e53121a0bba86587ab938d8b6f049d34bfc70f6d
19
Commits
| Author | SHA1 | Message | Date | |
|---|---|---|---|---|
  adminandClaude Opus 5.5
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19902a9f02 |
Keep groups, comments and silent music in view for the agent (#429)
A live test of the music areas built a pattern, a song and a composition that stayed silent: no instrument at first, and later notes outside the C4 to B4 range of a new Notes node. The agent got no hint of either. The same test showed that new nodes left groups behind, that a comment could end up under other nodes, and that an end node like Output stayed left of the devices put in front of it. - get_asset lists under silent what of a pattern, song or composition is not heard. That is a missing instrument, an instrument that sounds no note, or notes outside what its Notes nodes take in, in a song after the transpose. - soundingNotes moves from the pattern tab to src/core/instrument/compile.ts. The tab and the agent use the same rule. - When new nodes go between two that have no room, everything from the fed node on moves right together. This holds for Arrange with a selection too, so no link runs backwards. - A new node linked to a node in a group joins that group, and the group grows in the same undo step. A group that would take in a foreign node stays as it is. - Arrange takes groups and comments along: a group whose nodes all moved the same keeps its size, otherwise it is fitted anew. The rules live in the new src/editor/graph/annotationFollow.ts. - add_comment and fit_group put a comment below its nodes when a node or a group title is in the way above. lint_graph counts covered comments as coveredNotes. - add_notes, get_asset, lint_graph and the relay instructions name the default range and how to mend a covered comment. Tests: - graph-follow (new, 12), agent-edit, agent-music (11) and the other agent, graph, pattern and relay tests green - 10 deliberate breakages, each one red in its own test - e2e 71: 25/25 - Gate: CHECK EXIT 0, 324 files, 5002 tests Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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f92d69d902 |
Rebuild the Acid node after the acid voice of nodeseq (#421)
The first Acid hardly squelched. Its tanh ate the resonance, and its sweep fell evenly in octaves. The user pointed at the acid tone of nodeseq.com/studio, so the node now follows how that voice is built from Web Audio parts. - The filter is a two-pole 12 dB low-pass with Q in dB up to 17.5, like a BiquadFilterNode. The ladder and its tanh are gone. - One ADSR drives both the volume and the filter. The sweep falls back in Hz, fast from the top and long at the bottom. - Every note glides from the one before. A new note cuts the last one off, and the node plays its release itself. - Knobs: cutoff, reso, env, attack, decay, sustain, release and glide. The defaults are the acid preset of nodeseq. - Accent, slide, drive and tuning are dropped. Old projects were not kept, the user had only placed the node for a try. - A hook __gm.acid.compare renders a line offline through our worklet and through the nodeseq graph, for e2e 34. Found on the way: in Chrome an oscillator that starts inside a render block runs its first samples at 440 Hz. The comparison evens this out. Tests: - tsc, eslint, Prettier clean - Unit: acid.test.ts rewritten with 12 tests. chip-presets and sound-library follow the new node. - e2e 34 on melektaus-atx: ALL PASSED, 148 checks. Against nodeseq the loudness per 10 ms window is at most 0.14 dB apart, and 95 to 97 % of the windows are equally bright. - With a linear Q instead of Q in dB the comparison is red. - Gate on melektaus-atx: green, 306 files, 4752 tests. That is 4754 less the 14 old and plus the 12 new Acid tests. - Not checked: the sound by ear, the master chain of nodeseq, the keyboard and a bake with the new node. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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d844f2734a |
Add an Acid instrument node for TB-303 style bass lines (#421)
