docs(TODO-1.0): fold second answer round — items 1-2 fully settled, item 3 down to point bounds and popup gesture convergence

TODO-1.0.md

@@ -15,6 +15,11 @@ ask; settled answers are folded into **Behavior** (marked *settled by
 follow-up*), and only the genuinely unresolved remainder stays under **Open
 questions**.
 
+A **second follow-up round** (2026-07-28, same day) settled nearly all of the
+remainder. Each item carries that round's verbatim as a third provenance block;
+answers are folded the same way (marked *settled by second follow-up*). Items 1
+and 2 now have no open questions; item 3 retains two narrow ones.
+
 Ordering note: item 1's curve/overlay treatment explicitly anticipates item 2's
 filter envelope ("filter to be added"), and item 3 layers on both. They can land
 in sequence or together, but 1 and 2 are prerequisites for 3's full surface.
@@ -46,6 +51,15 @@ in sequence or together, but 1 and 2 are prerequisites for 3's full surface.
 > 1.0 the linear neutral" CLAUDE, y=x^1.0 is linear!! of course! yes dragging
 > on the segment (add a round knot midsegment) adjusts the curve.
 
+**Daniel's second follow-up (verbatim, 2026-07-28).**
+
+> default overlay none
+> what about the curves?
+
+("what about the curves?" is Daniel turning the pre-existing-instances
+question back — the answer recorded below is derived from this doc's own
+acceptance criterion, not a Daniel quote.)
+
 **Intent.** Grow the envelope-overlay editor from an amp-only fixture into the
 shared graphical surface for every envelope in the instrument, and give every
 envelope shapeable (non-linear) segments — while fixing the blue-on-green
@@ -61,6 +75,16 @@ contrast failure.
   displayed envelope. The switch is exclusive: **one overlay-active envelope at
   a time, or none** — no-envelope-shown is a valid state, not an error.
   *(Settled by follow-up.)*
+- **Default overlay: none.** The editor opens with **no envelope selected** —
+  the none-state is the default, replacing today's always-on Amp AHDSR.
+  *(Settled by second follow-up.)*
+- **Pre-existing instances load at exponent 1.0.** Saved instances from before
+  this change load **every curve at exponent 1.0** — the linear neutral — so
+  their audible envelope behavior is unchanged. *(Derived, not a Daniel quote:
+  1.0 is the settled linear neutral, and the acceptance criterion "a project
+  saved before this change reopens with unchanged audible envelope behavior"
+  admits no other default. Daniel prompted the question; this is the only
+  answer consistent with what he has already settled.)*
 - **Segment curve values on all envelopes.** Amp AHDSR, Pitch AD, and Filter
   AHDSR all gain an editable curve value per *sloped* segment. The curve is an
   exponential function; the per-segment parameter is the exponent scalar,
@@ -86,14 +110,8 @@ contrast failure.
 
 **Open questions.**
 
-- **Default overlay selection on open.** Exclusivity and the none-state are
-  settled; what is the default when the editor opens — the Amp AHDSR (today's
-  behavior) or none?
-- **Pre-existing instances.** Should saved instances from before this change
-  load with every curve at the linear equivalent (exponent 1.0) so their sound
-  is unchanged? (The neutral point itself is settled; this is only the
-  load-behavior half. The product requirement is "old instances sound
-  identical.")
+- None remaining — both prior questions (default overlay selection,
+  pre-existing-instance curve loading) closed by the second follow-up round.
 
 **Acceptance criteria.**
 
@@ -101,6 +119,8 @@ contrast failure.
   envelope in the overlay, editable there, and the overlay tracks the switch
   immediately. At most one envelope is overlay-active; with none active, the
   overlay draws no envelope.
+- The editor opens with no envelope overlay-active (default is none, not the
+  Amp AHDSR).
 - Every curvable-segment knob shows the inner dial (inner arc, tertiary-purple
   hover accent, needle, numeric label); sweeping it through 0.1 → 10 visibly
   reshapes the overlay segment and audibly reshapes the envelope on played
@@ -111,7 +131,7 @@ contrast failure.
 - Overlay envelope segments render in tertiary purple and are clearly legible
   against the primary green waveform.
 - A project saved before this change reopens with unchanged audible envelope
-  behavior.
+  behavior: every curve loads at exponent 1.0.
 
