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daniel 1f24c4b095 docs: 1.0 documentation restructure

Split root CLAUDE.md into 19 per-directory files scoped to their source area.
Roll v0 history into docs/ARCHIVE.md; retire CONTEXT.md, CONTEXT-ARCHIVE.md,
PLAN.md, COMPLETED.md. Move plan docs under docs/. Rescue 9 live deferrals
into docs/TODO.md.

2026-07-29 15:09:48 -04:00

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TODO-1.0

Post-1.0 queue for ReaSampler — chiefly the 9000 instrument, plus two extension-side bugs. Items 1–3 are the first batch, in Daniel's ordering (2026-07-28); items 4–13 are a second batch (2026-07-28, later the same day); item 14 is a third, single-item batch (2026-07-28, later again); item 15 is a fourth, single-item batch (2026-07-29); item 16 (2026-07-29) is not a new ask batch — it records the system change mandated by answer 1 of item 15's answer round (the zone mapping system is retired); item 17 (2026-07-29) is likewise not a new ask batch — it records the requirement mandated by answer 1 of the second fourth-batch answer round (the provenance/usage tracking consolidated and made 100% robust). 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.

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.

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).

A third follow-up round (2026-07-28, same day) settled item 3's last two questions (point-count ceiling; delete gesture — reversing the second round's alt-click answer back to right-click). All three first-batch items now have no open questions; the first batch is fully settled at the product level.

A second batch from Daniel (2026-07-28) appends items 4–13 — a mix of bug reports and enhancements. His message numbered them 1, 2, 3, 4, 3, 4, 5, 6, 7, 8 (two items labelled 3 and two labelled 4). His sequence is preserved exactly; each item carries an unambiguous doc number continuing from 3, with his original label recorded in the heading (e.g. his 3, second) so his message maps onto the doc. Each item is marked Bug or Enhancement; item 9 is explicitly both — a suspected regression plus a feature spec. Bugs are recorded compactly (symptom, expected behavior, acceptance gate) with no root-cause analysis — same no-code-reads constraint as the first batch.

A second-batch follow-up round (2026-07-28, same day) answered items 7, 8, and 11. Item 7 closes clean. Item 11's answer supersedes the original ask's button placement — a new VELOCITY deck group replaces the per-section placement, MASTER being reserved for later post-voice-mixer concerns. Item 8's answer is a spec change, not a clarification: the pitch envelope's AD becomes an AHD (a Hold stage is added), and the doc's own prose (items 1 and 8) is updated to match — Daniel's verbatim asks stay exactly as originally written.

A second-batch second follow-up round (2026-07-28, same day) closed item 8's last two questions — Hold's 0–100% reference, and the scope of the 1:1-overlay/combined-bound policy. With that, no open question then in the doc awaited a Daniel decision. Everything still marked open in items 1–13 is verify-or-propose-at-implementation, not a blocker: item 9's loop-point regression verification and its spec details (crossfade units, storage confirmation, editing surface — each carries its own resolve-at-review path in the item), and item 11's does-a-user-facing-pitch-velocity-curve-already-exist check. Nothing in items 1–13 is blocked on Daniel.

A third batch (2026-07-28, later again) appends item 14 — a single consolidation enhancement: in Trigger mode the amp envelope's fade-in-length/fade-out-length pair is replaced by item 8's AHD (with item 1's curves), so the amp envelope's staged shape follows the playback mode — Gate → AHDSR, Trigger → AHD. Item 8's sustain-stage scope rule then covers the amp envelope literally, not just by analogy (a one-line cross-reference is added there). Item 14 arrived carrying one question awaiting a Daniel decision — whether item 2's filter AHDSR follows the same mode-driven shape — answered by the round below. Its other open question (stage-value state across the Gate/Trigger switch) is propose-at-implementation-review, not Daniel-blocking.

A third-batch follow-up round (2026-07-28, same day) answered item 14's filter question: the filter envelope follows the same mode-driven shape — Gate → AHDSR, Trigger → AHD. Item 8's scope rule now governs all three envelopes uniformly (the general statement lives in item 14; item 2 carries a cross-reference), and item 14's remaining stage-value question now covers the filter envelope too. With that, no open question in items 1–14 awaits a Daniel decision. Everything still open across all 14 items is verify-or-propose-at-implementation: item 9's loop-point regression verification and its spec details, item 11's does-a-pitch-velocity-curve-already-exist check, and item 14's shared-vs-per-mode stage-value question. Nothing in items 1–14 is blocked on Daniel.

A fourth batch (2026-07-29) appends item 15 — a single enhancement Daniel himself frames as "a pretty radical feature idea": one-click resampling from inside the ReaSampler 9000. An offline pass through the instrument's own processing is captured back into the bank, the source capture is replaced (or a distinct capture added when other references exist), the instance re-points at the recapture, and the audio parameters reset to default — the dial → bake → dial-again iteration loop, run without leaving the sampler. Item 15 reopened the Daniel-blocked state: five of its open questions awaited a Daniel decision — the multi-zone scope of "the sound," what the offline pass plays (note, velocity, and the Gate-mode hold/tail policy), the parameter-reset scope, what counts as "other references," and the undo/recovery expectation. Its remaining questions are propose-at-implementation-review; items 1–14 stay fully unblocked.

A fourth-batch answer round (2026-07-29) answered all five. The answers are folded into item 15's Behavior (marked settled by answer round). Answer 1 is a system change, not a scoping rule: the zone mapping system is retired — ReaSampler 9000 becomes one capture = one parameter set — recorded in full as item 16, which supersedes the doc's per-zone-storage and Sample/Zone-panel-parity language throughout (items 2, 9, 11, and 12 carry marked superseded-by/cross-reference notes; Daniel's verbatim asks stand exactly as written). Answer 2 spawns a new sub-feature inside item 15: a capture-signal popup (note length, start/end offsets in ms and in beats, velocity, and a preview trigger). Daniel-blocked state after that round: exactly one question awaited a Daniel decision — item 16's migration of saved multi-zone instances (since settled; next paragraph).

A second fourth-batch answer round (2026-07-29) — one message — settled that migration question and answered the doc's three under-specification flags. The unnumbered opening line rules the migration: adopt the first zone's capture and parameters — a lossy rule Daniel accepts because he has no projects with zones in use; for a genuinely multi-zone instance the doc's standing sounds-identical migration bar is deliberately relaxed (recorded in item 16). Answer 1 converts the doc's provenance-consolidation flag into a requirement — the provenance/usage tracking is to be consolidated and made 100% robust — recorded in full as item 17, on which item 15's replace-vs-add rule now explicitly depends. Answer 2 ("that's good") ratifies item 15's derived reset-scope classification — promoted from derived to confirmed by Daniel. Answer 3 settles the capture-window semantics: the start/end offsets anchor to note-on and note-off of the programmed note; note length is a musical division (1/64th through 64/1, with dotted and triplet multipliers), not a free duration; beats resolve against the project tempo under the cursor. Current Daniel-blocked state: no open question anywhere in items 1–17 awaits a Daniel decision. Everything still open is verify-or-propose-at-implementation.

