@hyperframes/core 0.7.107 → 0.7.109

package/dist/audioCarve.js

@@ -0,0 +1,608 @@
+/**
+ * Voiceover carve: find the bands a voice occupies and dip a music bed there,
+ * so the voice sits in front without ducking the whole track.
+ *
+ * This is a relationship between two tracks, not an effect on one. The controls
+ * live on the bed being processed and name the voice to listen to, the same way
+ * a sidechain compressor works: you select the track that gets quieter and pick
+ * what makes it quieter.
+ *
+ * The output is an ordinary FX chain of peaking filters, so a carve is just a
+ * chain the studio generated rather than a separate rendering path.
+ */
+import { defaultAudioFxParams, HF_AUDIO_FX_CHAIN_VERSION, } from "./audioFx.js";
+export const HF_AUDIO_CARVE_ATTR = "data-fx-carve";
+/** Third-octave centres spanning the range speech actually occupies. */
+const CANDIDATE_CENTERS_HZ = [160, 250, 400, 630, 1000, 1600, 2500, 4000, 6000];
+const FRAME = 4096;
+const HOP = 2048;
+/** Short, deliberately dull effects. Nothing here is ever a voiceover. */
+const SFX_NAME = /sfx|foley|whoosh|impact|riser|stinger|swoosh|thud|boom|click|ding|beep|ambien|room[-_ ]?tone/i;
+// `\b` treats `_` as a word character, so `\bbed\b` does not match `bed_01`
+// or `music_bed_loop` — exactly the separator an asset name is likely to use.
+// These short words need a boundary that actually excludes letters and
+// digits on both sides; everything else here is long enough that a
+// substring match is already the intent (`music` inside `bgmusic` is fine).
+const NOT_WORD = "(?<![a-z0-9])";
+const NOT_WORD_END = "(?![a-z0-9])";
+const wordish = (term) => `${NOT_WORD}${term}${NOT_WORD_END}`;
+/** A bed, which is the thing being carved rather than the thing carving it. */
+const MUSIC_NAME = new RegExp(`music|bgm|${wordish("bed")}|soundtrack|score|${wordish("song")}|theme|instrumental|track\\d`, "i");
+/** Speech. */
+const VOICE_NAME = new RegExp(`voice|${wordish("vo")}|${wordish("vox")}|narrat|speech|dialog|monolog|announce|` +
+    `${wordish("tts")}|talk|interview|podcast|recap|script`, "i");
+/**
+ * Classify a track from its id and filename together.
+ *
+ * Both, because either can be the informative one: an author naming elements `a1`
+ * and `a2` may still have `narration.mp3` and `bgm.mp3` as their sources, and one
+ * naming them `voice` and `music` may have opaque hashes for filenames.
+ *
+ * Voice is tested first: a file called `voiceover-music-bed.wav` is more likely the
+ * voiceover than the bed, and a track matching both hints is better offered than
+ * hidden.
+ */
+export function classifyAudioName(...parts) {
+    const text = parts.filter(Boolean).join(" ");
+    if (VOICE_NAME.test(text))
+        return "voice";
+    if (SFX_NAME.test(text))
+        return "sfx";
+    if (MUSIC_NAME.test(text))
+        return "music";
+    return "unknown";
+}
+/**
+ * Do these two clips share any time at all?
+ *
+ * A voice that never plays while the bed does cannot mask it, so it has no business
+ * in the carve: it would contribute silence to the analysis and, worse, invite the
+ * author to wonder why including it changed nothing.
+ *
+ * An unknown duration counts as unbounded rather than as zero. Refusing a track
+ * because its length is not written down would drop the commonest case there is — a
+ * clip whose duration the composition leaves to the media itself.
+ */
+export function clipsOverlap(a, b) {
+    const end = (clip) => typeof clip.duration === "number" && Number.isFinite(clip.duration)
+        ? // Negative is clamped to zero-length rather than passed through: a
+            // clip cannot un-play time, and letting it through inverts the
+            // interval (end before start), which reads as overlapping everything
+            // it is nowhere near.
+            clip.start + Math.max(0, clip.duration)
+        : Number.POSITIVE_INFINITY;
+    return a.start < end(b) && b.start < end(a);
+}
+/**
+ * Could this track be the voice a carve listens to?
+ *
+ * Music and SFX are out: a bed is the thing being carved, and a 200 ms whoosh has
+ * no speech to make room for. Everything else stays in, including names that say
+ * nothing — see `HfAudioNameKind`.
