. - StreamKeeper makes the copies in the browser, a moment after the last change, one at a time: the sound's own and one per clip of its cut, fades and Reverse baked in. A copy that is no longer wanted is taken off and deleted once the project is saved without it. - streamTable says which played names stream from which copy. A clip without a fitting copy, a Sample and a Reverb impulse stay decoded. A sound with Stream on is never decoded ahead. - The page fetches by Range and takes the whole file from a server that ignores it, as the CI's PHP server does. It keeps the bytes and the first two seconds decoded, the rest goes four seconds ahead. - A jump decodes 32 packets before the place first. Measured in Chrome, what follows is then the same to the bit as decoding from the start. With 4 packets it was 0.06 off. - The stream-player on the FX worklet reads the samples at the rate of the context along a Catmull-Rom curve. What comes late is silent and skipped once it is there, so a clip keeps its beat. - The opening stretch goes with the player as it is made. Sent by message it came a few milliseconds late, and 557 samples of the attack were lost. - Pitch on a streamed sound is a shifter after the player, as on a bus: the length stays and it is heard 42.7 ms late. - Bakes of patterns and songs (#340) always stream now. - The song timeline draws a streamed sound from its copy decoded at 8 kHz, keeping only the peaks. Tests: - Gate: CHECK EXIT 0, 280 files, 4312 tests (31 new: ogg +3, stream-queue 6, streams 11, streaming 6, sound-library +5). - e2e 34: ALL PASSED, 106 checks (7 new). Five minutes of mono, 4.8 MB as WAV, 3.6 MB as its copy: streamed the renderer grows by 5.8 MB, decoded by 69.6 MB. Offline at 48 kHz, start, loop seam and a reversed clip are the copy decoded whole to the sample (0). - Counter-checks red as they should be: no pre-roll, no catch-up of late samples at the end, no opening stretch, a streamed sound decoded ahead. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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84cd36f902 |
Bake a pattern or song to Opus, played in its place by a game (#340)
A pattern or song played by a game runs every note through the scheduler, the instruments and their FX, live. Bake works that out once, keeps it as a file on the asset, and Play pattern and Play song play the file instead, as one voice, for as long as nothing it is made of has changed. The tabs always play live. - Bake is an icon in the header of the Pattern and the Song tab, lit while the bake holds. A click bakes, cancels a bake that runs, or offers Bake again and Remove bake. The toolbar shows the progress. The info of the tab says "baked" or "bake outdated". - The bake holds everything up to the output of the pattern or song. The sound FX of the node, fx params, volume, fade in, bus, Master routing and stopping with a fade stay live. - A print of the worked-out plan decides whether it holds: notes and clips, tempo, length, loop, tracks, the build of each instrument for each note, sound FX, files, cuts and levels. A rename keeps it, an undo back to the baked state makes it hold again. - The file holds the straight run and then one more round of the loop as heard the second time, tails included. Looped, it plays to the loop end and then round that round, to the sample. Once, it fades out over its last 10 ms. Let ring fades it out over 0.3 s. - It is worked out by a second SoundLibrary on an OfflineAudioContext, its scheduler woken by suspends of the offline clock, and what reaches the master is taken. A worklet probe tells whether that was mono, so a mono bake goes on exactly as the notes did. - Opus in Ogg, 160 kbit/s stereo or 96 kbit/s mono, encoded with WebCodecs, the Ogg pages written by hand. Normalized to full scale, the peak kept and played back. - The file goes up into the sounds of the account as "[bake] name", which the sound picker leaves out. An old bake file is deleted once the project is saved without it. Only a bake that holds is loaded. - Ogg files are decoded at 48 kHz: resampled to 44.1 kHz, the loop of a bake lost a sample a round. - Baking and removing a bake are no undo steps, like the EQ's zoom. Findings: - Chrome's AudioEncoder refuses opus.format 'ogg' (NotSupportedError) but hands out the OpusHead with a pre-skip of 312 for 'opus'. - The Song tab's header is full at 1280 px: a captioned Bake pushed Fit off the tab. Hence the icon. Tests: - Unit: tests/core/ogg.test.ts (6), tests/core/bake.test.ts (16), four new in sound-library.test.ts, one in song-play.test.ts. One test cuts, reverses and fades a clip on a song's track: each change outdates the bake, each undo makes it hold again. - e2e 64 (melektaus-atx): ALL PASSED, 36 checks (6 new). Live and baked rendered offline differ by at most 0.06 dB over 114 windows of 20 ms, two loop ends among them. e2e 65 had no red check with the icon in its header. - Gate (melektaus-atx): CHECK EXIT 0, 277 files, 4281 tests. - Counter-checks: print without instrument builds, print taking the sound's file instead of the clip's cut, round taken from the first pass, bake voice without its looping source, Play pattern or Play song ignoring the bake: one unit test red each. Pre-skip set to 0: the e2e comparison 4.8 dB off, only that check red. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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3377524958 |
Zoom the Parametric EQ's dB with the wheel, saved on its node (#376)
Close moves of a few dB were hard to set and to see on a curve that always spans -24 to +24 dB. The wheel on free space now zooms the dB the curve shows, and the node's small curve shows the same range. - The range is one of ±3, ±6, ±12, ±24 and ±48 dB, always the same either side of 0. Up zooms in. - It is saved on the node as `range`, so it is back after loading. Like the game scale (#226) it is no undo step. EditorState gets `setNodeView` for such a setting of a node. - The lines across the curve follow the range: every 1, 2, 3, 6 or 12 dB. A handle whose gain lies beyond the range stays on the edge, in sight and in reach. - The wheel over a handle still turns the band's Q. It no longer does so anywhere while a band is picked: after opening, a band nearly always is, and the zoom would be out of reach. - `EqArea` carries the range, so the tab and the node map dB alike. The spectrum keeps its own scale. Tests: - Unit parametric-eq: 16 green, 5 new (range in compile and save, node picture, wheel steps, grid lines, handle on the edge) - Counter-check: the node's picture without the saved range turns the new picture test red - e2e 34 (melektaus-atx): ALL PASSED, 99 checks, 1 new - Gate (melektaus-atx): CHECK EXIT 0, 275 files, 4252 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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41af1a6e51 |
Refactoring round 11: drop what only tests asked of the EQ (#85)
Refactoring round 11 covers what came since round 10 ( |
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adminandClaude Opus 5.5
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687377682c |
Draw the EQ's curve in its node and a spectrum behind it (#375, #374)
Both were asked for in #367 "for later". The node of a Parametric EQ now shows its curve in small, and its tab shows what passes the node while it is seen. #375, the curve in the node: - NodeDef has an optional `picture`: a height, and shapes made from the settings as plain point lists (guide, area, line). It is general, the Parametric EQ is its first user. - NodeView draws it in a box below the rows, again only when the box or the settings change. A drag in the EQ tab changes them, so the node follows it live. - Without a band the box stays, flat on its 0 dB line, so the node does not grow at the first band. - The axes of the curve, `eqCurvePoints` and `fillShapes` move from editor/soundfx/eqView to core/soundfx/parametricEq. Tab and node draw the sum from the same function. #374, the spectrum: - A node marked `tapped` gets a `tap` stage in front of its own stages and one behind them when compiled, in a sound FX and in an instrument alike. Its id is asset and node, since a copied asset keeps its node ids. - A tap is a gain of 1. SpectrumTaps (new, viewport/spectrum.ts) holds the tap of every voice and bus while it plays. - While the EQ tab is seen, in the tab row or in a window, the taps of that node feed one analyser per side (8192 points). Nothing is made before a tap of the node plays, so no AudioContext is opened early. - The tab draws both behind the curve, on a scale of 0 to -96 dBFS: the sound coming in faint and grey, the sound going on in the colour of a sound port. The analyser smooths it, and once the sound has gone the sum still hands it silence, so it falls away. - Once the tab is not seen, Editor.tick lets the analysers go, like the meters of the Song tab. - A tap does nothing to the sound, so `stats().last.stages` leaves it out, and a bypassed EQ keeps its taps. Decided on my own: - Every sound passing the node counts: Play of the sound FX tab, an instrument's keys, a song, a run. The issue proposed that. - The spectrum has no labels of its own. Its scale is in the wiki. Tests: Gate (melektaus-atx) 275 files, 4247 tests (11 new), EXIT 0 e2e 34 (melektaus-atx) ALL PASSED, 98 checks (2 new), twice Counter-checks, each put back by copy and compared with cmp: - The node's curve drawn without its bands: 2 unit tests fail. - The spectrum without the loudest bin between two points: 1 fails. - SpectrumTaps.stop leaving the taps linked: 1 fails. - Taps that never feed the analyser: e2e 34 fails in exactly the spectrum check (frames 0). Run in the container only. The screenshots of the second run were looked at: the blip as one peak behind the curve, and the dip at 4 kHz in the node. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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25084f8576 |
Refactoring round 10: split SoundLibrary, fold sound duplicates (#85)
Refactoring round 10 covers everything since round 9 ( |
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adminandClaude Opus 5.5
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76f5097a38 |
Float a document's tab in a window of its own, and dock it (#371)
The Parametric EQ has a tab of its own since #370, but Play is in the sound FX's tab. A tab that can float keeps both in view. There is one editor per kind, so the kind's pane is lent to the window and given back on Dock, the way fullscreen moves the game view. - A right-click on a document's tab opens a menu with Float and Close. `DocumentTab` passes the press to `TabStrip`'s new `onMenu`. - `FloatWindow` sits on the overlay. Its title bar moves it, its lower right corner sizes it, Dock and the x close it. A press brings it to the front. - `floating.ts` is the pure part: where a window opens, held whole on the screen, sized down to 320 x 200. Nothing of it is remembered. - One window per kind. Another document of that kind opens there and closes the one it had. Its tab, if it had one, leaves the row. - When the row showed the kind, it shows the nearest document whose kind is not in a window, else the scene (`neighbourOf`). - Delete, Copy and Paste go to the window pressed last, and back to the tab showing after a press in the editor (`keyTab`). - Previews tick and redraw for a kind in a window as for the tab showing. Fullscreen hides the windows. Loading a project or signing out closes them. - Only documents float, Scene and Game stay in the row. - Hooks: `floatWindows`, `floatDocument`, `keyTarget`. Tests: - Unit documents: 16 green, 5 new. Counter-check: `neighbourOf` without the window check turns its test red. - e2e 44 (melektaus-atx, after steps 1-12 and 37): ALL PASSED, 505 checks in the chain, 6 new for float, move, size, another texture, keys, Dock and x. - Gate (melektaus-atx): CHECK EXIT 0, 274 files, 4236 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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9166d4a56f |
