diff --git a/TODO-1.0.md b/TODO-1.0.md new file mode 100644 index 0000000..3de84d9 --- /dev/null +++ b/TODO-1.0.md @@ -0,0 +1,252 @@ +# TODO-1.0 + +Post-1.0 enhancement queue for the ReaSampler 9000 instrument. Three items, in +Daniel's ordering (2026-07-28). Deliberately specified at the level of product +intent, user-visible behavior, and acceptance criteria — **no implementation +design, no file/module references**. These were authored while Phase Q was +restructuring the tree; the implementing engineer maps each spec onto the +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. + +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. + +--- + +## 1 — Envelope editor: per-deck radio switch, segment curve dials, overlay recolor + +**Daniel's ask (verbatim, 2026-07-28).** + +> The VST envelope editor visual is a great start but we need to add some +> features. The Amp AHDSR is currently always displayed. We need to add a radio +> switch to the corner of each env knob deck which makes THAT envelope editable +> via the graphic waveform overlay. This is currently the amp and pitch +> envelopes, with filter to be added (see below). All envelopes (amp AHDSR, +> Pitch AD, Filter AHDSR) should be enhanced to have editable segment curve +> values. This should be an exponential function with the exponent scalar +> parameter for each sloped segment having possible values from 0.1 to 10. The +> knob deck radial knobs for the sloped curvable segments will have an INNER +> dial, with its own inner arc, hover accent (tertiary purple), needle, and +> numerical label which controls the curve for that sloped segment. Also the +> graphical envelope editor draws its segments in secondary blue, which +> contrasts poorly against the primary green waveform display. Change those to +> tertiary purple. + +**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 +contrast failure. + +**Behavior.** + +- **Radio switch per envelope deck.** Each envelope knob-deck group (currently + AMP ENVELOPE and PITCH ENV; the filter envelope joins when item 2 lands) + 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. +- **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**. +- **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 + numerical label. The inner dial controls the curve exponent for that + segment; the outer knob keeps controlling the segment's time/level value as + today. +- **Overlay recolor.** The graphical envelope editor's segments change from + secondary blue to **tertiary purple** (secondary blue contrasts poorly + against the primary green waveform behind it). + +**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. + +**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. +- 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. +- 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. + +--- + +## 2 — MM preamp Filter: resonant HP/LP stage in the voice pipeline + +**Daniel's ask (verbatim, 2026-07-28).** + +> MM preamp Filter: We must implement a new processing point in the sampler +> audio pipeline, after pitch env, before amp, for filtering. The processor for +> this will be based on code I wrote for the cortex M4 for resonant high and +> lowpass filtering. The filter will have parameters for mode, cutoff, Q, and +> 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 + +**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. + +**Behavior.** + +- **Pipeline position.** A new processing point in the sampler audio pipeline: + **after the pitch envelope, before the amp stage.** +- **DSP source.** The filter processor is based on Daniel's own Cortex-M4 + resonant high/lowpass filter code. **That code is an input Daniel supplies at + implementation time** — it is not in this repo and this spec does not + characterize it beyond "resonant high and lowpass." +- **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). +- **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? +- **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.** + +- With the filter engaged, played notes are audibly filtered at the specified + 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). +- High Q audibly emphasizes the cutoff region (resonance) in both HP and LP + modes. +- 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). + +--- + +## 3 — Alternative Spline EGs: hard/smooth multi-segment monotonic splines + +**Daniel's ask (verbatim, 2026-07-28).** + +> Alternative Spline EGs: Every processor which has an envelope will have the +> ability to change the Staged EG to a Spline EG, based on the monotonic +> splines for the velocity curve. HOWEVER, we will need to enhance the (singly +> implemented, multi referenced) spline algorithm to support multiple segments +> that DON'T minimally smooth the spline, so that hard points are possible. In +> other words, the contour of the EG will be defined by 1 or more monotonic +> spline functions which together form the full time function for that +> processor, such that the first three points could make a curved segment, +> which connects at a sharp angle to the next three points, finishing out the +> contour over the full sample length. Control-clicking a point makes it a +> "hard" or "smooth" point (toggled, smooth by default) which when hard does no +> curve smoothing on either side segment, forming the natural sharp angle +> instead of a continuous derivative. This enhanced spline drawing will be used +> for the velocity-amp transfer curve as well as the pitch, filter, and amp EGs +> (if they are in spline mode). + +**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 +so sharp corners are possible, not everything smoothed. + +**Behavior.** + +- **Mode toggle per EG.** Every processor that has an envelope (pitch, filter, + amp) can switch its Staged EG to a **Spline EG**. +- **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 + and flows to every consumer. +- **Hard points.** The algorithm is enhanced to support **multiple segments + that don't minimally smooth the spline**, so hard points are possible: the + EG contour is defined by **one or more monotonic spline functions** which + together form the full time function for that processor — e.g. the first + three points form a curved segment that connects **at a sharp angle** to the + next three points, finishing the contour over the **full sample length**. +- **Hard/smooth gesture.** **Control-clicking a point toggles it hard/smooth + (smooth by default).** A hard point does no curve smoothing on either + adjacent segment — the natural sharp angle stands instead of a continuous + derivative. +- **Shared across consumers.** The enhanced spline drawing serves the + **velocity→amp transfer curve** as well as the pitch, filter, and amp EGs + (when those are in spline mode). The velocity curve gains hard-point support + by the same enhancement. + +**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. +- **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. + +**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 + 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. +- 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).