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. Second-batch interactions: the three bugs (4–6) are independent of the enhancement chain and can land at any time. Item 8 edits the same overlay surface as item 1 and is cheapest folded into or immediately after that work; item 10's per-ring reset presupposes item 1's inner dials; item 11's filter velocity curve presupposes item 2's filter (though its button now homes in item 11's own VELOCITY deck, not the Filter deck); item 9's loop-sustain is a Gate-mode (Staged) feature and composes with item 3's Gate-unavailable-in-Spline rule. Item 13 (anti-aliasing audit) touches nearly every surface the other items repaint — sequencing it after the layout/knob work (1, 8, 10, 11, 12) likely avoids doing the polish twice; that is an observation, not a decision. Item 14 (third batch) rides directly on item 8's AHD definition and item 1's curve treatment — cheapest folded into or immediately after that combined work — and repaints amp-deck/overlay surface that items 10 and 13 later polish; its filter half (the filter envelope following the same mode-driven shape) necessarily lands with or after item 2. Item 15 (fourth batch) presupposes the processing surface it bakes — "filtering, pitching, amp all set up nice" is the instrument items 1, 2, 3, and 14 build — so its spec only becomes fully meaningful once those have landed, and its Gate-mode render policy touches item 9's loop-sustain; that is a statement of what the feature operates on, not a schedule decision. Its bank-side half rides the already-settled capture and prune safety model, not any queued item. Item 16 (zone retirement) is a prerequisite of meaning for item 15 — it is what makes "the sound" singular and dissolves the multi-zone question — and it touches the surfaces other queued items work on: items 2, 9, and 11 now store their parameters into the one parameter set rather than per-zone, and item 12's full-width piano strip is re-grounded by what the strip means with zones retired. That too is dependency-of-meaning, not a schedule: the affected items' work is unchanged in substance; only its storage/parity framing simplifies. Item 17 (provenance/usage consolidation) is likewise a prerequisite of meaning for item 15's bank-side half — the replace-vs-add rule is computable only once the consolidated lineage records exist — and is independent of the editor chain (items 1–14); it reworks tracking machinery today's prune protections ride, so those guarantees must hold undiminished through the consolidation. Landing it with or before item 15's bank-side half is the natural order.

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.

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.

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 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. 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 AHD (AD in the original ask; item 8's follow-up adds the Hold stage), 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 AHD (A→H→D since item 8's spec change), Attack and Decay — its Hold, like every Hold, is flat and carries no curve dial. (Settled by follow-up; the pitch reading updated for item 8's AD→AHD change.)
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 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.

None remaining — both prior questions (default overlay selection, pre-existing-instance curve loading) closed by the second follow-up round.

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. 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 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 behavior: every curve loads at exponent 1.0.

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

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"

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.

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). (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.
Mode-driven envelope shape. The filter envelope follows the playback mode exactly as the amp does: Gate → AHDSR, Trigger → AHD — see item 14, where the policy is stated in full. (Settled by item 14's follow-up.)
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.) Superseded by item 16 (zone retirement): the filter's parameters join the instrument's one parameter set — no per-zone storage, no Sample/Zone parity, no per-instance exception structure to be an exception to. The follow-up's substance carries over unchanged: the filter's parameters live with the other playback parameters.
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.)
Deck reorder. The knob deck row is relaid out in signal-flow order: pitch → filter → amp.

Open questions.

None remaining — all three prior questions (other mod sources, parameter storage side, neutral default) closed by the second follow-up round.

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 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).
Filter parameters live in the instrument's one parameter set: they edit in one place and govern the instrument as a whole. (Original per-zone/parity form — two surfaces in parity, per-zone divergence — superseded by item 16; neither is expressible after the zone retirement.)
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.
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.

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).

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.

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.

Daniel's third follow-up (verbatim, 2026-07-28).

oh, maybe 64? is that way too much? I don't want to limit from long rhythmic phrases, which require a high resolution to be interesting

oh, do right click delete instead for the spline 128 then

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.
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.)
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; right-click deletes a point; control-click toggles a point hard/smooth. (Settled by third follow-up; control-click hard/smooth confirms the original ask.) Note for readers of the prior revision: the second follow-up answered alt-click delete; the third follow-up supersedes that with right-click delete — which matches the velocity-curve popup's already-shipped right-click node delete, giving one point-editing grammar across both spline consumers.
Point-count ceiling: 128. A spline contour holds at most 128 points (floor: the two endpoints implied by full-length coverage). Daniel floated 64 and raised it to 128 explicitly so the cap does not limit long rhythmic phrases, which require high resolution to be interesting — at roughly two points per articulation event, 64 points is about two bars of 16ths and 128 about four. The ceiling is a musical bound, not a performance one (segment lookup is logarithmic; on-screen the editor's 8 px minimum node separation is the practical density limit anyway). An engineer tempted to lower this number should read that motivation first. (Settled by third follow-up.)
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 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 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.

None remaining — both prior questions closed by the third follow-up round. Point-count bounds: ceiling 128, floor two endpoints. Gesture convergence: resolved by the delete-gesture reversal itself — the Spline EG's right-click delete now matches the velocity-curve popup's shipped right-click node delete, so no migration is needed on either side; one grammar serves both consumers.

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.
Left-click on the contour adds a point at that position; right-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 accepts points up to the 128-point ceiling; attempting to add beyond it is refused without disturbing the existing contour. The two endpoints cannot be deleted (full-length coverage always holds).
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 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.
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.
The velocity→amp transfer-curve editor supports the same control-click hard/smooth toggle with identical rendering behavior, and its existing right-click node delete matches the Spline EG's delete gesture unchanged — one point-editing grammar across both consumers.

4 — Bug: end-of-sample click in Trigger mode under Preserve (his 1)

Daniel's report (verbatim, 2026-07-28).

actual bug: in trigger mode, polyphonic or monophonic, in preserved pitch mode only, the end of the sample has an audible click.

Symptom. In Trigger mode — polyphonic or monophonic alike — with the pitch engine in Preserve mode only, the end of the sample produces an audible click. The scoping is the useful part of the report and is recorded as given: Trigger × Preserve × end-of-sample; Varispeed is not implicated. No cause speculation here.

Expected behavior. A Trigger one-shot in Preserve mode ends silently — no click or discontinuity at the sample end, in either voice mode.

Acceptance gate. A Trigger-mode note played in Preserve, in both Poly and Mono, ends with no audible click at the sample end (verified by ear and by inspecting the rendered output for a terminal discontinuity). Varispeed playback is unchanged.

5 — Bug: drag-out sometimes lands without audio (extension) (his 2)

Daniel's report (verbatim, 2026-07-28).

other bug (extension, not VST): Dragging capture out of the pool or bank does sometimes doesn't actually contain the audio, and I hae to try dragging again.

Symptom. Extension side, not the VST. Dragging a capture out of the pool or a named bank sometimes produces a drop that does not actually contain the audio; retrying the drag works. Both details are load-bearing: the failure is intermittent, and a retry succeeds.

Expected behavior. Every completed drag-out delivers the capture's audio at the drop target — first try, every time.

Acceptance gate. Because the failure is intermittent, the gate is a soak: across a sustained session of varied drag-outs (pool and bank sources, including the first drag after other bank activity), every drop yields a playable file containing the audio, with no retry ever needed.

6 — Bug: drop onto FX container loads instrument without the capture (his 3, first)

Daniel's report (verbatim, 2026-07-28).

drop to FX container bug: the reasmpler 9000 loads, but not with the capture. drop to FX button works as expected with capture preloaded.

Symptom. Dropping a capture onto an FX container loads a ReaSampler 9000 instance, but without the capture. Dropping the same capture onto the FX button works as expected — instrument loads with the capture preloaded.

Expected behavior. The FX-button path is the reference; the container path must match it: instrument added with the dragged capture loaded.

Acceptance gate. A capture dropped onto an FX container yields an instrument instance with that capture loaded and immediately playable, indistinguishable (apart from where the FX sits) from the FX-button drop. The FX-button path remains unregressed.

7 — Enhancement: stereo waveform shows both channels (his 4, first)

Daniel's ask (verbatim, 2026-07-28).

VST Waveform Visualizer: in stereo mode, both L and R channels should show in the waveform visual. left on top. mono mode still shows just one channel for unredundancy.

Daniel's follow-up (verbatim, 2026-07-28).

One full height; stereo linked processing, one editor

Behavior.

In stereo mode, the waveform visual shows both L and R channels, left on top (two stacked lanes).
In mono mode, a single channel shows — no redundant duplicate lane.
The display keys off the active channel mode, per Daniel's phrasing.
Overlays draw once, at full height. Overlays that ride the waveform (the envelope overlay, markers, and item 9's loop region if it lands) draw once at full height across both stacked lanes — not per lane. (Settled by follow-up.)
Stereo processing is linked. One editor, one set of controls governing both channels — no per-channel parameter divergence, no per-channel editing surface. (Settled by follow-up.)

