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docs(TODO-1.0): fold in Daniel's answers — radio none-state, knot curve-drag, Filter ranges/label, dual-state Spline EGs

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Daniel Harvey
2026-07-28 18:44:41 -04:00
parent b06b226182
commit a4571cc074
1 changed files with 118 additions and 58 deletions
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TODO-1.0.md
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@@ -9,6 +9,12 @@ post-Q layout at execution time. Each item preserves Daniel's raw ask verbatim
as the source of truth, then breaks it into behavior, open questions, and an
observable acceptance gate.
A follow-up answer round from Daniel (2026-07-28) settled most of the open
questions. Each item now carries his follow-up verbatim alongside the original
ask; settled answers are folded into **Behavior** (marked *settled by
follow-up*), and only the genuinely unresolved remainder stays under **Open
questions**.
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.
@@ -34,6 +40,12 @@ in sequence or together, but 1 and 2 are prerequisites for 3's full surface.
> contrasts poorly against the primary green waveform display. Change those to
> tertiary purple.
**Daniel's follow-up (verbatim, 2026-07-28).**
> yes, one overlay (or none). Everything besides Hold and Sustain, right? "is
> 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.
**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
@@ -46,11 +58,22 @@ contrast failure.
gains a radio switch in the corner of its deck. Selecting a deck's radio
makes *that* envelope the one displayed and editable in the graphic waveform
overlay — replacing today's behavior where the Amp AHDSR is always the
displayed envelope.
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.)*
- **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,
range **0.1 to 10**.
- **Which segments are sloped.** **Every stage except Hold and Sustain** — for
an AHDSR that is Attack, Decay, and Release; for the Pitch AD, both stages.
*(Settled by follow-up.)*
- **Linear neutral.** Exponent **1.0 is the linear neutral** (y = x^1.0 is
linear). *(Settled by follow-up — emphatically.)*
- **Curve editing in the overlay.** Dragging on a segment in the overlay
**adds a round mid-segment knot** whose drag adjusts that segment's curve —
the overlay is a curve-edit surface in its own right, alongside (not instead
of) the inner dial. *(Settled by follow-up.)*
- **Inner dial on curvable-segment knobs.** Every knob-deck radial knob that
controls a sloped, curvable segment gains an **inner dial**: its own inner
arc, its own hover accent (tertiary purple), its own needle, and its own
@@ -63,30 +86,28 @@ contrast failure.
**Open questions.**
- **Radio exclusivity + default.** "Radio" implies exactly one envelope is
overlay-active at a time across all decks — confirm that reading, and
confirm the Amp AHDSR remains the default selection on open.
- **Which segments are "sloped."** Per envelope type, which segments carry a
curve dial? (E.g. Attack/Decay/Release obviously slope; Hold and Sustain
presumably do not — needs Daniel's confirmation per stage.)
- **Curve default and neutral point.** Is exponent 1.0 the linear/neutral
default, and should existing saved instances load with all curves at the
linear-equivalent so their sound is unchanged? (Persistence extension is
implied; the product requirement is only "old instances sound identical.")
- **Curve editing in the overlay.** Is the curve exponent editable *from the
overlay itself* (e.g. dragging a segment's belly), or is the inner dial the
sole curve-edit affordance and the overlay edits node positions only?
Daniel's ask specifies the dial; overlay curve-drag is not stated either way.
- **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.")
**Acceptance criteria.**
- Each envelope deck shows a corner radio switch; activating one puts that
envelope in the overlay, editable there, and the overlay tracks the switch
immediately.
immediately. At most one envelope is overlay-active; with none active, the
overlay draws no envelope.
- 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
notes.
notes. Hold and Sustain knobs carry no inner dial.
- Dragging on an overlay segment adds a round mid-segment knot; dragging the
knot adjusts that segment's curve, and the segment's inner dial reflects the
same value.
- 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
@@ -105,6 +126,13 @@ contrast failure.
> mod amt, then the AHDSR controls as described above. The knob deck row will
> then be relaid out in signal flow order: pitch -> filter -> amp
**Daniel's follow-up (verbatim, 2026-07-28).**
> modes beyond the pass filters will be added later. cutoff range full audio
> spectrum, log scaled, fully open to fully closed, Q should go from 0.1 to 10
> 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"
**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.
@@ -120,28 +148,35 @@ AHDSR envelope, and make the knob-deck row read in signal-flow order.
- **Parameters.** Mode, cutoff, Q, and mod amt — then the AHDSR controls,
treated exactly as item 1 specifies (curvable sloped segments with inner
dials, overlay editability via the filter deck's radio switch).
*(Ranges settled by follow-up:)*
- **Mode:** high-pass and low-pass now; **modes beyond the pass filters are
explicitly deferred to later.**
- **Cutoff:** the **full audio spectrum, log scaled**, from fully open to
fully closed.
- **Q:** **0.1 to 10** (the curve-exponent range again), scaled so **√2 sits
at the center** of the control.
- **Mod amt:** **bipolar, −100% to +100%**, targeting **cutoff** — covering
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.)*
- **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.)*
- **Deck reorder.** The knob deck row is relaid out in signal-flow order:
**pitch → filter → amp**.
**Open questions.**
- **Mode list.** Is mode a discrete selector, and over exactly which entries?
"Resonant high and lowpass" confirms HP and LP; whether band-pass/notch or
multiple slopes exist depends on the Cortex-M4 source and Daniel's intent.
