@hyperframes/core 0.7.106 → 0.7.108

package/dist/audioFxPresets.js

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+/**
+ * Named starting points for the FX rack.
+ *
+ * Voice carve turned a pile of effects into one understandable feature. These
+ * do the same for the cases an analysis cannot decide: a preset is a chain
+ * somebody already tuned, applied in one click and editable immediately
+ * afterwards.
+ *
+ * A preset is DATA, deliberately. Applying one writes ordinary nodes into
+ * `data-fx-chain` — the same nodes hand-building would produce — so there is no
+ * second code path to keep in agreement with the rack, nothing new in the
+ * render, and no failure mode the chain does not already have. The author can
+ * see everything that was written on their behalf and change any of it.
+ *
+ * Only the parameters a preset actually means are listed; `normalizeAudioFxParams`
+ * fills the rest from the effect's own defaults. That keeps each entry readable
+ * as an intent rather than a dump of every knob.
+ *
+ * Node ORDER is load-bearing — the chain is serial, so a limiter first and a
+ * limiter last are different sounds. Every preset below runs
+ * subtractive filtering → dynamics → tone → character → limiter, the order
+ * `skills/hyperframes-audio` already teaches.
+ */
+import { HF_AUDIO_FX_CHAIN_VERSION, mintAudioFxNodeId, normalizeAudioFxParams, } from "./audioFx.js";
+const preset = (id, family, label, description, nodes) => ({ id, label, family, description, nodes });
+/**
+ * A 24 dB/oct skirt is two of these stacked: `poles` tops out at 2 (12 dB/oct)
+ * because a BiquadFilterNode is two-pole and that is the honest maximum for one
+ * node. The telephone band wants the steeper slope, so it pays for two.
+ */
+const steep = (type, frequency, label) => [
+    { type, label, params: { frequency, q: 0.707, poles: "2" } },
+    { type, label, params: { frequency, q: 0.707, poles: "2" } },
+];
+export const HF_AUDIO_FX_PRESETS = [
+    // ---------------------------------------------------------------- voice --
+    preset("voice-clean", "voice", "Clean Voice", "Cuts rumble and mud, evens out the level, adds a little clarity.", [
+        { type: "highpass", label: "Remove Rumble", params: { frequency: 80, q: 0.707, poles: "2" } },
+        { type: "peaking", label: "Reduce Mud", params: { frequency: 250, gain: -3, q: 1.2 } },
+        {
+            type: "compressor",
+            label: "Even Out Loudness",
+            params: { threshold: -20, ratio: 3, attack: 12, release: 180, makeup: 3 },
+        },
+        { type: "peaking", label: "Add Clarity", params: { frequency: 3000, gain: 2.5, q: 1 } },
+        { type: "limiter", label: "Peak Ceiling", params: { limit: -1, attack: 5, release: 50 } },
+    ]),
+    preset("voice-broadcast", "voice", "Broadcast", "Denser and more forward — a radio-presenter sound.", [
+        { type: "highpass", label: "Remove Rumble", params: { frequency: 90, q: 0.707, poles: "2" } },
+        { type: "peaking", label: "Reduce Boxiness", params: { frequency: 400, gain: -3, q: 1.4 } },
+        {
+            type: "compressor",
+            label: "Even Out Loudness",
+            params: { threshold: -24, ratio: 4, attack: 8, release: 150, makeup: 5 },
+        },
+        { type: "peaking", label: "Add Clarity", params: { frequency: 2500, gain: 3, q: 0.9 } },
+        { type: "highshelf", label: "Add Air", params: { frequency: 8000, gain: 2 } },
+        { type: "saturate", label: "Warmth", params: { type: "tanh", threshold: -12, output: 0 } },
+        { type: "limiter", label: "Peak Ceiling", params: { limit: -1, attack: 5, release: 60 } },
+    ]),
+    preset("voice-warm", "voice", "Close & Warm", "Intimate and lightly handled, for a voice close to the mic.", [
+        { type: "highpass", label: "Remove Rumble", params: { frequency: 70, q: 0.707, poles: "2" } },
+        { type: "lowshelf", label: "Add Weight", params: { frequency: 180, gain: 2 } },
+        {
+            type: "compressor",
+            label: "Even Out Loudness",
+            params: { threshold: -18, ratio: 2.5, attack: 20, release: 250, makeup: 2 },
+        },
+        { type: "peaking", label: "Add Clarity", params: { frequency: 3000, gain: 1.5, q: 0.8 } },
+        { type: "limiter", label: "Peak Ceiling", params: { limit: -1.5 } },
+    ]),
+    // --------------------------------------------------------------- repair --
+    // Named for what they DO. None of these is noise reduction: that needs
+    // spectral work this effect set does not have, and a preset implying
+    // otherwise would be a lie the author only discovers after trusting it.
+    preset("rumble-cut", "repair", "Cut Rumble", "Removes traffic, handling and air-conditioning from under a voice.", [{ type: "highpass", label: "Cut Rumble", params: { frequency: 100, q: 0.707, poles: "2" } }]),
+    preset("room-gate", "repair", "Quiet Between Phrases", "Silences the gaps between words. Room tone under speech stays — this closes the pauses, it does not remove noise.", [
+        {
+            type: "gate",
+            label: "Silence the Gaps",
+            params: { threshold: -45, range: -18, ratio: 10, attack: 2, release: 180 },
+        },
+    ]),
+    preset("boom-tame", "repair", "Tame Boominess", "Takes out the chestiness of a voice too close to the mic.", [{ type: "peaking", label: "Tame Boominess", params: { frequency: 200, gain: -4, q: 1.4 } }]),
+    preset("harsh-tame", "repair", "Soften Harshness", "Rounds off a brittle upper-mid. Broad and always-on; sibilance proper wants the measuring version.", [{ type: "peaking", label: "Soften Harshness", params: { frequency: 3200, gain: -3, q: 1.6 } }]),
+    // ------------------------------------------------------------ character --
+    preset("telephone", "character", "Telephone", "Down the line — the narrow band of a phone call.", [
+        ...steep("highpass", 300, "Strip the Bass"),
+        ...steep("lowpass", 3400, "Strip the Treble"),
+        { type: "peaking", label: "Phone Honk", params: { frequency: 1200, gain: 6, q: 1.2 } },
+        { type: "peaking", label: "De-mud", params: { frequency: 550, gain: -4, q: 1 } },
+        {
+            type: "saturate",
+            label: "Circuit Grit",
+            params: { type: "tanh", threshold: -9, output: -2 },
+        },
+    ]),
+    preset("radio-am", "character", "AM Radio", "Narrow, gritty and a little crushed.", [
+        // Narrower than the megaphone at BOTH ends, which is most of the difference
+        // between them: an AM channel is a few kHz wide and the receiver rolls off
+        // well before a horn does.
+        { type: "highpass", label: "Strip the Bass", params: { frequency: 220, q: 0.707, poles: "2" } },
+        {
+            type: "lowpass",
+            label: "Strip the Treble",
+            params: { frequency: 2200, q: 0.707, poles: "2" },
+        },
+        // Where the telephone honks, a receiver DIPS: the IF filter's droop, and the
+        // reason the two stop sounding alike. Telephone's band is its identity (it
+        // is the G.712 passband), so the radio is what moves.
+        { type: "peaking", label: "IF Droop", params: { frequency: 1200, gain: -5, q: 0.9 } },
+        // And a lift at the bottom of the band — AM is boxy where a phone is thin.
+        { type: "lowshelf", label: "Boxy", params: { frequency: 500, gain: 4 } },
+        // Soft — a receiver compressing, not a driver being overdriven. `tanh`
+        // rounds the peaks where the megaphone's `hard` clips them flat.
+        { type: "saturate", label: "Radio Grit", params: { type: "tanh", threshold: -8, output: -1 } },
+        // The crush is the AM signature: quantisation noise reads as carrier hiss,
+        // and it is the one thing the megaphone has none of.
+        { type: "bitcrush", label: "Carrier Hiss", params: { bits: 8, samples: 1, mix: 0.45 } },
+    ]),
+    preset("megaphone", "character", "Megaphone", "Shouted through a horn, with the slap that comes with it.", [
+        {
+            type: "highpass",
+            label: "Strip the Bass",
+            params: { frequency: 700, q: 0.707, poles: "2" },
+        },
+        {
+            type: "lowpass",
+            label: "Strip the Treble",
+            params: { frequency: 4000, q: 0.707, poles: "2" },
+        },
+        // A horn is a resonant tube and that resonance IS the sound: one narrow
+        // peak with a second ringing above it, where the radio has none at all.
+        { type: "peaking", label: "Horn Honk", params: { frequency: 1900, gain: 14, q: 3 } },
+        { type: "peaking", label: "Horn Ring", params: { frequency: 3200, gain: 6, q: 3 } },
+        // A driver pushed past its limit — flat-topped, not rounded. Measured on a
+        // log sweep, the threshold is the whole ballgame: at -14 the clipper
+        // flattened the response to a dead -19 dB line and ERASED the horn peaks
+        // above, leaving this indistinguishable from AM Radio. Backed off until
+        // the resonance survives the clipping that is supposed to sit on top of it.
+        {
+            type: "saturate",
+            label: "Overdrive",
+            params: { type: "hard", threshold: -5, output: -3 },
+        },
+        // The outdoor reflection that comes back off whatever is being shouted at.
+        // Far enough to be a slap rather than a thickening.
+        { type: "delay", label: "Horn Slap", params: { time: 65, feedback: 0.2, mix: 0.28 } },
+    ]),
+    preset("lofi-tape", "character", "Tape", "Worn, warm and slightly unsteady, like a played-out cassette.", [
+        { type: "lowpass", label: "Tape Rolloff", params: { frequency: 6500, q: 0.707, poles: "2" } },
+        { type: "lowshelf", label: "Add Weight", params: { frequency: 120, gain: 2 } },
+        {
+            type: "saturate",
+            label: "Tape Warmth",
+            params: { type: "tanh", threshold: -14, output: 0 },
+        },
+        { type: "bitcrush", label: "Tape Noise", params: { bits: 12, samples: 2, mix: 0.35 } },
+        // A slow, shallow chorus is what wow and flutter actually are.
+        {
+            type: "chorus",
+            label: "Wow & Flutter",
+            params: { delay: 6, depth: 0.6, speed: 0.4, mix: 0.15 },
+        },
+    ]),
+    preset("pa-system", "character", "Tannoy", "Announced across a concourse.", [
+        { type: "highpass", label: "Strip the Bass", params: { frequency: 250, q: 0.707, poles: "2" } },
+        {
+            type: "lowpass",
+            label: "Strip the Treble",
+            params: { frequency: 5000, q: 0.707, poles: "2" },
+        },
+        // Higher and harder than the telephone's honk, which is what a big horn
+        // does — and it keeps the top the phone throws away.
+        { type: "peaking", label: "Tannoy Honk", params: { frequency: 2400, gain: 9, q: 2 } },
+        {
+            type: "saturate",
+            label: "Driver Grit",
+            params: { type: "tanh", threshold: -10, output: -1 },
+        },
+        {
+            type: "reverb",
+            label: "Concourse",
+            params: { size: 0.54, damping: 0.48, wet: 0.25, dry: 0.8 },
+        },
+    ]),
+    preset("intercom", "character", "Intercom", "Buzzed through a door panel, squelch and all.", [
+        {
+            type: "gate",
+            label: "Squelch",
+            params: { threshold: -40, range: -30, ratio: 10, attack: 1, release: 120 },
+        },
+        { type: "highpass", label: "Strip the Bass", params: { frequency: 500, q: 0.707, poles: "2" } },
+        {
+            type: "lowpass",
+            label: "Strip the Treble",
+            params: { frequency: 3000, q: 0.707, poles: "2" },
+        },
+        { type: "peaking", label: "Panel Honk", params: { frequency: 2000, gain: 6, q: 2 } },
+        { type: "bitcrush", label: "Crunch", params: { bits: 11, samples: 1, mix: 0.3 } },
+    ]),
+    // The chorus with its wobble dialled up until it stops being width and starts
+    // being the effect: fast (10 Hz, the top of the range) and fully wet, so none
+    // of the straight signal is left to anchor the pitch.
+    preset("doofus-worble", "character", "Doofus Worble", "Seasick and wobbling — no straight signal left.", [
+        {
+            type: "chorus",
+            label: "Worble",
+            params: { delay: 14.6, depth: 2.57, speed: 10, mix: 1 },
+        },
+    ]),
+    // ---------------------------------------------------------------- space --
+    preset("room-tight", "space", "Tight Room", "A small hard room — presence without wash.", [
+        {
+            type: "reverb",
+            label: "Tight Room",
+            params: { size: 0.25, damping: 0.6, wet: 0.18, dry: 0.9 },
+        },
+    ]),
+    preset("room-natural", "space", "Natural Room", "Sounds recorded somewhere rather than nowhere.", [
+        {
+            type: "reverb",
+            label: "Natural Room",
+            params: { size: 0.5, damping: 0.5, wet: 0.25, dry: 0.85 },
+        },
+    ]),
+    preset("hall", "space", "Hall", "Long and open, for something that should sit far back.", [
+        { type: "reverb", label: "Hall", params: { size: 0.9, damping: 0.3, wet: 0.4, dry: 0.75 } },
+    ]),
+    preset("slap-echo", "space", "Slap Echo", "One quick repeat — rockabilly vocal, not a wash.", [
+        { type: "delay", label: "Slap Echo", params: { time: 110, feedback: 0.12, mix: 0.22 } },
+    ]),
+    preset("dub-throw", "space", "Dub Throw", "Repeats that trail off well behind the beat.", [
+        { type: "delay", label: "Dub Throw", params: { time: 375, feedback: 0.55, mix: 0.3 } },
+    ]),
+];
+export const HF_AUDIO_FX_PRESET_IDS = HF_AUDIO_FX_PRESETS.map((p) => p.id);
+const BY_ID = new Map(HF_AUDIO_FX_PRESETS.map((p) => [p.id, p]));
+export function getAudioFxPreset(id) {
+    return BY_ID.get(id);
+}
+/** Menu order: the shelves, in the order the panel lists them. */
+export const HF_AUDIO_FX_PRESET_FAMILIES = [
+    "voice",
+    "repair",
+    "character",
+    "space",
+];
+export function audioFxPresetsByFamily(family) {
+    return HF_AUDIO_FX_PRESETS.filter((p) => p.family === family);
+}
+/**
+ * Realise a preset as nodes ready to splice into `chain`.
+ *
+ * Ids are minted against the chain the nodes are joining, not against the
+ * preset, so applying the same preset twice cannot collide — and every node
+ * gets one, because an automation lane addresses its effect by id and a node
+ * without one can never be automated.
+ *
+ * Params are normalised here rather than at apply time: a preset that names a
+ * value the effect would clamp should land in the file as the value that will
+ * actually be rendered, so the rack never shows a number the graph is not using.
+ */
+export function audioFxPresetNodes(preset, chain) {
+    const out = [];
+    // Minted against a growing chain, so ids are unique within this batch too.
+    let running = { ...chain, nodes: [...chain.nodes] };
+    for (const node of preset.nodes) {
+        const made = {
+            type: node.type,
+            id: mintAudioFxNodeId(running),
+            fromPreset: preset.id,
+            ...(node.label ? { label: node.label } : {}),
+            enabled: true,
+            params: normalizeAudioFxParams(node.type, node.params),
+        };
+        out.push(made);
+        running = { ...running, nodes: [...running.nodes, made] };
+    }
+    return out;
+}
+/**
+ * The chain after applying a preset.
+ *
+ * Appends by default: stacking Telephone onto an already-cleaned voice is a
+ * real thing to want, and replacing silently would throw away work. Re-applying
+ * a preset that is already present replaces ITS OWN nodes in place instead of
+ * adding a second copy — which is what `fromPreset` is for, and mirrors how the
+ * carve replaces its own bands rather than stacking new ones on hand-added
+ * effects.
+ */
+export function applyAudioFxPreset(chain, preset, options = {}) {
+    if (options.replaceChain) {
+        return {
+            version: HF_AUDIO_FX_CHAIN_VERSION,
+            nodes: audioFxPresetNodes(preset, { version: HF_AUDIO_FX_CHAIN_VERSION, nodes: [] }),
+        };
+    }
+    const existing = chain.nodes.findIndex((n) => n.fromPreset === preset.id);
+    if (existing === -1) {
+        return { ...chain, nodes: [...chain.nodes, ...audioFxPresetNodes(preset, chain)] };
+    }
+    // Re-apply: drop this preset's old nodes, then rebuild them where the first
+    // one stood, so the preset keeps its place in the signal order.
+    const kept = chain.nodes.filter((n) => n.fromPreset !== preset.id);
+    const before = kept.slice(0, existing);
+    const after = kept.slice(existing);
+    const made = audioFxPresetNodes(preset, { ...chain, nodes: kept });
+    return { ...chain, nodes: [...before, ...made, ...after] };
+}
+/** Every preset whose nodes are still present, for the rack's group braces. */
+export function activeAudioFxPresetIds(chain) {
+    const seen = [];
+    for (const node of chain.nodes) {
+        if (node.fromPreset && !seen.includes(node.fromPreset))
+            seen.push(node.fromPreset);
+    }
+    return seen;
+}
+//# sourceMappingURL=audioFxPresets.js.map

package/dist/audioFxPresets.js.map

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package/dist/audioFxProfiles.d.ts

@@ -0,0 +1,65 @@
+/**
+ * One knob over several, for the five effects that cannot honestly have one
+ * real parameter nominated as the control that matters.
+ *
+ * A compressor has seven controls and an author wants one. The rest of the rack
+ * opens on a single real parameter — a filter's frequency, a delay's mix — but
+ * these five have no such parameter: threshold means nothing without ratio,
+ * ratio means nothing without make-up gain, and picking any one of them as the
+ * face of the module would be a knob that lies about what it sets.
+ *
+ * So they get a derived one, exactly as the carve already does: `carveProfile`
+ * turns a single 0..1 into six numbers, and these do the same for the rest of
+ * the rack. `EFFECT_COPY[id].primary` is `"strength"` for precisely these five,
+ * which is what says a module wants this treatment.
+ *
+ * Continuous rather than the three-point tables the design proposed. A table
+ * makes gentle/middle/strong three settings an author picks between, and the
+ * thing being modelled is not three settings — it is one axis, and the carve's
+ * knob has proved that reads. The proposal's figures survive as the anchors:
+ * each curve passes through them at 0, 0.5 and 1.
+ *
+ * Every number below is expressed in the parameter's own registry unit and then
+ * clamped by `normalizeAudioFxParams` on the way into the chain, so a profile
+ * cannot ship a value the effect would refuse.
+ */
+import { type HfAudioFxParamValues } from "./audioFx.js";
+export interface HfAudioFxProfile {
+    /** What the one knob is called. Never the DSP name of anything it drives. */
+    label: string;
+    /** What the two ends sound like — the question an author actually has. */
+    ends: {
+        low: string;
+        high: string;
+    };
+    /** The parameters it sets. Everything else keeps the effect's own default. */
+    derives: readonly string[];
+    /** The mechanism values at a given strength. */
+    at(strength: number): HfAudioFxParamValues;
+}
+export declare const HF_AUDIO_FX_PROFILES: Record<string, HfAudioFxProfile>;
+export declare function getAudioFxProfile(type: string): HfAudioFxProfile | undefined;
+/**
+ * The parameters a profile sets at this strength, merged over what is there.
+ *
+ * Merged rather than replacing: a profile names only the parameters it derives,
+ * and the rest — a compressor's knee, a saturation's curve type — are the
+ * author's to set under Details and must survive the knob moving.
+ */
+export declare function applyAudioFxProfile(type: string, strength: number, params: HfAudioFxParamValues): HfAudioFxParamValues;
+/**
+ * The strength a set of parameters reads as, by inverting the profile's own
+ * curve on its most characteristic parameter.
+ *
+ * A chain stores mechanism values, not the knob — the same contract
+ * `normalizeCarveSettings` has, and for the same reason: the mechanism is what
+ * renders, so it is what must be authoritative. Reading the knob back means one
+ * parameter has to be nominated as the one that says most about intent.
+ *
+ * A hand-edited chain therefore lands the knob at the nearest strength that
+ * would have produced its most telling value, which is the honest answer — the
+ * alternative is a knob parked at a default while the effect is set to
+ * something else entirely.
+ */
+export declare function audioFxProfileStrength(type: string, params: HfAudioFxParamValues): number;
+//# sourceMappingURL=audioFxProfiles.d.ts.map

package/dist/audioFxProfiles.d.ts.map

@@ -0,0 +1 @@
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package/dist/audioFxProfiles.js

@@ -0,0 +1,209 @@
+/**
+ * One knob over several, for the five effects that cannot honestly have one
+ * real parameter nominated as the control that matters.
+ *
+ * A compressor has seven controls and an author wants one. The rest of the rack
+ * opens on a single real parameter — a filter's frequency, a delay's mix — but
+ * these five have no such parameter: threshold means nothing without ratio,
+ * ratio means nothing without make-up gain, and picking any one of them as the
+ * face of the module would be a knob that lies about what it sets.
+ *
+ * So they get a derived one, exactly as the carve already does: `carveProfile`
+ * turns a single 0..1 into six numbers, and these do the same for the rest of
+ * the rack. `EFFECT_COPY[id].primary` is `"strength"` for precisely these five,
+ * which is what says a module wants this treatment.
+ *
+ * Continuous rather than the three-point tables the design proposed. A table
+ * makes gentle/middle/strong three settings an author picks between, and the
+ * thing being modelled is not three settings — it is one axis, and the carve's
+ * knob has proved that reads. The proposal's figures survive as the anchors:
+ * each curve passes through them at 0, 0.5 and 1.
+ *
+ * Every number below is expressed in the parameter's own registry unit and then
+ * clamped by `normalizeAudioFxParams` on the way into the chain, so a profile
+ * cannot ship a value the effect would refuse.
+ */
+import { normalizeAudioFxParams } from "./audioFx.js";
+/** 0..1, whatever arrives. NaN reads as the middle rather than as silence. */
+function clamp01(strength) {
+    return Number.isFinite(strength) ? Math.min(1, Math.max(0, strength)) : 0.5;
+}
+/** Two decimal places, so a derived value reads as a setting and not as float noise. */
+function to2(value) {
+    return Number(value.toFixed(2));
+}
+export const HF_AUDIO_FX_PROFILES = {
+    compressor: {
+        label: "Evenness",
+        ends: { low: "Barely touched", high: "Very even, quite squashed" },
+        derives: ["threshold", "ratio", "attack", "release", "makeup"],
+        at(strength) {
+            const s = clamp01(strength);
+            return {
+                // Lower threshold and higher ratio together: more of the signal is
+                // caught, and what is caught is held harder. Moving one without the
+                // other is the pair of knobs this exists to stop an author meeting.
+                threshold: to2(-12 - s * 18),
+                ratio: to2(2 + s * 4),
+                // Faster as it gets firmer, because a firm compressor that lets peaks
+                // through is doing the audible half of its job and not the useful half.
+                attack: to2(25 - s * 20),
+                release: to2(300 - s * 210),
+                // Compression makes things quieter; this is the level put back, and it
+                // has to rise with the amount taken off or the knob reads as a volume
+                // control that goes the wrong way.
+                //
+                // Solved from measurement rather than proposed, and it is not linear:
+                // gain reduction accelerates as the threshold drops and the ratio rises
+                // together, so a straight line is too loud in the middle and too quiet
+                // at the top. The design's 1/3/7 dB left the track +0.9 dB at rest,
+                // +1.3 dB at the middle and −2.5 dB at full. Numbers in
+                // `~/audio-fx-profiles-ab/README.md`.
+                makeup: to2(s * s * 9.5),
+            };
+        },
+    },
+    gate: {
+        label: "Tightness",
+        ends: { low: "Only true silence", high: "Cuts quiet parts too" },
+        derives: ["threshold", "range", "release"],
+        at(strength) {
+            const s = clamp01(strength);
+            return {
+                threshold: to2(-55 + s * 23),
+                // How far the gaps are ducked, never to silence: a room that stops dead
+                // between sentences sounds broken rather than clean.
+                range: to2(-10 - s * 20),
+                // Release has to come along, which the design did not have — and it
+                // dominates: swept against a fixed threshold and range, the gaps move
+                // 0.2 dB at 140 ms and 13.4 dB at 10 ms. Left at the effect's 100 ms
+                // default the gate was very nearly inaudible whatever else it was told.
+                //
+                // Measured on narration, speech level is unmoved (−24.0 dB) at every
+                // release down to 10 ms, so the usual reason to stay slow — clipping
+                // word endings — does not bite on this material at these thresholds.
+                release: to2(120 - s * 105),
+            };
+        },
+    },
+    saturate: {
+        label: "Warmth",
+        ends: { low: "Just a sheen", high: "Openly distorted" },
+        derives: ["threshold", "output"],
+        at(strength) {
+            const s = clamp01(strength);
+            return {
+                // Drive: the lower the threshold, the more of the signal meets the
+                // curve.
+                threshold: to2(-3 - s * 15),
+                // Up, not down — which reverses the design's figure, on the measurement
+                // that motivated taking one. A soft clipper at -18 dB threshold IS a
+                // limiter at -18 dB: peak fell to 0.089 from 0.496 and RMS almost
+                // halved, so the proposed trim of −3 dB made "warmer" mean "much
+                // quieter" and an author would have heard the level, not the warmth.
+                // Accelerating for the same reason as the compressor's make-up.
+                output: to2(s * s * 2.8),
+            };
+        },
+    },
+    reverb: {
+        label: "Space",
+        ends: { low: "A small tight room", high: "A big open hall" },
+        derives: ["size", "wet", "dry"],
+        at(strength) {
+            const s = clamp01(strength);
+            return {
+                // Anchored at the design's three figures — 0.25 / 0.55 / 0.90 — which a
+                // single linear run cannot hit, because 0.55 is not their midpoint.
+                size: to2(s <= 0.5 ? 0.25 + s * 0.6 : 0.55 + (s - 0.5) * 0.7),
+                wet: to2(0.15 + s * 0.3),
+                // Dry comes down as wet goes up, but not by the same amount: the two
+                // legs sum, and matching them exactly makes a big room quieter than a
+                // small one instead of further away.
+                dry: to2(0.92 - s * 0.2),
+            };
+        },
+    },
+    bitcrush: {
+        label: "Crush",
+        ends: { low: "Slightly gritty", high: "Destroyed" },
+        derives: ["bits", "samples", "mix"],
+        at(strength) {
+            const s = clamp01(strength);
+            return {
+                // Fewer steps and longer holds. `bits` runs DOWN as the knob runs up,
+                // which is why it cannot be the module's face on its own.
+                bits: to2(14 - s * 8),
+                samples: Math.max(1, Math.round(1 + s * 3)),
+                mix: to2(0.25 + s * 0.75),
+            };
+        },
+    },
+};
+export function getAudioFxProfile(type) {
+    return HF_AUDIO_FX_PROFILES[type];
+}
+/**
+ * The parameters a profile sets at this strength, merged over what is there.
+ *
+ * Merged rather than replacing: a profile names only the parameters it derives,
+ * and the rest — a compressor's knee, a saturation's curve type — are the
+ * author's to set under Details and must survive the knob moving.
+ */
+export function applyAudioFxProfile(type, strength, params) {
+    const profile = getAudioFxProfile(type);
+    if (!profile)
+        return params;
+    return normalizeAudioFxParams(type, { ...params, ...profile.at(strength) });
+}
+/**
+ * The strength a set of parameters reads as, by inverting the profile's own
+ * curve on its most characteristic parameter.
+ *
+ * A chain stores mechanism values, not the knob — the same contract
+ * `normalizeCarveSettings` has, and for the same reason: the mechanism is what
+ * renders, so it is what must be authoritative. Reading the knob back means one
+ * parameter has to be nominated as the one that says most about intent.
+ *
+ * A hand-edited chain therefore lands the knob at the nearest strength that
+ * would have produced its most telling value, which is the honest answer — the
+ * alternative is a knob parked at a default while the effect is set to
+ * something else entirely.
+ */
+export function audioFxProfileStrength(type, params) {
+    const profile = getAudioFxProfile(type);
+    if (!profile)
+        return 0.5;
+    const key = profile.derives[0];
+    if (key === undefined)
+        return 0.5;
+    const value = params[key];
+    if (typeof value !== "number")
+        return 0.5;
+    // Searched, not inverted algebraically: a curve is free to be piecewise — the
+    // reverb's `size` is, because the design's three anchors are not evenly
+    // spaced — and a straight line between the endpoints reads such a curve back
+    // at the wrong place. Setting Space to 0.5 wrote size 0.55 and reopening the
+    // project drew the knob at 0.46, so every reopen nudged the sound.
+    //
+    // The grid IS the knob's own resolution (0.01), not something finer: a finer
+    // grid lands between two settable positions and rounds to a neighbour, which
+    // is how a search can be off by a step even where the curve is exact.
+    // Searching only reachable values makes the round trip exact.
+    const STEPS = 100;
+    let best = 0.5;
+    let bestErr = Infinity;
+    for (let i = 0; i <= STEPS; i += 1) {
+        const s = to2(i / STEPS);
+        const at = profile.at(s)[key];
+        if (typeof at !== "number")
+            continue;
+        const err = Math.abs(at - value);
+        if (err < bestErr) {
+            bestErr = err;
+            best = s;
+        }
+    }
+    return bestErr === Infinity ? 0.5 : to2(best);
+}
+//# sourceMappingURL=audioFxProfiles.js.map

package/dist/audioFxProfiles.js.map

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