Widen the deck row block to 1028 so the filter tie-line is exact, and accumulate the meter's block peaks instead of sampling one in 47

src/core/instrument/CLAUDE.md

@@ -330,7 +330,7 @@ anything for a trigger shape.
 - `sample_chrome` — the CHROME band's interior: the toolbar row (title + the whole right-anchored control run — bake Hold cell, bake, preview, velocity knob cell, loop enable, channel toggle, Browse) over the strip row, which the piano strip owns outright. The title takes what the run leaves; the strip takes its whole row, inset only by the shared band pad so it lines up with the waveform band beneath. Every run member's width is RESERVED unconditionally, the Hold cell included — the only conditionally-drawn one, and the leftmost, so what its reservation buys is a title slot that does not re-measure when a loop is dialled in or out (`sample_chrome.h` records the cost). Also `previewGlyph`, the preview button's play triangle — three vertices for one filled-triangle draw, so the button's label needs no font metric and no image asset.
 - `bake_hold` — the Hold knob's value domain and nothing else: the knob's normalized [0,1] mapped onto the note-length ladder and back, ordered by LENGTH rather than by the ladder's presentation order. Split from `sample_chrome` on the same axis `deck_values` was split from `knob_deck` — that says where the cell is, this says what its position means.
 - `keyboard_strip` — piano-keyboard strip: true white/black key geometry (whites tiled at one width, blacks overlaid at one width and height, straddling their boundary), hit-test resolving black-over-white by zone, root-marker rect, the absolute-position drag resolver, and MIDI note naming under the C4 convention. **Same-class keys are one integer width by construction; the residue of an indivisible band width (`w % 75`, up to 74 px) lands in symmetric end margins, never in a key** — uniform widths and gap-free edge-to-edge tiling cannot both hold, and uniformity wins.
-- `waveform_view` — the WAVEFORM band's interior: `waveformSurface` resolves the drawn lane(s) (two stacked lanes, L over R, only when the mode is stereo AND the source has a second channel — a mono source under stereo mode is dual-mono and draws one lane) plus **the** overlay area, and `laneEnvelope` splits one multi-channel envelope pass per lane. Also maps frame span linearly across a rect; generic named draggable markers with drag-delta resolver, clamp, and zero-crossing snap, plus `markerHandleRect` — a top-strip grab tab distinct from a marker's full-height column, so two markers that share a frame stay independently grabbable (the column goes to the first in draw order; the tab, asked first, resolves the other).
+- `waveform_view` — the WAVEFORM band's interior: `resolveLaneSplit` is THE lane-split decision (two lanes only when the mode is stereo AND the source has a second channel — a mono source under stereo mode is dual-mono and draws one lane), free of any pixel geometry so the meter's bar count can ask the same question without a band rect; `waveformSurface` folds it and then measures it against the band, which is why its `laneCount` can still report 1 for a Stereo split on a band too thin to divide. It also yields **the** overlay area, and `laneEnvelope` splits one multi-channel envelope pass per lane. Also maps frame span linearly across a rect; generic named draggable markers with drag-delta resolver, clamp, and zero-crossing snap, plus `markerHandleRect` — a top-strip grab tab distinct from a marker's full-height column, so two markers that share a frame stay independently grabbable (the column goes to the first in draw order; the tab, asked first, resolves the other).
   - **Overlay contract (consumed by later waveform work).** `WaveformSurface::overlay` — equivalently the standalone `waveformOverlayArea(band)` — is the FULL band in both modes. Everything riding the waveform (the amp-envelope trace and its node handles, the start/loop markers, the loop region) draws ONCE into it, spanning both stacked lanes; hit-testing resolves against the same area so a grab in the lower lane reaches them. Anything drawn or hit-tested per lane is a duplicate and a defect — structurally enforced: `overlay` is the distinct `OverlayArea` type (`editor_geometry`), not `Rect`, so every overlay-consuming API (`frameToX`/`markerAtPoint`/`resolveDragFrame`, `envelope_edit`'s `nodeAtPoint`/`resolveNodeDrag`, `envelope_overlay`'s `buildEnvelopePolyline`) rejects a lane rect at compile time rather than silently accepting one.
   - **The four marks.** One grammar — line + shaped cap + label — over START / LOOP / END / XFADE. `markerHandleRect` IS the cap: every mark's is the same rect shape, only the glyph inside differs, which is what keeps the claim arbitration seeing one nominal cap area. `capAtPoint` resolves caps in the REVERSE of the column order, so any coincident PAIR stays separable (one answers its cap, the other its column) and the crossfade — the one mark with no column — can never be shadowed. `layoutMarkLabels` places the promoted (grabbed/hovered) mark first and suppresses any box that would overlap one already placed. `crossfadeWedgeHeight` is the ONE ramp both the audible region and the ingredient ghost draw, because they are the same fade weight over the two spans it mixes.
 - `loop_marks` — the loop enable's state machine, split from the geometry above on the axis the surface already has: that says where a mark is, this says what the loop IS. `SampleLoop::hasLoop` is the single authority and `resolveLoopMarks`/`applyLoopMarks` are its only two folds — the resolve re-parks on `defaultLoopBounds` only when the span is one `resolveLoop` would refuse (so a user's off keeps its positions and `parked` separates the two OFF states), and the write folds collapse-to-off in and ties the crossfade to the SPAN rather than to the enable. Links `loop_span` so the span the user is offered and the span the engine accepts stay one definition.
@@ -357,7 +357,7 @@ 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.
-- `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.
+- `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. `kMeterColumnW` is the SUM of those three, exported so `deck_groups`' MASTER descriptor reserves exactly what the interior consumes — the column is banked to grow, and a reserve that did not track it would underfill or overrun silently. **Bar count takes a RESOLVED `LaneSplit`, the same value `waveform_view`'s `resolveLaneSplit` answers** — a mono source under stereo mode is dual-mono, and two identical bars would be a lie. Also owns `meterTickNumeralled` (the spec-pinned 0/−12/−24/−36/−48/−60 numeral set, beside the tick step it derives from), `meterNumeralRect` (bottom-clamped, so the floor tick's numeral cannot hang out of the gutter), and `meterSingleLaneState` — the one bar folds both channels PER FIELD, never picking a whole channel by level. Composes `engine/meter_ballistics` per channel and gives the gain-reduction lamp the peak tick's own hold-then-release, without which a catch smaller than 20 dB × the UI period is dark again before it has been drawn twice; the audio thread's clip flag is ORed in because it is the only latch that sees every block. `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.