- **Ranges and units.** Cutoff range (Hz), Q range, and mod-amt range/polarity
(unipolar or bipolar?) are unstated — likely settled by the Cortex-M4 code
plus a Daniel call at implementation time.
- **Mod routing.** "Mod amt" presumably scales the filter AHDSR's modulation of
cutoff — confirm the target is cutoff and whether any other mod sources
(velocity, key-tracking) are in scope now or deferred.
- **Scope: per-zone or per-instance.** Existing playback parameters live
per-zone with Sample/Zone panel parity; VOICE and MASTER are per-instance
exceptions. Which side does the filter fall on?
- **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?
- **Display name.** Is "MM Preamp Filter" the user-facing label for the deck
group, or working shorthand?
**Acceptance criteria.**
@@ -149,11 +184,18 @@ AHDSR envelope, and make the knob-deck row read in signal-flow order.
pipeline point: the filter acts on pitched (post-pitch-envelope) signal, and
the amp envelope still shapes the filtered result (audible ordering:
pitch → filter → amp).
- Mode, cutoff, Q, and mod-amt controls appear in a filter deck group; the
filter AHDSR gets the full item-1 treatment (curve inner dials, corner radio
switch, tertiary-purple overlay editing).
- Mode, cutoff, Q, and mod-amt controls appear in a deck group labeled
**"Filter"**; the filter AHDSR gets the full item-1 treatment (curve inner
dials, corner radio switch, tertiary-purple overlay editing).
- Cutoff sweeps the full audio spectrum on a log scale, from fully open to
fully closed; Q spans 0.1 → 10 with √2 at the control's center; mod amt at
−100% and at +100% each drive cutoff across the full range, from opposite
ends.
- High Q audibly emphasizes the cutoff region (resonance) in both HP and LP
modes.
- Two simultaneously sounding voices at different envelope phases are filtered
independently (per-voice processing is audible, not a shared instance-wide
filter).
- 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).
@@ -180,6 +222,15 @@ AHDSR envelope, and make the knob-deck row read in signal-flow order.
> for the velocity-amp transfer curve as well as the pitch, filter, and amp EGs
> (if they are in spline mode).
**Daniel's follow-up (verbatim, 2026-07-28).**
> dual state, save but inactive. Default Curve Spline is a smooth y=1-x. Gate
> mode is not available when the Spline is used, spline always covers the full
> sample length. The spline curves don't have to rise AND fall, they also
> aren't globally monotone, the default curve is a smooth downward slope over
> the length. all the soft points between any hard points will be
> smooth/monotone.
**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
@@ -189,6 +240,22 @@ so sharp corners are possible, not everything smoothed.
- **Mode toggle per EG.** Every processor that has an envelope (pitch, filter,
amp) can switch its Staged EG to a **Spline EG**.
- **Dual state — save but inactive.** Both the Staged and the Spline state are
persisted; switching modes keeps the inactive one **saved but inactive**. No
conversion, no discard — round-tripping Staged↔Spline restores the other
mode's shape untouched. *(Settled by follow-up.)*
- **Gate unavailable in Spline mode.** Gate mode is **not available while a
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.)*
- **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
between adjacent points). *(Settled by follow-up.)*
- **Default contour.** A new Spline EG defaults to a **smooth y = 1 − x** — a
smooth downward slope over the full sample length. (Read as the Spline-EG
default contour; not a change to the velocity→amp transfer curve's existing
default.) *(Settled by follow-up.)*
- **Spline foundation.** The Spline EG is based on the monotonic splines used
for the velocity curve. The spline algorithm is singly implemented and
multi-referenced; the enhancement below applies to that one implementation
@@ -210,30 +277,17 @@ so sharp corners are possible, not everything smoothed.
**Open questions.**
- **Staged↔Spline toggle semantics.** What happens to a Staged EG's values
when toggling to Spline mode and back? (Convert the staged shape into an
initial spline? Keep two independent per-mode states? Discard?) Daniel has
not said — this materially shapes both UX and persistence and needs his
call.
- **Gate-mode sustain/release.** A Staged Gate envelope holds at Sustain and
releases on note-off; a spline contour drawn "over the full sample length"
is a pure time function. How do note-off, sustain, and looped playback map
onto a Spline EG in Gate mode? (Trigger/one-shot is the natural fit; Gate
needs a stated rule.)
- **Time axis.** Is the contour's time axis normalized to the sample length
(so it rescales with the sample) or absolute seconds? "Over the full sample
length" suggests sample-relative — confirm, especially for looped sustain.
- **Monotonicity meaning.** The velocity spline is monotone to prevent
overshoot on a transfer curve. An EG contour must rise and fall; presumably
"monotonic" here means the per-segment no-overshoot property (values never
exceed the segment's endpoints), not a globally monotone function — confirm
the intended guarantee.
- **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.
- **Interaction with item-1 curve dials.** In Spline mode, do the staged
segment knobs/inner dials go inert (shape comes wholly from the spline), or
is some hybrid intended? Presumably the former — confirm.
- **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?
**Acceptance criteria.**
@@ -245,8 +299,14 @@ so sharp corners are possible, not everything smoothed.
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.
sample length exactly as drawn — including contours that rise and fall
freely (no globally-monotone restriction), with no overshoot between any
adjacent pair of points.
- 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.
- 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.
- The velocity→amp transfer-curve editor supports the same control-click
hard/smooth toggle with identical rendering behavior.
- Staged↔Spline toggling behaves per the answered open question above (that
answer gates this item's completion definition).