@hyperframes/core 0.7.107 → 0.7.109

package/dist/audio/audioFxGraph.js.map

@@ -0,0 +1 @@
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package/dist/audio/audioFxTail.d.ts

@@ -0,0 +1,28 @@
+/**
+ * How long a chain keeps ringing after its input stops.
+ *
+ * The render used to end the offline context at the last input sample, so a
+ * reverb or a delay was cut mid-tail — the one place the render did not match
+ * preview. The length is not a guess: every tail-producing effect here has a
+ * decay that follows from its own settings, so the render can ask for exactly
+ * the room it needs.
+ */
+import { type HfAutomation } from "../audioAutomation.js";
+import { type HfAudioFxChain } from "../audioFx.js";
+/**
+ * Ceiling on the extension, in seconds.
+ *
+ * Delay is unbounded in principle: 5 s between repeats at 0.95 feedback decays
+ * for eleven minutes, and the panel can dial exactly that. A tail that outruns
+ * the composition costs render time and mixes into everything after it, so the
+ * chain gets the room it asks for up to here and is cut beyond it.
+ */
+export declare const MAX_FX_TAIL_SECONDS = 5;
+/**
+ * The whole chain's tail, in seconds.
+ *
+ * Summed, not maxed: the chain is serial, so a delay in front of a reverb hands
+ * each of its repeats to the room and the last one still gets a full tail.
+ */
+export declare function chainTailSeconds(chain: HfAudioFxChain, automation?: HfAutomation): number;
+//# sourceMappingURL=audioFxTail.d.ts.map

package/dist/audio/audioFxTail.d.ts.map

@@ -0,0 +1 @@
+{"version":3,"file":"audioFxTail.d.ts","sourceRoot":"","sources":["../../src/audio/audioFxTail.ts"],"names":[],"mappings":"AAAA;;;;;;;;GAQG;AAEH,OAAO,EAAsB,KAAK,YAAY,EAAE,MAAM,uBAAuB,CAAC;AAC9E,OAAO,EAA0B,KAAK,cAAc,EAAsB,MAAM,eAAe,CAAC;AAEhG;;;;;;;GAOG;AACH,eAAO,MAAM,mBAAmB,IAAI,CAAC;AAiErC;;;;;GAKG;AACH,wBAAgB,gBAAgB,CAAC,KAAK,EAAE,cAAc,EAAE,UAAU,CAAC,EAAE,YAAY,GAAG,MAAM,CAGzF"}