Open questions.

None remaining — the overlay-layout question closed by the second-batch follow-up round.

Acceptance criteria.

A stereo capture in stereo mode shows two stacked lanes, L above R, each a true view of its channel's content (an asymmetric-channel capture visibly differs between lanes).
Mono mode shows exactly one lane. Switching modes updates the display accordingly.
In stereo mode, waveform-riding overlays (envelope, markers, loop region if present) render once at full stacked height — no duplicated per-lane copies — and stay legible across both lanes.
No per-channel controls appear; every edit applies identically to both channels (linked stereo processing, one editor).

8 — Enhancement: staged-overlay release anchoring; the Pitch AD becomes AHD (his 3, second)

Daniel's ask (verbatim, 2026-07-28).

AHDSR visual overlay looks odd, not taking up the whole range. with no release, the sustain portion only travels accross a small portion of the panel, making the thing look off center. to resolve, the release segment should be anchored to the right, and draggable from the top node (connecting to sustain segment) instead of the bottom corner, which will now be anchored. All staged envelope overlays should follow this policy.

Daniel's follow-up (verbatim, 2026-07-28).

For the AD... make it AHD, and the combined A H and D segment lengths (time displacement) cannot exceed the full sample length. Hold goes from 0 to 100%, and the visual overlay for the envelope is then 1:1 scale with the waveform time. D is not release, so it is not right anchored.

Daniel's second follow-up (verbatim, 2026-07-28).

100% of the sample length - attack+decay times

for all envelopes that DON'T have a sustain stage. The 1:1 mapping only makes sense for trigger, not gated envelopes

Intent. A layout-policy change to the staged envelope overlay so it uses the full panel width: today, with little or no release, the sustain portion occupies only a small stretch and the whole figure reads off-center. The follow-up round grew this item beyond layout: it now also carries the spec change that turns the pitch envelope from AD into AHD.

Behavior.

The release segment anchors to the right edge of the overlay.
Release is dragged from its top node — the node joining sustain to release — instead of the bottom corner. The bottom corner (the envelope's end point) becomes fixed/anchored, not draggable.
The policy applies to the envelopes that have a release — the amp AHDSR today and the filter AHDSR when item 2 lands. It does not apply to the pitch envelope: D is not a release stage, so it is not right-anchored. (Settled by follow-up — this closes the prior open question about mapping the policy onto the pitch envelope: the answer is that the policy does not apply there; the envelope gains a Hold stage instead.)
Spec change: the pitch envelope becomes AHD. The Pitch AD gains a Hold stage: Attack → Hold → Decay. (Settled by follow-up — a spec change, not a clarification. The doc's own prose — here and item 1's sloped-segment reading — is updated to match; Daniel's verbatim asks stay as written.)
- Hold ranges 0 to 100% of the time remaining after Attack and Decay — i.e. 100% of (sample length − (attack time + decay time)). At 100%, Hold fills all the remaining time; at 0% it takes none. (Settled by second follow-up.)
- The A + H + D ≤ sample-length bound holds by construction, not by a separate clamp: Hold is expressed as a fraction of what is left after Attack and Decay, so the sum cannot overflow. Daniel's stated bound ("the combined A H and D segment lengths cannot exceed the full sample length") is a property of the Hold definition, not a constraint to enforce on top of it.
- The overlay is therefore 1:1 scale with the waveform time axis — the drawn envelope maps directly onto the displayed sample's time.
Scope rule — split on the sustain stage. The 1:1-overlay property and the combined-time bound apply to all envelopes that do NOT have a sustain stage; envelopes with a sustain stage (the amp and filter AHDSRs) get the right-anchored-release policy instead. Daniel's rationale: the 1:1 mapping only makes sense for trigger, not gated envelopes — that is the reasoning behind the stage-list rule, not a second competing rule. Today the pitch AHD is the only sustain-less envelope, but the rule is general: it governs any future sustain-less envelope too. The two policies coexist rather than merge, split cleanly on whether the envelope has a sustain stage — the prior revision's open reading, now confirmed. (Settled by second follow-up.)
Cross-references. Item 1 reworks this same overlay surface (radio switch, mid-segment curve knots, recolor) — this item is cheapest folded into or immediately after that work; item 1's sloped-segment rule reads Attack and Decay for the pitch AHD (Hold is flat, no curve dial). Item 3's Spline overlays are unaffected by construction: a spline always spans the full sample width already. Item 14 extends the AHD to the amp and filter envelopes' Trigger mode, so this scope rule selects by the envelope's current shape under the active playback mode — see item 14.

Open questions.

None remaining — both prior questions (Hold's 0–100% reference; the scope of the 1:1/combined-bound policy) closed by the second-batch second follow-up round. The coexist-vs-merge reading the prior revision flagged is confirmed: the two policies coexist, split cleanly on whether the envelope has a sustain stage.

Acceptance criteria.

With release at zero or minimum, the sustain segment extends to (near) the right edge — the overlay reads full-width, not bunched left.
Dragging the sustain→release top node adjusts release; the bottom-right corner is fixed and not draggable.
The envelopes with a sustain stage (amp, and filter once present) follow the same anchoring policy; the pitch envelope's Decay is not right-anchored.
The pitch envelope plays and displays three stages — Attack, Hold, Decay — with Hold spanning 0–100% of the time remaining after Attack and Decay. By construction, no combination of A, H, and D settings yields a combined time displacement exceeding the sample length (at Hold = 100% the three stages exactly fill it) — no separate clamp fires, because none is needed.
The overlay of any sustain-less envelope (today: the pitch AHD) is 1:1 with the waveform's time axis: a stage boundary at N seconds sits over the waveform at N seconds.

9 — Bug + Enhancement: loop points — suspected regression, and the Gate-mode loop-sustain spec (his 4, second)

Daniel's ask (verbatim, 2026-07-28).

I think loop points got lost. ideally if in gate mode we have a loopable section with parameterized start end points and parameterized crossfade on reset, which will function as the sustain for indefinite playback until note off and release.

This item is both a regression report and a feature spec, and is recorded as both.

Regression half (Bug). Daniel's observation: loop points appear to have been lost. Whether they were genuinely removed from playback or are merely unexposed in the current UI is a code question that cannot be answered here under the no-code-reads constraint — it must be verified as the first act of implementation, not guessed in this document.

Feature half (Enhancement — spec as given). In Gate mode: a loopable section with parameterized start and end points and a parameterized crossfade on loop reset. The loop functions as the sustain — indefinite playback cycling the loop until note-off, then release.

Cross-reference item 3. Gate mode is unavailable while a Spline EG is active (settled), so loop-sustain is a Staged/Gate-mode feature; Spline mode remains full-sample-length playback with no loop.

Open questions.

The regression verification above (removed vs. unexposed).
The crossfade parameter's units and range are unspecified — Daniel call, or a proposed default surfaced at implementation review.
Storage side: closed by item 16 (zone retirement) — the loop parameters belong to the instrument's one parameter set; there is no per-zone side left to confirm. (Cross-reference: item 15's settled reset scope classifies loop points as baked-in, so they reset on a resample.)
Editing surface for loop start/end (waveform markers, knobs, or both) is unspecified; the waveform display is the natural home for range markers, but Daniel has not said.

Acceptance criteria.

In Gate mode with a loop defined, a held note sustains indefinitely, audibly cycling the loop section; note-off exits into the release stage.
With a nonzero crossfade, the loop seam is smooth — no click at the loop reset; crossfade length audibly follows its parameter.
Loop start, end, and crossfade are user-parameterized, editable, and persisted across save/reload.
Whatever the regression finding, the end state is loop points exposed and functional per this spec.

10 — Enhancement: knob and label sizing, ms units, double-click reset (his 5)

Daniel's ask (verbatim, 2026-07-28).

Radial knobs and text labels are too small. The labels for time constants should be in ms not seconds. double clicking any radial knob resets to default (applies to the dual-ring radial knobs as individual sections)

Behavior.

Radial knobs and their text labels grow — both are currently too small. No target size was given; this is a visual-judgment change accepted by eye.
Time-constant labels display in ms, not seconds. (A display-unit change; this spec makes no claim about internal representation.)
Double-click on any radial knob resets it to its default value.
On item 1's dual-ring knobs, each ring is its own reset target: double-click on the outer ring resets the time/level value; double-click on the inner curve dial resets the exponent to 1.0 (the settled linear neutral) — each independently, without touching the other ring.
Cross-reference item 1 (introduces the dual-ring knobs this refines).

Open questions.

None beyond the sizing being judged by eye (see acceptance).

Acceptance criteria.

Knobs and labels are legibly larger; Daniel signs off on the result by eye.
Every time-constant label reads in ms.
Double-click resets any radial knob to its default; on dual-ring knobs, double-clicking the inner dial resets only the exponent (to 1.0) and double-clicking the outer ring resets only the value.

11 — Enhancement: preview glyph; VELOCITY deck for velocity-curve buttons; bipolar pitch/filter curves (his 6)

Daniel's ask (verbatim, 2026-07-28).

Preview button inner text should go and be replaced with an appropriate glyph of your choosing (no dependencies just load a bitmap staticly or something, whatever plays nice with LICE. Amp velocity curve button moves to the master section. pitch velocity curve goes in the pitch section. filter velocity curve button goes in the filter section. filter and pitch velocity transfer functions default to y=0 and y range is [-1,1] (where as amp stays unipolar at [0,1]).

Daniel's follow-up (verbatim, 2026-07-28).

actually, that is a real contention point... MASTER is for other things, post voice mixer (I will add to this later). The velocity popup buttons should all go together in a new control deck group labelled VELOCITY, to the left of VOICE

Behavior.

Preview glyph. The preview button's inner text is replaced with a glyph. Proposed (product level): a right-pointing play triangle — the universal "audition" read. Daniel's constraint: no new dependencies — a statically embedded bitmap or equivalent that plays nicely with the existing drawing path is fine.
Velocity-curve button placement — the VELOCITY deck. All three velocity-curve popup buttons (amp, pitch, filter) live together in a new control deck group labelled "VELOCITY", placed to the left of the VOICE group. (Settled by follow-up.) Note for readers of the prior revision: this supersedes the original ask's per-section placement (amp → MASTER, pitch → PITCH, filter → Filter). Daniel confirmed the MASTER placement was a real contention point — MASTER is reserved for other, post-voice-mixer concerns (he will add to it later), so the velocity curves do not belong there.
Storage stays per-zone. The velocity transfer curves are stored per-zone, with the other playback parameters — Sample/Zone panel parity applies. (Derived, not a Daniel quote: the storage doubt existed only because the proposed MASTER placement implied per-instance storage; with the buttons in their own VELOCITY group that doubt is gone, and the project's settled convention — playback parameters are per-zone, VOICE and MASTER the per-instance exceptions — decides it.) Superseded by item 16 (zone retirement): the curves live in the instrument's one parameter set. The bullet's point survives in simplified form — the curves store with the other playback parameters; the per-zone framing and the parity convention it leaned on are gone.
Bipolar pitch/filter transfer functions. Pitch and filter velocity transfer functions are bipolar: y range [−1, 1], default y = 0 — flat at zero, meaning velocity modulation of pitch and filter is off until the user draws a curve. Amp stays unipolar at [0, 1], and its existing flat default (every velocity → unity) is unchanged.
Cross-references. Item 2 introduces the filter's velocity modulation — this item specifies that curve's domain and default, and homes its button in the VELOCITY deck. Item 3's shared spline editor serves these curves, so it must render and edit a bipolar y-domain for pitch and filter alongside the amp curve's unipolar one.

Open questions.

Whether a user-facing pitch velocity transfer curve already exists or is introduced by this item — unverifiable here under the no-code-reads constraint; if absent, this item introduces it. (The former second question — amp-curve storage under the MASTER placement — dissolved with the placement's supersession; storage is settled above — per-zone at the time of that round, now the one parameter set per item 16.)

Acceptance criteria.

The preview button shows the glyph (no text) and stays legible in all interaction states; no new build or runtime dependency is introduced.
The three velocity-curve buttons sit together in a deck group labelled VELOCITY, immediately to the left of the VOICE group; no velocity-curve button appears in MASTER, PITCH, or Filter.
The velocity curves persist in the instrument's one parameter set and round-trip save/reload. (Original per-zone/parity form superseded by item 16; per-zone divergence is no longer expressible.)
Opening the pitch or filter curve shows a bipolar editor ([−1, 1]) defaulted flat at y = 0; played velocities produce no pitch/filter modulation until a curve is drawn, then audibly follow it.
The amp curve's domain ([0, 1]) and flat-unity default are unchanged.

Daniel's ask (verbatim, 2026-07-28).

top toolbar text font should be cleaned up to match, and the zone count label is not needed in the title. next to the browse and zoom buttons, we can move the preview and mono stereo controls, in order to allow the note range piano roll control to take up full width. also we need to clean up the piano key pattern, idk if it's pixel aliasing but it looks like some keys are skinnier than others. NOte value (C4, etc) should display in tooltip on hover over the piano notes.

Behavior.

Font cleanup. One consistent font treatment across the top toolbar text.
Zone count label removed from the title.
Preview and mono/stereo controls relocate next to the browse and zoom buttons, freeing the note-range piano strip to take the full width.
Uniform piano keys. Some keys currently render skinnier than others — Daniel suspects pixel aliasing, but the requirement stands regardless of cause: keys of the same class render at uniform width. (No cause analysis here.)
Note-name tooltips. Hovering a piano key shows its note value (C4 etc., DAW convention), following the instrument's existing tooltip conventions where they apply.
Cross-references. Item 11 also changes the preview button (glyph); the two compose — the glyph button in its new toolbar position. Item 13's anti-aliasing audit covers the key-pattern rendering if aliasing turns out to be the cause. Item 16 (zone retirement) removes the zone count label's referent entirely — this item's removal of the label is doubly settled — and re-grounds what the full-width strip displays: with no zone bars, its surviving jobs are the root affordance (item 15's answer round makes root explicitly resample-stable) and these note-name tooltips; whether any key-range display remains follows item 16's key-range question.

Acceptance criteria.

Top toolbar text renders in one consistent font treatment; the title carries no zone count.
Preview and mono/stereo sit adjacent to browse/zoom; the piano strip spans the full editor width.
Same-class keys are equal pixel width at any window width and DPI scale.
Hovering any piano key shows its note name in a tooltip.

13 — Enhancement (audit): antialiased rendering for high-DPI (his 8)

Daniel's ask (verbatim, 2026-07-28).

We should finally review to make sure we are rendering with some kind of antialiasing equivalent for high DPI high res clean rendering. It still looks pixely in places (radial arcs, waveform lines, env segment slopes)

Intent. A review pass, not a point fix: audit the editor's drawn surfaces and confirm they render with antialiasing (or an equivalent) suitable for high-DPI, high-resolution displays. Daniel named the visibly pixely surfaces: radial arcs, waveform lines, envelope segment slopes.

Behavior.

Audit each class of drawn surface; where one renders visibly aliased, bring it to the smooth standard. The outcome is observable, not procedural: the named surfaces (and any others the audit turns up) render without visible stair-stepping.
Sequencing observation (not a decision): this touches nearly every surface items 1, 3, 7, 8, 10, 11, and 12 repaint — running it after the layout/knob work likely avoids doing the polish twice.

Acceptance criteria.