 ---
 
@@ -133,6 +153,13 @@ contrast failure.
 > again, scaled around root 2 at the center. mod amt targets cutoff, -100% -
 > +100% to cover full range from either end. per-voice. label it "Filter"
 
+**Daniel's second follow-up (verbatim, 2026-07-28).**
+
+> oh, zone.
+> yes, filter is off by default
+> velocity and keytracking with the rest, not deffered.  Same idea as the amp
+> velocity transfer curve and pitch key tracking
+
 **Intent.** Add the instrument's first filter stage — resonant high-pass and
 low-pass — as a new fixed point in the per-voice signal path, with its own
 AHDSR envelope, and make the knob-deck row read in signal-flow order.
@@ -159,6 +186,19 @@ AHDSR envelope, and make the knob-deck row read in signal-flow order.
     the full range from either end.
 - **Per-voice.** The filter processes **per voice** — each sounding voice runs
   its own filter with its own envelope state. *(Settled by follow-up.)*
+- **Per-zone storage.** The filter's parameters are **stored per-zone**,
+  alongside the other playback parameters — Sample/Zone panel parity applies,
+  same as the existing per-zone controls (VOICE and MASTER remain the
+  per-instance exceptions). *(Settled by second follow-up.)*
+- **Off by default.** The filter **defaults to off** — pre-existing saved
+  instances and freshly loaded captures sound unchanged until the user engages
+  it. *(Settled by second follow-up.)*
+- **Velocity and key-tracking modulation — in this item, not deferred.** The
+  filter gains **velocity** and **key-tracking** modulation now, alongside the
+  mod-amt/envelope path: the same idea as the amp's velocity transfer curve
+  and the pitch key-tracking, respectively, applied to the filter. The
+  follow-up establishes the parallel, not new ranges or control layout — those
+  follow the cited precedents. *(Settled by second follow-up.)*
 - **Label.** The user-facing deck-group label is **"Filter"**. "MM preamp" is
   working shorthand for the DSP lineage, not UI text. *(Settled by
   follow-up.)*
@@ -167,16 +207,8 @@ AHDSR envelope, and make the knob-deck row read in signal-flow order.
 
 **Open questions.**
 
-- **Other mod sources.** Mod amt targeting cutoff is settled; whether any
-  other mod sources (velocity, key-tracking) are in scope now or deferred is
-  unstated.
-- **Parameter storage: per-zone or per-instance.** Per-voice *processing* is
-  settled, but it is compatible with either storage side. Existing playback
-  parameters live per-zone with Sample/Zone panel parity; VOICE and MASTER are
-  per-instance exceptions. Which side do the filter *parameters* fall on?
-- **Neutral default.** Should the filter default to a bypass/neutral state so
-  pre-existing saved instances (and freshly loaded captures) sound unchanged
-  until the user engages it?
+- None remaining — all three prior questions (other mod sources, parameter
+  storage side, neutral default) closed by the second follow-up round.
 
 **Acceptance criteria.**
 
@@ -196,9 +228,16 @@ AHDSR envelope, and make the knob-deck row read in signal-flow order.
 - Two simultaneously sounding voices at different envelope phases are filtered
   independently (per-voice processing is audible, not a shared instance-wide
   filter).
+- Filter parameters follow Sample/Zone panel parity: they appear and edit on
+  both surfaces, and each zone carries its own filter settings (two zones with
+  different filter settings audibly differ).
+- Velocity and key-tracking modulation of the filter ship with this item and
+  are audible — velocity following the amp-velocity-transfer-curve pattern,
+  key-tracking following the pitch-key-tracking pattern.
 - The deck row reads pitch → filter → amp left-to-right.
-- A project saved before this change reopens sounding identical (pending the
-  neutral-default confirmation above).
+- The filter is off by default: a project saved before this change reopens
+  sounding identical, and a freshly loaded capture sounds unchanged until the
+  filter is engaged.
 
 ---
 
@@ -231,6 +270,13 @@ AHDSR envelope, and make the knob-deck row read in signal-flow order.
 > the length. all the soft points between any hard points will be
 > smooth/monotone.
 
+**Daniel's second follow-up (verbatim, 2026-07-28).**
+
+> normalize the spline eg length to the full width, it should represent the
+> time axis of the actual sample visually 1:1
+> left click add, alt-click delete, cntrl-click toggles point hard or soft.
+> spline active -> stage knobs disabled.
+
 **Intent.** Offer a free-drawn alternative to every staged envelope: the user
 switches any EG from Staged to Spline mode and draws the contour directly, with
 the monotonic-spline machinery already proven by the velocity curve — enhanced
@@ -248,6 +294,21 @@ so sharp corners are possible, not everything smoothed.
   Spline EG is active**; the spline **always covers the full sample length** —
   a pure time function over the sample, i.e. the Trigger/one-shot playback
   model. *(Settled by follow-up.)*
+- **Time axis: normalized, visually 1:1.** The spline contour is **normalized
+  to the full sample length**, and the overlay represents **the time axis of
+  the actual sample visually 1:1** — the contour's full width maps directly
+  onto the displayed sample. Consequently a different-length capture rescales
+  the stored contour to its own length. *(Settled by second follow-up.)*
+- **Point-editing grammar.** **Left-click adds a point; alt-click deletes a
+  point; control-click toggles a point hard/smooth.** Alt-click-delete
+  supersedes the earlier speculation that the velocity-curve popup's
+  right-click-delete grammar would be reused. *(Settled by second follow-up;
+  control-click hard/smooth confirms the original ask.)*
+- **Staged controls disabled while Spline is active.** While a Spline EG is
+  active, that envelope's **staged segment knobs are disabled** — inert, not
+  merely inaudible — including their item-1 inner curve dials (the dial is
+  part of the knob). The dormant staged state is edited only by switching back
+  to Staged mode. *(Settled by second follow-up.)*
 - **Not globally monotone.** Spline contours **don't have to rise and fall and
   are not globally monotone**; the monotone guarantee is per-segment — **all
   soft points between any hard points are smooth/monotone** (no overshoot
@@ -277,26 +338,24 @@ so sharp corners are possible, not everything smoothed.
 
 **Open questions.**
 
-- **Time-axis storage.** Full-sample coverage is settled ("spline always
-  covers the full sample length"); what remains is only whether the stored
-  contour is normalized to the sample length (so it rescales when a
-  different-length capture loads) or anchored some other way.
-- **Point-editing grammar.** Point add/delete gestures and any point-count
-  bound are unstated. The velocity-curve popup already established right-click
-  node delete — reuse of that grammar seems natural but is Daniel's call.
-- **Staged controls while Spline is active.** Sound-wise the staged EG is
-  inactive in Spline mode (settled by dual-state). Still open at the UI level:
-  do the staged segment knobs/inner dials stay editable (editing the dormant
-  staged state) or go inert/greyed until the user switches back?
+- **Point-count bounds.** The add/delete/toggle gestures are settled, but any
+  minimum/maximum point count is unstated (a floor of two endpoints seems
+  implied by full-length coverage; a ceiling, if any, is Daniel's call).
+- **Velocity-curve popup gesture convergence.** The Spline-EG grammar is
+  alt-click delete, but the existing velocity-curve popup shipped with
+  right-click node delete. Since the enhanced spline serves both, does the
+  popup migrate to the alt-click grammar for consistency, keep right-click, or
+  accept both?
 
 **Acceptance criteria.**
 
 - Each of the pitch, filter, and amp EGs offers a Staged/Spline mode switch;
   in Spline mode the overlay (via the item-1 radio switch) shows and edits the
   drawn contour, and played notes audibly follow it.
-- Control-click toggles any point hard/smooth; points are smooth by default; a
-  hard point renders a visible sharp angle with no smoothing on either
-  adjacent segment, and the discontinuous slope is audible where the
+- Left-click on the contour adds a point at that position; alt-click on a
+  point deletes it; control-click toggles it hard/smooth. Points are smooth by
+  default; a hard point renders a visible sharp angle with no smoothing on
+  either adjacent segment, and the discontinuous slope is audible where the
   modulation target makes it so (e.g. a pitch EG corner).
 - A contour of several segments joined at hard points plays back over the full
   sample length exactly as drawn — including contours that rise and fall
@@ -305,6 +364,13 @@ so sharp corners are possible, not everything smoothed.
 - A freshly created Spline EG shows the smooth y = 1 − x default contour.
 - While a Spline EG is active, Gate mode is not selectable; the spline plays
   as a pure time function over the full sample length.
+- The overlay contour spans the full displayed sample width, 1:1 with the
+  sample's time axis; loading a different-length capture rescales the contour
+  to the new sample length (normalized storage), with the drawn shape
+  preserved proportionally.
+- While a Spline EG is active, that envelope's staged segment knobs and their
+  inner curve dials render disabled and reject edits; switching back to Staged
+  re-enables them with values exactly as left.
 - Staged↔Spline round-trip preserves both states: switch to Spline, draw,
   switch back — the staged values are exactly as left; switch forward again —
   the spline contour is exactly as drawn. Both survive save/reload.