package/dist/audio/audioFxTail.js

@@ -0,0 +1,95 @@
+/**
+ * How long a chain keeps ringing after its input stops.
+ *
+ * The render used to end the offline context at the last input sample, so a
+ * reverb or a delay was cut mid-tail — the one place the render did not match
+ * preview. The length is not a guess: every tail-producing effect here has a
+ * decay that follows from its own settings, so the render can ask for exactly
+ * the room it needs.
+ */
+import { fxAutomationTarget } from "../audioAutomation.js";
+import { normalizeAudioFxParams } from "../audioFx.js";
+/**
+ * Ceiling on the extension, in seconds.
+ *
+ * Delay is unbounded in principle: 5 s between repeats at 0.95 feedback decays
+ * for eleven minutes, and the panel can dial exactly that. A tail that outruns
+ * the composition costs render time and mixes into everything after it, so the
+ * chain gets the room it asks for up to here and is cut beyond it.
+ */
+export const MAX_FX_TAIL_SECONDS = 5;
+/**
+ * Where a tail stops counting as audible: -60 dB below the signal that fed it,
+ * the usual convention for a reverb time. Anything quieter is under the noise
+ * floor of every codec this renders to.
+ */
+const TAIL_FLOOR = 0.001;
+/**
+ * The largest value a knob reaches, over the whole clip.
+ *
+ * A lane's `curve` is an exponent, so a segment is monotone between its two
+ * points and cannot overshoot either — the maximum point value is the maximum
+ * of the lane, no sampling needed. Room size has to be sized for the loudest
+ * moment regardless of where in the clip it falls.
+ */
+function knobMax(node, key, automation) {
+    // Normalised, so a knob missing from the attribute reads as its default and
+    // an out-of-range one is clamped the way the graph builder would clamp it.
+    const fallback = Number(normalizeAudioFxParams(node.type, node.params)[key] ?? 0);
+    if (!node.id || !automation)
+        return Number.isFinite(fallback) ? fallback : 0;
+    const lane = automation.lanes.find((l) => l.target === fxAutomationTarget(node.id ?? "", key));
+    if (!lane || lane.points.length === 0)
+        return Number.isFinite(fallback) ? fallback : 0;
+    return lane.points.reduce((max, p) => Math.max(max, p.v), -Infinity);
+}
+/**
+ * Repeats until a feedback loop falls under the floor, times the gap between
+ * them. `feedback` is capped below 1 by the registry, so this terminates.
+ */
+function delayTail(time, feedback) {
+    const gap = Math.min(5, time / 1000);
+    if (gap <= 0)
+        return 0;
+    const fb = Math.max(0, Math.min(0.999, feedback));
+    if (fb <= 0)
+        return gap;
+    return Math.ceil(Math.log(TAIL_FLOOR) / Math.log(fb)) * gap;
+}
+/** One node's tail. Zero when it has none, or when it is mixed out entirely. */
+function nodeTail(node, automation) {
+    if (node.enabled === false)
+        return 0;
+    switch (node.type) {
+        case "reverb":
+            // Exactly the generated impulse's length — see synthesizeReverbImpulse,
+            // which is the same expression. A convolution is as long as its impulse.
+            return knobMax(node, "wet", automation) > 0
+                ? 0.6 + Math.max(0, Math.min(1, knobMax(node, "size", automation))) * 2.6
+                : 0;
+        case "delay":
+            return knobMax(node, "mix", automation) > 0
+                ? delayTail(knobMax(node, "time", automation), knobMax(node, "feedback", automation))
+                : 0;
+        case "chorus":
+            // A single delay line, no feedback: it rings for one delay (≤100 ms).
+            return knobMax(node, "mix", automation) > 0 ? knobMax(node, "delay", automation) / 1000 : 0;
+        default:
+            // Everything else settles with its input. The phaser is an all-pass chain
+            // with no recirculation (group delay, not a tail); the dynamics nodes have
+            // long releases but no signal to release — silence in, silence out; a
+            // biquad rings for ~Q/f, which is microseconds.
+            return 0;
+    }
+}
+/**
+ * The whole chain's tail, in seconds.
+ *
+ * Summed, not maxed: the chain is serial, so a delay in front of a reverb hands
+ * each of its repeats to the room and the last one still gets a full tail.
+ */
+export function chainTailSeconds(chain, automation) {
+    const total = chain.nodes.reduce((sum, node) => sum + nodeTail(node, automation), 0);
+    return Math.min(MAX_FX_TAIL_SECONDS, total);
+}
+//# sourceMappingURL=audioFxTail.js.map

package/dist/audio/audioFxTail.js.map

@@ -0,0 +1 @@
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package/dist/audio/audioFxWorklets.d.ts

@@ -0,0 +1,8 @@
+/** True once the processors are usable on this context. */
+export declare function audioFxWorkletsReady(ctx: BaseAudioContext): boolean;
+/**
+ * Register the processors on a context. Idempotent per context, since
+ * addModule throws if the same processor name is registered twice.
+ */
+export declare function ensureAudioFxWorklets(ctx: BaseAudioContext): Promise<void>;
+//# sourceMappingURL=audioFxWorklets.d.ts.map

package/dist/audio/audioFxWorklets.d.ts.map

@@ -0,0 +1 @@
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package/dist/audio/audioFxWorklets.js

