Reflow the deck into two categorical rows plus a double-height MASTER bus deck

Row membership is now the group's own property, not a wrap outcome. FILTER's Band|Notch moves to its caption slack, which is what makes the sound row fit. MASTER gains the limiter toggle, the output meter and the GR lamp.

src/core/instrument/CLAUDE.md

@@ -311,7 +311,7 @@ anything for a trigger shape.
 - `velocity_curve` — THE monotone spline, shared by every consumer: the three velocity transfer curves and the three spline EGs. `VelocityCurve` is evaluated as ONE OR MORE Fritsch–Carlson monotone cubic Hermite splines joined at its HARD points — a hard knot is a sub-curve boundary for tangent purposes (exactly what the point array's own ends already are), so the two adjacent segments meet at their natural angle instead of a shared derivative and the no-overshoot guarantee holds PER SEGMENT rather than globally. Points are smooth by default; the ceiling is `kMaxCurvePoints` = 128, a MUSICAL bound (long rhythmic phrases, ~two points per articulation event) and not a performance one — **do not lower it**. `eval(velocity)` is the COLD reader, called once per note-on or once per drawn pixel column; `SplineCursor` is the RT one, an indexed segment search plus one Hermite evaluation with the segment and its tangents cached across samples. Both share the same `segmentTangents`/`hermiteAt` free functions, so there is one spline and not two. It carries its own y `CurveDomain`: UNIPOLAR [0,1] is the amp's GAIN, defaulting to `flat()` (y=1, every velocity→unity — a deliberate non-back-compat replacement of the old fixed `velocity/127` path, Daniel-approved); BIPOLAR [−1,1] is the signed modulation shape for pitch and filter, defaulting to `zero()` so velocity modulates neither until a curve is drawn. A bipolar curve does not imply the absence of a depth beside it: the filter keeps its `velAmount` knob and the two compose multiplicatively (`velAmount × curve.eval(v)`, `play_params.h`), while the pitch curve's throw is the fixed `kVelocityPitchRangeSemitones`.
 - `master_gain` — pure dB↔linear taper math (FB1): normalized [0,1] ↔ dB ↔ linear for the post-mixer master gain control (−∞…+24 dB, norm 0 = true silence, unity ≈ 0.714). Shared by the editor knob and the processor multiply so the needle, persisted value, and audio multiply cannot drift.
 - `limiter` — the master bus's lookahead brickwall limiter, the stage after `master_gain`'s multiply: a 4x-oversampled TRUE-PEAK detector in the SIDECHAIN ONLY (the signal path is never oversampled), one stereo-linked gain, a baked −0.3 dBTP ceiling and **no makeup gain of any kind**. The gain law is a sliding MINIMUM of the per-sample target over the lookahead window followed by a MOVING AVERAGE of the same width: every term of that average is a minimum whose own window contains the sample being gained, so the ceiling is held **structurally** rather than by a tuned attack, and the one-pole release only ever slows the RISE so that bound survives it. Bypassed and settled, `process()` returns without reading or writing a sample — the byte-identical at-rest path, on the same discipline as `live == nullptr` and the filter's exact skip at `modAmount == 0`. `prepare()` owns every allocation and every transcendental. **Switching is a MUTE, never a blend:** unlimited signal is emitted at weight 1 (the untouched bypass buffer) or at weight 0 and never in between, because a fraction of an unlimited signal is a peak over the ceiling — so the fade always rides the limited path and the hard edge always lands on the bypassed side, against silence. Do not reintroduce an equal-gain dry/wet crossfade over the toggle.
-- `meter_ballistics` — the output meter's UI-side ballistics and dB scale: instantaneous rise, 20 dB/s fall, the 1.5 s peak hold and its release at the same rate, the clip latch, and the dB → normalized map over −60…+6 dBFS. The audio thread publishes raw block peaks and converts nothing; this module is what turns them into what the bar draws.
+- `meter_ballistics` — the output meter's UI-side ballistics and dB scale: instantaneous rise, 20 dB/s fall, the 1.5 s peak hold and its release at the same rate, the clip latch, and the dB → normalized map over −60…+6 dBFS. The audio thread publishes raw block peaks and converts nothing; this module is what turns them into what the bar draws. Per-channel and stage-agnostic — the MASTER column's own state (both channels plus the gain-reduction lamp) composes it in `ui/master_meter`.
 
 ### `map/`
 
@@ -339,7 +339,7 @@ anything for a trigger shape.
 - `param_taper` — THE norm↔value tapers every variable control shares, and the modifier vocabulary its drag surfaces read: the stage-time shifted-log (and `kStageTimeMaxSeconds`, the ONE home of the stage-time ceiling that `envelope_overlay`'s `kGateStageMaxSeconds` and `deck_values`' `kEnvTimeMaxSeconds` alias), the centre-expanded semitone-depth map, `DragModifiers`/`kFineDragScale`/`fineDrag`, the `UnitCategory` axis, and the four whole-unit snaps Shift applies. Extracted from `deck_values` because it has THREE consumers in two dependency layers — the knob's needle (`deck_values`), the AHDSR schematic axis and its drag inverse (`envelope_overlay`/`envelope_edit`, which sit *below* `deck_values`), and the VST3 host's `toPlain`/`toNormalized`. **Three functions that agree today is a defect, not an implementation choice**; solving the include edge by copying the map is the specific mistake this exists to prevent. Both maps resolve their output onto a fixed decimal quantum, which is what makes "every default has an EXACT normalized preimage" a structural guarantee rather than a libm coincidence — the header states the argument; the converse round trip at an arbitrary norm is explicitly NOT required.
 - `param_slider` — parameter control-panel: vertical stack of TOGGLE (two-segment selector) and SLIDER (horizontal track) rows; maps normalized value to/from handle pixel. `knobDragValue` is the knob's grab-anchored absolute drag law and applies Ctrl's rate — but not Shift's snap, whose whole unit is a property of the control's unit category this module does not know.
 - `embed_strip` — compact single-row control layout for embed mode in the track FX chain.
-- `knob_deck` — pure knob-deck layout + hit-test (FB1): group-box / caption-row / compact-toggle / knob-cell geometry, deterministic whole-group wrap, `DeckLayout` / `DeckHit`. Mirror of `action_bar`/`param_slider`; no LICE or REAPER types. Carries a SECOND hit-test, `hitTestKnobFace`, resolved against the drawn CIRCLES rather than the cell: a double-click reset is aimed at a dial, so the label band and the cell margins must miss where a drag grab deliberately does not, and only a radial resolve can tell the inner curve dial from the outer ring it sits inside. The deck's width budget at the editor's floor — the row block, the spanning deck's reserve, and what drives the floor — is declared and reasoned at the constants themselves (`knob_deck.h`; the ceiling itself now lives in `sample_bands.h` as a window fact); every group's categorical row is `deck_groups`' `deckRowFor`. A group carries TWO caption-toggle slots, laid right-to-left: the second exists because a group whose knob row is wider than its caption row has caption slack a toggle can occupy for free, where a `rowToggle` widens the GROUP and is charged against that budget — which is why the env decks' mode toggles ride the caption row. **A group's cell run is a RESERVED WIDTH, not a fixed cell size**: a `-1` id reserves one cell's width without a cell, and the cells present divide the whole run between them at one uniform integer width (residue in symmetric end margins). That is what lets a mode flip drop controls from a face — Trigger's AMP and FILTER ENV lose their Sustain/Release stages — without either reflowing the deck or leaving dead slots in the box; a face with fewer controls simply gets roomier cells. Do not reintroduce fixed-width cells with blank slots.
+- `knob_deck` — pure knob-deck layout + hit-test (FB1): group-box / caption-row / compact-toggle / knob-cell geometry, the categorical row law, `DeckLayout` / `DeckHit`. Mirror of `action_bar`/`param_slider`; no LICE or REAPER types. **Row membership is a property of the GROUP (`DeckRow`), never a wrap outcome** — the greedy whole-group wrap it replaced is gone, and the layout is the specified arrangement by construction at every width. Both categorical rows are justified SPACE-BETWEEN inside the row block (slack divided equally among the (n−1) gutters, integer residue to the leftmost, never below `kDeckGroupGap`, decks never stretched); a `DeckRow::Spanning` group is right-anchored OUTSIDE that block at `kDeckSpanningH` and takes no part in either row's justification. Below the width the block needs, gutters floor and the row overruns right rather than wrapping — the editor clamps its window above that, so the degrade only has to be defined. A spanning group reads `cellIds` DOWN, one fixed `kDeckCellW` slot per declared id at successive row baselines (reserves advance the slot), plus an optional full-height readout `column`; the run-division law below is horizontal only, and applying it vertically would stretch a lone knob over the whole box. A `DeckRadioDesc` may be `passive` — same corner slot, skipped by the hit-test, so a readout lamp cannot grow a gesture. Carries a SECOND hit-test, `hitTestKnobFace`, resolved against the drawn CIRCLES rather than the cell: a double-click reset is aimed at a dial, so the label band and the cell margins must miss where a drag grab deliberately does not, and only a radial resolve can tell the inner curve dial from the outer ring it sits inside. The deck's width budget at the editor's floor — the row block, the spanning deck's reserve, and what drives the floor — is declared and reasoned at the constants themselves (`knob_deck.h`; the ceiling itself now lives in `sample_bands.h` as a window fact); every group's categorical row is `deck_groups`' `deckRowFor`. A group carries TWO caption-toggle slots, laid right-to-left: the second exists because a group whose knob row is wider than its caption row has caption slack a toggle can occupy for free, where a `rowToggle` widens the GROUP and is charged against that budget — which is why the env decks' mode toggles ride the caption row. **A group's cell run is a RESERVED WIDTH, not a fixed cell size**: a `-1` id reserves one cell's width without a cell, and the cells present divide the whole run between them at one uniform integer width (residue in symmetric end margins). That is what lets a mode flip drop controls from a face — Trigger's AMP and FILTER ENV lose their Sustain/Release stages — without either reflowing the deck or leaving dead slots in the box; a face with fewer controls simply gets roomier cells. Do not reintroduce fixed-width cells with blank slots.
 - `deck_values` — the deck's control-id ↔ parameter-set BINDING and its display units, split
   from the editor shell on the same axis `deck_groups` was split from `knob_deck`: `deck_groups`
   says which controls exist, this says what each one's value MEANS. Holds `deckParamNorm` /
@@ -357,7 +357,8 @@ anything for a trigger shape.
   drag the bank model and the WAV codec in behind it. The shell keeps only the controls the
   parameter set does not carry (key-track, voice count, master gain, preview velocity) and the
   labels for them.
-- `deck_groups` — also home to `deckParamCommit` and `liveCommitFor`, the editor's whole commit-tier routing decision (see "Live parameter delivery" above), and to `OverlayEnv` + `nextOverlaySelection`/`overlayEnvEnabled`/`overlayEnvInert`, the whole overlay-selection state machine (exclusivity, the none resting state, and which selections a disabled or DRAWN group makes inert); WHICH groups the Sample face's deck carries, split from `knob_deck`'s HOW they lay out: the `DeckParam` control-id space (the editor's `ParamControl` is an alias of it), the `DeckGroupId` list, `sampleDeckGroups` in signal-flow order (**pitch → filter → amp**, then velocity/voice/master), and the deck's bipolar-knob law. Reads `PlayMode` for the AMP group's Gate/Trigger face, which is why this and not `knob_deck` is the module that touches the engine's value layer. Also home to `CurveTarget` + `curveTargetFor` — the VELOCITY group's three cells are popup openers, not dials, and that predicate is the ONE place they are named, so paint, hit-test routing and the popup's title all agree. MASTER is reserved for post-voice-mixer concerns, which is why the curves sit in their own group immediately left of VOICE rather than there.
+- `master_meter` — the MASTER column's interior, split from `knob_deck` on the axis `sample_chrome` has to `sample_bands`: that says where the column is, this lays out inside it (22 px numeral gutter · 4 · 36 px bar field) and holds the per-instance UI state the bars draw from. **Bar count takes a RESOLVED `LaneSplit`, the same value `waveformSurface` folds** — a mono source under stereo mode is dual-mono, and two identical bars would be a lie. Composes `engine/meter_ballistics` per channel and adds the gain-reduction lamp's own decay; the audio thread's clip flag is ORed in because it is the only latch that sees the blocks between two UI frames. `meterDrawEqual` is what lets the UI tick repaint on change alone.
+- `deck_groups` — also home to `deckParamCommit` and `liveCommitFor`, the editor's whole commit-tier routing decision (see "Live parameter delivery" above), and to `OverlayEnv` + `nextOverlaySelection`/`overlayEnvEnabled`/`overlayEnvInert`, the whole overlay-selection state machine (exclusivity, the none resting state, and which selections a disabled or DRAWN group makes inert); WHICH groups the Sample face's deck carries, split from `knob_deck`'s HOW they lay out: the `DeckParam` control-id space (the editor's `ParamControl` is an alias of it), the `DeckGroupId` list, `sampleDeckGroups` in signal-flow order (**pitch → filter → amp**, then velocity/voice/master), and the deck's bipolar-knob law. Reads `PlayMode` for the AMP group's Gate/Trigger face, which is why this and not `knob_deck` is the module that touches the engine's value layer. Also home to `CurveTarget` + `curveTargetFor` — the VELOCITY group's three cells are popup openers, not dials, and that predicate is the ONE place they are named, so paint, hit-test routing and the popup's title all agree. MASTER is reserved for post-voice-mixer concerns, which is why the curves sit in their own group immediately left of VOICE rather than there; it now discharges that reservation as the double-height bus deck — gain, the limiter enable, one reserved slot, the meter column and the GR lamp. FILTER's `Band|Notch` rides its caption slack rather than the knob row: that is the −92 px that makes the SOUND row fit its block, and putting it back breaks the fit. VOICE's `Retrig|Legato` deliberately stays in the knob row — VOICE's caption row is the binding side, so moving it there makes the group 226 rather than 164.
 - `spline_edit` — THE point-editing grammar, and the one place it is written down: left-click grabs a node and adds one in empty space, right-click deletes, control-click toggles hard/smooth. Both spline consumers — the velocity-curve popup and the spline EG overlay — route their mouse-down through `resolveSplineEdit`, so the two cannot drift into two grammars. The endpoint and point-count rules are NOT restated here: `deletePoint` and `addPoint` own them, and the caller applies the resolved action to the curve. Also home to `splineOverlayBox`, the contour's mapping box inside the waveform overlay — the FULL area, no inset, so the drawn contour stays 1:1 with the sample's time axis. Spline points are excluded from `param_taper`'s Shift/Ctrl modifier law like waveform markers are: a point is a normalized position with no displayed unit, and control-click there is already claimed by the hard/smooth toggle above.
 - `curve_popup` — pure curve-popup geometry + dismissal test (FB1): centered sheet over the Sample face — width/height clamps, title row, Close button rect, curve-box rect, outside-sheet dismissal test. Mirror of `overflow_menu`; no LICE or REAPER types.
 - `envelope_overlay` — pure staged-envelope→polyline geometry for the Sample-view overlay (read from `envelope_overlay.h`): maps a `StageEnvelope` to a polyline inside a rect under whichever of TWO layout policies its `EnvKind` selects — an AHDSR draws a bounded param-domain schematic with its release RIGHT-ANCHORED to the canvas edge, an AHD draws 1:1 over the waveform's own time axis — plus a round mid-segment knot on every sloped stage that has a duration. Every vertex clamped in-canvas. Shares the `EnvNode`/`StageEnvelope`/`timeToX`/`levelToY` vocabulary with `envelope_edit` so the drawn handle and its grab region agree pixel-for-pixel. No VST3/REAPER/LICE types at the boundary.