+ */
+export function couldBeCarveSource(...parts) {
+    const kind = classifyAudioName(...parts);
+    return kind === "voice" || kind === "unknown";
+}
+export const DEFAULT_CARVE = {
+    enabled: true,
+    sources: [],
+    // A quarter, because the knob's range was doubled and this is the point on the
+    // new scale that produces what the panel has always defaulted to. Switching
+    // carve on sounds the same as it did; the extra range is above, not under.
+    strength: 0.25,
+};
+/**
+ * Strength as the six numbers the analysis needs.
+ *
+ * Each is a straight line from "barely there" to as far as the effect goes. The
+ * slopes are twice what they first were: the top of the knob was not strong
+ * enough to sit a bed under a loud voice, so what used to be full strength is now
+ * the halfway point and everything above it is new range. Quarter strength is
+ * therefore where the separate controls' own defaults land, which is what the
+ * panel defaults to.
+ */
+export function carveProfile(strength) {
+    const s = Number.isFinite(strength) ? Math.min(1, Math.max(0, strength)) : 0.5;
+    return {
+        // 2 dB is audible-but-subtle. Past about 10 the hole starts being heard as
+        // the effect rather than as room for the voice — which is a price worth
+        // paying at the top of the knob, and why the range now runs past it.
+        maxCutDb: Number((2 + s * 16).toFixed(2)),
+        // One band carves the single worst collision; six is every candidate band
+        // speech meaningfully occupies.
+        bands: Math.max(1, Math.min(6, Math.round(1 + s * 6))),
+        // Wider at low strength so a gentle carve is a tilt rather than a notch.
+        q: Number((1.1 + s * 1.2).toFixed(2)),
+        // Always weighted toward where masking hurts; at the top, entirely.
+        intelligibilityBias: Number(Math.min(1, 0.6 + s * 0.4).toFixed(2)),
+        // No level ducking at all at zero: the carve is then purely spectral.
+        duckDb: Number((s * 24).toFixed(2)),
+        // How far under the voice to aim. Deeper targets at higher strength.
+        headroomDb: Number((6 + s * 12).toFixed(2)),
+    };
+}
+/**
+ * Read carve settings from an attribute.
+ *
+ * Projects written before the collapse to one knob carry the six mechanism
+ * numbers instead; their depth is the one that says most about intent, so it maps
+ * back onto strength rather than being dropped. Everything else about such a
+ * carve is re-derived, which is the point of having one control.
+ */
+export function normalizeCarveSettings(raw) {
+    // `source` and `dynamic` are gone from the type but still out there in files.
+    const legacy = raw;
+    const num = (v) => {
+        const n = typeof v === "number" ? v : Number(v);
+        return Number.isFinite(n) ? n : null;
+    };
+    // No attribute at all is not a carve to read, it is the absence of one — so the
+    // defaults apply whole, dynamic included. Only a stored object gets the reading
+    // below, where a missing `dynamic` means the static carve it was written as.
+    if (raw === undefined || raw === null)
+        return { ...DEFAULT_CARVE };
+    const strength = num(raw?.strength);
+    const legacyDepth = num(raw?.maxCutDb);
+    const resolved = strength !== null
+        ? strength
+        : legacyDepth !== null
+            ? // The inverse of the depth line in `carveProfile`, so the 6 dB default
+                // reads back as the strength that produces 6 dB.
+                (legacyDepth - 2) / 16
+            : DEFAULT_CARVE.strength;
+    // A carve written before this took a list names its one voice in `source`.
+    const stored = Array.isArray(raw?.sources)
+        ? raw.sources
+        : typeof legacy?.source === "string"
+            ? [legacy.source]
+            : [];
+    return {
+        // Absent means on: every carve written before the flag existed was applied.
+        enabled: raw?.enabled !== false,
+        sources: stored.filter((id) => typeof id === "string" && id !== ""),
+        strength: Math.min(1, Math.max(0, resolved)),
+    };
+}
+/**
+ * Every voice as one signal on the BED's clock.
+ *
+ * The analysis asks one question — where and when is speech masking this bed — and
+ * that question has one answer even when three people are talking at different
+ * times. Summing them onto the bed's timeline first means the existing analysis
+ * needs no notion of "which voice": bands come out of all the speech there is, and
+ * the envelopes rise wherever any of it is happening.
+ *
+ * `offsetSeconds` is where each voice starts relative to the bed. Audio before the
+ * bed begins is dropped rather than folded in at zero: it plays over nothing and
+ * cannot mask anything, and shifting it would put a cut where there is no voice.
+ *
+ * Summed, not averaged. Two people speaking at once mask more than either alone,
+ * which is exactly what the carve should answer to.