@@ -0,0 +1,263 @@
+/**
+ * AudioWorklet processors for the effects Web Audio has no native node for.
+ *
+ * Each one targets the behaviour of its FFmpeg counterpart rather than of any
+ * particular plugin, because the render is FFmpeg and preview only earns its
+ * keep by predicting the render. How closely each lands is measured, not
+ * assumed — see the preview/render parity harness.
+ *
+ * Kept as a source string so it can be registered from a Blob URL without a
+ * separate bundled asset, which keeps the studio's build unchanged.
+ */
+const AUDIO_FX_WORKLET_SOURCE = `
+const dbToLin = (db) => Math.pow(10, db / 20);
+
+/**
+ * One-pole envelope followers, one per channel.
+ *
+ * Per channel matters: the followers advance once per sample, so a single shared
+ * follower stepped once per channel per sample. On stereo that ran a 20 ms attack
+ * as 10 ms, and gave the right channel a gain computed from an envelope that had
+ * already traversed the left — so the two channels ducked by different amounts
+ * from the same input and the image pumped.
+ */
+class EnvBank {
+  constructor(attackMs, releaseMs) { this.set(attackMs, releaseMs); this.values = []; }
+  set(attackMs, releaseMs) {
+    this.a = Math.exp(-1 / (sampleRate * Math.max(1e-5, attackMs / 1000)));
+    this.r = Math.exp(-1 / (sampleRate * Math.max(1e-5, releaseMs / 1000)));
+  }
+  push(ch, x) {
+    const prev = this.values[ch] ?? 0;
+    const m = Math.abs(x);
+    const c = m > prev ? this.a : this.r;
+    const next = m + c * (prev - m);
+    this.values[ch] = next;
+    return next;
+  }
+}
+
+/** Soft-knee gain computer in dB, matching acompressor's shape. */
+function kneeGain(envDb, thresholdDb, ratio, kneeDb) {
+  const over = envDb - thresholdDb;
+  if (kneeDb > 0 && over > -kneeDb && over < kneeDb) {
+    const t = (over + kneeDb) / (2 * kneeDb);
+    return -((1 - 1 / ratio) * kneeDb * t * t);
+  }
+  return over > 0 ? -(over * (1 - 1 / ratio)) : 0;
+}
+
+// log10/exp per sample is the single most expensive thing a dynamics processor
+// can do on the audio thread, and every sample below the knee needs neither:
+// its gain is exactly unity. Comparing envelopes in the linear domain lets the
+// quiet majority of samples skip the transcendentals entirely.
+const LN10_OVER_20 = Math.LN10 / 20;
+const dbToLinFast = (db) => Math.exp(db * LN10_OVER_20);
+
+class HfCompressor extends AudioWorkletProcessor {
+  constructor(o) {
+    super();
+    this.p = o.processorOptions || {};
+    this.env = new EnvBank(this.p.attack ?? 20, this.p.release ?? 250);
+    this.port.onmessage = (e) => {
+      if (e.data && e.data.__hfDispose) { this.dead = true; return; }
+      this.p = { ...this.p, ...e.data };
+      this.env.set(this.p.attack ?? 20, this.p.release ?? 250);
+    };
+  }
+  process(inputs, outputs) {
+    if (this.dead) return false;
+    const i = inputs[0], o = outputs[0];
+    if (!i || !i.length) return true;
+    const p = this.p;
+    const makeup = dbToLin(p.makeup ?? 0);
+    const mix = p.mix ?? 1;
+    // Knee is expressed as a ratio in FFmpeg; convert to dB width.
+    const kneeDb = 20 * Math.log10(Math.max(1.0001, p.knee ?? 2.83));
+    const thresholdDb = p.threshold ?? -24;
+    const ratio = p.ratio ?? 4;
+    // Below this the gain computer returns unity, so the sample needs no
+    // logarithm at all.
+    const kneeStartLin = dbToLin(thresholdDb - kneeDb);
+    const dry = 1 - mix;
+    for (let ch = 0; ch < i.length; ch++) {
+      const inp = i[ch], out = o[ch];
+      for (let n = 0; n < inp.length; n++) {
+        const x = inp[n];