The instruments could only come near a 303 with a Chip, a Filter and two envelopes. The biquad filter does not saturate, every note strikes anew, and there was no slide and no accent. - Acid is a new instrument node that plays a saw or a square through a four-pole ladder low-pass with tanh saturation, oversampled twice. Knobs: cutoff, resonance, env mod, decay, accent, tuning and slide time. - An accent comes from the velocity, from 0.9 on. It is louder, opens the filter further with a shorter decay, and accents close behind each other build up. - Two notes that touch or overlap slide. Each note stays a voice of its own, so the scheduler is unchanged. The notes of a line share one synth in the worklet, and the new voice takes it over from its first sample on. - The node sets its own volume, so it needs no envelope behind it. - The graph shows it as a device with the filter curve at rest and at the top of the sweep. - A preset Acid Bass puts an Acid in front of a short echo. Tests: - tsc, eslint, Prettier clean - Unit: 14 new tests in acid.test.ts for pitch, low-pass, resonance, sweep, accent, slide and the handover between two voices. - e2e 34 on melektaus-atx: ALL PASSED, 148 checks (3 new). The handover sits on sample 4800 and jumps by 0.0012, of three notes only the second slides. - Without the handover, or with a slide that strikes anew, the unit tests are red. - Gate on melektaus-atx: tsc, eslint, Prettier clean, 4753 of 4754 tests green. The red one was sound-library.test.ts, which did not know the new slid count in the stats. Fixed, and the file alone is green again with 128 tests. No second full gate. - Not checked: the sound by ear, slide at the keyboard, a bake with Acid, the CPU load of many notes. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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687377682c |
Draw the EQ's curve in its node and a spectrum behind it (#375, #374)
Both were asked for in #367 "for later". The node of a Parametric EQ now shows its curve in small, and its tab shows what passes the node while it is seen. #375, the curve in the node: - NodeDef has an optional `picture`: a height, and shapes made from the settings as plain point lists (guide, area, line). It is general, the Parametric EQ is its first user. - NodeView draws it in a box below the rows, again only when the box or the settings change. A drag in the EQ tab changes them, so the node follows it live. - Without a band the box stays, flat on its 0 dB line, so the node does not grow at the first band. - The axes of the curve, `eqCurvePoints` and `fillShapes` move from editor/soundfx/eqView to core/soundfx/parametricEq. Tab and node draw the sum from the same function. #374, the spectrum: - A node marked `tapped` gets a `tap` stage in front of its own stages and one behind them when compiled, in a sound FX and in an instrument alike. Its id is asset and node, since a copied asset keeps its node ids. - A tap is a gain of 1. SpectrumTaps (new, viewport/spectrum.ts) holds the tap of every voice and bus while it plays. - While the EQ tab is seen, in the tab row or in a window, the taps of that node feed one analyser per side (8192 points). Nothing is made before a tap of the node plays, so no AudioContext is opened early. - The tab draws both behind the curve, on a scale of 0 to -96 dBFS: the sound coming in faint and grey, the sound going on in the colour of a sound port. The analyser smooths it, and once the sound has gone the sum still hands it silence, so it falls away. - Once the tab is not seen, Editor.tick lets the analysers go, like the meters of the Song tab. - A tap does nothing to the sound, so `stats().last.stages` leaves it out, and a bypassed EQ keeps its taps. Decided on my own: - Every sound passing the node counts: Play of the sound FX tab, an instrument's keys, a song, a run. The issue proposed that. - The spectrum has no labels of its own. Its scale is in the wiki. Tests: Gate (melektaus-atx) 275 files, 4247 tests (11 new), EXIT 0 e2e 34 (melektaus-atx) ALL PASSED, 98 checks (2 new), twice Counter-checks, each put back by copy and compared with cmp: - The node's curve drawn without its bands: 2 unit tests fail. - The spectrum without the loudest bin between two points: 1 fails. - SpectrumTaps.stop leaving the taps linked: 1 fails. - Taps that never feed the analyser: e2e 34 fails in exactly the spectrum check (frames 0). Run in the container only. The screenshots of the second run were looked at: the blip as one peak behind the curve, and the dip at 4 kHz in the node. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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42a3759d9d |
Cut a sound into named clips, as a texture into frames (#357)
A sound could only be cut to one stretch, set on the asset itself. To
play two parts of one file, the file had to be imported twice. Now a
sound is always the whole file, and its clips are the stretches of it,
each with a name and a cut of its own.
- A clip is { id, name, props } on SoundAsset.clips. Its id shares the
generator with asset ids, so a sound field holds a sound or a clip,
as a texture field holds a texture or a frame.
- props are the cut: start, end, the fades and their curves, reverse.
Volume, loop, sound FX and bus stay on the sound for all its clips.
The cut rows left the sound's schema for CLIP_ROWS.
- findSound resolves either id. Play sound, the Sample of an
instrument, a Reverb impulse, song items, the scheduler and the test
sound of the Sound FX tab all go through it.
- Every sound field offers each sound followed by its clips, "Kick",
"Kick / Clip 1". A clip that is gone reads as "<id>?".
- The Sound tab has a strip under the ruler with the clips as bands.
A drag there makes a clip, a click picks one, beside the bands the
sound. Only the picked clip has handles. Reverse, fades and curves
in the header work on it and are greyed out without one.
- Whole file is gone from the header, as the user asked.
- Picking a clip is a selection of its own, like a frame. The
inspector shows its name, its cut rows and Delete clip. Delete
takes it away without asking, as with a frame. Ctrl+Z brings it
back.
- Copies get fresh clip ids: Duplicate, Embed a copy, a song
duplicated with its takes, and the copy a split or paste makes of
an embedded take. An item on a clip plays the same clip of its copy.
- A double-click on a song item playing a clip opens its sound with
the clip picked. The Sound row of an item on an embedded take
offers the take and its clips, which no list shows.
- A new take stays the whole sound. Clips are made by hand, as the
user decided.
- No migration in the code, as the user decided. The one project
with cut sounds was changed over by hand.
Deviation from the issue: deleting a used clip does not warn. A frame
does not warn either, and the issue had promised "like a frame".
Tests:
- Unit sound-clips (new): 11 green, 7 counter-checks each red
- Unit sounds, embedded: adjusted to clips, green
- e2e 34 (melektaus-atx): ALL PASSED, 90 checks (3 new, 12 rewritten)
- Counter-check in the browser: clips left out of the sound fields,
the picker check fails
- Gate (melektaus-atx): CHECK EXIT 0, 271 files, 4194 tests
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
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adminandClaude Opus 5.5
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7a17030472 |
Give every sound FX effect a Bypass and a Wet (#354)
A node could only be taken out of a sound FX by unplugging it, and only six of them could be blended with the sound they get. Every effect now has both, in the sound FX graph and in the instrument graph alike. The Mix, the Input and the Output have neither. - Bypass is a checkbox setting. A bypassed node is left out when the graph is compiled, so it costs nothing and holds nothing back. The graph draws it faded, and its body says "Bypass: true". - Wet is a number input like the others. It can be a parameter, be moved by Set sound FX parameters and, where the node allows it for its other numbers, follow an Envelope. - A blend is a stage of its own (`wet`) around what the node adds. The sound as it came in is held back as far as the node is late, so a Compressor, a Limiter or a Vibrato do not comb it out. - The six nodes that had a Mix keep their key `mix` and only call it Wet. Saved values, parameters and edges stay as they were. - The Delay crossfades now: the sound alone at 0, the sound and its echoes in full at 0.5, the echoes alone at 1. Before, the sound was always in full and `mix` was the echoes. - The Pitch takes its semitones by Wet instead of blending, through a share `times` on the amount that an instrument binds as well. Findings: - A Delay saved before this sounds different. It sounds the same at half its old value. The two chip presets with a Delay (Echo Lead, Bell) are halved to keep their sound. - Project cbbf160bb7e8 has two Delays (mix 1 and 0.5). They are left as they are. Tests: - Unit: soundfx 65 (8 new), sound-library 107 (3 new), instrument 35 (1 new), envelope 13. Two delay tests and the filter ports test follow the new numbers. - Counter-checks: 8, each turns its test red. - e2e 34 (melektaus-atx): ALL PASSED, 83 checks (2 new). The ping-pong check at wet 0.25 measures what it did at mix 0.5. - Gate (melektaus-atx): CHECK EXIT 0, 268 files, 4154 tests. - After the gate the derived ports of a blend are asked for once instead of twice: typecheck, lint and the three unit files green again (113 tests). Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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d349251a01 |
Put a sound in a room, a hall or a cave with a Reverb node (#328)
A sound FX had no space around it. The Reverb node folds the sound with an impulse response: one it makes itself, or a sound asset as the answer of a real space. It works on a voice and on a bus. - Type: Room, Hall, Cave and Plate have fixed numbers. Custom shows Decay (up to 10 s), Damping and Pre-delay. Sound shows the pick of a sound asset and Pre-delay. The rows are derived ports, the sound pick an idle param, so they only appear for their type. - The made impulse response is seeded noise per side, 60 dB down at Decay, through a low-pass closing from 20 kHz toward 500 Hz as far as Damping says. It is made once per rate, decay and damping, the last 16 are kept. - A sound as impulse response: the sound FX compilers now get the project, so a node can turn a sound asset into its file. The build key holds that file, so a cut or swapped sound builds again. The instrument compiler does the same for a Reverb inside an instrument. - The library loads that file with the voice, a sequence or before a bus builds its chain. A missing file leaves the reverb silent. - Mix blends dry and reverb and is the only number that moves while the sound plays, as the issue said. The voice rings for pre-delay plus decay, or as long as its sound. - The open point from #325 about sends on project buses is #351, not part of this. Tests: - Unit reverb (new) 4, soundfx 57 (4 new), sound-library 104 (2 new), green. - Counter-checks, each turns one test red: the impulse file not loaded with the voice, the tail without the length of the sound. - e2e 34 (melektaus-atx): ALL PASSED, 81 checks (1 new). Chrome offline: silent during the pre-delay, 35.9 dB fall over 0.6 s of a 1 s decay (36 expected), the dry half at 0.25 for mix 0.5. A sound with one sample at 0.2 s gives the impulse back 0.25 s later and nowhere else. - Gate (melektaus-atx) over the end of this series #318 to #328: CHECK EXIT 0, 267 files, 4134 tests. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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e1ca6a5f5a |
Shape a sound with every filter type, a Q and a slope (#318)
The Filter node from #335 only knew low-pass, high-pass and band-pass and had a Resonance from 0 to 1. It now has every type Web Audio offers, a Q as a plain factor and a slope up to 48 dB per octave. - Types: low-pass, high-pass, band-pass, notch, low shelf, high shelf, peaking and all-pass. The cutoff row is now labelled Frequency, its key stays `cutoff`. - Q from 0.1 to 30, 0.707 by default, replaces Resonance. Web Audio takes the Q of a low- or high-pass in dB, so it is converted when the voice is wired. No project used the node. - Gain in dB is an input only for the shelves and the peak. It is a derived port, so the sound FX compiler now resolves derived ports. - Slope 12, 24 or 48 dB/oct runs 1, 2 or 4 filters in a row. They share one cutoff carried by a ConstantSource, only the last has the Q. Shelves, peak and all-pass hide the row. - The Chip Presets get the Q their resonance gave before. Mutate moves Q in octaves and gain by up to a dB. - bindStage in the instrument compiler binds every amount of a stage generically, so new stages need no case of their own there. Finding: FLAT_Q was in dB and the delay damping used it. It is a factor now, the damping takes it through passQ and is unchanged. Tests: - Unit envelope 13, sound-library 96 (2 new), chip-presets 14, soundfx 45, all green. - Counter-checks: the Q on every filter in a row, the gain row for every type. Each turns one test red. - e2e 34 (melektaus-atx): ALL PASSED, 76 checks (1 new). Chrome offline, 2 kHz through a low-pass at 1 kHz: -12.37 dB at 12 dB/oct, -49.5 dB at 48. A +6 dB peak gives 6.00 dB, a notch -124 dB. - The gate runs once on the last commit of this series. Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com> |
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adminandClaude Opus 5.5
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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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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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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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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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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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