Drop the Remove button below the EQ's curve (#370)
A right-click on a band's handle removes it, and so does Delete in the EQ's tab. The button said the same a third time and took room in the row of numbers. - The row below the curve holds Type, Hz, dB, Q and Slope only. - `removePicked` stays, the right-click and Delete use it. Tests: - Typecheck, ESLint, Prettier: clean. - e2e 34 never pressed the button, nothing to change there. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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9ab1bbc507 |
Edit a Parametric EQ in a tab of its own (#370)
The EQ's editor floated over the editor as a window since #367. The user wants it as a tab for now. Whether any tab can float and dock again is weighed apart from this. - A double-click on the node asks for the tab through `EditorState.openEq`, as `openValues` does for a Variables tab. - The tab is a document `eq:<asset>:<node>`, one per EQ node. A second double-click brings the open one up. - Its name is the asset's, with `EQ 2`, `EQ 3` when the asset has more than one. The icon is the sound FX's. - The tab closes with its node, its asset, or a new project, through the same `syncDocuments` as every document. - `EqWindow` becomes `EqEditor`, a `VStack` with a `TabHeader`. The curve takes the room of the tab, 320 x 160 at least. - The window's title bar, dragging and Close button are gone. - Delete in the EQ's tab removes the picked band. It never falls through to the selection, which is still the EQ's node. - The hint below the curve is shorter, it was cut off at 1280 px. Tests: - e2e 34 (melektaus-atx): ALL PASSED, 96 checks, 2 rewritten. The tab opens on a double-click and goes with its node. - Gate (melektaus-atx): CHECK EXIT 0, 274 files, 4231 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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db15422372 |
Keep a bus's level when a tab plays the first sound of a page (#369)
A bus of the mix played at full level, without its sound FX and straight into the master, until something on it changed. It happened when the first sound after loading came from the Song or Pattern tab. - `bus()` looked a bus up before it asked for the audio context. The context made then sets up the whole mix, this bus too, and `bus()` overwrote it with a fresh one at gain 1. - `setMix` does nothing for the same mix again, so the wrong bus stayed until the mix changed. - Since #368 the tabs play into the master, so it was the master's volume and FX that went missing on the first preview. - `bus()` now asks for the context first and looks the bus up after. Tests: - Unit sound-library, buses, master-routing: 139 green, 1 new. - The new test was red before the fix: mix:b at gain 1 into the master instead of 0.25 into mix:a. - Gate (melektaus-atx): CHECK EXIT 0, 274 files, 4231 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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af2312a5e7 |
Play every tab's preview straight into the master (#368)
Since #351 the tabs played their asset along its links in the Master routing, as the game does. A song linked into a reverb bus was heard through that bus while it was edited. A preview should sound like the asset itself, so the tabs leave the Master routing out again. - The Sound, Sound FX, Instrument, Pattern and Song tab play into the master. The sound FX of the asset still applies, and so does the master's own volume and FX. - Inside a song its own routing of tracks and sends still counts. - The game is unchanged: Play nodes go along the routing as before. Tests: - e2e 34 (melektaus-atx): ALL PASSED, 96 checks. The routing check now holds the mix of the two buses as before, and the Sound tab on the master with the bus silent. - Counter-probe e2e: the Sound tab along the routing again, the routing 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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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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204c4a41e8 |
Expect the Master routing tab and menu entry in e2e 38 and 46 (#351)
CI task 590 for
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adminandClaude Opus 5.5
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87ec62aace |
Keep the scheduler check in e2e 34 from flaking on a clock tick (#366)
The check "the scheduler plans a looped bar" read the position and the audio clock one after the other and compared them to 1 tick. In Chrome the audio clock moves on by a render block even inside one task, so now and then the two reads lay 2.9 ms (3.5 ticks) apart. It was red in CI task 580 and in 2 of 5 runs during #351. - The clock is now read before and after the position. The position has to lie between the two, with 1 tick to spare, also across the seam of the loop. - The scheduler itself is unchanged, it was never wrong. Tests: - e2e 34 (melektaus-atx): ALL PASSED, 93 checks, 3 of 3 runs. - Counter-probe with the position 10 ticks off: this check red. - Only the e2e file changed. node --check, Prettier and ESLint are clean on it, the gate did not run again. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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f840ec3c44 |
Snap a new song to 1/16, and route new assets as the others (#365)
A new song snapped to whole bars, too coarse to lay out a beat. And a new or duplicated sound, instrument, pattern or song went to the master alone, so every one had to be linked into the buses by hand again. - A song without a grid of its own snaps to 1/16. The songs in the user's project have Bar written in and keep it. - A new or duplicated sound, instrument, pattern or song gets the links of the one whose targets most others of its type share, at their volume. On a tie the latest of them decides, so a single song decides for the next one. - Where nothing of its type is linked yet, it goes as most of all that plays, and where nothing is, to the master. A new bus still goes to the master alone. - Assets made at once are matched against what stood before, not against each other. A project from before the routing still opens with everything on the master. - The song tab has a gridAt hook. e2e 65 checks the new grid and sets Bar, which its checks go by. Tests: - Unit master-routing (1 new) and song (1 rewritten): 26 green. Counter checks (rule off, grid back to Bar) red. - e2e 65 (melektaus-atx): ALL PASSED, 58 checks (1 new). - Gate (melektaus-atx): CHECK EXIT 0, 273 files, 4226 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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0e73fd85b9 |
Route sounds, songs and buses in one Master routing graph (#351)
A project bus could only go into one other bus, and a sound, an
instrument, a pattern or a song into exactly one bus. A shared reverb
needs a sound to go there in part and on dry at the same time. Instead
of a list of sends on every asset, the project gets one routing graph
like the routing of a song (#350), one level up.
- Menu -> Master routing opens a tab with one graph per project. It has
a node per sound, instrument, pattern, song and bus, named after its
asset, and one Master. Embedded assets have none, their song routes
them.
- The nodes follow the assets. Every edit settles the routing in the
same undo step (KeepRoutingCommand), so an undone delete brings the
links of its asset back. A new asset gets a node and a link to the
master. What went only into a deleted bus goes to the master.
- New nodes start in three columns: what plays, the buses, and the
master a row above, so no link into it runs behind a bus.
- Links are sends: -60 to +12 dB, and a Mode on links out of a bus or a
song. Out of a sound, an instrument or a pattern a link always takes
the sound after its volume and FX. Loops are refused.
- A node without a link is silent and says "Goes nowhere".
- The rows Bus and Into are gone. Play nodes with a picked bus still
overrule the routing.
- A click on a node shows its asset in the inspector, the Master shows
the master volume and sound FX. A double click opens the asset's tab.
- The graph lives in project.routing and is held to the assets when a
project is read, but nothing is added there. The editor adds the
nodes when it opens a project. An asset without a node plays on the
master, so old projects sound as before without a migration.
- In the mix an asset with one link at 0 dB goes straight into that bus.
A sound or instrument with more gets a bus of its own with the sends.
A pattern or song sends from the master of its playing, which is
where its Mode taps. Buses of the mix can have sends now too.
Found:
- The check "the scheduler plans a looped bar" in e2e 34 wobbles. It
failed in 2 of 5 runs here and in CI task 580 at
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adminandClaude Opus 5.5
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8891f027db |
Pick a pattern's sign in one row, as a song's (#364)
A pattern had two rows for its meter, Beats per bar and Beat, while a song has had one row Sign since #363. Both now pick from the same list. - The list of signs and how a sign becomes a meter moved to time.ts. Song and pattern share it. - A pattern keeps its meter in `sign`. The fields `beats` and `beat` are gone, a sign that is not in the list counts as 4/4. - Create pattern in a song hands the song's sign to the new pattern. - The four patterns of cbbf160bb7e8 were moved to `sign` by hand (three 4/4, one 3/4). The other projects only had 4/4, which stays the default. Tests: - Unit pattern/embedded: 30 green (1 new, 2 rewritten), the counter-test reading `beats` again turns 2 red - e2e 64 + 65 (melektaus-atx): ALL PASSED, 85 checks - Gate (melektaus-atx): CHECK EXIT 0, 272 files, 4215 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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0d57a2f3c4 |
Pick a song's sign in one row, and let its patterns keep theirs (#363)
A song had two rows for its meter, Beats per bar and Beat, and the patterns it kept to itself took both from it on every change. Their length is counted in bars, so a new sign cut or stretched them and their items. - The song has one row Sign with 1/2, 2/2, 3/2, 1/4 to 6/4 and 5/8 to 9/8, 4/4 by default. It is stored as `sign`. A value not in the list reads as 4/4. - An embedded pattern keeps its own tempo and meter, as a project pattern does. Its inspector shows Tempo, Beats per bar and Beat again and hides only Bus. - A pattern made in a song still starts with the song's tempo and sign, so its first bar fits the item it gets. - A copy (Embed a copy, a paste from another song) keeps its clock. `clockFollowers` and the follow step in `AssetPropertyCommand` are gone. - No load migration. The two songs of the user's project were moved from `beats`/`beat` to `sign` by hand. No other project had a song with a meter of its own. Tests: - Unit song + embedded + pattern: 44 green, 1 new, 4 rewritten. Counter-probes: a copy taking the song's clock and a sign outside the list both turn a test red. - e2e 65 (melektaus-atx): ALL PASSED, 57 checks (1 new: Sign picked from its list in the inspector). - Gate (melektaus-atx): CHECK EXIT 0, 272 files, 4214 tests. After it, `SIGNS` lost its `as const` and the cast went with it. Typecheck, lint and the 44 unit tests ran again, all green. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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d0b76ec355 |
Fit a song both ways and zoom its time in further (#362)