+ */
+export function mixCarveSources(parts, sampleRate) {
+    const placed = parts.map((part) => ({
+        samples: part.samples,
+        at: Math.round(part.offsetSeconds * sampleRate),
+    }));
+    const length = placed.reduce((max, p) => Math.max(max, p.at + p.samples.length), 0);
+    if (length <= 0)
+        return new Float32Array(0);
+    const mixed = new Float32Array(length);
+    for (const { samples, at } of placed) {
+        // A voice starting before the bed contributes only the part that overlaps it.
+        const from = at < 0 ? -at : 0;
+        for (let i = from; i < samples.length; i += 1) {
+            const target = at + i;
+            if (target < 0 || target >= length)
+                continue;
+            mixed[target] = (mixed[target] ?? 0) + (samples[i] ?? 0);
+        }
+    }
+    return mixed;
+}
+/** Averaged power spectrum, Welch-style. */
+function powerSpectrum(mono, sampleRate) {
+    const n = Math.max(mono.length, FRAME);
+    const padded = mono.length >= FRAME
+        ? mono
+        : (() => {
+            const p = new Float32Array(FRAME);
+            p.set(mono);
+            return p;
+        })();
+    const window = new Float32Array(FRAME);
+    for (let i = 0; i < FRAME; i++)
+        window[i] = 0.5 - 0.5 * Math.cos((2 * Math.PI * i) / (FRAME - 1));
+    const bins = FRAME / 2 + 1;
+    const acc = new Float64Array(bins);
+    // Reused across hops. These used to be allocated inside the loop: a 5-minute
+    // 48 kHz voiceover is ~7000 hops, so ~460 MB of transient Float64Array
+    // churned through the main thread for a single carve. `re` is fully
+    // overwritten below; only `im` has to be cleared.
+    const re = new Float64Array(FRAME);
+    const im = new Float64Array(FRAME);
+    //
+    // Every hop is still read. Striding them — Welch's average is supposed to
+    // settle long before 7000 windows — was measured on a 5-minute voiceover and
+    // moves the result: at strength 0.9 the chosen band set changed (630 Hz for
+    // 160 Hz), and it did not converge back to the full read even at 2048
+    // windows. 27x faster is not worth silently redrawing the author's carve.
+    let frames = 0;
+    for (let start = 0; start + FRAME <= n; start += HOP) {
+        // Goertzel-free naive DFT would be O(n^2); use a real FFT via recursion on
+        // a copied frame. FRAME is a power of two so the radix-2 split is exact.
+        im.fill(0);
+        for (let i = 0; i < FRAME; i++)
+            re[i] = (padded[start + i] ?? 0) * window[i];
+        fft(re, im);
+        for (let k = 0; k < bins; k++)
+            acc[k] += re[k] * re[k] + im[k] * im[k];
+        frames++;
+    }
+    if (frames === 0)
+        frames = 1;
+    const freqs = [];
+    const power = [];
+    for (let k = 0; k < bins; k++) {
+        freqs.push((k * sampleRate) / FRAME);
+        power.push(acc[k] / frames);
+    }
+    return { freqs, power };
+}
+/** In-place iterative radix-2 FFT. */
+function fft(re, im) {
+    const n = re.length;
+    for (let i = 1, j = 0; i < n; i++) {
+        let bit = n >> 1;
+        for (; j & bit; bit >>= 1)
+            j ^= bit;
+        j ^= bit;
+        if (i < j) {
+            [re[i], re[j]] = [re[j], re[i]];
+            [im[i], im[j]] = [im[j], im[i]];
+        }
+    }
+    for (let len = 2; len <= n; len <<= 1) {
+        const ang = (-2 * Math.PI) / len;
+        const wr = Math.cos(ang);
+        const wi = Math.sin(ang);
+        for (let i = 0; i < n; i += len) {
+            let cr = 1;
+            let ci = 0;
+            for (let k = 0; k < len / 2; k++) {
+                const ur = re[i + k];
+                const ui = im[i + k];
+                const vr = re[i + k + len / 2] * cr - im[i + k + len / 2] * ci;
+                const vi = re[i + k + len / 2] * ci + im[i + k + len / 2] * cr;
+                re[i + k] = ur + vr;
+                im[i + k] = ui + vi;
+                re[i + k + len / 2] = ur - vr;
+                im[i + k + len / 2] = ui - vi;
+                const ncr = cr * wr - ci * wi;
+                ci = cr * wi + ci * wr;
+                cr = ncr;
+            }
+        }
+    }
+}
+function bandPower(freqs, power, center) {
+    const lo = center / Math.pow(2, 1 / 6);
+    const hi = center * Math.pow(2, 1 / 6);
+    let sum = 0;
+    let count = 0;
+    for (let i = 0; i < freqs.length; i++) {
+        if (freqs[i] >= lo && freqs[i] < hi) {
+            sum += power[i];
+            count++;
+        }
+    }
+    return count > 0 ? sum / count : 0;
+}
+/**
+ * How far the bias may move a band in the ranking, in dB, at full strength.