Radial arcs (including item 1's inner dials), waveform lines (including item 7's stereo lanes), and envelope segment slopes (staged and spline) render smooth — no visible jaggies at 100% scale or on a high-DPI display.
The audit produces a short disposition list: surfaces checked, which needed work, which were already clean.
Daniel signs off by eye on the named surfaces.

14 — Enhancement: Trigger-mode amp envelope — fade-in/fade-out replaced by the AHD (with curves)

Daniel's ask (verbatim, 2026-07-28).

the amp env trigger mode fade in length fade out changes to the AHD envelope (with curves of course), to reduce code for the same thing, and consolidate under the new design.

Daniel's follow-up (verbatim, 2026-07-28).

sure, filter follows as well

Intent. Consolidation. In Trigger mode the amp envelope's fade-in-length / fade-out-length pair is retired and replaced by the same three-stage Attack → Hold → Decay envelope item 8 specifies for the pitch envelope — with item 1's per-segment curves. Daniel's stated motive is reducing code for the same job: one staged-envelope design covering what is currently two separate mechanisms doing the same thing. The product consequence: the amp envelope's staged shape follows the playback mode — Gate → AHDSR (sustain, right-anchored release, per item 8); Trigger → AHD (sustain-less). The follow-up round extends the same rule to item 2's filter envelope.

Behavior.

Trigger mode: fades out, AHD in. In Trigger mode the amp envelope is an AHD per item 8's definition: Hold spans 0–100% of the time remaining after Attack and Decay, so A + H + D ≤ sample length holds by construction and the overlay is 1:1 with the waveform's time axis. The fade-in-length and fade-out-length controls go away in Trigger mode; Attack and Decay carry those roles under the new design.
With curves. The Trigger AHD's sloped segments — Attack and Decay; Hold is flat, as everywhere — get item 1's full curve treatment: exponent 0.1–10, inner dials, mid-segment overlay knots, tertiary-purple rendering.
Gate mode unchanged. In Gate mode the amp envelope remains the AHDSR with item 8's right-anchored release. Item 9's loop-sustain spec (a Gate-mode feature) is untouched.
The filter envelope follows as well. Item 2's filter envelope takes the same mode-driven shape: Gate → AHDSR, Trigger → AHD — same staged machinery, same consolidation. It necessarily lands with or after item 2 (the filter must exist first); item 2 carries a cross-reference. (Settled by follow-up.)
Item 8's scope rule now governs all three envelopes uniformly. Item 8 settled that the 1:1-overlay property and the by-construction combined-time bound apply to envelopes without a sustain stage, and the right-anchored-release policy to those with one — Daniel's rationale: "the 1:1 mapping only makes sense for trigger, not gated envelopes." With this item the amp — and, per the follow-up, the filter — envelope in Trigger mode is sustain-less, so each takes the 1:1 time-mapped overlay automatically; in Gate mode each keeps the right-anchored release. The general policy, stated once: pitch is always AHD (1:1 overlay); amp and filter are AHDSR in Gate (right-anchored release) and AHD in Trigger (1:1 overlay). The rule selects by the envelope's current shape under the active playback mode, not by which processor the envelope modulates. No new rule is needed — item 8's rule already decides every case.
Pre-existing instances reopen sounding identical. The doc's standing migration framing (items 1, 2, 11) applies: a project saved before this change reopens with unchanged audible behavior — in particular, a Trigger instance's prior fade-in/fade-out contour is reproduced by the loaded AHD. The evident mapping (Attack ← fade-in, Decay ← fade-out, Hold ← the full remainder, curve exponents at whatever value reproduces the prior fade shape) is a verify-at-implementation detail, not a Daniel call; the gate below states the requirement. A prior zero fade-out is Decay = 0 — the abrupt end stays representable, so nothing the old controls could express is lost.
Cross-references. Item 8 supplies the AHD definition and the scope rule (this item is that rule's second consumer); item 1 supplies the curves — sequencing: cheapest folded into or immediately after that combined work. Item 3 is unaffected in Spline mode (a spline already plays as a full-sample-length time function — the trigger model); its "save but inactive" dual-state precedent bears on the second open question below. Item 4's Trigger × Preserve end-of-sample click sits in the region the fade-out currently governs — whichever of the two lands first, item 4's gate must be re-verified under the surviving mechanism.

Open questions.

Stage-value state across the Gate/Trigger switch — shared or per-mode? The Gate AHDSR and Trigger AHD share stage names (A, H, D); whether they share values (one envelope whose S and R fall away in Trigger) or keep per-mode state (item 3's "save but inactive" dual-state precedent) is unspecified — and with the follow-up the question covers the filter envelope too, not just the amp. Migration leans per-mode for the amp: an old instance carries both its AHDSR values and its Trigger fade values, and a shared-value model cannot preserve both modes' prior sound at once. (The filter is new in item 2, so it carries no migration weight either way; matching the amp's answer is the natural default.) Resolve at implementation review with a proposal — not Daniel-blocking, but the sound-identical gate must hold for whichever mode a saved instance plays in. (The filter question that previously led this list — does the filter AHDSR follow the same mode-driven shape? — is settled by the follow-up: yes; folded into Behavior above.)

Acceptance criteria.

In Trigger mode the amp deck shows Attack / Hold / Decay — no fade-in or fade-out control anywhere in Trigger mode — with curve inner dials on Attack and Decay and none on Hold; when the amp envelope is overlay-active (item 1's radio), its overlay is 1:1 with the waveform time axis, and no combination of A, H, D settings exceeds the sample length (Hold = 100% exactly fills it — by construction, no clamp).
In Gate mode the amp envelope is the unchanged AHDSR: sustain stage, right-anchored release per item 8.
Switching between Gate and Trigger playback switches the amp envelope surface (deck and overlay) between AHDSR and AHD accordingly.
Once item 2's filter lands, its envelope switches identically: AHDSR (right-anchored release) in Gate, 1:1 AHD in Trigger — the mode switch swaps the amp and filter envelope surfaces the same way.
A project saved before this change reopens sounding identical: a Trigger instance's prior fade-in/fade-out contour — including a zero fade-out's abrupt end — is audibly reproduced by the loaded AHD.
The Trigger amp AHD behaves stage-for-stage like item 8's pitch AHD — Hold semantics, curve treatment, and overlay mapping match. (This is the observable proxy for the consolidation motive: one staged-envelope design, two consumers.)

15 — Enhancement: one-click in-sampler resample — bake the dialed sound into the bank and iterate

Daniel's ask (verbatim, 2026-07-29).

I would like the ability to somehow resample from directly inside the ReaSampler 9000 VST. Once I have the filtering, pitching, amp all set up nice, one click should: send a trigger or gate through the sampler offline, capture the audio, replace the bank source capture with the recapture (or add a new distinct one if there are other references), replace that sampler capture with the new/corrected bank capture, and reinitialize the reasampler 9000 audio parameters to default, effectively allow reiteration over sounds from within the sampler.

Daniel's answer round (verbatim, 2026-07-29) — answering, in order, the five questions this item carried as awaiting a Daniel decision:

I don't actually care, or even really understand, our zones. Retire the zone mapping system, simplify. I don't expect to use it, reasampler 9000 becomes 1 capture = one parameter set

capture root (so that parameter is not reset by resampling), for the gate and velocity questions, we need a popup menu to program note length, start/end offsets in ms AND in beats, and velocity for the capture signal. The popup shoulud have a preview trigger button to allow previewing the note capture as currently programed.

only what is baked into the sample recapture (contours, filter, master gain, etc)

any usage of that capture that is tied by the provenance/recaptureing system

Undo/Recovery is a plus

Daniel's second answer round (verbatim, 2026-07-29) — the fourth batch's second answer round. The unnumbered opening line answers item 16's migration question (carried there); the numbered answers map, in order, onto the doc's three under-specification flags: the provenance-consolidation flag (→ item 17), this item's derived reset-scope classification, and this item's capture-window semantics:

adopt the first zone's capture and parameters, I don't have any projects with zones used

the provenance/usage tracking will need to be consolidated and made 100% robust

that's good

yeah relative to note-on and note-off of the programed note length (1/8., 1/4t, 1/16, 4/1 etc (1/64th to 64/1 with dotted and triplet multipliers)). the project tempo under the item cursor.