Fit in the Song tab only set the time, from the very left edge, and kept the height the tracks had. The time also stopped zooming at the bound of the Pattern tab, too soon to lay a take down closely. - fitSong in songView.ts frames the song with 9 % of the lanes free on every side. The tracks share out the height in between, held to 28 to 320 px. A song opened without a kept view fits the same way. - The time zooms in to 8 px a tick, eight times the bound of the Pattern tab. zoomTime takes the bound as a parameter, so the Pattern tab keeps its own. Tests: - Unit song-edit: 15 green (1 new), the counter-check without the margin is red. - e2e 65: ALL PASSED, 56 checks (1 new). The new check presses Fit after the tracks are added and finds room around bar and tracks. Adding a track presses Fit first now: a new song opens with its one track 320 px tall, so the track added below it lay off the edge. - Gate: 272 files, 4213 tests green. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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5cb7ef7bed |
Show empty asset groups on request, and add by the heading (#361)
The asset panel only listed the categories and types that hold assets. To make the first asset of a kind you had to know its category in the `+` menu. A switch now lists all of them, and a right-click on a heading offers just what sits under it. - General settings has "Show empty asset categories and types", off by default and kept in this browser. Applying it refreshes the panel at once through a new `onGeneralSettings` listener. - `groupAssets(assets, empty)` gives every category and type when asked. The empty ones stand faint with a count of 0, and an empty type has no chevron, since there is nothing to unfold. - `ListItem.faint` draws a row's label, hint and icons at half opacity, like a disabled widget. - A right-click on a category heading offers the types of that category without a submenu, on a type heading only that type. The empty space below the rows still opens the whole `+` menu. `ListView.onListMenu` passes the heading's id for this. - Every menu of new assets says "Create asset" above its entries, so a click on a type reads as making one. `MenuOptions.title` draws that muted line. It is not an entry and matches no search. Tests: - Unit asset-groups and view-tween: 23 green, 2 new. Counter-test with the empty flag ignored: the new groups test fails. - e2e 04 (melektaus-atx): ALL PASSED, 67 checks, 4 new and 1 rewritten. Counter-test with the heading id dropped: the 3 menu checks fail. The title is checked on the `+` button and on a type heading (2 checks extended), the rerun passed with 67 checks. - Gate (melektaus-atx): CHECK EXIT 0, 272 files, 4212 tests. It ran before the menu title. Afterwards only the menu and asset-groups units, typecheck and lint ran, all clean. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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cf96442835 |
Keep the Sound tab smooth while it pans (#360)
Panning the Sound tab drew the whole wave anew on every move, one filled rectangle per pixel column, and gave the ruler's labels new texts whenever a tick left the area. At 2560 px across that took the tab down to 16 fps. - The wave is drawn half the area's width past either side of it. A pan within that moves the drawing. Zoom, height, size or a pan past the margin draw it anew. - The bars of the wave share one fill instead of one fill each. - A ruler label keeps the second it already shows. Before, a pan shifted every label by one and each had to be rendered anew. - A clip's name is given its style only when the style changes. - The rule for what a drawing covers is pure in `waveView.ts` (`shownSeconds`, `drawnSeconds`, `coversShown`). Measured with a copy of the user's project, "Take 1" with 4 clips, 240 pan moves with the middle button, headless on stein2: - 2560x1440: main thread 712 -> 373 ms/s, texts rendered 694 -> 65 - 1280x800: main thread 429 -> 225 ms/s What is left in the profile is Pixi's render pass and the pointer events, which hovering pays as well. Tests: - Unit wave-view: 12 green (1 new), counter-probe red - e2e 34 (stein2, melektaus-atx was down): ALL PASSED, 92 checks (1 new). Counter-probe with the labels given out by position: red, 7 labels set anew instead of 1. - Gate (stein2): 272 files, 4210 tests green Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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490fcba88f |
Meter each track and the song, and limit the output at -1 dBFS (#359)
A song could clip at the output without anyone noticing: a track and a sound item at +12 dB each add up to +24 dB. The Song tab now shows how loud each track and the whole song are, and a fixed limiter behind the master keeps every sample under -1 dBFS in the editor and in the game. - Each track head has a stereo meter up its right edge. The head is 190 px wide instead of 176. - Out sits in the corner above the heads, with the loudest peak since Play in dB. In the tab header it made the row too wide for a 1280 px window, and the inspector lost its fields. - The meters read AnalyserNodes beside the buses, one per side after a channel splitter, so a peak panned hard is not halved. They are tapped only while the song plays and its tab is shown. - A clip lamp lights past 0 dBFS and stays through Stop. The next Play or a click on the meter puts it out. - The meter of a track that mute or solo keeps from being heard is grey. - Music always plays through a bus of its own, with or without a sound FX. That bus is what Out measures. - The limiter is the one from #326 and needs the FX worklet. Until that is loaded the master goes straight out. - It is 5 ms late. latency() counts that in, so the playhead and the alignment of a recorded take follow it. - Unit tests build SoundLibrary without the limiter, as their wiring checks follow every node of a voice. - Out shows "-inf" while nothing was loud. The UI font has no infinity sign, which the font test found. Tests: - Unit meter-view 8 new, sound-library 112 (2 new), 3 counter-tests each red - e2e 65 (melektaus-atx): ALL PASSED, 55 checks (3 new). Out wrote +16.6 dB, behind the limiter the loudest sample was 0.8913 - Gate (melektaus-atx): 272 files, 4209 tests, one red in the font test. Fixed after it, then the font and meter tests ran green. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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dc666016db |
Let solo win over the mute of the same track (#358)
A track with both M and S on stayed silent: the mute closed every send before solo was asked. Pressing S on a muted track is meant to hear it. - trackGates in routing.ts opens the sends of a soloed track even while it is muted. Its own items are heard as with solo alone. - A muted track that a soloed one goes through, or that goes into it, stays silent as before. Tests: - Unit song-routing and song: 28 green (1 new), a counter-check red Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e721bba120 |
Let the places of a song share what it keeps to itself (#357)
With clips, one take serves many items: four items on the four clips of one take. The rule from #355 gave every further place its own copy of an embedded asset, so a cut made in the Sound tab reached one item only. Now the song, its tracks and its items share a sound, a pattern or a sound FX the song keeps. - settleEmbedded no longer copies within the song. An embedded asset stays as long as one place names it, and goes with the last one. - A paste from another song still gets a copy, but one copy for all the places naming the same asset, with its clip ids mapped. - The picks in a song offer what the song keeps, under a line after the project's assets: the Sound row of an item the song's sounds and their clips, the Pattern row its patterns, every sound FX pick its sound FX. - Make project asset and Embed a copy are unchanged. The project cbbf160bb7e8 was merged by hand afterwards: the items of Song 2 on three copies of Take 1 now play the same clips of the first one, and the copies are gone. Tests: - Unit embedded, sound-clips, own-fx and the song tests: 66 green, 3 counter-checks red as expected - e2e 65 on melektaus-atx: ALL PASSED, 52 checks - Gate on melektaus-atx: CHECK EXIT 0, 271 files, 4198 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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95edf9959b |
Show the clips not picked faint over a sound's wave (#357)
Only the picked clip showed in the wave, between its handles. Where the other clips lay could only be read from the strip above, so cutting one next to another meant looking up and down all the time. - Every clip but the picked one is drawn over the wave as a pale tint with a thin edge, as high as the file reaches. - With the sound picked, all its clips are faint. While a drag spans a clip, that one is left out. - Test hook soundTab.faintClips() names the faint clips. Tests: - e2e 34 (melektaus-atx): ALL PASSED, 91 checks (1 extended) - Gate (melektaus-atx): CHECK EXIT 0, 271 files, 4195 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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852dce5142 |
Shrink a clip with the wave and drop it with a click beside (#357)
Zoomed out, the wave left room above and below it, but the bright file, the picked clip and its handles still took the whole height. And a click in the wave beside the picked clip kept it picked, so only the strip could take it back to the sound. - fileReach in waveView.ts is how far up and down the file reaches: full scale and its inset, never past the area. At level 1 it is the whole height, zoomed in too. - The bright file, the shade outside the clip and the two handles are drawn within that reach. - A click over the wave beside the picked clip picks the sound. Inside the clip or on a handle nothing changes, and a drag still spans the clip anew. Tests: - Unit wave-view: 11 green (1 new), a counter-check red - e2e 34 (melektaus-atx): ALL PASSED, 91 checks (1 new) - Gate (melektaus-atx): CHECK EXIT 0, 271 files, 4195 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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42a3759d9d |
Cut a sound into named clips, as a texture into frames (#357)
A sound could only be cut to one stretch, set on the asset itself. To
play two parts of one file, the file had to be imported twice. Now a
sound is always the whole file, and its clips are the stretches of it,
each with a name and a cut of its own.
- A clip is { id, name, props } on SoundAsset.clips. Its id shares the
generator with asset ids, so a sound field holds a sound or a clip,
as a texture field holds a texture or a frame.
- props are the cut: start, end, the fades and their curves, reverse.
Volume, loop, sound FX and bus stay on the sound for all its clips.
The cut rows left the sound's schema for CLIP_ROWS.
- findSound resolves either id. Play sound, the Sample of an
instrument, a Reverb impulse, song items, the scheduler and the test
sound of the Sound FX tab all go through it.
- Every sound field offers each sound followed by its clips, "Kick",
"Kick / Clip 1". A clip that is gone reads as "<id>?".
- The Sound tab has a strip under the ruler with the clips as bands.
A drag there makes a clip, a click picks one, beside the bands the
sound. Only the picked clip has handles. Reverse, fades and curves
in the header work on it and are greyed out without one.
- Whole file is gone from the header, as the user asked.
- Picking a clip is a selection of its own, like a frame. The
inspector shows its name, its cut rows and Delete clip. Delete
takes it away without asking, as with a frame. Ctrl+Z brings it
back.
- Copies get fresh clip ids: Duplicate, Embed a copy, a song
duplicated with its takes, and the copy a split or paste makes of
an embedded take. An item on a clip plays the same clip of its copy.
- A double-click on a song item playing a clip opens its sound with
the clip picked. The Sound row of an item on an embedded take
offers the take and its clips, which no list shows.
- A new take stays the whole sound. Clips are made by hand, as the
user decided.
- No migration in the code, as the user decided. The one project
with cut sounds was changed over by hand.
Deviation from the issue: deleting a used clip does not warn. A frame
does not warn either, and the issue had promised "like a frame".
Tests:
- Unit sound-clips (new): 11 green, 7 counter-checks each red
- Unit sounds, embedded: adjusted to clips, green
- e2e 34 (melektaus-atx): ALL PASSED, 90 checks (3 new, 12 rewritten)
- Counter-check in the browser: clips left out of the sound fields,
the picker check fails
- Gate (melektaus-atx): CHECK EXIT 0, 271 files, 4194 tests
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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c7fa1d15b0 |
Zoom the height of a sound's wave over its level scale (#357)
The Sound tab always drew the wave at the full height of the tab. Quiet stretches were hard to see, and there was no room above a loud wave. - A level scale in dB stands left of the wave, a mark every 6 dB down from 0, as long as a mark lies inside the area and at least 14 px from the middle. - The wheel over the scale zooms the height, from 0.25x to 16x. Over the wave it zooms the time as before. - What is louder than the area stops at its edge. The fade ramps grow with the wave. - Fit puts the height back to 1x. The tab keeps the height with its view when another tab is shown. - The rules live in waveView.ts (zoomLevel, levelMarks), the hooks give the height, the scale and the top of a full-scale wave. Tests: - Unit wave-view: 10 green (2 new), 2 counter-checks each red - e2e 34 (melektaus-atx): ALL PASSED, 87 checks (1 new) - Gate (melektaus-atx): CHECK EXIT 0, 270 files, 4183 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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25c1d02b06 |
Keep the audio thread free of ended voices and too many vocoders (#356)
A song that had been played a few times in a long session stuttered at regular intervals until the page was reloaded. A quick run up the keys of a sampled instrument made every sound drop out for a second or two. Both came from work the audio thread should not have had. - Every worklet node of a voice listened on its port. Chrome never collects a port that is listened to, and through its listener not the voice either. Every node of the voice stayed on its bus and was worked on in every block. A way or stage on the worklet now closes its port once it ends or is stopped, and the processor closes its own side when it is told to stop. - A voice without echoes now leaves its bus as soon as its sound and what its stages hold back are through. Before, only a voice with echoes did. - At most 12 ways play through the pitch worklet at once. One more cuts the oldest in 10 ms, a note already let go before one still held. Each runs a phase vocoder, whose first block alone took 2.7 ms of the 2.67 ms a block has on stein2. - Play for the game ends everything the tabs play: the piece holding the transport and every key or preview (`stopPreviews`). - Closing a Sound, Sound FX, Instrument, Pattern or Song tab stops what it plays of that asset (`AssetTabEditor.closed`). - A preset in the Instrument tab plays nothing any more. With Audition on it is heard like any other change. - Test hooks: `__gm.instrument.play`, `__gm.sound.playing`, and `vocoders` in the stats of the sound library. Measured: - A copy of the project, its Song 2 played for 12 s and stopped, six times (Chrome on stein2, CDP WebAudio): before, 746 nodes were left after the first time and 4469 after the sixth, the load at rest grew from 0.01 to 0.06. After, 7 nodes are left every time (the master and one bus) and the load at rest stays at 0.01 to 0.02. - Pitch-player voices live in Chrome on melektaus-atx: 12 take 0.50 of the audio thread, 16 take 0.71, 24 take 0.99. 30 struck 40 ms apart held it at 0.99 from the first second on. Tests: - Unit sound-library: 110 green (3 new), 4 counter-probes each red - e2e 34 (melektaus-atx): ALL PASSED, 86 checks (3 new, 2 changed) - e2e counter-probe with game start and preset undone: their 3 checks red, and the old check of Play note in the game as well, which now counts on the preview being gone - e2e counter-probe with tab close undone: exactly its check red. A first form of it held a key and stayed green, since the keys let go of a held key by themselves once the tab shows no asset - Gate (melektaus-atx): 270 files, 4181 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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8c0d1cfd3f |
Snap the routing graph of a song with the header's magnet (#350)
The routing of a song is the same graph editor as a sound FX, but its tab had no magnet, so its nodes could not be put on the grid. - The Song tab carries the magnet next to Routing. It is off at first and acts on the routing graph. - It is greyed out on the timeline, as Grid is greyed out in the routing. Switching the view only updates these two buttons, so a playing song is not handed its sequence again. - The check hooks give the magnet and the snapping of the routing. Tests: - e2e 65 (melektaus-atx): ALL PASSED, 52 checks (1 new) - Counter-check (magnet enabled on the timeline): exactly this check red - Gate (melektaus-atx): CHECK EXIT 0, 270 files, 4178 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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668682c4ff |
Give a song, a track or an item a sound FX of its own (#355)
A sound FX for one place in a song had to be a project asset, which then stood in every picker. Now every pick of a sound FX in a song can make one the song keeps for that place alone, on top of the embedded assets of the first two parts. - Create sound FX sits at the end of the Sound FX row of the song, a track and an item, and of the menu of a track's FX button. It makes "Sound FX 1", 2, … per song with the Input wired to the Output, picks it and opens it. That is one undo step. - Embed a copy, while the place names a project FX, gives the place a copy under the same name. - While the place names its own, the menu shows it with the mark and offers Edit sound FX and Make project asset. - Picking anything else lets it go in the same undo step. For a track or an item `settleEmbedded` did that already. For the song's own row `AssetPropertyCommand` now settles the song after `fx`. - The mark `•` moved to the core. `assetRefLabel` puts it in front of an embedded asset, so the inspector rows show it like the timeline. - `FieldHandlers.moreChoices` lets a caller end a reference menu with entries of its own. `embeddedPatternName` is `embeddedName` with a base now. Tests: - Unit own-fx (new): 6 green, 6 counter-checks each red - Unit embedded and 80 neighbouring files: 1434 green - e2e 65 (melektaus-atx): ALL PASSED, 51 checks (2 new) - Gate (melektaus-atx): CHECK EXIT 0, 270 files, 4178 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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49669017b1 |
Make a pattern right in a song with a right-click (#355)
A pattern for one song had to be made in the Assets panel first and dragged in, and then stood in every picker of the project. Now a right-click on an empty spot of a track makes one the song keeps to itself, on top of the embedded assets of the first part. - Create pattern lays an item from the grid line before the spot, a bar long, and opens the pattern in its tab. Pattern, item and name are one undo step. The name is "Pattern 1", 2, … per song. - It plays the instrument of the track's pattern item that starts last before the spot, else of the first one after it. An item's own pick counts before its pattern's. - An embedded pattern runs on the song's clock. It takes the tempo and the meter of the song, and a change on the song moves it along in the same undo step (`AssetPropertyCommand`). - Its rows Tempo, Beats per bar, Beat and Bus are hidden, as the song decides them. Length, grid, instrument and sound FX stay. - A copy that comes to a song (Embed a copy, a paste from another song) takes that song's clock. Made a project asset, it keeps the values it had. - `CreateAssetCommand` takes an owner. `embeddedCopy` takes the song now, not its id. - The cleanup of e2e 65 also takes what the song keeps. Tests: - Unit embedded: 18 green (5 new), 6 counter-checks each red - Unit take, song, pattern and the asset commands: green - e2e 65 (melektaus-atx): ALL PASSED, 49 checks (2 new) - Gate (melektaus-atx): CHECK EXIT 0, 269 files, 4172 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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23cb34f781 |
Keep a recorded take inside its song (#355)
A take used to land in the Assets panel as "Song – Take N", next to every other sound of the project. Now a song can keep a sound, a pattern or a sound FX to itself: an ordinary asset whose new field `owner` names the song. Everything that finds an asset by its id finds it, so playing, the tabs and the game need no change. Only the places that list assets leave it out. - `core/music/embedded.ts` holds the rules: which types can be embedded, `listedAssets`, the title "Song › Take 1", and the rows an embedded sound hides (Loop, Bus). - One user per embedded asset. `SetSongCommand` settles the song after every edit: a place naming an asset an earlier place claimed, or one of another song, gets a copy, and what nothing names any more goes in the same undo step. The outcome is worked out once, so a redo brings back the same copies. - A split, Ctrl+D and a paste get that for free. The clipboard keeps the embedded assets of the copied items, so a paste after a delete brings the take back. - Deleting a song deletes what it keeps. Duplicating it copies that and points the copy at the copies. A duplicate of an embedded asset is a project asset. - The item menu has Open, Make project asset and Embed a copy. - An embedded item carries a bullet in front of its name. The first pick was a diamond, which the gate's font test refused: the UI font has no glyph for it. - A take is "Take 1", 2, … numbered per song. With the song gone while it uploads, it becomes a project sound under a free name. - Left out of: the Assets panel, every asset picker, the sound FX menu of a track, the test sound of the Sound FX tab and the naming of new assets. Delete on an embedded asset only says where it lives. A ping lights up its song. - Loading drops an `owner` whose song is gone, the asset stays as a project asset. No migration: older projects have no owner. Tests: - Unit embedded (new): 13 green, 6 counter-checks each red - Unit take, song, song-edit, asset-fx, asset-ref, serialize and neighbours: 116 green - e2e 65 (melektaus-atx): ALL PASSED, 47 checks (1 new) - Counter-check e2e 65 (asset panel unfiltered): exactly that check red - Gate (melektaus-atx): CHECK EXIT 0, 269 files, 4167 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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7a17030472 |
Give every sound FX effect a Bypass and a Wet (#354)
A node could only be taken out of a sound FX by unplugging it, and only six of them could be blended with the sound they get. Every effect now has both, in the sound FX graph and in the instrument graph alike. The Mix, the Input and the Output have neither. - Bypass is a checkbox setting. A bypassed node is left out when the graph is compiled, so it costs nothing and holds nothing back. The graph draws it faded, and its body says "Bypass: true". - Wet is a number input like the others. It can be a parameter, be moved by Set sound FX parameters and, where the node allows it for its other numbers, follow an Envelope. - A blend is a stage of its own (`wet`) around what the node adds. The sound as it came in is held back as far as the node is late, so a Compressor, a Limiter or a Vibrato do not comb it out. - The six nodes that had a Mix keep their key `mix` and only call it Wet. Saved values, parameters and edges stay as they were. - The Delay crossfades now: the sound alone at 0, the sound and its echoes in full at 0.5, the echoes alone at 1. Before, the sound was always in full and `mix` was the echoes. - The Pitch takes its semitones by Wet instead of blending, through a share `times` on the amount that an instrument binds as well. Findings: - A Delay saved before this sounds different. It sounds the same at half its old value. The two chip presets with a Delay (Echo Lead, Bell) are halved to keep their sound. - Project cbbf160bb7e8 has two Delays (mix 1 and 0.5). They are left as they are. Tests: - Unit: soundfx 65 (8 new), sound-library 107 (3 new), instrument 35 (1 new), envelope 13. Two delay tests and the filter ports test follow the new numbers. - Counter-checks: 8, each turns its test red. - e2e 34 (melektaus-atx): ALL PASSED, 83 checks (2 new). The ping-pong check at wet 0.25 measures what it did at mix 0.5. - Gate (melektaus-atx): CHECK EXIT 0, 268 files, 4154 tests. - After the gate the derived ports of a blend are asked for once instead of twice: typecheck, lint and the three unit files green again (113 tests). Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c95fbc167e |
Ping or open an object's asset from its hierarchy row (#353)
The asset link in the inspector already pings an asset on a click and opens it on a double-click. The rows of the Scene objects panel only selected and folded. Now they lead to the asset the same way. - A click on the row that is selected already pings the object's asset in the asset panel. The selection stays. The ping comes on release, so picking a row up to drag it pings nothing. - A double-click or Enter on an object's row opens its asset, selected or not. - ListView has a new onReselect for a plain click on the row that is selected alone. onSelect stays quiet then, as nothing changes. Decided without asking: - A double-click on an object's row no longer folds it. The chevron and the arrow keys still do. A group's row has no asset and keeps folding on a double-click. - A click with Ctrl or Shift, and one that narrows a multi-selection to its row, does not ping. Both change the selection. - A row whose asset is missing pings and opens nothing. Findings: - The double-click window goes by time (400 ms), not by the event's detail. Two quick click() calls from the harness are a double-click. The comment in e2e 01 said otherwise and is gone. Tests: - e2e 01 (melektaus-atx): ALL PASSED, 13 checks. The two checks for folding on a double-click became one for the ping and two for opening. Counter-check without the ping: that check red. - Gate (melektaus-atx): CHECK EXIT 0, 268 files, 4142 tests. - Not checked: Enter on a row, a group's row on a double-click. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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1d53b9b3d0 |
Count the Bus asset type in e2e 04
The suite job has been red since |
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adminandClaude Opus 5.5
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a295d233ed |
Give sounds, instruments, patterns and songs a sound FX (#352)
A sound FX could only be picked where something was played: on a Play
node, a track or an item of a song. A sound that should always sound
through the same effect needed that pick everywhere it was used. Now
the asset says it once, and every place that plays it follows.