+        // Per-channel follower, and the sub-knee shortcut: below the knee the
+        // gain is exactly unity, so the sample needs no logarithm at all.
+        const env = this.env.push(ch, x);
+        if (env <= kneeStartLin) {
+          out[n] = x * makeup * mix + x * dry;
+          continue;
+        }
+        const envDb = 20 * Math.log10(env);
+        const g = dbToLinFast(kneeGain(envDb, thresholdDb, ratio, kneeDb));
+        out[n] = x * g * makeup * mix + x * dry;
+      }
+    }
+    return true;
+  }
+}
+registerProcessor("hf-compressor", HfCompressor);
+
+class HfLimiter extends AudioWorkletProcessor {
+  constructor(o) {
+    super();
+    this.p = o.processorOptions || {};
+    this.env = new EnvBank(this.p.attack ?? 5, this.p.release ?? 50);
+    this.port.onmessage = (e) => {
+      if (e.data && e.data.__hfDispose) { this.dead = true; return; }
+      this.p = { ...this.p, ...e.data };
+      this.env.set(this.p.attack ?? 5, this.p.release ?? 50);
+    };
+  }
+  process(inputs, outputs) {
+    if (this.dead) return false;
+    const i = inputs[0], o = outputs[0];
+    if (!i || !i.length) return true;
+    const ceiling = dbToLin(this.p.limit ?? -1);
+    const outGain = dbToLin(this.p.level_out ?? 0);
+    for (let ch = 0; ch < i.length; ch++) {
+      const inp = i[ch], out = o[ch];
+      for (let n = 0; n < inp.length; n++) {
+        const x = inp[n];
+        const env = this.env.push(ch, x);
+        // Only ever attenuate: a limiter that can raise level is a compressor.
+        const g = env > ceiling ? ceiling / env : 1;
+        out[n] = x * g * outGain;
+      }
+    }
+    return true;
+  }
+}
+registerProcessor("hf-limiter", HfLimiter);
+
+class HfGate extends AudioWorkletProcessor {
+  constructor(o) {
+    super();
+    this.p = o.processorOptions || {};
+    this.env = new EnvBank(this.p.attack ?? 1, this.p.release ?? 100);
+    this.gains = [];
+    this.port.onmessage = (e) => {
+      if (e.data && e.data.__hfDispose) { this.dead = true; return; }
+      this.p = { ...this.p, ...e.data };
+      this.env.set(this.p.attack ?? 1, this.p.release ?? 100);
+    };
+  }
+  process(inputs, outputs) {
+    if (this.dead) return false;
+    const i = inputs[0], o = outputs[0];
+    if (!i || !i.length) return true;
+    const p = this.p;
+    const threshold = dbToLin(p.threshold ?? -35);
+    const floor = dbToLin(p.range ?? -24);
+    const ratio = p.ratio ?? 10;
+    // Knee is declared in the registry as a ratio, like the compressor's; a
+    // hard threshold ignored it and chattered on material sitting right at the
+    // gate point.
+    const kneeDb = 20 * Math.log10(Math.max(1.0001, p.knee ?? 2.83));
+    const kneeLin = dbToLin((p.threshold ?? -35) + kneeDb);
+    for (let ch = 0; ch < i.length; ch++) {
+      const inp = i[ch], out = o[ch];
+      for (let n = 0; n < inp.length; n++) {
+        const x = inp[n];
+        const env = this.env.push(ch, x);
+        let target = 1;
+        // Above the threshold the gate is fully open; skip the pow entirely.
+        if (env < threshold) {
+          const under = env > 1e-9 ? threshold / env : 1e9;
+          target = Math.max(floor, 1 / Math.pow(under, ratio - 1));
+          if (!isFinite(target)) target = floor;
+        }
+        // Smooth toward the target so the gate does not click on every sample.
+        const held = this.gains[ch] ?? 1;
+        const c = target < held ? this.env.r : this.env.a;
+        const smoothed = target + c * (held - target);
+        this.gains[ch] = smoothed;
+        out[n] = x * smoothed;
+      }
+    }
+    return true;
+  }
+}
+registerProcessor("hf-gate", HfGate);
+
+class HfBitcrush extends AudioWorkletProcessor {
+  constructor(o) {
+    super();
+    this.p = o.processorOptions || {};
+    this.holds = [];
+    this.held = [];
+    this.port.onmessage = (e) => {
+      if (e.data && e.data.__hfDispose) { this.dead = true; return; }
+      this.p = { ...this.p, ...e.data };
+    };
+  }
+  process(inputs, outputs) {
+    if (this.dead) return false;
+    const i = inputs[0], o = outputs[0];
+    if (!i || !i.length) return true;
+    const p = this.p;
+    const levels = Math.pow(2, (p.bits ?? 8) - 1);
+    const step = Math.max(1, Math.round(p.samples ?? 1));
+    const mix = p.mix ?? 1;
+    for (let ch = 0; ch < i.length; ch++) {
+      const inp = i[ch], out = o[ch];
+      if (this.held[ch] === undefined) this.held[ch] = 0;
+      if (this.holds[ch] === undefined) this.holds[ch] = 0;
+      for (let n = 0; n < inp.length; n++) {
+        // Per channel: advancing one shared counter only on the last channel
+        // left every earlier channel either unheld or frozen for a whole
+        // 128-sample quantum, clicking once a block.
+        if (this.holds[ch] === 0) this.held[ch] = Math.round(inp[n] * levels) / levels;
+        out[n] = this.held[ch] * mix + inp[n] * (1 - mix);
+        this.holds[ch] = (this.holds[ch] + 1) % step;
+      }
+    }
+    return true;
+  }
+}
+registerProcessor("hf-bitcrush", HfBitcrush);
+`;
+// Registration is per context, not per module: a processor registered on one
+// AudioContext does not exist on another, so caching a single promise made
+// every context after the first believe it was ready when it was not.
+const registered = new WeakMap();
+/** True once the processors are usable on this context. */
+export function audioFxWorkletsReady(ctx) {
+    return readyContexts.has(ctx);
+}
+const readyContexts = new WeakSet();
+/**
+ * Register the processors on a context. Idempotent per context, since
+ * addModule throws if the same processor name is registered twice.
+ */
+export function ensureAudioFxWorklets(ctx) {
+    let modulePromise = registered.get(ctx);
+    if (!modulePromise) {
+        modulePromise = (async () => {
+            if (!ctx.audioWorklet) {
+                throw new Error("AudioWorklet is unavailable — the page needs a secure context (https, localhost or file://)");
+            }
+            // A data: URL rather than a blob:, because a blob inherits the page origin
+            // and is treated as opaque on a file:// page, where the module then fails
+            // to load with an unhelpful AbortError.
+            const url = `data:text/javascript;base64,${btoa(String.fromCharCode(...new TextEncoder().encode(AUDIO_FX_WORKLET_SOURCE)))}`;
+            await ctx.audioWorklet.addModule(url);
+            readyContexts.add(ctx);
+        })().catch((err) => {
+            // A failed registration must not be remembered. `readyContexts` is only
+            // written on success, so callers correctly keep asking — and every ask
+            // replayed this same rejected promise, leaving the limiter, compressor,
+            // gate and bitcrush silent for the life of the context with no way back.
+            // One transient failure (a slow module load, a context still warming up)
+            // permanently disabled half the rack.
+            registered.delete(ctx);
+            throw err;
+        });
+        registered.set(ctx, modulePromise);
+    }
+    return modulePromise;
+}
+//# sourceMappingURL=audioFxWorklets.js.map

package/dist/audio/audioFxWorklets.js.map

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package/dist/audioAutomation.d.ts

@@ -0,0 +1,191 @@
+/**
+ * Automation envelopes for audio tracks.
+ *
+ * A lane is a list of breakpoints over one parameter — track volume, or one
+ * knob of one effect in the track's FX chain. Ableton's clip-envelope model:
+ * times are clip-local, so an envelope travels with the clip when it moves.
+ *
+ * Nothing here touches Web Audio. This module owns the format and the
+ * interpolation, and the same `sampleAutomationLane` is used to draw the lane
+ * in the timeline, to schedule it in preview, and to bake it at render — one
+ * curve, three consumers, or the picture and the sound disagree.
+ */
+import { type HfAudioFxChain } from "./audioFx.js";
+export declare const HF_AUDIO_AUTOMATION_ATTR = "data-automation";
+/** The same attribute as a `dataset` / `dataAttributes` key. See `HF_AUDIO_FX_DATA_KEY`. */
+export declare const HF_AUDIO_AUTOMATION_DATA_KEY: string;
+/** Automation files are versioned; a reader must refuse a version it doesn't know. */
+export declare const HF_AUDIO_AUTOMATION_VERSION = 1;
+/**
+ * A pathological document should not be able to hang the scheduler, which
+ * expands every segment into scheduled ramps. Well past any hand-drawn
+ * envelope; a lane is dense at 100 points.
+ */
+export declare const MAX_AUTOMATION_POINTS = 512;
+export interface HfAutomationPoint {
+    /** Seconds from the start of the clip, not the composition. */
+    t: number;
+    /** Value in the parameter's own unit — dB for a threshold, Hz for a cutoff. */
+    v: number;
+    /**
+     * Curvature of the segment *leaving* this point, -1..1. Absent or 0 is a
+     * straight line; positive holds low then rises late, negative rises early.
+     */
+    curve?: number;
+    /**
+     * An interior point the segment *leaving* this point passes through, in
+     * normalised segment space: `viaX` is progress 0..1 between the two
+     * breakpoints, `viaY` is how far the value has travelled by then. Both are
+     * needed for either to mean anything; without them the segment falls back to
+     * `curve` above, so everything authored before this existed reads unchanged.
+     *
+     * Two numbers rather than one because `curve` answers only "how hard", and an
+     * exponent cannot say "and where". Every upward bend a single exponent can
+     * draw has its deepest deviation in the first fifth of the segment, whatever
+     * the author aimed at, and an exponent steep enough to reach a point near
+     * either end runs past the ±1 the model accepts — so a bend dragged near the
+     * right-hand breakpoint bulged on the left and then stopped following the
+     * pointer at all. Naming the point the curve goes through makes both the
+     * height and the position of the bend the author's to choose, and takes the
+     * saturation with it: any interior point is reachable exactly.
+     */
+    viaX?: number;
+    viaY?: number;
+}
+export interface HfAutomationLane {
+    /** `volume`, or `fx.<nodeId>.<paramKey>`. */
+    target: string;
+    points: HfAutomationPoint[];
+}
+export interface HfAutomation {
+    version: number;
+    lanes: HfAutomationLane[];
+}
+export declare class AudioAutomationError extends Error {
+    constructor(message: string);
+}
+export declare const VOLUME_TARGET = "volume";
+export type HfAutomationTarget = {
+    kind: "volume";
+} | {
+    kind: "fx";
+    nodeId: string;
+    param: string;
+} | {
+    kind: "preset";
+    presetId: string;
+};
+/** Split a target string. Returns null for anything unrecognised. */
+export declare function parseAutomationTarget(target: string): HfAutomationTarget | null;
+export declare function fxAutomationTarget(nodeId: string, param: string): string;
+/**
+ * How much of a preset is applied, 0..1.
+ *
+ * A preset's nodes share no automatable parameter — and its worklet effects
+ * expose no AudioParams at all — so there is nothing to aim a lane at
+ * node-by-node. The graph wraps a preset's run in a wet/dry pair instead, and
+ * this drives the blend: 0 is the dry signal untouched, 1 is the preset fully
+ * applied, and between them it crossfades.
+ */
+export declare function presetAutomationTarget(presetId: string): string;
+/** 0..1 blend, the same shape as a wet/dry mix knob. */
+export declare const PRESET_RANGE: AutomationRange;
+/**
+ * The value range a lane is drawn and clamped against.
+ *
+ * Volume is linear 0..1, matching `data-volume` and the existing volume
+ * envelope machinery — no dB conversion enters the volume path. Everything
+ * else is read from the effect registry, so a lane can never offer a value the
+ * renderer would reject, and the log-scaled knobs sweep the way a DAW's do.
+ */
+export interface AutomationRange {
+    min: number;
+    max: number;
+    step: number;
+    unit: string;
+    label: string;
+    scale: "linear" | "log";
+    /** Where an empty lane draws its flat line, and what a new point starts at. */
+    default: number;
+}
+export declare const VOLUME_RANGE: AutomationRange;
+/**
+ * Resolve a lane's target against a chain. Returns null when the target names
+ * a node or parameter that is not there — the effect was deleted, or the
+ * parameter is an enum, which has no envelope between its values.
+ */
+export declare function resolveAutomationRange(target: string, chain: HfAudioFxChain | undefined): AutomationRange | null;
+/**
+ * The via point a segment will actually be drawn with, given one that was asked
+ * for — pulled into the steady region, or null when it describes no bend.
+ *
+ * Exported so an editor can write what the model will honour rather than what the
+ * pointer happened to ask for. Without it a lane's attribute claims a shape the
+ * renderer quietly declines to draw, and the two only agree once the file makes a
+ * round trip.
+ */
+export declare function steadyViaPoint(viaX: number | undefined, viaY: number | undefined): {
+    viaX: number;
+    viaY: number;
+} | null;
+/**
+ * Structural normalisation, with no knowledge of the chain: sort and clean the
+ * points of every lane and drop lanes that carry none. Range clamping and
+ * orphan removal need the chain and happen in `resolveAutomation`.
+ */
+export declare function normalizeAutomation(automation: HfAutomation): HfAutomation;
+/**
+ * Bind automation to a chain: clamp each lane into its parameter's declared
+ * range and drop lanes whose target no longer exists.
+ *
+ * Dropping is deliberate. An envelope on a deleted effect has nothing to
+ * drive, and keeping it would silently reattach if an unrelated effect later
+ * took the same node id.
+ */
+export declare function resolveAutomation(automation: HfAutomation, chain: HfAudioFxChain | undefined): HfAutomation;
+/**
+ * Parse an automation attribute.
+ *
+ * Malformed input throws rather than being skipped, matching the chain reader:
+ * a track that quietly loses its envelope renders differently from the project
+ * the author saved, which is worse than refusing.
+ */
+export declare function parseAutomation(json: string): HfAutomation;
+/** Serialise for the `data-automation` attribute. */
+export declare function serializeAutomation(automation: HfAutomation): string;
+/**
+ * Shape the 0..1 progress across a segment.
+ *
+ * `curve` is an exponent in disguise: 0 is linear, and the ends reach a
+ * quarter-power and a fourth-power bend, which is about the range a DAW's
+ * envelope handle covers before the segment stops reading as a curve.
+ */
+export declare function applyCurve(x: number, curve: number | undefined): number;
+/**
+ * The progress a segment leaving `point` has reached at normalised `x`.
+ *
+ * A via point wins when it is there, since it says strictly more than an
+ * exponent can. Everything authored before via points existed carries only
+ * `curve` and takes the exponent path unchanged.
+ */
+export declare function shapeProgress(x: number, point: {
+    curve?: number | undefined;
+    viaX?: number | undefined;
+    viaY?: number | undefined;
+}): number;
+/**
+ * Value of a lane at a clip-local time.
+ *
+ * Outside the points, the envelope holds — the first value before it starts
+ * and the last value after it ends, so a lane never snaps to zero at the edges.
+ */
+export declare function sampleAutomationLane(lane: HfAutomationLane, t: number, scale?: "linear" | "log"): number;
+/** True when the lane is a single value, i.e. worth setting once and not scheduling. */
+export declare function isConstantLane(lane: HfAutomationLane): boolean;
+/**
+ * Sample a lane onto evenly spaced times, for consumers that want a plain
+ * curve rather than a breakpoint list: `setValueCurveAtTime`, the render-side
+ * volume envelope, and the lane's own drawing code.
+ */
+export declare function sampleAutomationCurve(lane: HfAutomationLane, from: number, to: number, count: number, scale?: "linear" | "log"): Float32Array;
+//# sourceMappingURL=audioAutomation.d.ts.map