* ui: keep SoundCraft's beside-the-session-view place for panels craft-ui has no record of
* ui: Tracks and Groups and Clips in full-height dock columns
The Edit window docks Tracks and Groups (168 pt) at its start edge and Clips
(230 pt) at its end edge, with the MIDI editor under the session view between
them; Mix docks Tracks and Groups at its start edge. Panels dragged to an
empty window edge make a dock there.
Saved preferences and window configurations carry docking_version. Split-frame
layouts saved without it load as the new defaults, keeping every other
setting. A list with no recorded place reopens in its dock group, making the
dock again at its side and width when it is gone.
Pins craft-ui, craft-docpath and craft-media to craft-libs#312.
* Pin craft-libs at d24e4bc for the Mac round 3
* ui: test that a floating list reopens floating while its dock is shown; ui-parity revision
* Auto Pan: balance the left and right channels at constant power instead of panning their mono sum
* Strip Silence rectangles: on the web, rescan when a slider drag ends instead of on every frame of it
* Paste: keep the clipboard's remapped Auto Rename keys only when the paste succeeds
* Subharmonic: test that Q 5 filters after the saturator keep the output finite
* AudioSuite window: drop the constant-speed varispeed controls no menu item opens
* docs: gaps: Clip Looping has no loop crossfade and caps Number of Loops at 512
While the Strip Silence window is open, the Edit window draws a
rectangle around each range that Strip would keep on the selected
tracks: the audio above the threshold, padded by Clip Start Pad and
Clip End Pad. The rectangles follow the sliders and stay while Rename
Selected Clips is open. They are removed when the window closes. The
audio and the clips do not change.
The scan runs again when a value or the session changes. Outside the
web build it runs on a worker thread, one scan at a time, and the
rectangles last found stay until it ends. A scan for older values, or
one still running after the window closes, stops before its next
window of audio.
The new query command edit.strip_silence_preview returns the same
ranges for each track. It reads the threshold, minimum strip duration
and pads with the defaults and limits of edit.strip_silence, and both
use the same scan.
Clip List › Auto Rename… opens Rename Selected Clips for the selected
clips. Name, Starting Number, Number of Places and Suffix set the names
that editing gives the clips it separates from them: the name, as many
zeros as Number of Places, a number counting up from Starting Number,
and the suffix. The piece after each cut is the new clip and takes the
next name. The piece before it keeps its name. The clips separated from
one clip, and from every clip that got the scheme together, count up
one number sequence. The guide does not say how Strip Silence's own
Rename fields and Auto Rename combine. Here, when Strip Silence's own
Rename fields are set, they name the audio pieces it cuts inside its
range, and those pieces take no Auto Rename name and do not count the
Auto Rename number up. In Strip and Extract, only the pieces that Strip
Silence keeps take Auto Rename names, in time order, so their numbers
have no gaps.
clip.auto_rename takes clips, name, number, zeros and suffix, with the
same limits and errors as edit.strip_silence. Without a name the clips
get no scheme. Cut and Copy keep a copy of the copied clips' schemes,
and a paste uses the session's scheme with the same id or adds the
copy under a new key, so a pasted copy keeps its names after an undo
or in another session. Saved sessions hold the schemes, and opening a
session repairs them and drops the ones no clip uses. Import Session
Data brings them in under new keys. Clips placed from a clip group file
get no scheme.
The Strip Silence window has a Rename… button. It opens Rename Selected
Clips, where Name, Number, Zeros and Suffix set the names that Strip,
Extract and Separate give the clips they leave in the selection: the
name, that many zeros, a number counting up from Number, and the
suffix. SFX, 23, 1 and .Reel1 give SFX023.Reel1, SFX024.Reel1 and so
on. The app keeps the scheme for later uses of Strip Silence until
the app quits, or until Clear and then OK empty it. OK, Cancel and
Escape go back to Strip Silence with its slider values.
edit.strip_silence takes name, number, zeros and suffix. Numbering runs
on from one track to the next, and the result reports how many clips
were named. Without a name the clips keep their names. A name or suffix
that is not text, a number out of range, or a number, zeros or suffix
without a name is an error and leaves the tracks unchanged.
The Strip Silence window had only a Strip button. It now also has
Extract and Separate. Extract removes the parts of the selection that
hold audio and keeps the silent parts. Separate separates the clips at
the same points Strip does and does not remove any clip. Enter on a
focused Extract or Separate runs that button, and Enter presses Strip
only when neither was clicked.
edit.strip_silence takes a mode param: strip (the default), extract or
separate. An unknown mode is an error. The Minimum Strip Duration
slider now goes up to 4,000 ms.
Slow Down reads up to the end of the input as it stops, and Speed Up starts
reading from its first sample. The interpolation dropped the taps past
either end, so with Fades Off a Slow Down faded to silence at the stop and
a Speed Up started about 1.5% low. Those taps now read the first or last
sample; a channel shorter than the others stays silent past its end.
Clip > Loop... and Cmd+Alt+L looped the selected clip four times at once.
They now open the Clip Looping dialog. Number of Loops counts the clip and
its loops together, 4 by default as before. Loop Length is typed in the
main counter's time format, and the last loop is cut short when the
length is not a whole number of loops. Loop Until End of Session or Next
Clip loops up to the next clip on the track, or else to the end of the
last clip in the session.
clip.loop takes the new fill option, and its length option now cuts the
last loop short instead of rounding down to whole loops. A fill or a
length that needs more than 1,000 loops is refused with an error instead
of stopping at 1,000 loops. The cut-short loop is trimmed with
Clip::trim_end_to, which shortens its fades to fit and removes a sync
point that falls past the cut.
Unloop takes a shorter last clip as part of the loop when it shares the
loop, no clip of the loop starts where it ends, and either a whole copy
comes before it or it holds the same material as the origin just before
it. It removes a short last loop too, and leaves both halves of a split
clip in place.
The built-in plugins had no subharmonic synthesizer. Subharmonic
(`subharmonic`, Harmonic category, also offline as AudioSuite) adds the
octave below a lower and an upper band of the input. The Range picks the
two band frequencies (120-180, 80-120, 60-90 or 40-60 Hz). Each band
band-passes the input at its frequency and multiplies it by a flip-flop
that changes sign on every rising zero crossing, which moves the band an
octave down at a level that follows the band. A direct band adds the
input's own bass.
Each band has a gain from -120 to +24 dB and a solo; a solo also mutes
the dry signal. Drive raises the summed bands into one of six saturation
characters, and HP and LP filters (5 to 1000 Hz, Q 0.1 to 5) shape the
result. Below 50 % Mix the dry signal stays at full level, above 50 % the
wet signal does, and Wet Solo mutes the dry signal. Input and Output run
from -18 to +18 dB.
The Total row in docs/plugin-parity.md now counts 25 processors and 3
instruments, the entries in the built-in registry, and its Instruments
row lists `sampler` and no longer lists the Sampler as missing.
AudioSuite > Pitch Shift > Vari-Fi resampled the clip at a constant
speed. It now ramps the speed between normal and a complete stop, so
the pitch falls or rises with it. Slow Down and Speed Up set the
direction. Fit To keeps the clip's length and plays two thirds of it;
Extend plays all of it and makes the clip 150 % long. Fades On fades
the audio out with the slowdown or in with the speedup.
The ramp is offline::vari_fi, run by audiosuite.process as vari_fi
with change, selection and fades params. The constant-speed varispeed
process stays available to commands.
Auto Pan (`auto_pan`) pans the mono sum of a stereo track between the
left and right channels with constant-power gains. The position is
Manual scaled by (1 - Width) plus the modulator scaled by Width, and
Path sets the direction. The modulator is an LFO with seven waveforms,
or an envelope follower that moves the signal from the start of the
path at the threshold to the end at full scale.
The LFO rate is set in BPM, or follows the session tempo with Link to
Tempo, and Duration (a 16th note to 4 bars) sets the length of one
cycle at that rate. The LFO runs free, runs once, restarts at every
Duration on the transport (Beat Clock; bar Durations count from the
bar line), or runs one cycle each time the level rises through the
threshold or the Manual Trigger switch changes. After an envelope
trigger, the next one waits until the level has stayed below the
threshold for the Release time. Output sets the level from -24 dB to
+12 dB. On a mono track the insert has one channel, and only Output
applies.
The plugin parity doc, ROADMAP and the README plugin list name it, and
the parity doc's built-in count now reads 25 processors + 3
instruments.
The built-in plugins had no ring modulator, and AudioSuite > Modulation >
Sci-Fi ran the Flanger instead. Ring Modulator (`ring_mod`, Modulation
category, also offline as AudioSuite) has four effects: Ring multiplies the
input by a sine carrier, Frequency Mod reads the input through a delay the
carrier swings by 1 ms, and Resonator + and Resonator - feed the output back
after one period of the frequency with a positive or a negative sign. At full
depth an LFO or sample and hold moves the frequency by up to two octaves
either way, and an envelope follower raises it by up to two octaves.
AudioSuite > Modulation > Sci-Fi now opens it.
The Total row in docs/plugin-parity.md now counts 25 processors and 3
instruments, the entries in the built-in registry.
soundcraft-cli convert always passed dither: true, so a same-depth or
wider conversion still added ±1 LSB TPDF noise and digital silence came
out as noise. It now dithers only when writing integer samples that
cannot hold the source exactly: fewer bits than the source, a float or
lossy source, or samples changed by --rate/--normalize. 32-bit float
output never dithers. --dither and --no-dither override the choice,
like the Bounce option in #551.
Reject oversized batches before any side effects instead of reporting success after truncating calls.
Closes#460
Co-Authored-By: OpenAI Codex <noreply@openai.com>
`IHostApplication::createInstance` returned nothing, so plugins whose
controller and processor exchange `IMessage`s through
`IConnectionPoint::notify` could not create one. Line 6 Helix Stadium
Native reported "Failed to get content database recovery info (Out of
memory condition. [code -2])", loaded no models and exposed no
parameters.
The host now creates `IMessage` (an id plus its attribute list) and
`IAttributeList` (ints, floats, UTF-16 strings and binary blobs, by
NUL-terminated attribute id). Strings and blobs are kept in their own
allocation so pointers from `getBinary` stay valid while the list holds
the value; strings are capped at 1M UTF-16 units and blobs at 256 MiB.
Null arguments are refused rather than read. Other classes are still not
provided.
Verified with Helix Stadium Native 1.03.3a on Windows: the error is gone,
its model database and presets load, and its parameters appear in the
generic plugin window. A unit test drives the objects through the COM
interfaces the way a plugin does.
Co-Authored-By: Claude Opus 5.5 <noreply@anthropic.com>
aiongg