Intent. Close the sound-design loop from inside the instrument: once the filtering, pitching, and amp are set up nice, one click bakes that processing into the audio itself — a new bank capture — and hands the instrument back at neutral, ready to be dialed again. Daniel frames it as a radical feature, and it is: it turns the sampler from a player of captures into an iterative resampling instrument, with the bank as the medium each iteration passes through.

Behavior.

One gesture, whole chain. A single click performs the full sequence: offline pass → capture → bank update (replace or add-distinct) → instance re-point → parameter reset. The steps are one action from the user's side, not a wizard.
Offline pass through the instrument's own processing. The audio is produced by sending a trigger or gate through the sampler offline — the instrument's own voice path, with the filtering, pitching, and amp exactly as dialed, renders the result. The recapture is of that processed output, not of the raw source.
The recapture is a bank capture like any other. It lands in the bank — project-relative, indexed, browsable from any surface that browses the bank — and is governed by the same safety rules as every file the system itself creates.
Replace, or add distinct. When nothing else references the source capture, the recapture replaces it as the bank entry; when other references exist, the original entry stays and the recapture is added as a new distinct capture. (What counts as an "other reference" is settled by the answer round — usage tied by the provenance/recapture system; see the settled bullet below.)
Replacement never destroys audio bytes. "Replace" means the bank entry now denotes the recapture; the superseded file itself is not deleted by this action. (Derived, not a Daniel quote: the settled rule that the prune action is the system's only file-deletion authority admits no other reading — resample writes a new file and retires the old one to reclaimable-by-prune status; it never overwrites or deletes it.) Until a prune reclaims it, the pre-bake audio therefore survives on disk — the iterate loop's built-in recovery floor, whatever the undo question below settles.
The instance re-points. The sampler's loaded capture is replaced with the new/corrected bank capture — the instrument now plays the baked sound.
Parameters reinitialize to default. After the swap, the instrument's audio parameters return to default — destructive to the dialed settings by design: the processing now lives in the recaptured audio, and the neutral controls are the starting point for the next iteration. Which parameters "audio parameters" covers is settled by the answer round — see the reset-scope bullet below.
No timeline item, ever. Resampling is a capture act: it writes a file to the bank and updates the index; nothing is placed in the arrange view. (Derived, not a Daniel quote: the tool's load-bearing capture/placement separation forces this — any framing of the feature that auto-inserts the recapture into the timeline is invalid.)
Single capture, single parameter set — "the sound" is unambiguous. Answer 1 dissolves the multi-zone question by system change, not scoping rule: the zone mapping system is retired outright — recorded in full as item 16. With one capture = one parameter set, one click resamples the instrument's one capture through its one parameter set; no multi-zone rule is needed because no multi-zone state exists. (Settled by answer round — by reference to item 16.)
The capture-signal popup. A popup menu programs the capture signal: note length, start and end offsets — in ms AND in beats, and velocity. The popup carries a preview trigger button that auditions the capture note exactly as currently programmed — the user hears the bake before committing it — and the offline pass renders that same programmed performance. (Settled by answer round — a new sub-feature, specced here with its own acceptance criteria below.)
- The note is the capture's root. The rendered note is the capture's root note — and, as Daniel states as a consequence, the root-note parameter is therefore not reset by resampling (capturing at root is what makes the root parameter survivable: it composes with the reset-scope rule below, and resetting it would detune every subsequent iteration). (Settled by answer round.)
- Note length is a musical division, not a free duration. The programmed note length is chosen from musical divisions spanning 1/64th through 64/1, with dotted and triplet multipliers (Daniel's examples: 1/8., 1/4t, 1/16, 4/1). (Settled by second answer round.)
- Offsets anchor to note-on and note-off. The start offset is relative to the programmed note's note-on; the end offset is relative to its note-off. (Settled by second answer round.)
- Beats resolve against the project tempo under the cursor. A beat-denominated value — the note-length division always, the offsets when expressed in beats — resolves to time against "the project tempo under the item cursor" (Daniel's phrase; read plainly: the tempo in effect at the project's cursor position when the preview or bake runs). (Settled by second answer round.)
- Gate's hold and tail are answered by the programmed window. The programmed note length is the Gate hold bound — the gate holds for the note length, then releases; item 9's loop-sustain cycles within the held span and the render still terminates. The end offset is the natural home of the tail policy: captured time past the note's end is where the release rings. (The hold reading is settled by the answer round; the anchors are settled by the second answer round — with the end offset anchored to note-off, the tail reading is direct, no longer a derivation.)
- Velocity is explicit. The programmed velocity is the render velocity — material because the velocity transfer curves modulate amp (and, with items 2 and 11, pitch and filter) at that velocity. (Settled by answer round.)
Reset scope: only what the bake baked in. (Settled by answer round.) "Reinitialize the audio parameters to default" covers only the parameters whose effect is baked into the recaptured audio — Daniel names contours, filter, and master gain, with an explicit "etc". The per-parameter classification follows — it began as this doc's derivation and is now confirmed by Daniel ("that's good," second answer round); the record that it originated as a reading-off is preserved, but the reset/survive lists below are ratified, not derived:
- Reset (their effect is in the audio): the envelope contours — staged and spline alike — the filter parameters, master gain, the pitch envelope/engine settings, the velocity transfer curves (their effect at the programmed velocity is in the audio), and the loop points (they shaped the render, and old loop positions are meaningless against new audio).
- Survive (mapping facts, not present in the audio): the root note (explicit in answer 2), and — post-item-16 — whatever remains of key mapping (key-tracking; any key-range concept item 16's open question settles), plus the VOICE group (polyphony behavior leaves no trace in a single rendered note).
- Edge classifications are verified at implementation review against the rule — not new Daniel calls (open question below).
"Other references" = usage tied by the provenance/recapture system. (Settled by answer round.) Replace-vs-add is decided by whether any usage of the source capture is tied to it by the provenance/recapture system: tied usage exists → the original entry stays and the recapture is added distinct; none → replace. Read plainly: the reference universe is the resample system's own lineage records — not the prune-protection universe. The answer does not appear to cover bank multi-membership, items placed in the arrange, or a plain hold by another instance outside any recapture lineage — those do not force add-distinct, and need not for safety: the superseded file survives until prune, and prune's protection universe is unchanged and broader than this one. How the provenance/recapture system represents a "usage tie" is part of the lineage question below — answer 4 makes that question load-bearing, and the second answer round's answer 1 converts the dependency into a requirement in its own right: item 17 (the provenance/usage tracking consolidated and made 100% robust), on which this rule now explicitly depends.
Undo/recovery: a plus, not a requirement. (Settled by answer round — at exactly that strength.) Undo of the bake chain is desirable but not required: welcome if it falls out cheaply, and the feature ships without it. The guaranteed recovery path remains the floor already stated above — the superseded file survives on disk until a prune reclaims it. This is a nice-to-have note, not a spec.

Open questions.

The five awaiting-a-Daniel-decision questions the fourth batch opened (multi-zone scope; what the offline pass plays; reset scope; "other references"; undo/recovery) are all settled by the answer round and folded into Behavior above. What remains:
Capture-window residuals — propose at implementation review. The second answer round settles the anchors (note-on / note-off), the tempo source (the project tempo under the cursor), and note length as a musical division (1/64th–64/1, dotted/triplet). Two residuals remain: whether negative offsets are meaningful (unchanged from before); and a denomination seam — the first answer round expressed the offsets "in ms AND in beats" while note length is now musical-division-only. The plain reading is that the ms/beats duality applies to the offsets only; if an ms display or entry for note length seems wanted at implementation, propose it at review rather than assuming either way.
Reset-scope edge cases — verify at implementation review. The rule is settled and the per-parameter classification above is now ratified by the second answer round ("that's good"). Only a genuinely new parameter — one arriving with a queued item and absent from the ratified lists — is classified against the rule and surfaced at review; not a new Daniel call.
Extension presence — propose at implementation review. The instrument plays self-contained with the extension absent, but the bank is the extension's surface, and resampling mutates the bank. The natural answer is that resample requires the extension present and is cleanly unavailable — not silently lossy — without it; propose the exact behavior at review.
Provenance of the recapture — homed in item 17. Captures carry a reproducibility fingerprint of their capture recipe; a resample's recipe is the instrument's own settings, not a track's chain. The answer round made this load-bearing (replace-vs-add is decided by usage ties, so the settled record-nothing conservative default is no longer available for the lineage half — the recapture must carry whatever record makes answer 4's decision computable), and the second answer round's answer 1 converts it into item 17, where the consolidation requirement and its open questions now live. This item's dependency stands: its replace-vs-add half is meaningful only once item 17's consolidated lineage exists.
Naming and lineage — propose at implementation review, jointly with item 17. When add-distinct fires, the new capture needs a display name (derived from the original?), and the bank some way to read iteration lineage across repeated bakes; propose at review as one proposal with item 17's lineage-record question, on which answer 4 leans.
(The multi-zone migration question this list previously carried is settled in item 16 by the second answer round — adopt the first zone's capture and parameters; a pre-existing multi-zone instance's resample therefore bakes its first zone's sound.)

Acceptance criteria.

On a dialed-in instrument (one capture, one parameter set — item 16), one click yields all of: a recapture in the bank, the instance holding that recapture, and the baked-in audio parameters at their defaults — with the root note and the other surviving mapping parameters untouched (the settled reset scope).
The bake is audible and faithful: after the click, playing what the offline pass played (the programmed capture note: root, at the programmed length, offsets, and velocity, in the active mode) through the now-neutral controls sounds as the dialed instrument sounded just before the click — the processing has moved from the controls into the audio.
The capture-signal popup exposes: note length as a musical-division picker spanning 1/64th to 64/1 with dotted and triplet multipliers; start and end offsets, each readable and editable in both ms and beats, anchored to note-on and note-off respectively; and velocity. Its preview trigger auditions the capture note exactly as programmed, and the bake renders that same programmed performance (preview and bake cannot diverge).
Beat-denominated values resolve against the project tempo under the cursor: the same programmed division yields a correspondingly different rendered duration when the tempo at the cursor differs.
A Gate-mode bake terminates on its own: the gate holds for the programmed note length, then releases — even with item 9's loop-sustain active, the render ends (no indefinite capture).
After the bake the root note is unchanged — iteration never detunes: the next bake plays the same root.
Sole-reference case: the bank afterwards shows the recapture where the source capture's entry was; no other bank entry is disturbed. Other-references case (provenance-tied usage of the original exists — the tie computed by item 17's consolidated tracking): the original entry is untouched, a distinct new entry appears, and every other holder of the original sounds exactly as before.
The click deletes no file: the superseded audio file still exists on disk afterwards, and only a later prune — under the settled orphan rules, only when nothing references it — can reclaim it.
The arrange timeline is untouched: no item appears anywhere, on any track.
Iteration composes: dial → click → dial → click bakes the second pass onto the first's result, repeatable indefinitely.
Save/reload: an instance holding a recapture reloads and plays it exactly like any other loaded capture.

16 — Enhancement (simplification): retire the zone mapping system — one capture = one parameter set

Daniel's ask (verbatim, 2026-07-29 — answer 1 of item 15's answer round).

I don't actually care, or even really understand, our zones. Retire the zone mapping system, simplify. I don't expect to use it, reasampler 9000 becomes 1 capture = one parameter set

Daniel's follow-up (verbatim, 2026-07-29 — the second answer round's unnumbered opening line, answering this item's migration question).

adopt the first zone's capture and parameters, I don't have any projects with zones used

Intent. Simplification by deletion, not a feature: the multi-zone keymap — zones with note ranges, per-zone parameters, and the dedicated zone-editing surface — comes out of ReaSampler 9000 entirely. Daniel's motive is stated plainly: he does not use it, does not care to understand it, and wants the instrument simpler. The instrument becomes what its common case already is: one loaded capture played through one set of parameters. This arrived as answer 1 of item 15's answer round — it is a far larger change than the question it answers (item 15's multi-zone scope), which it dissolves rather than resolves; hence its own item.

Behavior.

One capture = one parameter set. (Daniel's words.) The instrument holds one loaded capture and one set of playback parameters governing it. No zones, no per-zone divergence, no keymap of captures.
The zone-mapping surface goes away. Forced by the decision, not separately decided: the dedicated zone-editing surface and its authoring affordances — add/delete zone, the per-zone parameter panel, and the Low/High/Root zone legend — exist only to author zones and retire with them. (The root note itself survives as a first-class parameter of the one set — item 15's answer round makes it explicitly resample-stable; only its zone-legend housing goes.)
The per-zone/per-instance storage distinction collapses. Forced: today playback parameters store per-zone, with VOICE and MASTER the per-instance exceptions, and panel parity keeps the two editing surfaces in step. With one parameter set there is nothing to be an exception to and no second surface to keep in parity — every parameter simply belongs to the instrument. Items 2, 9, and 11 carry superseded-by notes where they asserted the per-zone convention.
Migration: adopt the first zone's capture and parameters. (Settled by the second answer round.) A saved multi-zone instance lifts to the one-capture model by adopting its first zone's capture and that zone's parameters; the remaining zones' captures and parameters drop from the instance. Dropping a zone touches no file and no bank entry — the instance simply no longer holds those captures; bank and prune behavior are unchanged, per the bullet below. Daniel's stated rationale is what makes a lossy rule acceptable here: he has no projects with zones in use, so the migration path carries essentially no real-world risk — no actual project sounds different under it. Consequently, for a genuinely multi-zone instance the doc's standing sounds-identical migration bar is deliberately relaxed: such an instance reopens playing its first zone's sound only, and that is the accepted outcome — accepted for that reason. Single-zone instances — the actual universe — lift losslessly and reopen sounding identical, so the bar holds everywhere it has real referents. (Which zone is "first" — the instance's existing zone ordering — is a verify-at-implementation detail with no real-world stakes, given the rationale.)
The single-capture experience is unchanged. (Derived, not a Daniel quote: the retirement removes the multi-zone superstructure, not the way a single capture plays — today's single-capture instrument already behaves as one capture with one parameter set.) A loaded capture still plays across the keyboard repitched from its root, key-tracking still applies, and every queued enhancement (items 1–15) lands on the one parameter set unchanged in substance.
No effect on the bank or the extension. The zone system is an instrument-side mapping concept; captures, banks, the capture/placement separation, and the prune safety model are untouched.

Open questions.

The migration question this item carried as awaiting a Daniel decision is settled by the second answer round — adopt the first zone's capture and parameters — and folded into Behavior above, with his rationale (no projects with zones in use) recorded there. Nothing in this item awaits a Daniel decision. What remains is propose-at-implementation-review:
Does any key-range concept survive? — propose at implementation review. With zones gone, does the capture respond across the entire keyboard (repitched from root), or does a user-settable low/high playable range survive as a plain parameter of the one set? Lean, consistent with the simplification motive: no range concept — full-keyboard response — with a low/high pair re-addable later as ordinary parameters if missed. Not Daniel-blocking because the lean is cheap to reverse.
What the piano strip means with no zones — propose at implementation review, jointly with item 12. Item 12 keeps the full-width note-range piano strip and adds note-name tooltips; item 15 needs the root affordance. With no zone bars to draw, the strip's surviving jobs are the root display/affordance and the tooltips — plus a range display only if the key-range question keeps one. Propose the strip's exact contents at review alongside item 12's work.

Acceptance criteria.

The editor exposes no zone-mapping surface anywhere: no zone view or button, no add/delete-zone affordance, no per-zone parameter panel, no Low/High zone legend. The root-note control survives as a first-class parameter.
Every playback parameter edits in exactly one place and governs the instrument as a whole; no gesture can express per-zone divergence.
A single-capture instance saved before this change reopens sounding identical — same keyboard response, same parameters, same root.
A multi-zone instance saved before this change reopens holding its first zone's capture with that zone's parameters — no error, no file touched, no bank entry disturbed. (The sounds-identical bar deliberately does not apply to this case: the instance reopens playing the first zone's sound only — the settled, accepted outcome.)
The one parameter set round-trips save/reload intact.
Bank, capture, placement, and prune behavior are unchanged.

17 — Enhancement (requirement): consolidate provenance/usage tracking — one system, 100% robust

Daniel's ask (verbatim, 2026-07-29 — answer 1 of the second fourth-batch answer round).

the provenance/usage tracking will need to be consolidated and made 100% robust

Intent. A requirement, not a feature: the tracking machinery in the provenance/usage territory becomes one coherent, fully robust system. This began as a doc flag — item 15's answer 4 made recapture lineage load-bearing while the territory's mechanisms were separate and ad-hoc — and Daniel's answer converts the flag into a standing requirement. Today the territory holds two separately-grown mechanisms plus one new demand: (1) the capture-recipe fingerprint — a thin reproducibility record of how a capture was made, deliberately not a restorable chain, conservatively recording nothing when the situation is ambiguous; (2) the instance-usage tracking — each live instrument instance declares the captures it holds, so the prune can never delete a capture a live instance is using, with a fail-safe stance that unreadable usage state halts the prune entirely; and (3) item 15's demand for recapture lineage — records tying usages of a capture to it "by the provenance/recaptureing system," deciding replace-vs-add at bake time. "Consolidated" plainly means these stop being separate ad-hoc mechanisms: one tracking system in which recipe provenance, live usage, and recapture lineage are facets of the same record-keeping. "100% robust" is a strength statement Daniel chose deliberately: this territory gates the system's only file-deletion authority (prune) and its only capture-replacement act (item 15's resample) — the two places where a tracking error loses a user's audio or sound.

Behavior.

One system, not three mechanisms. Recipe provenance, live-instance usage, and recapture lineage are kept by one consolidated tracking system, and every consumer — the prune's protection decision, the resample's replace-vs-add decision, and any future lineage reader — is answered from it.
What "100% robust" observably means. Daniel stated the strength, not the mechanics; the territory's stakes force three observable implications, recorded without inventing further specifics:
- No silent gaps. Every capture the system itself creates is tracked from the moment of its creation; a recapture carries its lineage from birth, never backfilled. There is no window in which a system-created file exists untracked.
- Fail-safe on unreadable or ambiguous state. Tracking state that cannot be read never yields the destructive answer: the prune deletes nothing (today's settled stance — preserved and generalized, not relaxed), and the resample never takes the replace branch on unreadable lineage (whether the safe branch is add-distinct or a halt with a clear message is propose-at-review).
- Consumers cannot disagree. The prune's protection answer and the resample's tied-usage answer are different questions with different universes — item 15 settles that the replace-vs-add universe is narrower than the prune-protection universe — but both are computed from the same consolidated records, so they cannot drift apart or contradict.
Existing guarantees are the floor. Consolidation must not weaken anything now settled: the prune still deletes only the system's own orphans and never a referenced or live-held capture; the fail-safe abort on unreadable usage state survives; the recipe fingerprint's record-nothing-when-ambiguous conservatism survives for the recipe half. The lineage half is the one place that conservatism is foreclosed — item 15's answer 4 makes the lineage record mandatory for a recapture, since replace-vs-add must be computable.
Dependency of meaning for item 15. Item 15's replace-vs-add rule is computable only once this item's consolidated lineage exists; item 15's provenance-of-the-recapture question is homed here, and its naming-and-lineage question is proposed jointly with this item's lineage-record question. This is dependency of meaning, not merely sequencing: without this item, "usage tied by the provenance/recapture system" denotes nothing.

Open questions.

None awaiting a Daniel decision — the requirement and its strength are his; the shape is review work:
The consolidated shape — propose at implementation review. What "one system" concretely is (one record family, one authority, how the three facets relate) is design work proposed at review, not a Daniel call.
The lineage record — propose at implementation review, jointly with item 15's naming-and-lineage question. What constitutes a "usage tie," when it is written, whether it is ever severed, and whether iteration lineage is user-readable from the bank.
The recipe-fingerprint half of a recapture — propose at implementation review. A resample's recipe is the instrument's own settings, not a track chain; whether the fingerprint records a resample-shaped recipe — and what its conservatism means there — is proposed at review. (The lineage half has no record-nothing option; the recipe half may keep one.)
Never-recorded vs. unreadable — propose at implementation review. Pre-existing captures predate lineage records, and the two absences demand opposite treatment: never-recorded means no tied usage exists (replace is legitimate, per item 15's settled rule); unreadable means fail-safe. How the consolidated system distinguishes them — and how pre-existing banks lift in without weakening any protection they enjoy today — is proposed at review.

Acceptance criteria.

One consolidated tracking system answers both safety-critical consumers: the prune's protected set and the resample's replace-vs-add decision are each computed from it, per their own settled rules; no separate ad-hoc tracking mechanism remains in the territory.
No silent gaps: a recapture created by item 15's bake is tracked from the instant it exists — a bake followed immediately by a prune, or by a second bake, behaves correctly with no window in which the recapture is untracked or its lineage absent.
Fail-safe throughout: with tracking state made unreadable, the prune deletes nothing (and reports what blocked it, per today's behavior) and the resample never takes the replace branch; no destructive act follows from ambiguity, anywhere in the territory.
Every protection settled today holds undiminished after consolidation: a capture held by a live instance cannot be pruned; files the system did not create are untouchable; unreadable usage state still halts the prune.
A pre-existing bank lifts into the consolidated system with no loss of protection and no spurious lineage, and never-recorded remains distinguishable from unreadable.
Item 15's other-references case is decidable: for any capture, "does provenance-tied usage exist" has a definite yes/no answer.

94 KiB Raw Blame History Unescape Escape

TODO-1.0

1 — Envelope editor: per-deck radio switch, segment curve dials, overlay recolor

2 — MM preamp Filter: resonant HP/LP stage in the voice pipeline

3 — Alternative Spline EGs: hard/smooth multi-segment monotonic splines

4 — Bug: end-of-sample click in Trigger mode under Preserve (his 1)

5 — Bug: drag-out sometimes lands without audio (extension) (his 2)

6 — Bug: drop onto FX container loads instrument without the capture (his 3, first)

7 — Enhancement: stereo waveform shows both channels (his 4, first)

8 — Enhancement: staged-overlay release anchoring; the Pitch AD becomes AHD (his 3, second)

9 — Bug + Enhancement: loop points — suspected regression, and the Gate-mode loop-sustain spec (his 4, second)

10 — Enhancement: knob and label sizing, ms units, double-click reset (his 5)

11 — Enhancement: preview glyph; VELOCITY deck for velocity-curve buttons; bipolar pitch/filter curves (his 6)

12 — Enhancement: top toolbar cleanup; full-width piano strip; uniform keys; note-name tooltips (his 7)

13 — Enhancement (audit): antialiased rendering for high-DPI (his 8)

14 — Enhancement: Trigger-mode amp envelope — fade-in/fade-out replaced by the AHD (with curves)

15 — Enhancement: one-click in-sampler resample — bake the dialed sound into the bank and iterate

16 — Enhancement (simplification): retire the zone mapping system — one capture = one parameter set

17 — Enhancement (requirement): consolidate provenance/usage tracking — one system, 100% robust

94 KiB

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