- New row Sound FX on a sound, an instrument, a pattern and a song,
right before Bus. A sound goes through it on every voice, an
instrument on every note after its graph, a pattern on all its
notes together and a song on its output.
- The fx input of Play sound, Play note, Play pattern and Play song
and the Sound FX of a song item now read "From the asset" while
empty. None is a pick of its own, stored as `#none` like `#master`.
A pick replaces the FX of the asset, it does not come on top.
- A pattern item's Instrument reads "From the asset" instead of None.
The meaning is unchanged.
- A double-click on a sound item opens the sound, as one on a pattern
item opens the pattern.
- The tabs play through the FX of their asset. The Pattern and Song
tab put it on a bus of their own between the output and the bus of
the asset. The keys of the Pattern tab play there too.
- Notes of a pattern or song go through the FX of their instrument.
Its chain is loaded with the other needs of the sequence.
Decided without asking:
- Old items and Play nodes with an empty fx now mean "From the
asset". No asset has an FX yet, so nothing sounds different.
- The label is "From the asset" as on Loop and Bus, not "From asset".
- A sound used as a Sample, as the impulse of a Reverb or as the test
sound of the Sound FX tab plays without its own FX.
Findings:
- In e2e, `__gm.inspectorField('Sound FX')` and `('Instrument')` find
the group of the Assets panel first. The check asks for the last
match.
Tests:
- Unit asset-fx (new): 8 green. Six counter-checks each turned red.
- Field lists of sound, pattern and song: Sound FX added.
- e2e 65 (melektaus-atx): ALL PASSED, 46 checks (3 new). Counter-check
without the FX bus of the tab: that check red.
- Gate (melektaus-atx): CHECK EXIT 0, 268 files, 4142 tests.
- Not checked: how it sounds, the Sound, Instrument and Pattern tab
in the browser.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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d349251a01 |
Put a sound in a room, a hall or a cave with a Reverb node (#328)
A sound FX had no space around it. The Reverb node folds the sound with an impulse response: one it makes itself, or a sound asset as the answer of a real space. It works on a voice and on a bus. - Type: Room, Hall, Cave and Plate have fixed numbers. Custom shows Decay (up to 10 s), Damping and Pre-delay. Sound shows the pick of a sound asset and Pre-delay. The rows are derived ports, the sound pick an idle param, so they only appear for their type. - The made impulse response is seeded noise per side, 60 dB down at Decay, through a low-pass closing from 20 kHz toward 500 Hz as far as Damping says. It is made once per rate, decay and damping, the last 16 are kept. - A sound as impulse response: the sound FX compilers now get the project, so a node can turn a sound asset into its file. The build key holds that file, so a cut or swapped sound builds again. The instrument compiler does the same for a Reverb inside an instrument. - The library loads that file with the voice, a sequence or before a bus builds its chain. A missing file leaves the reverb silent. - Mix blends dry and reverb and is the only number that moves while the sound plays, as the issue said. The voice rings for pre-delay plus decay, or as long as its sound. - The open point from #325 about sends on project buses is #351, not part of this. Tests: - Unit reverb (new) 4, soundfx 57 (4 new), sound-library 104 (2 new), green. - Counter-checks, each turns one test red: the impulse file not loaded with the voice, the tail without the length of the sound. - e2e 34 (melektaus-atx): ALL PASSED, 81 checks (1 new). Chrome offline: silent during the pre-delay, 35.9 dB fall over 0.6 s of a 1 s decay (36 expected), the dry half at 0.25 for mix 0.5. A sound with one sample at 0.2 s gives the impulse back 0.25 s later and nowhere else. - Gate (melektaus-atx) over the end of this series #318 to #328: CHECK EXIT 0, 267 files, 4134 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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071f194326 |
Swing the volume or the pitch with Tremolo and Vibrato (#320)
Alarms, sirens and wobbly retro sounds need a volume or a pitch that swings. Two new nodes do that, on a voice and on a bus alike. - Tremolo: Rate (0 to 20 Hz), Depth (0 to 100 %), Shape (Sine, Triangle, Square, Saw). The volume swings between full and 1 - depth. - Vibrato: Rate (0.5 to 20 Hz), Depth (0 to 4 semitones), Shape. The shape is the curve of the pitch, a Square jumps between two pitches. - As the issue decided: two nodes, phase 0 on the first sample of the voice, no fade-in time. Both run on the FX worklet, the classes are in lfo.ts and tested in Node. - Deviation from the issue text, as in the plan: the Vibrato is a delay that swings, not playbackRate. A bus has no playbackRate, and the sound keeps its length. - The delay swings around a center taken from the start values. The center counts as the latency of the node, so a voice starts that much earlier and a Mix and a bus make up for it. - Known limit, in the node text and the wiki: a depth turned up or a rate turned down after the start asks for a delay below 0. The lower half of the swing then flattens. Finding: the first e2e run was red at the edge of a window. The phase is summed up, so the square flips one sample later than 2400 steps of 10/48000 suggest. The check keeps 10 samples away from the edges. Tests: - Unit lfo (new) 5, soundfx 53 (2 new), sound-library 102 (1 new), green. - Counter-checks, each turns one test red: the swing turned over (up and down swapped), the start time not passed to the worklet. - e2e 34 (melektaus-atx): ALL PASSED, 80 checks (1 new). Chrome offline: Tremolo square silent before its voice, then 0.5 and 0 for 50 ms each. Vibrato square at 5 Hz, 1 semitone: 1059.5 Hz and 940.5 Hz. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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d3a4cb7d0e |
Warm up or distort a sound with a Saturation node (#323)
A sound FX had no way to bend a sound. The Saturation node pushes it into a curve, from warmth to a hard distortion, on a voice or a bus. - Eight types, each a fixed curve made once: Soft (tanh), Cubic, Hard clip, Tube, Fuzz, Foldback, Sine fold and Rectify. The issue asked for as many as useful. - Drive (0 to 48 dB) is a gain in front of the curve. The curve spans 256 times full scale, so the drive glides like any gain. - Output and Auto-gain blend as on the Compressor. Auto-gain brings a sine at -12 dBFS back to the RMS it came in with. - Tone is a low-pass after the curve, 1 kHz at 0 to 20 kHz at 1, as recommended in the plan. A 10 Hz high-pass takes out the DC the lopsided types make. - Mix blends with the dry sound. The 4x oversampling is 192 samples late in Chrome, so the dry way is held back as far. The node counts as late by that much for voices, Mixes and buses. - A test hook gives e2e the auto-gain at a drive. Tests: - Unit saturation (new) 5, soundfx 51 (2 new), sound-library 101 (1 new), green. - Counter-checks, each turns tests red: no hold-back of the dry way (1), the level without auto-gain (2). - e2e 34 (melektaus-atx): ALL PASSED, 79 checks (1 new). Chrome offline: 192 samples late at 48 and at 44.1 kHz. Half dry at 1125 Hz 0.00 dB. A sine at -12 dBFS driven 24 dB into Soft comes out at 0.00 dB with full auto-gain. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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a645026568 |
Tame the loudness with a Compressor and a Limiter node (#326)
A sound FX could not control dynamics. A Compressor squeezes the loudness together, and a Limiter keeps every peak below a line. Both work on a voice and on a bus, where they tame everything at once. - Compressor: DynamicsCompressorNode with Threshold, Ratio, Knee, Attack and Release, then Makeup and Auto-gain from 0 to 1. After the node the sound gets (1 - w) * makeup + w * A dB. A is what the curve takes off at 0 dBFS. - The node adds 0.6 of A by itself, as the spec says. That gain is taken back out, so 0 really means no makeup. - The knee shape is left to the browser by the spec. dynamics.ts ports Chromium's curve. It gives the gain Chrome was measured to add at four settings to three places. - Limiter: a class on the FX worklet with Threshold, Ceiling, Release and Auto-gain. It looks 5 ms ahead: the smallest gain of the window ahead, averaged over the window, then a release. No sample passes the lower of threshold and ceiling. Auto-gain raises it toward the ceiling. - Deviation from the plan in the issue: the Limiter has a Threshold as well. Without it Auto-gain has nothing to measure against. - Latency is made up on voices now too. A voice starts as much earlier as its stages are late (Compressor 6 ms, Limiter 5 ms). The other way of a Mix and the other layers of a note are held back to the latest, and a bus counts it into its latency. - A voice with a Limiter counts as ringing, so the worklet is stopped only after what it still holds is out. Tests: - Unit dynamics (new) 8, soundfx 49 (3 new), sound-library 100 (4 new), green. - Counter-checks, each turns tests red: no look-ahead in the Limiter (3), no taking back of the node's gain (1), a voice not started earlier (1), no stage latency on a bus (1), no hold-back in a Mix (1). - e2e 34 (melektaus-atx): ALL PASSED, 78 checks (1 new). Chrome offline: Compressor 288 samples late, Limiter 240. Full scale through -12 dB 4:1 hard knee: +0.19 dB with full auto-gain, -8.81 dB without. A sine at 2 through the Limiter at -6 dB peaks at -6.00 dB, with auto-gain 1 at -1.00 dB. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c99bda6489 |
Move a sound left or right with a Pan node (#319)
A sound FX had no way to place a sound in the stereo field. The new Pan node does that on a voice, a bus and a track alike. - One input, Pan from -1 (left) to 1 (right), 0 by default. Behind it is a StereoPannerNode. A typed-in 0 leaves the node out, a pan fed from a parameter stays at any value. - It moves with Set sound FX parameters, and an Envelope can move it in an instrument. - As the issue decided, no pan from the position in Play sound and no width control for stereo sounds. Finding: the issue and the plan said a stereo sound gets a balance. Web Audio pans stereo differently: the side it goes to stays and the other side moves over into it. The node description and the wiki say so, the e2e check measures it. Tests: - Unit soundfx 46 (1 new), sound-library 97 (1 new), green. - Counter-check: a pan from a parameter at 0 left out, 1 test red. - e2e 34 (melektaus-atx): ALL PASSED, 77 checks (1 new). Chrome offline, a mono sine at 0.5 gives 0.5 / 0 at -1 and 0.354 / 0.354 at 0. A stereo one at 0.5 panned 0.5 gives 0.354 / 0.854. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e1ca6a5f5a |
Shape a sound with every filter type, a Q and a slope (#318)
The Filter node from #335 only knew low-pass, high-pass and band-pass and had a Resonance from 0 to 1. It now has every type Web Audio offers, a Q as a plain factor and a slope up to 48 dB per octave. - Types: low-pass, high-pass, band-pass, notch, low shelf, high shelf, peaking and all-pass. The cutoff row is now labelled Frequency, its key stays `cutoff`. - Q from 0.1 to 30, 0.707 by default, replaces Resonance. Web Audio takes the Q of a low- or high-pass in dB, so it is converted when the voice is wired. No project used the node. - Gain in dB is an input only for the shelves and the peak. It is a derived port, so the sound FX compiler now resolves derived ports. - Slope 12, 24 or 48 dB/oct runs 1, 2 or 4 filters in a row. They share one cutoff carried by a ConstantSource, only the last has the Q. Shelves, peak and all-pass hide the row. - The Chip Presets get the Q their resonance gave before. Mutate moves Q in octaves and gain by up to a dB. - bindStage in the instrument compiler binds every amount of a stage generically, so new stages need no case of their own there. Finding: FLAT_Q was in dB and the delay damping used it. It is a factor now, the damping takes it through passQ and is unchanged. Tests: - Unit envelope 13, sound-library 96 (2 new), chip-presets 14, soundfx 45, all green. - Counter-checks: the Q on every filter in a row, the gain row for every type. Each turns one test red. - e2e 34 (melektaus-atx): ALL PASSED, 76 checks (1 new). Chrome offline, 2 kHz through a low-pass at 1 kHz: -12.37 dB at 12 dB/oct, -49.5 dB at 48. A +6 dB peak gives 6.00 dB, a notch -124 dB. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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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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a848cf8469 |
Pick a new asset from category submenus in the + menu
The + menu was one long list in two groups, placeable types and library ones. That split is no longer wanted. The menu now lists the categories of the asset panel, and each opens its types beside it, so a new asset is filed where the panel shows it. - Menu learns submenus: an entry with submenu instead of onSelect opens a second Menu right of the first, or left of it where the canvas ends. Its first entry lines up with the row that opened it. - A submenu opens on hover or click. Resting on another entry swaps or closes it after 150 ms, so a pointer cutting across the rows on its way into a submenu does not lose it. - The row of an open submenu stays lit, and a triangle pointing right marks every such row. - A submenu has no backdrop and no Escape of its own. Popup takes a backdrop option for that. The first menu's backdrop and Escape close the whole stack, and picking an entry does the same. - assetMenuCategories replaces assetMenuGroups and takes categories and their order from ASSET_GROUPS. The types are sorted by label. - New test hooks __gm.menuSubmenus() and __gm.addMenuCategory(). pickAssetType opens the category first, so the modules that pick a type through it need no change of their own. Modules 04, 10, 47, 48, 53 and 54 open the category themselves where they read the menu. Tests: - Unit asset-menu: 4 green - e2e 04: ALL PASSED, 63 checks. New: categories in panel order, each type once and sorted, submenu placement, hover swaps the submenu, picking closes menu and submenu - Gate: CHECK EXIT 0, 261 files, 4040 tests - The other modules that use the + menu did not run here Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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5e09ba9a50 |
Group the asset panel by category, then by type
The asset panel listed one heading per type, 30 of them side by side. Now the types sit under five categories, and each type heading reads like its entry in the + menu. - ASSET_GROUPS replaces ASSET_GROUP_LABELS and gives every type a name and a category: Basics, Visuals, Logics, Physics or Audio. - The categories keep that fixed order. The groups in a category and the assets in a group stay sorted by name. - A category heading folds like a group heading. A project opens with every category open and every group folded, as before. - Selecting an asset unfolds its category and its group. Folding the category of the selected asset lets go of the selection. - The headings are singular now (Scene, Sprite, Sound FX). The old plural names only kept them apart from the + menu entries. - locate looks in the popup layer first. A click by text meant for a menu entry hit the heading of the same name, since the panel is drawn first. Below an open menu a click only closes the menu anyway. - New test hook __gm.assetCategories(). Tests: - Unit asset-groups: 6 green, counter-check (empty categories kept) 1 red - e2e 04: ALL PASSED, 63 checks (1 new). Counter-check with locate taking the first hit again: 2 red, the click on Behavior created no asset - Gate: CHECK EXIT 0, 261 files, 4040 tests - The category names got their final plural form after these runs. The unit test ran again on them (6 green), e2e 04 did not. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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8154569405 |
Fix the two checks the full run 304 found red
The full CI run on
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adminandClaude Opus 5.5
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4c7861b5b8 |
Keep the frame rate up while painting a big tilemap (#347)
Painting on the 60x60 map of a project with fifty objects dropped the editor to 20 to 39 fps. A profile of a brush stroke showed four causes, none of them the brush itself. - Each frame of a stroke previews the model. The asset and hierarchy panels then built every row anew, so every label became a new text and a new upload to the GPU. One run spent 46 % of the main thread in those uploads. ListView.setItems now keeps a row whose item draws the same (sameListItem) and builds only the rows that changed. - The brush drew the whole scene on every pointer event, on top of the preview. Now the preview draws what the stroke changed, once a frame. The rectangle tool asks for one drawing a frame for its box. - An animated tile made the view draw in the tick and the preview drew it again in the same frame. animate now asks just before the frame is drawn and stays out when the view was drawn since the tick began. - layoutSymbols ran on every drawing and costs up to the cube of the symbols. SymbolLayoutMemo keeps the spots while no anchor moves. - A painted cell made the map read every "x,y" key again, and once more for each of the eight neighbours of every cell. layerCells reads a layer once per content into an index by place. layerTiles and the blocking cells take their neighbours from there (neighboursIn). parseCellKey reads a key without split, with the same results. The test hook sceneRedraws counts how often the scene view was drawn. Not done: a painted cell still works out the tiles and blocking cells of the whole map again, so that part grows with the map. Tests: - Brush stroke on a copy of the project (stein2, Chrome): 20 to 39 fps before, 47.5 after, 55 to 57 without painting. Labels drawn again during the stroke 2012 before, none after. Scene drawings per frame 1.32 before, 1 after. - One painted cell, headless: 28 to 16 ms on 60x60, 109 to 49 ms on the same map doubled to 120x120. - frame-preview: 2 new, red with the old pointer redraw. - tilemap: 3 new (key reading, index, refresh), list-ping 1 new, symbol-layout 1 new. 5 single reversals turned each red. - e2e 39,40 (melektaus-atx): ALL PASSED, 107 checks (1 new, a fast stroke: 6 drawings in 6 frames, no label drawn again). With the row reuse and the pointer redraw reverted it fails: 24 drawings in 3 frames, and the panels draw their labels again. - Gate (melektaus-atx): CHECK EXIT 0, 260 files, 4038 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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101b12504e |
Play a sound backwards with a Reverse switch on the asset (#321)
A sound asset can now play its stretch backwards. The switch sits on the asset, so every way the sound is heard plays it reversed: Play sound, a song item, an instrument's Sample and a Pitch in a sound FX. There is no Reverse node in the sound FX graph. The user dropped it, because playing backwards needs the whole sound in advance, which a bus or a Chip does not have. - The cut gets a `reverse` flag, stored as the asset property `reverse` (default off). The cut name ends in `~reverse` when it is on, so a reversed sound over the whole file is a cut of its own. - The handles keep marking the same part of the file. The reversed copy is made once, like any cut, and the fades follow what is heard: Fade in ramps at the end handle, Fade out at the start handle. - The Sound tab has a toggle with a left-pointing play triangle. Its playhead runs from right to left, and the wave draws the ramps at the edges they now belong to. The inspector has a Reverse row. - The icon is a tab header icon (`HEADER_ICON_SVG`, next to the snap magnet), not a top bar icon. The first gate run had it in the top bar set, and the test that fixes that set went red. - A song item draws the waveform of a reversed sound backwards. Lengths stay as they are. - The header label reads "Fade in" instead of "Fade in (ms)" and the fade fields are 8 px narrower. With the new button the readout was cut to "0.03 s of 0..." at 1280 px, now it shows in full. The inspector keeps the unit. Tests: - Unit sounds 22, sound-library 85 (1 new each). Counter-checks: without turning the samples round, without moving the fade in to the end, and without mirroring the peaks, all red. - e2e 34: ALL PASSED, 72 checks (2 new). The reversed stretch starts with the last samples of the forward one, and the playhead ran 0.75, 0.60, 0.45, 0.30, 0.15 over the whole file. - Gate: first run red, 1 of 4031 (the top bar icon list). After moving the icon, CHECK EXIT 0, 260 files, 4031 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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d505f6ed27 |
Show what the song plays around a pattern as ghost notes (#339)
A bass line is written against the chords it goes with. Until now the piano roll showed only the pattern itself, so writing a part to fit the rest of a song meant switching between the Pattern and the Song tab. - A double-click on a pattern item remembers song, item and the round clicked into for that pattern. The place lives in the session, not in the project, and goes by the item's id, so moving the item moves the ghost notes along. - Opened from the Assets panel, the pattern shows the item of the last double-click. Without one, a pattern that lies in exactly one item of all the songs shows that item's first round. - Ghost notes are the pattern items of the other tracks all along the song, and on the own track the items before and after and the other rounds of the item. The round edited itself does not count. Sound items have no notes. - A ghost note sits on the row it sounds with: its own transpose, less the transpose of the item the pattern was opened from. - The roll draws them grey, without an edge, under the notes. Resting on one names its track and its pattern. - The header has a Ghosts switch, on by default, and names where they come from, e.g. "Tune · Bass · bar 5". - The time axis pans back to the start of the song, with bar and grid lines before the pattern. Fit still frames only the pattern. - A click or a paste outside the pattern no longer lands. Before, only the time left of bar 1 was closed, notes could still be drawn past the end, where they are kept but never played. - The rounds of a pattern item are now worked out in one place, itemNotes() in song.ts, which songSequence() and the ghost notes share. Tests: - Unit ghosts (new): 5 green. Counter-check with the round edited not left out and the own transpose not taken off: 2 red. - Unit piano-roll: 1 new (pan back to the song, lines before bar 1). Counter-check without the song's start: red. - e2e 65 (melektaus-atx): ALL PASSED - 38 checks (3 new). The first run was red on the tooltip check: the ghost note it rested on lay a fifth up, outside the rows Fit frames. The test now uses a tone. - e2e 64 (melektaus-atx): ALL PASSED - 30 checks. - Gate (melektaus-atx): CHECK EXIT 0, 260 files, 4027 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c33d6d98e5 |
Keep a song item's left edge from snapping on to its own end
Dragging the left edge of a song item to the right snapped to the grid and to the points where the item's content starts again. One of those points lies exactly on the item's end. When the edge caught it, the item shrank to a single tick and showed as a thin white line. The right edge already refused to snap back on to its own start, the left edge had no such rule. - trimDelta: a snapped start on or past the item's end now takes the last grid line before the end instead. - If that grid line lies before the current start, the start stays where it is. - Free trimming with Alt or Shift is unchanged and may still shrink the item to one tick. - Dragging the left edge far past the end now leaves one grid step, as the right edge already did, instead of one tick. Tests: - song-edit unit tests: 14 green (2 new expectations, 1 changed) - Counter-check with the rule removed: 2 red (1399 instead of 960, 1919 instead of 1800) - Prettier, ESLint, tsc clean 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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29b604dc07 |
Fade a sound's start and end apart, each along its own curve (#345)
A cut sound had one edge fade for both ends, always a straight ramp. Now its start and its end each have a fade of their own, and each fade has a curve of its own. - Fade in (ms) and Fade out (ms) replace Edge fade (ms), 5 ms each by default. Like before they apply only to an edge inside the file. - Fade in curve and Fade out curve each offer Linear (the default), Equal power, S-curve, Exponential and Logarithmic. A fade out runs its curve backwards. - The Sound tab's header has a field and a curve dropdown per edge. Each dropdown shows its curve as a small picture, rising or falling, and names it in its tooltip. With two named dropdowns the header was too wide at 1280 px and cut off the readout on the right. - The inspector shows the same four rows, the curves by name. - The wave draws each ramp in its curve rather than as a line. - A cut plays by <file>#<start>~<end>~<fadeIn>~<fadeOut>~<curveIn>~<curveOut>. - No migration, as asked in the issue: the old fade key is no longer read, so saved sounds start with 5 ms each and Linear on both. Tests: - Unit sounds, sound-library: 96 tests - Counter-check (fade out along the fade in's curve): 1 red - e2e 34 (melektaus-atx): ALL PASSED - 69 checks - Gate (melektaus-atx): CHECK EXIT 0, 256 files, 3978 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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6b49a0bea7 |
Give each account its own folder of uploaded files to delete (#344)
Uploaded images, fonts and sounds belonged to nobody. Every account saw every file in the pickers, and only an administrator could delete one, through the API alone. Now every account uploads into a folder of its own, sees its own files and nobody's, and can delete a file of its own that no project uses. - Files are stored as data/<kind>/<folder>/<sha256>.<ext>, and the folder is part of asset.file. A name without a folder belongs to nobody. - The folder is a random 12-character name kept in users.json and given with the first upload. Renaming an account moves no file, and a released game's URLs carry no account name. - The list shows the caller's own files and nobody's. An administrator sees all, each with owner and deletable. - DELETE takes the name with its folder. It answers 403 unless the file is the caller's or the caller is an administrator, and 409 while a project, snapshot or release of any account names it (FileUsage). The 409 names the caller's own projects only. - The pickers have a Delete button. The first press asks, the second deletes, and a refusal shows the server's reason. - A deleted account's folder stays and only administrators see it. - tools/migrate-file-owners.php moved every used file into the folder of the account using it (a copy each for two accounts) and rewrote projects, snapshots and releases. A project's revision goes up, so an open editor gets a conflict instead of saving old names back. - Font families are named after the hash alone, so a folder never ends up in a CSS family name. Run on stein2 on 2026-10-07, backup in /root/config-backup-20261007/data-before-344: 25 files used, 27 copies, 8 projects, 53 snapshots and 1 release rewritten, 30 unused files stay nobody's. Afterwards all 600 references resolve to a file in their owner's folder. Found while building: the Delete button cut its new label to "Del…" because a button does not measure itself again on a new text. The picker now lays its button row out again. Tests: - PHP files.test.php (new): 46 checks, counter-check 3 red - Unit core + editor: 220 files, 3403 tests - e2e 34 (melektaus-atx): ALL PASSED - 67 checks (2 new) - Gate (melektaus-atx): CHECK EXIT 0, 256 files, 3977 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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a2d0a02645 |
Play tunes on 14 instrument presets next to the sfxr sounds (#329)
The Preset menu only had sfxr's effects: each a fixed pitch on every key that dies away by itself. Now its top half holds instruments to play melodies, basses and drums on. - Instruments: Square Lead, Pulse Lead, Echo Lead, Octave Arp, Synth Brass, Detuned Saws, String Pad, Organ, Flute, Bell, Pluck, Triangle Bass, Pluck Bass and Drum Kit. A line in the menu parts them from the seven effects below. - Their Chips follow the note, and all but Bell, Pluck and the drums hold it while the key is held. - They come out the same every time they are picked. Randomize and Mutate make a variant, as before. - They use what the graph already has: two Chips through a Mix for Detuned Saws, String Pad, Organ, Flute and Bell, an Envelope on a Filter's cutoff for Brass, Pluck and Pluck Bass, a Pitch for the detune and the octave, a Delay for Echo Lead and Bell. - Drum Kit uses single notes 36 to 46: kick, snare, closed and open hat on their General MIDI keys, each ending by itself. - A small Sketch helper lays the nodes on a grid. The sfxr presets use it too and come out as before. - Numbers keep to the steps of their rows. Pulse Lead's duty is 0.13, not 0.125, because the field rounds to 0.01. Tests: - Unit chip-presets: 12 green (5 new). Every instrument compiles without a problem, doubles its frequency an octave up, holds unless struck and is the same on every pick. The drum kit sounds on exactly 36, 38, 42 and 46. Countercheck with Follow note forced off: red. - e2e 34 (CI image on stein2, melektaus-atx was off): ALL PASSED, 65 checks (1 new). A first run had the scheduler's looped-bar check red by 10 ticks between two clock reads, which the presets do not touch; the second run was green. - Gate (stein2): CHECK EXIT 0, 256 files, 3974 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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f3ae19431a |
Make an 8-bit sound with a Preset, Randomize or Mutate (#329)
A Chip could play a sound, but finding a good one meant typing a dozen numbers. sfxr's buttons do that in one click: a kind of sound drawn anew every time, a wild draw, or a small nudge. The Instrument tab now has the same, and plays the result at once. - Preset menu with Pickup, Laser, Explosion, Powerup, Hit, Jump and Blip. It puts a new graph in place of the instrument's, as one undo step: Notes for all 128 notes, Chip, Envelope, Filter, Bitcrusher, Output. The Chip keeps its own frequency with follow note off, so every key plays the same effect, and sustain 0 ends it by itself. - The presets are sfxr's generators, worked out into Hz, semitones and seconds with sfxr's own formulas, in chipPresets.ts. sfxr's envelope holds and falls in a line, ours falls quick at first. So the decay is three times sfxr's hold and fall. - Randomize draws every number of the Chips, Envelopes, Filters and Bitcrushers anew, as sfxr's randomizer does. Waves, filter types, the Bitcrusher's mix and an Envelope's from and to stay. - Mutate moves each of those numbers a little, one in two. A 0 stays 0, so nothing that was off comes on. - An input fed by an edge is left alone by both. Both are grey while the graph has none of those nodes. - Audition, off by default as in the Pattern tab, plays the note last played again 150 ms after a change to the graph rests. - Preset, Randomize and Mutate always play that note, for up to 2 s. - ReplaceGraphCommand swaps nodes and edges and keeps groups and notes. - The info on the right of the header kept 220 px and was cut off with the four new buttons. 140 px still fit "No sound picked". Not done: punch, filter sweeps and the phaser of sfxr (#341). Tests: - Unit chip-presets (new) 7. Counter-check: a wrong Hz formula and fed inputs not left alone turn 3 of them red. Unit tests of the instrument tab, graph commands and sound FX nodes: 49 files, 851 green. - e2e 34 (melektaus-atx): ALL PASSED, 64 checks (4 new): Preset, Randomize and Mutate, Audition, three undos back to the Sample. - Screenshot with a Laser preset: the header fits at 1280 px, the chain is fitted, the Chip is a saw with its duty grey. - Gate (melektaus-atx): CHECK EXIT 0, 256 files, 3969 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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f46b2316f2 |
Make 8-bit sounds without a file with a Chip node in instruments (#329)
An instrument could only play sound files so far. The Chip makes the sound of a note itself, the way old game consoles and sfxr did: a raw wave and what its frequency does over the note. A laser, a jump or a pickup is now an instrument and ends by itself. - Chip node with wave (square, triangle, saw, sine, noise and the periodic noise of the NES), follow note, frequency, duty, duty sweep, slide, delta slide, min frequency, vibrato, arpeggio and repeat. It counts in Hz, semitones and seconds, not sfxr's 0 to 1. - It runs as a third processor in the FX worklet. The math is a plain class, ChipPlayer, tested in Node. Every sample is worked out 8 times and averaged, as sfxr does. - Frequency and duty are AudioParams, so an Envelope can move them and a parameter can tune them while the note plays. A Pitch behind a Chip moves its frequency directly, without the phase vocoder. - Below its min frequency a Chip ends and tells the page. Without the worklet it is silent and its note ends at once. - An Envelope with sustain 0 now ends its note once the decay is over, for every source under it, Samples too. Before, a note with duration 0 ran on silently until a Stop sound. - A note made of Chips alone needs no file. playNote and the wait for the bytes no longer drop it for having none. - Inputs that do nothing as things stand are grey in the inspector. idleParams is told which inputs are connected, so a connected one always counts. The credit names sfxr (Tomas Pettersson, MIT) and jsfxr, which turned out to be public domain, not MIT as the plan in #329 said. Tests: - Unit chip (new) 12, sound-library +4. All of tests/core, tests/viewport, tests/editor/graph and tests/editor/inspector: 178 files, 2953 green. - Counter-checks: semitones read as /24 turn 4 chip tests red. Without the sustain rule and the file check 4 library tests fail. - e2e 34 (melektaus-atx): ALL PASSED, 60 checks (2 new). Offline in Chrome a square at 220 Hz plus 12 semitones and duty 0.25 gave 329 periods in 0.75 s, up 0.249. 64 noise voices for 2 s rendered in 2.0 s, about 63 at once. Live a 0.2 s note with sustain 0 was gone after 0.26 s. - Gate (melektaus-atx): CHECK EXIT 0, 255 files, 3962 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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165f022fc0 |
Crush a sound to fewer bits and a lower rate with a Bitcrusher (#322)
A new effect for sound FX and instruments makes a sound rough like an
old console. It rounds the sound to fewer steps and holds it at a lower
sample rate, and all three of its numbers move while the sound plays.
- Bitcrusher node with bits (1 to 16, not only whole), rate (100 Hz to
48 kHz, sample-and-hold) and mix. A mix typed in at 0 leaves it out.
- It runs on the audio thread as a second processor next to the pitch
player. The module is now fxWorklet.ts and the test hook is called
fxWorkletUrl.
- A play that needs the worklet waits for it, for a Pitch or a
Bitcrusher alike. Without the worklet the sound goes through as is.
- Bits and mix move in what they hold, the rate in octaves. An
Envelope can move all three in an instrument.
- A stage that runs on the worklet is stopped with its voice, like the
drivers of an Envelope or a Mix.
- The math is a plain class, Crusher, so it is tested in Node.
The cleanup check of e2e 64 from
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adminandClaude Opus 5.5
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af9b202100 |
Keep the game's music when Play ends a run in the editor
A behavior with "Run in editor" kept its world until the frame after Play. By then the game's On start had already started its pattern or song, and ending the editor run called stopAll() on the sound library. The game came up silent. This is what turned the game blocks of e2e 64 and 65 red in suites 542 and 550. - EditorRun.modeChanged() ends the run the moment the mode leaves edit. enterPlay() announces the mode before the game is built, so the editor run's sounds stop first and the game's start after. - The Editor wires the mode event to it instead of invalidate(). Tests: - e2e 64 starts its game with an idle "Run in editor" behavior in the scene. Without the fix it fails like CI did, "game": [] and 2 FAILED. With it: ALL PASSED, 30 checks (stein2). - Unit editor-run: 21 green, 1 new. - Typecheck, ESLint, Prettier clean. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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f1f4a57589 |
Cut a sound to a stretch of its file in its own Sound tab (#343)
A sound asset now opens in a tab that shows its file as a waveform. Two handles set where the sound starts and ends in the file, and that stretch is the sample: Play sound, a song item and an instrument's Sample all play it and nothing else. The file itself is never changed. - The asset has three new rows: Start (s), End (s) and Edge fade (ms). End 0 is the end of the file, the fade is 10 ms by default. Older assets have no values and play the whole file as before. - Every way of playing asks playedSoundOf() for a name instead of the file: the file, or <file>#<start>~<end>~<fade> for a cut. - SoundLibrary makes the cut from the decoded file the first time that name plays and ramps each edge inside the file over the fade. Length and peaks of a cut are read from the file without a copy. - Cut buffers can be made again at any time, so the library lets the oldest go past 64 Mi samples. A voice holds its buffers itself. - The tab draws min/max per pixel from 256-sample block peaks, and the samples as a line when zoomed in far. Wheel zooms, the middle button pans, as in the music tabs. Wave, cut and ruler sit under a mask, so a handle panned out of view does not draw over the panels beside. - Dragging a handle moves that edge, dragging elsewhere spans a new stretch. One drag is one undo step for both edges. Whole file puts the handles back, Play or Space plays the stretch with a playhead. - The inspector preview and the Sound FX preview play the cut too, and the song lanes draw and repeat it. Tests: - Unit: sounds 20, wave-view 8 (new), sound-library 68, plus 258 in the touched areas (instrument, song, pattern, inspector, tabs) - e2e 34 on melektaus-atx: ALL PASSED, 57 checks (7 new) - Gate on melektaus-atx: CHECK EXIT 0, 253 files, 3936 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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2fdf97f7de |
Record a take from the microphone in the Song tab (#342)
A song could only be filled with sounds that were made somewhere else. Record plays the song from the cursor and takes the input meanwhile, so a part played along lands on the bar it was played to. - An audio worklet takes the input's samples on the clock the song plays on. Each run carries the frame it was taken at, so the take is cut where the song was heard to start. The output's and the input's latency are taken off, as far as the browser reports them. - The take goes up as mono 16-bit WAV. Sound, a new track "Recording" under the track clicked last and the item at the cursor are one undo step. The sound is named "Song – Take 1", 2, 3 and so on. - While recording the take grows red with its waveform on its track, and a meter beside the input dropdown shows the level. The lanes take no edits then, only a middle-drag pans. - The loop is not used while recording. The song plays once through and on past its end until Stop, Play or Space keep the take. Esc throws it away and nothing goes up. - Echo cancelling, noise suppression and auto gain are off, nothing is played back. The input picked is kept in localStorage. - A take stops by itself at the size a sound may have. A failed upload offers Retry, Download WAV and Discard. - The API takes sounds up to 256 MB and bodies of the same size. nginx and PHP were raised to match outside the repo (body 256m, upload and post 256M, memory_limit 512M). - The pure rules (cut, cap, WAV header, name, track) live in core/music/take.ts. The scheduler tells where it started on the audio clock. - The e2e browser gets chromium's fake microphone and skips the permission prompt. Each run leaves its take in the sound store. Found on the way: - The header was too full with the new widgets and cut the track and item count on the right. Input dropdown and meter are narrower now. Tests: - Unit take.test.ts: 7 new, svg-icons adjusted to 8 toolbar icons - e2e 65 (melektaus-atx): ALL PASSED – 31 checks (+4) - Gate (melektaus-atx): CHECK EXIT 0, 252 files, 3923 tests - Probe on stein2: a 3 s take of the test tone, peak 32767, 285100 bytes, waveform seen in the screenshot Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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32051b5097 |
Wrap node descriptions and notes in the inspector
A node's description and every note in the inspector were one line cut with an ellipsis. Stop pattern says what it does with no pattern picked, but only past the cut, so nobody could read it. - Label takes a wrap option. It breaks its text at the width it gets and keeps the margin a single line has, above and below all lines. - Widget.heightFor(width) gives the height at a width. It is measure().h everywhere except where text wraps. - VStack and SectionStack lay a column out with it, at the width each row will get. - ScrollContainer measures again at the narrower width when its scrollbar shows, because the text then takes more lines. - addNote and the empty inspector's hint wrap. - The file list's own heightFor(count) is now heightOfRows, so the layout does not hand it a width as a row count. Tests: - Unit scroll-container: 7 green, 2 new (height for width, again beside the scrollbar) - Unit ui + inspector: 17 files, 336 green (before the 2 new ones) - e2e 02 (stein2, atx busy with suite 545): ALL PASSED, 29 checks - Screenshot: Stop pattern shows its description in six lines Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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5fde3e975e |
Reset a track slider with a double-click in the Song tab
The heads of the Song tab had four rough spots. Panned down, the first track had no line above it. The M and S letters sat high in their buttons. A volume or pan slider could only be dragged back to the middle by eye. Muting a track paled its volume slider. - The first track draws a border along its top, in the lanes and in its head, like the one below every track. - M and S sit in the middle of their buttons. A label of the heads can now carry a height and is centred in its box. - A double-click on a head's volume or pan sets it back to 0: the volume to 0 dB, the pan to the middle. It is one undo step of its own after the step the first click set. - Mute only lights its own button. The volume slider keeps its colour, so a muted head no longer looks out of step. Tests: - e2e 65 on melektaus-atx: ALL PASSED, 27 checks (+1) - typecheck, ESLint, Prettier: clean (also after the mute change) - screenshot on stein2: border above track 1, M and S with 4 px free above and below the letter in a 16 px button Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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5b96d0b329 |
Paste under the pointer and pull song items out left in music tabs
A round of fixes to the Pattern and Song tabs: where a paste lands, what Shift does on a drag, how far the rows zoom, and how an item of a song is sized at its ends. - Shift does what Alt does on a drag: off the grid, on the tick. A Shift click on a note or an item still adds or unpicks it. A Shift press only decides on letting go: no drag toggles, a drag moves. - Ctrl+V lands under the pointer. The earliest copy goes on the grid line before it, the highest note on its row or the topmost item on its track, held to the keyboard or the tracks there are. Off the grid or left of bar 1 it lands at the start of playing as before. - The rows of the piano roll zoom to 64 px instead of 28, the tracks of a song to 320 px instead of 160. - Fit in the Pattern tab zooms the rows as well, so the notes fill the height, no longer held to the default of 14 px. - An item of a song can be pulled out by its left end past the start of what it plays, which then repeats. The offset goes round to the end of a round. A sound not loaded yet still stops at its start. - Both ends of an item snap to the start of a round of what it plays as well as to the grid, whichever is nearer. The end of a round between two ticks is cut to the tick before. A start put within half a tick of a round goes right on it, so it plays from the very beginning. - An offset past a whole round is not folded back to 0, so a pattern that grows later still plays from where the item said. - A middle-drag pans past the first and the last row, as it pans left of bar 1: the highest note or the first track up to half the height down, the other end up to half the height up. The room past them is dark in the piano roll and empty in the song. Tests: - Unit: song-edit 14, piano-roll 19, song 14 tests. New cases for the paste spot, pulling out left, the round snap and Fit. - e2e 64+65 on melektaus-atx: ALL PASSED - 54 checks (+4). New: Shift drag and Shift click, Ctrl+V under the pointer in both tabs, Fit zooming the rows, pulling a pattern out left and snapping a sound to the end of its second round. e2e 64 zooms the rows out again after Fit, so the keys it plays later are on screen. - Gate on melektaus-atx: 251 files, 3912 tests, CHECK EXIT 0. - Then the pan down the rows: e2e 64 on melektaus-atx ALL PASSED - 30 checks. Its pan check now also pans the top row down, half the grid's height, and a click above it draws nothing. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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a3101c590c |
Size notes by either end and pan before bar one in music tabs
A round of small fixes to the Pattern and Song tabs: what the ruler and a pan do in both, and a few things the tabs carried that were in the way. - A middle-drag can take bar 1 up to half the grid or lanes in. The time before it is drawn dark on the ruler, the grid and the lanes. Nothing lands there: a click draws no note, a drop shows no frame. - A press or drag on the ruler puts the start on the nearest grid line, no longer on the one before the pointer. - A new song has one track instead of four. The "+ Track" row under the heads is gone, a head's menu adds tracks above or below. A song still keeps at least one, so that menu is always there. - A note can be sized by its left end too: the start goes to the nearest grid line and the end stays put, never before tick 0. - An end of a note under the pointer lights up and shows a resize cursor, as on an item of the Song tab. Tests: - Unit: piano-roll, song-edit, song, song-play 52 tests. Two new cases for the left end and the pan, the song fixtures add their tracks themselves now. - e2e 64+65 on melektaus-atx: ALL PASSED - 50 checks (+2). e2e 65 adds its tracks through the head's menu and clicks the ruler three quarters into a bar, which only the nearest line passes. - Gate on melektaus-atx: 251 files, 3909 tests, CHECK EXIT 0. - A probe shot of the piano roll panned in: the time before bar 1 dark, the left end of a note lit. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |