d505f6ed2776d25dcd6ea1272bd0fe3c47394187
412
Commits
| Author | SHA1 | Message | Date | |
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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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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> |
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adminandClaude Opus 5.5
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aa097bd076 |
Zoom with the wheel and set the loop on its own strip in music tabs
The ruler of the Pattern and Song tabs did two things with one drag,
and the wheel did three things with Alt and Shift. Both now do one
thing each, and the Song tab gets a few edits it was missing.
- The ruler has a loop strip along its top. A drag there sets the
loop, a press or drag below it moves only where playing starts.
- The wheel only zooms: the time over the grid, lanes and ruler, the
rows over the keys, the tracks over their heads. Alt and Shift no
longer change it. A middle-drag still pans.
- Tracks can be zoomed from 28 to 160 px. Below 46 px a head shows
only its name, M and S. An old saved view gets the old height.
- A click on nothing in the lanes picks the song itself.
- A right-click on an item opens a menu with Delete instead of
deleting it. The inspector has no delete buttons any more.
- A sound item goes up to +12 dB, a track up to +12 dB. A pattern
item stays at 0 dB, since a note is held to unity.
- An end of an item under the pointer lights up and shows a resize
cursor. A long item marks every point where it starts over.
- The Pattern tab has an Audition switch in its header, off at first.
Only with it on does a note sound when drawn, grabbed or moved.
The keys down the left sound either way.
- A looped sound item draws every round alike. Each round is drawn
from its own start, and each column shows the loudest part of the
sound it covers instead of one sampled bucket.
- A song is at least one bar long instead of four. An empty song
fits that bar across, and Play song ends after the last item.
- The ghost notes held back in #334 got their own issue, #339.
Finding: suite 542 for
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adminandClaude Opus 5.5
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f97961c8ff |
Play and stop a song from a behavior in the game #336
A song could only be heard in its tab. Now a game plays it through Play song and ends it through Stop song, with its tracks as they are set. A playing pattern or song also no longer undoes the pause of the toolbar. - Play song plays from the start of the song and then round the loop of its ruler, so an intro is heard once. Without loop it plays once to its end. Inputs are song, volume, fade in, loop (on by default) and detached (off by default). It gives out playback. - Stop song stops one song, every song for none, or one playback by its number, over its fade out. Stop sound with no sound named stops songs too. Stop pattern with no pattern named stops only patterns. - Songs play side by side, as patterns do. They are owned like a sound, so leaving the scene ends one unless it is detached. Pause game and the time scale leave the music alone. - Each playing is heard through a master of its own, silent until its first note. The fades move it, and a song's tracks sit inside it on buses of their own. They go once the playing and its voices have. - Notes and clips are struck the same way in the editor and the game (strikeNote, playClip). What a sequence needs comes from one place (core/music/needs). Findings: - Reading the audio clock resumed a suspended context. A playing pattern read it every 25 ms and so undid the toolbar's pause. The library now leaves a context alone while the toolbar holds it. - A pattern played once to its end asked the list of playings about its voices, and that list asked the pattern again. Once its last voice was gone this ran until the stack overflowed. The scheduler of a playing now asks only after voices. - e2e 64 reads the playings through __gm.sound.playbacks() now. Tests: - song-play.test.ts (new): 8 tests, node catalog +8 cases - sound-library.test.ts: 66 tests, 4 new - e2e 64 (melektaus-atx): 23 of 23 checks passed - e2e 65 (melektaus-atx): ALL PASSED, 22 checks (+4) - Gate (melektaus-atx): CHECK EXIT 0, 251 files, 3903 tests - Counter-checks: the old way of asking after voices, a clock read that wakes a held context, and a start after a fade out began each fail 1 test Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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8f9c250eb6 |
Lay patterns and sounds out on tracks and play them as a song #334
Patterns could only be heard one at a time, in their own tab or from a behavior. A song lays patterns and sounds out on tracks along one time axis and plays them through the scheduler of #332, the third piece of the music tools of #330. - New asset type song under the heading Songs, with four empty tracks, 120 BPM in 4/4 and a grid of a bar. Tempo, meter and grid are rows in the inspector. Tracks, items and the loop are the asset's data, held to their rules on load and in every command. - A track has a name, volume, pan, mute and solo. Each is heard on a bus of its own, so a change reaches what is sounding at once. - A pattern item repeats its pattern for as long as it is, with a transpose and another instrument if wanted. A sound item plays its sound as a clip at its own speed, round and round, through a sound FX if wanted. Both have a volume on top of their track's. - Cut back at the left end or split, an item starts as far into what it plays as the cut is: ticks into a pattern, seconds into a sound. - The tab shows the heads with M, S, volume and pan, the ruler of the Pattern tab and the items, a pattern with its notes, a sound with its waveform, a missing asset red. Patterns and sounds are dragged in from the Assets panel. Body, right and left end move, lengthen and cut back, Alt leaves the grid. Ctrl+C/V/D/A, Ctrl+E splits where playing starts, Delete, arrows. A double-click opens a pattern item in its tab. - What is picked is a new selection of its own, so the inspector shows the item or the track, with a button to delete it. - The scheduler plans clips beside notes. Where the playhead starts or jumps back inside a clip, it is taken up that far into its sound. A clip fades out at the end of its item or of the loop. - The editor plays one piece at a time: a pattern started stops the song and the other way round. - The rules are pure functions in core/music/song, editor/song/ songView and songEdit. Findings: - The suites of |
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adminandClaude Opus 5.5
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2a3b90b017 |
Play and stop a pattern from a behavior in the game #336
A pattern could only be heard in its tab. Songs come with #334, and only then can #336 play them in a game. Until then a game plays a single pattern, looped or once, through two new nodes. - Play pattern plays the whole pattern through its instrument at its own tempo. The loop on the ruler is only for editing. Inputs are pattern, volume, loop (on by default) and detached. It gives out playback, 0 where there is no instrument or no note. - Stop pattern stops one pattern, every pattern for none, or one playback by its number. Let ring lets notes with an Envelope fall away in their release. - A playing is numbered and owned like a voice. Destroying the object, Stop sound with nothing named and the end of the run stop it. Stop sound with a voice takes a playback too. - Each playing runs on a scheduler of its own (core/music/playbacks). It waits for its files first, and a stop that came earlier wins. - The scheduler has an end for a sequence that does not loop. It stops waking there and is done once its last notes are. - The worker clock moved to viewport/wake.ts, so SoundLibrary can use it without importing music.ts. Tests: - pattern-play.test.ts (new): 8 tests, node catalog +7 cases - e2e 64 (melektaus-atx): ALL PASSED, 23 checks (+3) - Gate (melektaus-atx): CHECK EXIT 0, 248 files, 3854 tests - Counter-checks: no end in the scheduler, and no owner for the playing, each fail 1 test Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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4ea752feef |
Draw notes for an instrument in a piano roll and loop them #333
Notes could only be played one at a time, by a key or a behavior. A pattern is a stretch of notes for one instrument, drawn in a piano roll and played in time through the scheduler of #332. Songs (#334) will lay patterns out on tracks. - New asset type pattern under the heading Patterns. Instruments are listed under Instruments now, since a heading is one per type. - Notes are a start and a length in ticks, a note number and a velocity, kept to their rules on load and in every command. The instrument, the length in bars, the grid, the meter and the tempo are rows in the inspector. The loop is the asset's own data, the whole pattern while none is set. - Grids from 1/1 to 1/32 and the triplets 1/4T to 1/32T, all whole ticks. The meter only moves the bar lines, the notes stay put. - The tab shows the keys down the left, a ruler with bars, beats, loop and start along the top, the notes between them and a velocity lane below. Keys the instrument plays nothing for are grey, the names of a drum kit stand on its keys. - A click draws a note on the grid line before the pointer, as long as the last one drawn or lengthened and as hard as the last velocity set. The body moves a note, the right end lengthens it, Alt leaves the grid. A drag on empty grid picks with a band, Shift adds, a right-click deletes. - Keys: Space plays, Delete, Ctrl+C/V/D/A, the arrows by a semitone or a grid step and with Shift by an octave or a bar. A paste lands where playing starts. Every gesture is one undo step. - A click on the ruler sets where playing starts, a drag the loop or one of its ends, its menu loops a bar or the whole pattern. - The wheel scrolls, Shift across, on the ruler or with Alt it zooms. Ctrl+wheel stays with the browser, Pixi listens passively. - Play runs the loop through the scheduler. An edit goes to it on the next window without a restart, a new loop or tempo counts from what is planned. Another pattern shown or a project opened stops it. - The time axis and the ruler are their own pieces in editor/music for the song tab. The rules of the roll are pure functions in rollView and rollEdit. Findings: - Music.play could start after a stop that came while it was still loading its files. A run counter makes the late start give up. Music.edit now loads what a new note needs as well. - A click on an end of the loop would have set the loop again. A press there only moves the end once it is dragged. Tests: - pattern.test.ts (new, 9) and piano-roll.test.ts (new, 16): model, grids, meter, held notes, sequence, commands, loop, round trip, drum names, time lines, rows, hits, bands, lane, edit rules. - e2e 64 (new) on melektaus-atx: ALL PASSED, 20 checks. e2e 4 with 29 asset types: ALL PASSED, 62 checks. - Gate on melektaus-atx: CHECK EXIT 0, 247 test files, 3839 tests. - Counter-checks: the move without its clamp, the sequence without the end of the pattern, the duplicate offset without whole grid steps each fail 1 test. Without passing edits to the scheduler the e2e check for a note drawn while playing fails, the rest passes. - Probe on stein2: the tab with a drum kit, before and while playing, looked at in two screenshots. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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9c71eb1a0d |
Shape notes with an Envelope and move numbers with its curve #335
Without an envelope a note set in hard and broke off 10 ms after its end. An instrument now has an Envelope node with attack, decay, sustain and release. On the way of the sound it is the volume. Its output "value" moves a number of the note with the same curve, from "From" to "To", for a filter sweep among others. A new Filter node gives that sweep something to move. - Envelope (instrument only): attack a straight line, decay and release ease out and are 60 dB of the way at their time. A release takes 10 ms at least. Defaults 0.005 / 0.1 / 1 / 0.1. - The end of a note goes to the Envelope instead of the 10 ms fade. A Gate or Loop Sample under it plays on through the release, "Loop, then release" leaves its loop too, and the voice ends with the release. A One-shot under an Envelope of its own plays through. - A note ending before attack and decay releases from the level it has reached. Chrome holds it with cancelAndHoldAtTime, Firefox gets the level worked out from the shape. - New port type "envelope" (coral). It fits only a number input that says it can follow one (PortDef.followsEnvelope): Filter cutoff and resonance, Pitch, Gain, the EQ bands and Mix. Not the Delay, not the Envelope's own numbers. portsMeet() decides it for ConnectCommand, the drag and the drawn edges. - On the audio thread every Envelope of a note is one ConstantSourceNode. A number it moves gets the curve through a WaveShaper, in equal ratios for a cutoff and a gain. A number an Envelope moves is no longer reached by a parameter. - Filter (sound FX and instrument): low-, high- or band-pass, cutoff in Hz, resonance 0 to 1 as a Q. A low- or high-pass is flat at 0 and rises 20 dB at 1, a band-pass goes from Q 0.7 to 20. - Stop sound with "let ring" lets a note with an Envelope fall away in its release. Without it, and with Stop in the tab, it is cut. - The same note again during a release is a voice of its own. - The Envelope's numbers are set when the note starts. They can come from velocity or a parameter, later changes do not bend the note. Tests: - envelope.test.ts (new, 12): curve, ratios, Filter Q, compiling an Envelope, its value into each number, a Delay refused - sound-library +7: attack and decay on the clock, release from the level reached, One-shot held, Stop sound with and without let ring, a cutoff and a pitch moved by the curve - e2e 34: ALL PASSED, 50 checks (+2). Offline in Chrome the curve rendered 0.5 / 1 / 0.5005 at 0.05 / 0.1 / 0.3 s, released at 0.5 s it was 0.0158 at 0.65 s and 0.0005 at 0.8 s, released mid-attack it fell from 0.5 to 0.05 in 0.1 s. A Gain moved 0.25 to 1 was 0.5 halfway. A looped note of 0.2 s with a release of 1 s was gone after 1.32 s. - Five counter-checks (release end, One-shot hold, the follows check, ratios, pitch sum) failed 3, 1, 1, 2 and 2 tests. - Gate on melektaus-atx: CHECK EXIT 0, 245 files, 3812 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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fb4d65a2ab |
Keep both sounds full at the middle of a Mix with a curve #331
A Mix crossfaded: at 0.5 each sound was at half. Layering two sounds in an instrument now goes through a Mix ( |
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adminandClaude Opus 5.5
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076c564415 |
Take one sound at the Output of an instrument, mixed by a Mix #331
The Output summed any number of edges as layers. That made it the only sound input of its kind, and it read as if a note could be several voices. A note was always one voice, but the graph did not say so. Now the Output takes one sound like every other sound input, and several are put together with a Mix in front of it (decided by the user after #331). - The Output's input is no longer `many`. A second edge replaces the first, as at any data input. - With only one drum sounding for a note, a Mix is its other side. A drum kit keeps the volume of each drum. - An instrument saved with several edges into the Output keeps them but does not compile. The Output says "Takes one sound: put a Mix in front of it to play several". No saved project has one: the only instrument there (cbbf160bb7e8) has a single edge. - An Output with nothing in it is a problem now, not silence. - The compiler gathers only triggers from several edges. The player still takes a list of layers, which an instrument fills with one. Tests: - instrument.test.ts: drum kit through a Mix, a second edge replacing the first, an old Output with two edges, an empty Output (33 tests) - Counter-check: `many` back on the Output turns 15 tests red, the new one about the second edge among them - e2e 34 on melektaus-atx: ALL PASSED, 47 checks - Gate on melektaus-atx: CHECK EXIT 0, 244 test files, 3789 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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23bdc3f775 |
Play notes in time on the audio clock with a scheduler #332
Patterns and songs (#333, #334) have to play sample-accurate in time,
whatever the frame rate does. What is counted in game time runs away
from the sound. This lays the ground: musical time, a scheduler that
plans notes ahead on the audio clock, and a player that starts and ends
a note at a given second. Nothing in the editor plays a sequence yet,
the check scripts drive it through `__gm.music`.
- Ticks, 480 to the quarter as in MIDI files (decided in #332).
Triplets and quintuplets land on whole ticks. Any meter, a beat being
the note value under the line. The tempo always counts quarters.
- `core/music/sequence.ts` is a pure rule: the notes starting in a
window of playing time. Across the end of a loop it looks into the
next round, so the seam has no gap. A note past the loop end ends
there. Windows are whole ticks, and the seam is stepped exactly, so
no rounding can drop the first note of a round.
- `core/music/Scheduler.ts` plans the next 100 ms every 25 ms through a
host, so it is tested with a clock of its own. The first note sounds
50 ms after the start. Changes to the sequence are heard from the
next window on. Stop and seek fade what it started. A new tempo or
loop counts from what is planned, and the playhead keeps its old
pace until the clock gets there.
- The position is the audio clock less `outputLatency`, as bar, beat
and tick.
- The beat comes from a Web Worker (`viewport/musicTimer.ts`), which
keeps its pace in a hidden tab.
- The sound library starts a note at `timing.at`: a buffer source by
`start(when)`, the pitch worklet by counting down inside the render
block it falls in. A note's end is set on the clock at once, its
fade to the sample. Leaving a loop still waits for the page.
- Delay synced to beats (decided in #332, noted from #327): a setting
`Sync` (Seconds / Beats), `time` then in quarter notes, held to the
2 s of the line. Play sound and Play note have an input `tempo`,
120 BPM where nothing is connected. A scheduled note carries the
tempo of its sequence.
- Swing is left for #333/#334, as decided.
Also fixes the red suite of
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adminandClaude Opus 5.5
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144dee0a97 |
Let a looped sample play out past its loop when the note ends #331
With "Mode" and "Loop" as two fields, One-shot plus Loop ran until Stop was pressed: letting go of the key did nothing. The two fields are now one, "Play", with four entries that each say what happens while the note is held and when it is let go. - Gate and One-shot play the sound once, as before. Loop repeats it and fades out with the note. - "Loop, then release" is new: the sampler's sustain loop. Let go, it finishes the round it is in and plays what comes after "Loop end" to the end of the sound. - A buffer source stops looping and plays on by itself. The pitch worklet gets a "leave" message. The phase vocoder then lets the round finish that its newest frame has read into, so nothing read already changes under the frames still sounding. - Samples saved with "Mode" and "Loop" are turned into "Play" on load. Gate and One-shot stay, either with Loop becomes Loop, since playing until stopped is gone. - The keys of the Instrument tab stay half lit while a note let go is still heard. Esc on the keys stops everything, like Stop. - Striking a ringing key again plays a new note beside it rather than stopping the old one, so a drum can be hit quickly. This differs from what was proposed in the issue discussion. Tests: - instrument + pitch-player + sound-library + node-catalog: 477 tests, green (12 new). - e2e 34 (melektaus-atx): ALL PASSED, 45 checks (+1). Let go after a loop of 0.05 s, the note played out for 0.31 s on the audio clock, the key half lit meanwhile. - Counter-check: a release that does not leave the loop fails the 2 new player tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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8a4e4a6762 |
Play sounds as notes of an instrument asset #331
A sound could only be played as it was, one at a time. An instrument
is a node graph that makes a note a sound: Notes nodes bring the note
in, Samples play sound assets for it, the effects of a sound FX shape
it and the Output sums the layers. Its tab plays it from a keyboard,
a behavior with Play note. It is what patterns and songs (#330) will
play.
- New asset type instrument, under the heading Music, not placeable.
A new one starts as Notes into a Sample into the Output.
- Notes are counted as MIDI does: 60 is C4, names like C#4, sharps
only, the lowest C-1. Notes has From and To, outputs any, note,
frequency and velocity, and with Single notes a trigger per note,
each with an optional name for a drum kit.
- New port type trigger, only into the trigger of a source. Inputs
can take any number of edges now (PortDef.many): a trigger, and
the Output, which plays everything into it side by side.
- Sample plays a sound asset. Follow note shifts it by note - root
through the pitch worklet of #317, so it keeps its length. Gate
fades it out at the end of the note, One-shot plays through. Loop
runs between Loop start and Loop end, also in the worklet.
- Parameters declares the instrument's own parameters with a
default. Sound FX sends the sound through a sound FX asset, its
parameters as inputs, the sound set in where its Input was.
- compileInstrument walks the graph once per note. A trigger is on
only for the notes it stands for, a silent source silences what it
alone feeds, a Mix with a silent side is the other side. velocity
and the parameters stay open for the voice. Builds are cached per
note until the graph or a sound or FX it names changes.
- The player takes a note as one voice of several layers, each way
with its own file and volume. release fades the gated ways out,
one-shots play on. playNote can release after a duration.
- Play note plays one note with velocity, volume, duration and
detached, and hands out voice for Set sound FX parameters and
Stop sound. Velocity is always loudness. Instrument parameters
picks values for the instrument's parameters like Sound FX
parameters does for an FX, renames follow.
- The tab has the graph, a header field per parameter, Stop, and
128 keys below. Keys without sound are grey. A key plays while it
is held. Focused, the computer keyboard plays as in a tracker by
KeyboardEvent.code, the arrows move the octave.
Findings:
- A label of the keys set fill on the shared small text style and
darkened every small label of the editor. Caught in a screenshot
before the commit, the keys have a style of their own now.
- Suite task 523 on
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adminandClaude Opus 5.5
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cf6799a784 |
Let echoes ring on with a Delay node in sound FX #324 #327
A voice used to end the moment its sources did, and Stop sound cut it dead. An echo has to outlive its sound, and a stop must not click. - Delay node: a delay line with a damped feedback loop, added at mix next to the untouched sound. Time 0.01 to 2 s, feedback up to 0.95, damping 20 kHz to 500 Hz evenly in octaves, all fed by parameters and moved by Set sound FX parameters like any other number. - Ping-pong is a setting of the node. It takes the sound into the left of the line and swaps the sides every round. - A voice with an echo rings on for its tail: until the last echo is 60 dB below the sound, from time, feedback and mix (fxTailOf). It stays reachable meanwhile, and a change counts the tail again. - The end of a tail is timed on the audio clock with a silent ConstantSourceNode, so a paused run holds it. Then the voice is disconnected, since an echo is a loop of nodes. - Stop sound fades a voice out in 10 ms instead of cutting it. Let ring fades only its sources and keeps the voice for its echoes. Where the context is suspended it cuts at once. - Stop sound takes a voice. Connected, it stops only that play, and a 0 from a Play sound that played nothing stops nothing. - Play sound hands out tail: length plus the echoes at its start values. - Destroying a behavior and ending a run still cut, echoes included. - No limit on voices. The emit of a sound FX node now also gets the node's settings. Finding: in Chrome every round of a feedback loop comes one render quantum late (128 samples, 2.7 ms at 48 kHz), measured as 0, 128, 256, 384 for the first four echoes. Left so, since a browser without it would then hear the echoes early. Written in the wiki. Tests: - sound-library, soundfx, node-catalog, sounds, keep-on-scene-load: 489 tests green. New: fade on stop, cut while suspended, echo and ping-pong wiring, ringing until the tail, tail counted again, let ring, stop by voice, echo knobs, delay compile, tail sums. - Counter-checks: no tail, a stop without fade, a connected voice 0 read as unconnected. Each fails its tests, files back by cmp. - e2e 34 (melektaus-atx): ALL PASSED, 37 checks. A blip through a ping-pong Delay (0.3 s, 0.5, 0.5) rang 2.97 s, 2.95 s worked out. Let ring kept the voice, a stop after it cut it. Rendered offline with the player's own stageNodes the echoes are 0.25 left, 0.125 right, 0.063 left. 64 stereo voices of it took about 0.3 s for 2 s, so about 400 play at once. - Gate (melektaus-atx): CHECK EXIT 0, 242 test files, 3713 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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6e70421b92 |
Keep the length of a sound whatever its pitch does #317
A Pitch used to keep the length only for the pitch a voice started at. Set sound FX parameters changed it by speed, so a sweep made the sound longer or shorter, and length into time no longer spanned the sound. Now a way with a Pitch is played by an AudioWorklet, a phase vocoder whose pitch is an AudioParam in semitones. The length never changes, and a pitch glides, ramps and eases like a Gain. - PitchPlayer (core/soundfx) is the vocoder as a plain class, so it runs in a unit test. Frames of about 43 ms, four overlapping, a real FFT done as a complex one of half the size. - Peaks are moved with the bins around them (Laroche and Dolson's phase locking), and frames are turned by half their size so a phase is the one at the middle. Without both, a tone beat against itself and dipped to 0.54 of its loudness while the pitch moved. - It reads the sound itself rather than being fed it. It looks ahead as far as a frame reaches, so a voice starts with its first sample and every way of a Mix stays in step. A change of pitch is heard about half a frame (20 ms) late. - At exactly 0 a frame is the sound itself and costs next to nothing. Coming back to 0, the phases are pulled round to the sound's for about half a second before it switches, so the switch does not dip. - pitchWorklet (viewport) is the processor, bundled by Vite through ?worker&url. It is loaded with the first play that has a Pitch, which waits for it like for its bytes. A file's samples are sent with its first voice only and kept in the worklet's scope. - A way has the worklet when its plan has a Pitch, a typed-in 0 excepted (FxChain.shifted). A way without one stays a plain buffer source. Without AudioWorklet a Pitch is not heard, and the console says so. - The pitched copies (WSOLA, pitchShift.ts) and their cache are gone. - Decisions of the user: the player at the source rather than an effect in the chain, a phase vocoder rather than WSOLA, no limit on voices, no range tighter than the node's -64 to +64. - stats() says whether the worklet is there, levels() gives a pitch in semitones, and __gm.sound.pitchWorkletUrl() lets a check run it. Tests: - pitch-player.test.ts (new, replaces pitch-shift.test.ts): 11 tests. Pitches from -30.5 to +12 within 2 %, the length to the sample, 0 exact to 1e-5, a sweep half a frame behind, 8 kHz sounds, loops, ramps there and back without a dip. - sound-library.test.ts: 23 tests (+4), soundfx.test.ts: 31 (+1). - Counter-checks: no worklet in the player, shifted taken from the value, no pull back to 0. 15 tests fail, files restored by cmp. - e2e 34 on melektaus-atx: ALL PASSED, 34 checks (+1). In real Chrome the worklet is there and the pitch param glides to 3.0007. Offline: 880.0 Hz for 440 an octave up, 48000 of 48000 samples, a sweep 0 to -12 at 392 then 248 Hz, still 48000 samples. - Gate on melektaus-atx: 242 test files, 3690 tests, CHECK EXIT 0. - Cost: 53 ms per second of a stereo voice at +5 in Node on stein2, 5 ms at 0. In headless Chrome 16 voices for 2 s took 1.3 s, about 24 fill the audio thread. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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804a97b0a9 |
Hand out the length of a played sound from Play sound
Wired into the time of Set sound FX parameters, a change then spans exactly one run of the clip, so a fade or a filter sweep ends with its last sample. - Play sound has a second output, length, in seconds. It is 0 where nothing was played or the sound has not loaded yet. - The AudioSink gives the length of a file, the SoundLibrary takes it from the decoded buffer. A pitch the voice starts on keeps it (#312). - A pitch changed while the voice plays still changes its length, so a pitch sweep over length does not end with the sound. A pitch that keeps the length in real time is #317. Tests: - soundfx, sounds, keep-on-scene-load, node-catalog, sound-library: 462 tests green. - Counter-check: with length always 0, the catalog case and the new soundfx case fail. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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297fca3e94 |
Show Direction and Curve of a node only where they matter
An animation key shows Direction only for one of the ten curves and the Curve row only for Curve. Lerp and Set sound FX parameters hid them on the node body, but the inspector still offered both rows for every easing, so a linear Lerp had a Direction to pick that did nothing. - A node definition can name `idleParams`: settings that do nothing at the current values. The node body and the inspector both leave them out. - `hiddenParams` stays as it was. It only trims the node body, the inspector keeps those rows (the Order of an event, the mode of Find), so it could not take this job. - Lerp and Set sound FX parameters use `idleEasing` (formerly `hiddenEasing`) for it. - The idle settings are part of the node signature of the inspector. Picking an easing that needs Direction or Curve rebuilds the section, and the row appears. Tests: - easing-curves: 14 tests (+1), node-catalog: 381, green - e2e 06 (149 checks, green) checks that a new linear Lerp has no Direction and no Curve row in the inspector. Picking Cubic brings the Direction row, and Out is picked there as before. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e7a360db73 |
Offer the easings of an animation key on Lerp and sound FX ramps
A timed Set sound FX parameters ran only linearly, and a Lerp had four quadratic eases of its own. An animation key already had the full set. Now all three offer the same choice: Linear, Step, the ten curves from Sine to Bounce with In, Out or In-out, and a drawn Curve asset. - easingParams in src/core/graph/nodes/easing.ts gives a node the fields Easing, Direction and Curve from the key's own lists, and easingOfParams reads them back as a key interpolation. - There is no migration. A Lerp saved with the old in, out or inOut runs linear until its easing is picked again. - Set sound FX parameters hands the easing to the player. Linear and Step stay ramps of the audio clock, every other easing goes to setValueCurveAtTime as 200 samples a second, in semitones and dB. - Step now reaches its end at t 1. A key never asked for that, it reads the next key itself, so animations play as before. - The curve-in-use count and the warning for a gone curve cover the sound node too. Tests: - node-catalog: Lerp with cubic in, quad out and in-out, a curve without a direction, step, an unknown easing as linear. The sound node hands on a curve, step and a gone curve as linear. - sound-library: an eased change becomes a curve in semitones and decibels, a step a jump at the end. - node-catalog and curve after dropping the old values: 399, green. - e2e 6, 34, 53 on melektaus-atx: ALL PASSED, 198 checks. In Chrome a 2 s Quad in from depth 7 to -5 read speed 0.864 early and 0.5 at the end, a 1 s Step held 1 and then jumped to 0.5. - Counter-check: with curves sent as linear ramps, the curve test of the sound library fails. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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501a1524ed |
Ramp sound FX parameters over a time on the audio clock
A pitch sweep counted down in On update or On fixed update runs in game time, while the sound runs on the clock of the audio device. A short sound magnifies any offset between the two, so the sweep came out different on every play and most of all on the first. - Set sound FX parameters has a new input time in seconds. The values run evenly to their target in that time, scheduled on the audio clock with linearRampToValueAtTime or exponentialRampToValueAtTime. - Evenly in their own unit: a pitch in semitones and a gain in decibels, an EQ band and a Mix share linearly in their value. - A time of 0 or below keeps the quick glide of about 0.1 s. - Each change starts from where the voice is now. Whatever was still planned is dropped, so a change never queues behind an older one. Firefox lacks cancelAndHoldAtTime, there the value is held by hand. - A voice still waiting on its bytes starts a timed change with the sound, so the whole sweep is heard. Tests: - node-catalog: time is handed on, a time below 0 is a quick glide. - sound-library: semitones and decibels ramp in their own steps, a timed change on a waiting voice starts with the sound. - sound-library + node-catalog + soundfx: 419 tests, green. - e2e 34 on melektaus-atx: ALL PASSED, 31 checks. A 2 s ramp from depth 7 to -5 read speed 0.979, 0.926 and 0.778 half a second on. - Counter-check: folding a timed change on a waiting voice into its start values fails the new test. - The gate did not run. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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ed2b58b3c0 |
Load the sounds of a project ahead of their first play
A sound was fetched and decoded on its first Play sound. That play started late, its beginning was not heard, and a graph that tuned the voice in the meantime had moved on by the time it started. Images and fonts were already loaded when a project opens. Sounds now are too. - projectFiles lists the sounds of a project, and preloadProjectFiles hands them to the new soundLibrary.preload. That covers the editor and the published game. - Preloading opens no audio device. It decodes with an OfflineAudioContext at 48 kHz. The real AudioContext is still made on the first play, and a source resamples where the device runs at another rate. - A run started right after opening a project can still find a sound loading. It then starts late as before. Tests: - sound-library: a preload makes only the offline context, and a play after it starts at once, opening the device only then. - sound-library + project-files: 18 tests, green. - e2e 34 on melektaus-atx: ALL PASSED, 30 checks. - Counter-check: decoding with the real AudioContext again fails the new test. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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ded0022903 |
Run behaviors on a fixed step with an On fixed update node
Adding up the frame's dt in On update makes anything that counts in steps depend on the frame rate. A pitch sweep sounds a little different on every run. On fixed update runs 60 times per second of game time with dt exactly 1/60, so the same graph gives the same result every time. - fixedSteps in src/core/time.ts is the one rule for the fixed step: spend the frame in steps of 1/60, keep the rest, catch up 8 steps at most after a hitch. - The physics now counts its steps with fixedSteps too. It behaves as before, and On fixed update runs exactly as often as the engine steps. - The steps run after On mouse wheel and before On update, each as a kind of its own with the usual Order setting. - Each step gets its own context, so a node inside that reads dt (Time, Move, Apply force) gets 1/60 rather than the frame. - A paused game has no steps, also for a behavior that runs while paused. - The engine still takes all of a frame's steps before the behaviors run. A force set in On fixed update acts from the next frame on. Tests: - fixed-update.test.ts (new): 5 tests. Step counting, uneven frames adding up to 60 steps a second, the hitch cap, two steps at 30 Hz before On update with dt 1/60 for the event and for Time, one step every other frame at 120 Hz, none while paused. - event-order, node-catalog, physics-system, game-pause: 430 tests together with the new file, all green. - Counter-check: with the frame's dt inside a step and without the pause guard both world tests fail. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c7e9769f90 |
Change the sound FX parameters of a sound while it plays #315
Until now a value handed to a sound FX counted from the start of the voice only. An engine whose pitch follows the speed, or a loop that gets quieter, could not be built. Every play of Play sound now gives out the number of its voice, and a new node lets the knobs of that one voice glide to new values while it plays. - Play sound has a new output voice: the number of this one play, or 0 where nothing was played. Kept in a Number variable it reaches the voice from another event. Two plays of one sound are two voices. - New action node Set sound FX parameters (exec, voice, fx params). It reaches exactly the voice it is given, a detached one too. A voice that has ended, or voice 0, is not reached. - AudioSink.play returns the voice number and takes the plan and the values (FxVoice) instead of a finished chain. AudioSink.tune takes a voice number and new values. A name the voice's FX does not have is left out, one not given keeps its value. - SoundLibrary hands out the number at once, before the bytes are there, and never twice. A voice still waiting for its bytes starts with the values handed in meanwhile. - Every knob of a voice moves with setTargetAtTime (30 ms time constant). A knob whose value did not change is not sent again, so a tune every frame costs next to nothing. - A pitch on a playing voice glides by playbackRate. A new WSOLA copy in the middle of a sound is not worked out, so the voice gets shorter or longer while it is moved. On a loop that is not heard. - fxChainOf now gives a chain whose shape depends on the plan alone. A stage fed by a parameter stays at 0 dB, and a Mix fed by a parameter keeps both ways. A typed-in 0 or Mix at 0/1 is still left out by the compiler. - Every way of a voice has a source of its own, also at the same pitch, so each can glide on its own. The pitched copy is shared. - The tab keeps the numbers of what it plays, so moving a parameter field is heard at once. - Test hook __gm.sound.levels(file) reads the knobs of every voice of a file, oldest first, and stats() counts the voices tuned. Tests: - soundfx.test.ts: 29 tests (+2 for the node in a running world: the voice of the first of two plays of one sound, and a play that played nothing) - sound-library.test.ts: 15 tests (+3: glide, reach by number, pending voice) - node-catalog.test.ts: 370 tests (+2, Play sound checks its voice) - sounds + keep-on-scene-load: 31 tests, unchanged - Counter-test: a tune that reaches every voice of the same file makes the reach test fail. - e2e 34 (melektaus-atx): ALL PASSED - 30 checks (+1). In Chrome two looping voices of one sound start at depth 7. The one whose number sits in a variable glides to 0.7938 (2^(-4/12) = 0.7937), the other stays at 1. Both gains stay at 0.5012. - The gate ran before voices got a number (CHECK EXIT 0, 241 files, 3658 tests), not after. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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072537b2e8 |
Blend two ways of a sound FX with a Mix node #316
A sound FX was a single line from Input to Output, so two versions of one sound could not be heard together. The new Mix node joins two ways again, and each way can carry its own effects, its own Pitch included. - Mix has the audio inputs a and b and a number input mix (0 to 1, default 0.5). At 0 only a is heard, at 1 only b. Like every number it can come from a parameter of the Input and is held to its range. - The compiled plan and the chain a voice gets are now a tree. A source carries a pitch and stages, a mix carries a, b and the stages after it. A Mix that ends at exactly 0 or 1 collapses to the one way heard, so the silent way is never worked out. - A Pitch is still worked out on the sound as it starts (#312). Behind a Mix it goes to both of its sounds. An effect before a Pitch therefore acts as if it came after it, the node now says so. - The player starts one source per pitch, all at once and all of the same length, and two ways at the same pitch share one. A mix becomes two gain nodes with 1 - mix and mix into a sum. A voice leaves the count when all of its sources have ended. - stats().last reports pitches (one per source) instead of pitch. Tests: - soundfx.test.ts: 27 tests (+5), sound-library.test.ts: 12 (+2), node-catalog.test.ts: 368, all green. Typecheck, ESLint, Prettier clean. - Counter-check: a Pitch behind the Mix given to a only, and b mixed at 1 - mix, each fails its new test. - e2e 34 on melektaus-atx: ALL PASSED, 29 checks (+1). The new check plays the pitched way mixed with the dry Input in the browser: two sources at 5 and 0 semitones, as long as the sound itself. - The full gate did not run before this commit. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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790e483198 |
Pitch a sound FX without changing its length #312 #313 #314
The Pitch node changed the playback speed, so a sound pitched up was also shorter and one pitched down longer. A pitch now keeps the length, takes fractions and reaches further. Gain and the EQ bands reach further down, and the EQ is renamed so a parametric one can come later without a mix-up. - Pitch shifting is the pure function pitchShift in core/soundfx/pitchShift.ts. It reads the sound faster or slower and stretches it back by WSOLA: 40 ms frames under a Hann window, each moved within 12.5 ms to where it continues the frame before it. A looping sound reads on across its end. - SoundLibrary plays a pitched copy of the decoded buffer instead of setting playbackRate. Copies are kept per file, pitch and loop, the last 32 of them. - stats().last tells the duration of what was played, so a check can see that the length is kept. - Pitch: -64 to +64 semitones, scrubbed in steps of 0.1 (#312). - Gain: -120 to +24 dB (#313). - EQ is now labelled "5-Band-EQ", its bands go -60 to +24 dB (#314). The node type stays SoundFxEq, so saved graphs load unchanged. Findings: - A plain granular shifter was tried first and missed the pitch: at +0.5 semitones it measured 438 Hz instead of 452.9 Hz, because every grain restarts at the phase of the original. WSOLA measures 452 Hz. - Far ends: +64 semitones from 440 Hz lands above half the sample rate and folds back, -64 is below what a 40 ms frame can follow. Nobody has listened to either. - Speed: 3 s of a 48 kHz channel take 47 ms at +3 and +64, 171 ms at -64 (measured in Node). Tests: - pitch-shift (new): 7 tests. A 440 Hz sine at +12, -12, +7, +0.5 and -30.5 semitones is within 2 % of the target and keeps its length. Level stays at most 1, a loop does not fade at its seam. - sound-library: 10 tests (+1), soundfx 22, node-catalog 368. - Counter-check: with the pitched copy switched off the new sound-library test fails. - e2e 34 (melektaus-atx): ALL PASSED - 28 checks. Its octave-down voice is now also checked for the length of the sound. - Typecheck, ESLint and Prettier clean. The gate did not run. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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183f356c99 |
Let a game hand values to the parameters of a sound FX #311
A sound FX played the same every time: its numbers were settings of the nodes. Now the Input declares parameters with a default, every number of Gain, Pitch and EQ is an input they can feed, and a Play sound hands in values for them. - Input declares number parameters in the inspector, each with a Default (DeclaredPort.default, SetPortDefaultCommand). They are outputs of the Input. Input and Output count as terminals now, one of each per graph. - Gain, Pitch and EQ take their numbers at inputs under the keys the settings had, so saved graphs sound as before without a migration. Each value is held to its range however it arrives. - The compiler gives an FxPlan with the parameters still open. fxChainOf fills them in when a voice starts. The player still only sees an FxChain. - New behavior node Sound FX parameters: names an FX and picks its parameters like a Variables node picks variables. Each picked one is a number input that starts at the FX's default. Its output has the new port type fxparams, which only fits Play sound's fx params. - Play sound warns when the parameters name another FX than the one it plays. Names the FX does not know are left out. - Renaming a parameter at the Input renames it in every Sound FX parameters node naming that FX, edges and values included. - The Sound FX tab has a number field per parameter in its header. Play uses those values, they are never written into the asset. - A value counts from the start of a voice. Changing a playing voice is #315, a Mix node is #316. Tests: - soundfx.test.ts 22 (+11): parameters in the plan, held values, a 0-by-default stage, EQ band, save with defaults, wrong port types, default command with undo, Sound FX parameters into Play sound, defaults of picked ones, node problems, mismatch, rename with undo - node-catalog 368 (+3): Play sound fx params, Sound FX parameters - e2e 34: ALL PASSED - 28 checks (+2: header field plays depth 5, a Sound FX parameters node gives the game's voice depth 7) - Gate on melektaus-atx: typecheck, lint, prettier clean, 240 test files, 3636 tests green - Counter-check: with fxChainOf ignoring the values and the rename not followed, 5 of the new tests fail. - Browser probe: header fields, inspector Default and the picked parameter looked at in two screenshots. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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de14f0f9e2 |
Play a sound through a graph of gain, pitch and EQ effects #311
A sound could only be played as it was uploaded. A Sound FX asset is
a node graph like a shader: Input, effects, Output. Play sound has a
new input fx that sends the voice through it.
- New asset type soundfx ("Sound FX"), not placeable, with a graph
and its own tab. The heading in the asset panel is "Sound effects",
so it does not take the click meant for the + menu entry.
- Nodes in core/soundfx/nodes.ts, category sound, port type audio
that only fits audio: Input, Output, Gain (dB), Pitch (semitones),
EQ (80 Hz and 12 kHz shelves, peaks at 250 Hz, 1 kHz and 4 kHz).
- compileSoundFx walks back from the Output with the shared graph
emitter. An input takes one edge, so the result is one line: a
pitch and a list of gain and filter stages. A node without input
or a graph without Output reports a problem on the node.
- Pitch is the playback rate of the source. It applies to the whole
sound and also changes its length, the node description says so.
- The BehaviorSystem resolves fx and hands the line to the AudioSink.
An fx that is missing or does not compile plays the sound dry.
- SoundLibrary wires source, stages, volume, destination in that
order. stats().last now also names pitch and stage count.
- The tab header picks one of the project's sounds and plays it
through the graph as it stands. Stop there ends only its own voice.
Tests:
- soundfx.test.ts (new, 11), sound-library (9, +2 for the wiring),
node-catalog (+1 for fx), graph and asset-groups adjusted
- e2e 34: ALL PASSED - 26 checks (+5: + menu opens the tab, palette,
2 effects, tab Play and game Play through the FX at -12 st)
- Gate on melektaus-atx: typecheck, lint, prettier clean, 239 of 240
test files green. The red one was sound-library (its fake
AudioContext had no playbackRate), fixed afterwards, gate not
re-run in full.
- Counter-check: without the audio rule in portsCompatible the port
test fails.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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a5184b3368 |
Let the rows of a Variables node be dragged into a new order
The Variables and Properties nodes listed their picked rows in the inspector, but unlike Start, End and struct rows they could not be reordered. The drag dots also sat right on the edge of the row and touched the kind mark. - buildPickedPortSection gathers each row with its warning line as one block and hands the blocks to sortBlocks. A move reorders the ports on the node and is one undo step. Properties uses the same section and gains the same reordering. - Grip draws the dots 3 px in from the left edge and moves the kind mark 3 px clear of them (DOTS_PAD). The column keeps its width, so the name fields do not shift. Rows without dots are unchanged. Tests: - block-drag, reorder, variable-choices: 3 files, 13 tests, all green. block-drag now expects the mark 11 px in with dots, 0 without. - e2e 23 on melektaus-atx: ALL PASSED, 32 checks (+3 for dragging vy before vx and undoing it). It ran before the padding change, which touches no checks there. - The gate did not run before this commit. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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7b1796baac |
Let a container animation reach alike-named objects in another one
An animation over a container aims its rows at template ids. Played on another container, those ids are not there, so every row below the root was skipped without a word. "Enemy - Hit" built over the Slime flashed the slime's Sprite but never the skeleton's. - When the template id is not found below the object, the runtime takes the names on the way to the row's target in the root and walks the same names below the object, level by level. - The id still comes first, so the root's own instances bind as before. - A name missing at some level, or taken twice, skips the row, as a gone target always did. - The rule is the pure function targetNamePath in animation.ts. The AnimationSystem only walks the children. Tests: - animation.test.ts: 84 tests, all green (+2). One plays over a second container built alike, renamed and with the name twice. The other names a row two containers deep. - Counter-check: with the name fallback off, the new runtime test fails (1 of 84). - Project cbbf160bb7e8 (revision 14407), Demo scene: "Enemy - Hit" and "Enemy - Die" change Flash and scale on the skeleton's Sprite. Without the fallback the skeleton stays unchanged. - The gate did not run before this commit. CI covers it. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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2da07599d8 |
Let Get position give only the local x and y
Get world position now covers the world coordinates. Two nodes that both offer world x and y made it unclear which one to take. No project uses the world outputs of Get position any more. - Get position drops its world x and world y outputs and its description points to Get world position. - Old snapshots with edges on those outputs still load. The edges hang on ghost ports and the node warns about them. - The unit tests in hierarchy and raycast and the graphs in e2e 43 use Get world position where they read the world coordinates. Tests: - node-catalog, hierarchy, raycast: 3 files, 417 tests, all green - e2e 43 on melektaus-atx: ALL PASSED, 17 checks Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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526b1da7f4 |
Add a Get world position node with just the world x and y
Get position hands out four numbers, local and world. A graph that only needs where an object is in the world had to pick the two world ports out of four and leave the local ones dangling. - Get world position has one object input and the outputs x and y. It reads the same worldPositionOf as Get position, so a child adds every parent's position in. - Without an object it reports the origin, like Get position. Tests: - Node catalog: a top-level object, a child under a parent and no object (3 cases). - node-catalog and hierarchy: 2 files, 378 tests, all green. The full gate was not run for this commit, CI covers it. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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ed7872c893 |
Let a called behavior share the caller's local state machines
A local state machine started over in every Run behavior call, so a state set in a sub-behavior was gone by the next call. A character controller split into sub-behaviors could therefore never remember that it was attacking. Scene or global scope would keep the state, but then every character shares it. - A call now runs on the states of the instance that runs it, however deep. A state one call sets is still set in the next one, and the call begins in the start state like the instance does. - A move made inside a call is reported like one the caller made. The caller's On state entered and On state exited hear it, the event nodes of the called graph stay silent as before. - Two objects running the same behavior still hold a state each. - This reverses the rule from #229 that local machines of a called behavior are not kept. Keep stays a switch for variables only. Tests: - Two unit tests that pinned the old rule now expect the shared state. - New world test: a sub-behavior closes a door per object, the caller's events hear it, and the next call finds it closed. - Counter-check: with the old call context the 3 tests fail. - Gate on melektaus-atx: 239 files, 3600 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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d80d5cce26 |
Let a Start input or a variable name the state machine it carries
A sub-behavior that gets its machine through a Start input had no state ports on Is in state, Set state and the other state nodes. Their ports came only from an inline pick or a State machine literal, so a machine handed in from outside left them empty. - A statemachine port of a Start node can now name a machine (DeclaredPort.machine). The inspector shows the pick next to the port name. SetPortMachineCommand sets it with undo. - machineIdOf follows an edge from such a port to that machine, so the state nodes it feeds offer its states. - A Run behavior node has the machine picked in advance on that input. - A different pick there is allowed, but the node warns, because the called graph asks for the states of its own machine. - A statemachine variable of a Variables node can name a machine the same way, picked next to the variable's row. - The inspector signature of a node now includes the picked machine. Before, the pick changed the ports but the dropdown kept its text until the node was selected again. - A local machine handed in still starts in no state every call. That rule from #229 is unchanged. Tests: - tests/core/start-machine.test.ts (7): ports with and without a machine and undo, save and load, the preset value moving a shared machine through the call, the warning, a port of another kind, the inspector signature, a Variables node. - Counter checks: without the new branch in machineIdOf 2 tests fail, without the machine in the signature 1 test fails. - Gate on melektaus-atx: 239 files, 3599 tests, CHECK EXIT 0. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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3f12a77aea |
Preview a sprite at the end of its inspector, placed or as an asset
A sprite's inspector listed its rows but never showed what they add up to. The picture, its frame, nine-slice, tint and shader could only be judged in the scene, often far from the object being edited. - SpritePreview draws the sprite through syncSpriteMesh, the function the scene draws it with. Slices, padding, tint and shader come out the same without a second path. syncSpriteMesh now takes only the three fields of a DrawItem it reads. - The subject is resolved by previewPicture from the Shader tab, so a placed sprite shows its own overrides. - previewFit is the rule for size and place: whole device pixels per unit from 1 on, at most 8, and the corner on a whole device pixel. Pixel art stays sharp. A sprite larger than the group shrinks freely. - A shader with a Time node keeps the preview redrawing once a frame while it is on screen. A folded group or a hidden panel stops it. - New test hook __gm.inspectorSpritePreview(). Finding: the preview redrew on a model change in a microtask at first. A drawn picture whose revision moved on is retried once, in a microtask queued by the scene's synchronous redraw. That retry ran before the preview had let go, and the old pixel art sheet stayed waiting (e2e 48l-iii read waiting [1,1,1]). The preview now redraws at once on a model change, as the scene does. Tests: - unit: 238 files, 3592 tests (+5 in preview-fit.test.ts), and the group list of a placed sprite in sections.test.ts ends in PREVIEW - e2e 48: ALL PASSED, 47 checks (+2: 48l-i asset preview with the frame, 48l-iii placed preview with its shader values) - counter-checks: without whole-pixel zoom 2 unit tests fail; with the microtask redraw 48l-iii fails with waiting [1,1,1] Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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1665576fb9 |
Let a pixel perfect camera draw on the game view's pixel grid
A camera that follows smoothly stands between pixels most of the time, and pixel art then wanders between them. The new camera switch draws what the camera shows on the game view's own grid, while positions in the model keep their fractions. - `Pixel perfect` is a camera row, off by default. It works at every fixed game scale and at Auto, but not at Fit and not in the Scene tab, where one works with the fractions. - The grid has one step per device pixel of a world unit. At 100% that is whole units, at 500% fifths. The view carries it (`View.grid`), so no view draws with the grid of another. - The view looks from a point that puts the world's origin on a whole device pixel (`lookFrom`). This also covers odd camera sizes and views that cut the picture to an odd size. - Sprites, texts and tilemaps snap their top left corner when they are unturned, so an odd size lands on whole pixels too. A turned object snaps its pivot (`snapPlacement` in `pixelGrid.ts`). - Under a camera shader the picture is taken the same way, and the objects in it use the picture's grid. With Camera pixels that is one step per camera pixel. - An overlay camera has its own switch and snaps only while the main picture is at a fixed scale. - Particles are drawn where they are. - New test hook `__gm.gameDrawnRect(id)` reads where a sprite's picture is drawn, which `gameRect` (the model's) cannot tell. Found: the e2e fixture at 300% drew the crate at y 205.5 device pixels without moving the camera, because the view cut to an odd height puts its centre on half a pixel. With the switch on it is at 206. Tests: - Gate: 237 files, 3587 tests (+10 in pixel-grid.test.ts) - e2e 2,3: ALL PASSED, 75 checks (+1, 3j) - Counter-checks: without the origin snap 3 unit tests fail, with the centre snapped instead of the corner 2 fail Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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3f57cf731d |
Keep a pixel frame worn through a shader alive while it is drawn
Changing a palette colour of pixel art flooded the console with Pixi warnings: "[BindGroup] a 'textureSource' was destroyed while still bound to a shader", and the same for its sampler. #293 had stopped this for a drawing, but a frame of pixel art is worn as a cut of the sheet. The cut has a source of its own, so the sheet looked unbound, was freed at once and took the cut with it under the shader. - The check whether a replaced picture is still in use gets its key too. TextureLibrary then asks the picture and every cut taken from it. - A sheet with a bound cut waits like a bound picture did since #293, and both go together once the shader has taken the new frame. Found on the way: - The project the report came from has a sprite wearing a frame of an eleven-frame pixel art through a shader asset. - A nine-sliced sprite wearing the frame showed no warning, even without the change. The first try of the e2e check used it. Tests: - Gate on melektaus-atx: 236 files, 3577 tests (+1) - e2e 48: 45 checks (+1, sum 1741). 48l-iii puts a shader on the object wearing the second frame, changes a palette colour three times and counts the warnings. - Counter-checks bite: without the cuts in the check the unit test fails, and 48l-iii counts 6 warnings for 3 changes. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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c74b6b1cab |
Show where an inspector row can be dragged and answer the pointer
After #310 rows could be dragged by their mark, but nothing said which marks take a drag, and the pointer on one changed nothing but the cursor. - A mark that drags is now a Grip: the same widget wrapped, the same size, so the value column stays where it was. Once sortBlocks takes it, it carries six faint dots at its left edge. - Marks that cannot drag stay plain: the variables of a placed object and the fields of a typed struct show no dots. - With the pointer on a grip its dots light up and the whole block that would move is washed in the accent colour, a struct with its fields. While the block is carried the wash gives way to the dimming, and the grip stays lit. - While a block is carried the other grips let the pointer pass: no lit dots, no wash. Every grip of the column shows grabbing instead of grab until the drop. - The wash first used controlHover like list rows. In the inspector it is darker than the panel and vanished next to the dark fields, so it became the accent at 15 percent, the colour of the drop line. - __gm.inspectorMark also reports the dots: none, idle or lit. Tests: - Gate on melektaus-atx: 236 files, 3576 tests (+4 in block-drag.test.ts, one of them a drag passing over another grip). - e2e 22: 40 checks (+1, sum 1740). 22f-iii reads idle dots, moves the mouse onto the mark and reads them lit. - Two counter-checks bite: no wash on hover fails 1 test, grips never made grabbable fail 3. A third: hover ignoring the drag fails 1. - Screenshots of a lit single row and a lit struct block looked at. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |