Consolidate clamped its range to the track's last clip end plus one
second, so on an empty track a 0-5 s selection made a 1 s clip and a
2-7 s selection made nothing. It now renders, clears and places exactly
the selection, and refuses a selection too long to render instead of
placing a shorter clip. Prepare DPE keeps the old per-track bound.
Fixes#164
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
#181 already pushes instrument params each block, so drop the duplicate
apply_instrument_params. Import Session Data now brings a Sampler's sample
along and remaps its source id.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Fixes#166: dragging a selection up from the last track deselected it and
selected every track above instead. Fixed, along with related Edit-window drag
problems:
- Drag selection spans exactly the tracks between the press and the pointer,
in either direction, and the whole window updates in the same frame.
- Shift+click in another track adds it to the selection with the same range,
as in Pro Tools, so the selected tracks no longer have to be adjacent. A
click outside the range extends it.
- Track names follow Pro Tools' rules in the Edit window, the Mix window and
the Tracks list: Shift+click selects every track between the nearest
selected one and the clicked one, and Cmd+click (Ctrl+click on Windows and
Linux) adds or removes one. A click on a name used to replace the selection;
only the Edit header's background added, and it treated Shift like Cmd.
- Dropping a track's name plate lower down no longer sends the track to the end.
- Drags act where you pressed: a quick drag from a clip edge now trims instead
of moving the clip.
- Dragging past the edge of the track area scrolls, and a flick past the last
track selects down to it.
- The insertion point moves on press, shows immediately, and only on the
selected tracks.
- edit.select no longer makes a new document revision when nothing changed
(each one is resent to the audio engine).
- Fixes a panic when a fade drag's clip shrinks to zero length.
In Pro Tools, E (with Commands Keyboard Focus on) zooms the Edit window
to the edit selection and fits the selected tracks to the window, and
pressing it again brings back the view from before. SoundCraft had no
Zoom Toggle.
view.zoom_toggle, in its own command module, stores the zoom, the
scroll and the selected tracks' heights in the session's new
edit.zoom_toggle, so the view to go back to is saved with the session.
It then zooms so the selection fills the timeline and gives the
selected tracks equal shares of the track area: Pro Tools' Fit To
Window height. Hidden tracks are left alone. Run again, it puts all of
that back. With only an insertion point the zoom stays and its tracks
are fitted. The UI passes the track area's size; agents can pass
width_px and height_px.
TrackHeight::Fit, which nothing could reach and which drew 88 points
tall, now carries its height in points, so every place that sizes a
track row reads it unchanged.
The Edit window scrolls the first fitted track to the top when Zoom
Toggle turns on, and back to where it was when it turns off, whichever
way it was toggled (key, button, control channel, undo).
As in Pro Tools, E works in the Edit window while Commands Keyboard
Focus (the a-z button) is on, on every OS. A Zoom Toggle button left of
the Zoomer lights while it is on and toggles it too.
This follows Pro Tools' Zoom Toggle settings for audio editing:
Selection for both zooms, Fit To Window, no track view change. Its
other preferences, Ctrl+E (Pro Tools' key with the focus off),
Alt+Shift+E (cancel) and following the edit selection are left out.
Tests cover the zoom, the fitted heights, going back, insertion points,
hostile sizes and stored views, and E and the toolbar button on macOS,
Windows and Linux.
Keep the never-overwrite writer, and also give sources that share a path
their own files (#123). Save Copy In checks replace, then uses
save_session_copy (#124).
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
- When every lane point lay inside the selection the lane was cleared,
so the held level outside fell back to the fader (6 dB louder in the
repro). Clear only when all clips lie inside the selection.
- The clip's own gain points inside the selection are kept, offset by
the lane, instead of being dropped.
- Volume/clip-gain ramps now end on the block's last sample, so
interpolate over n-1 steps and actually reach the end value.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
Close Session, New, Open, Revert, Quit, the window's close button,
dropping a session file on the window and opening one from the Workspace
window all replaced or closed the session without asking, so unsaved
edits were lost (#136). They now ask first: Save, Don't Save or Cancel.
Save on a session that has never been saved goes through Save As, then
carries on. Revert asks for confirmation instead, and Revert to Saved is
unavailable until the session has a file. A take being recorded is
stopped first, so it counts as a change. The web build has nowhere to
save, so it offers only Don't Save and Cancel. Calls from the control
channel, MCP and the CLI never ask.
Selecting, locating, zooming and scrolling no longer mark the session
modified, so the question only comes after real edits. Undoing back to
the saved state makes the session clean again. The engine compares the
document with the one last opened or saved, ignoring the selection, the
playhead and the zoom, once per revision.
Fixes#136
Nothing a save wrote was synced to disk, so a power cut or crash of the
system soon after Cmd+S could leave an empty or truncated session file
(the rename can reach the disk before the data), or audio files that
the session points at but that never reached the disk. No earlier
version of the session file was kept either.
New audio files, the Audio Files folder and the session's temporary
file are now synced before the session file is renamed into place, and
the session folder after the rename; templates are written the same
way. A failed write or rename removes its temporary file instead of
leaving it on a full disk. Before a save replaces the session file with
different contents, the previous version is copied to
Backups/<name> backup <n>.scraft beside it, and the newest ten are
kept. Autosaves make no backups.
Save As, Save Copy In, Save As Template and Export Selected Tracks as
New Session wrote over any existing file without asking. The Save As
prompt proposes ~/<name>/<name>.scraft, so every new session suggests
~/Untitled/Untitled.scraft, and saving a second new session with the
suggested path replaced the first one.
These commands now refuse to write over an existing file unless
`replace` is true; Save, Save As and Save Copy In may still write the
open session's own file. Scripts, MCP agents and the control channel
can't replace a session by accident. While the path in the prompt names
an existing file, the prompt asks whether to replace it and its OK
button becomes Replace; Enter alone doesn't replace. Saving also
creates the session's folder, so a new session without audio can be
saved to the suggested path. The CLI's --save names its output
explicitly and keeps replacing it, like --bounce.
Audio that exists only in memory (takes, consolidations, AudioSuite
renders, commits) gets the default path `Audio Files/<name>.wav`, and
Save treated an existing file at that path as the source's own and
rewrote it. Names repeat easily: two sessions in one folder both call
their first take on Audio 1 "Audio 1_02", and consolidating twice on
Kick makes two "Kick_consolidated" sources. Saving silently replaced
the earlier audio, so the other session or the earlier clip played the
wrong audio once reopened.
Save As also trusted a same-named file in the target folder for audio
saved elsewhere, so saving into another session's folder could point
the new session at that session's audio.
New audio now goes to the first free name (`<name>.wav`,
`<name>_01.wav`, ...), created with create_new so no existing file is
ever truncated, or to a file that already holds exactly the same bytes,
such as a take saved again after undoing past a save. Saved audio is
reused only when saving into the folder it was saved in, which the
session now remembers, so undoing past a Save As or saving after Save
Copy In can't pick up another session's files either. Audio that
failed to load keeps pointing at its old folder when the session is
saved elsewhere.
- Pinch and Cmd+scroll zoom the timeline around the pointer. egui 0.36 turns
both into zoom_delta, so the old Cmd+scroll branch never ran; Shift+wheel
pans sideways again for the same reason.
- Two-finger panning keeps the sub-sample remainder, so slow motion still
moves at the closest zoom; the scrollbar drag pans the same way (its range
now takes in the view, so the thumb stays in the bar), and the rulers pan
too. Panning stays open-ended to the right, as before.
- A swipe keeps to the axis it starts along, so panning doesn't drift between
tracks and scrolling doesn't drift in time. The larger share of its first
6 points decides until egui reports the scroll over: the fingers lift, or
150 ms pass without wheel events.
- The MIDI editor scrolls by the point instead of rounding each frame's delta
to whole rows (slow swipes did nothing), and its range fits the panel
(pitch 0 could not be reached; a taller panel showed blank rows).
- Zoom and scroll write through `Engine::zoom_mut` (`view` commands): no
playback resync (a session copy sent to the audio thread every frame), no
copy of the whole session per frame, no journal entry per frame, and no
end to an undo gesture (scrolling during an automation pass made each
write its own undo step). New `view.zoom_by {factor, x?}`;
`view.scroll` saturates; Fill Window and Zoom to Selection stay within the
zoom range (zooming out after them on a long session zoomed in).
- Control channel: `ui.scroll` (trackpad swipe or wheel notches) and
`ui.zoom` (pinch); `session.inspect` reports zoom.
A second consolidate of the same track reused Audio Files/{name}.wav, and saving then skipped the rename because that path already belonged to the earlier source. New sources now take a free name, and a save splits sources that already share a path instead of overwriting one file.
Marco Arnulfo