+ *
+ * This has to be on the scale of the thing it competes with. Speech spreads
+ * 20-30 dB across these candidate bands — it falls off roughly 6 dB per octave
+ * above the fundamental — so a bias that can only shift the ranking by a few dB
+ * cannot shift it at all. 30 dB gives the 0.7 default about 21 dB of authority
+ * over the low bands, enough to cross a normal voice's tilt, while still leaving
+ * a band the voice genuinely dominates able to win: the bias reweights the
+ * ranking, it does not override the spectrum.
+ */
+const BIAS_AUTHORITY_DB = 30;
+/**
+ * Ranking penalty for a candidate band, in dB. Zero at 2 kHz, where speech
+ * intelligibility lives and where a bed most often masks a voice, rising as a
+ * band sits further away in either direction.
+ *
+ * Applied in dB, and that is the point. As a multiplicative weight of
+ * `1 - bias + bias * shaped` it is bounded below by `1 - bias`, so the most it
+ * could ever move a ranking is `10*log10(1/(1 - bias))`: 5.2 dB at the 0.7
+ * default, 3 dB at 0.5. Against speech's own 20-30 dB tilt that is no influence,
+ * and every bias below ~0.95 ranks exactly like bias 0 — selecting the
+ * fundamental every time, the precise outcome the bias exists to prevent. A
+ * fixture whose bands sit 2 dB apart cannot tell the two apart.
+ */
+function intelligibilityPenaltyDb(center, bias) {
+    const octavesFrom2k = Math.log2(center / 2000);
+    const shaped = Math.exp(-(octavesFrom2k * octavesFrom2k) / 2);
+    return bias * BIAS_AUTHORITY_DB * (1 - shaped);
+}
+/**
+ * Analyse a voice and return the bands to dip in the bed. Bands come back in
+ * ascending frequency; the deepest cut lands on the strongest band and the
+ * others scale with their relative weight, floored at half depth so a selected
+ * band still does something audible.
+ */
+export function analyseCarveBands(voice, sampleRate, profile) {
+    if (voice.length === 0)
+        return [];
+    const { freqs, power } = powerSpectrum(voice, sampleRate);
+    const scored = CANDIDATE_CENTERS_HZ.map((center) => {
+        const bandPowerAt = bandPower(freqs, power, center);
+        return {
+            center,
+            hasEnergy: bandPowerAt > 0,
+            // A band with no energy scores -Infinity rather than a large negative
+            // number, so it can never outrank a real band however favourably the bias
+            // views its frequency.
+            scoreDb: bandPowerAt > 0
+                ? 10 * Math.log10(bandPowerAt) -
+                    intelligibilityPenaltyDb(center, profile.intelligibilityBias)
+                : Number.NEGATIVE_INFINITY,
+        };
+    }).sort((a, b) => b.scoreDb - a.scoreDb);
+    const selected = scored.slice(0, Math.max(1, profile.bands)).filter((b) => b.hasEnergy);
+    if (selected.length === 0)
+        return [];
+    const topDb = selected[0].scoreDb;
+    return selected
+        .map(({ center, scoreDb }) => {
+        // Same relative depth as a ratio of linear scores would give — a band 3 dB
+        // under the strongest gets half its cut — read off the dB difference.
+        const relative = Math.pow(10, (scoreDb - topDb) / 10);
+        const depth = Math.min(profile.maxCutDb, Math.max(profile.maxCutDb / 2, profile.maxCutDb * relative));
+        return { freq: center, gainDb: -Number(depth.toFixed(2)), q: profile.q };
+    })
+        .sort((a, b) => a.freq - b.freq);
+}
+/**
+ * How far below a band's own loudest moment counts as nothing to carve. A voice
+ * 30 dB down on its peak is a room tone or a breath, not speech, and the bed
+ * should be flat there.
+ */
+const DYNAMIC_RANGE_DB = 30;
+/**
+ * Envelope follower time constants, in seconds. Asymmetric on purpose, the way
+ * a ducker is: the cut has to be there by the time a word is audible, and has to
+ * leave slowly enough that the bed does not pump between syllables.
+ */
+const ATTACK_S = 0.05;
+const RELEASE_S = 0.25;
+/**
+ * Release for the level envelope, which is far slower than the filters' own.
+ *
+ * A notch closing quickly is inaudible — nothing about the bed's loudness
+ * changes. The whole bed coming back is not: at a filter's 0.25s the music
+ * jumped to full the instant a word ended, and what you hear then is the effect
+ * switching off rather than a mix breathing. Slower than any gap inside a
+ * sentence, so it rides through the pauses between words and only recovers
+ * between sentences.
+ *
+ * It also has to be well clear of the envelope's own step. A long voice is
+ * measured about every 0.3s, so a release anywhere near that puts the entire
+ * recovery inside one step — a jump, whatever the constant claims.
+ */
+const DUCK_RELEASE_S = 1.6;
+/**
+ * Windows an envelope may spend. Held under `MAX_AUTOMATION_POINTS` with room
+ * for the two end points, because `normalizeAutomation` truncates an over-budget
+ * lane rather than thinning it — losing the tail would leave the last cut held
+ * for the rest of the bed, which is the one failure this feature must not have.
+ */
+const POINT_BUDGET = 400;
+/** Below this a cut is inaudible, so it is recorded as no cut at all. */
+const SNAP_DB = 0.2;
+/**
+ * Smallest move worth its own breakpoint. Coarse enough that a lane stays
+ * editable by hand — a syllable-rate envelope at the analysis hop draws a point
+ * every 85 ms, which is a wall of handles nobody can grab — and fine enough that
+ * the shape is unchanged, since the segments either side interpolate.
+ */
+const STEP_DB = 0.5;
+/**
+ * Thin a raw per-frame envelope down to the points where its value actually
+ * moved by `stepDb`, anchoring the run each drop ends.
+ *
+ * Segments interpolate, so dropping a run of equal values does not hold them —
+ * it draws a straight line from wherever the last kept point was, which turned
+ * a silent stretch before the run into a slow slide into it. Keeping the last
+ * value of the run pins the plateau flat and puts the whole move where it
+ * belongs. Shared by the two envelope builders below, which differ only in how
+ * `raw` gets built.
+ */
+function simplifyStepPoints(raw, stepDb) {
+    const points = [{ t: 0, v: 0 }];
+    let lastKept = 0;
+    let keptIndex = -1;
+    raw.forEach((pt, i) => {
+        if (i !== raw.length - 1 && Math.abs(pt.v - lastKept) < stepDb)
+            return;
+        if (i > 0 && keptIndex !== i - 1)
+            points.push(raw[i - 1]);
+        points.push(pt);
+        lastKept = pt.v;
+        keptIndex = i;
+    });
+    return points;
+}
+/**
+ * Turn each carved band into an envelope that follows the voice's level in that
+ * same band.
+ *
+ * The depth from `analyseCarveBands` becomes the envelope's ceiling rather than a
+ * constant: full depth where that band is at its loudest in the voice, flat where
+ * the voice is silent, scaled in dB between the two. Written as automation on the
+ * filters' gain, so playback and render both already know how to follow it.
+ *
+ * Times are relative to the voice clip, since that is what was measured. A caller
+ * placing these on another element shifts them by the gap between the two clips'
+ * starts. This assumes the voice plays from its own beginning at its `data-start`
+ * — a clip with a media offset would need that added.
+ */
+export function analyseCarveDynamics(voice, sampleRate, bands) {
+    if (voice.length === 0 || bands.length === 0)
+        return [];
+    const window = new Float32Array(FRAME);
+    for (let i = 0; i < FRAME; i++)
+        window[i] = 0.5 - 0.5 * Math.cos((2 * Math.PI * i) / (FRAME - 1));
+    // One window per emitted point, so the hop is what keeps the lane in budget.
+    const hop = Math.max(FRAME, Math.ceil(voice.length / POINT_BUDGET));
+    const bins = FRAME / 2 + 1;
+    const freqs = [];
+    for (let k = 0; k < bins; k++)
+        freqs.push((k * sampleRate) / FRAME);
+    const times = [];
+    const perBand = bands.map(() => []);
+    // Reused across windows, as in powerSpectrum. `re` is fully overwritten
+    // below; only `im` has to be cleared. The hop here is already bounded by
+    // POINT_BUDGET, so there is nothing to stride.
+    const re = new Float64Array(FRAME);
+    const im = new Float64Array(FRAME);
+    for (let start = 0; start < voice.length; start += hop) {
+        im.fill(0);
+        for (let i = 0; i < FRAME; i++)
+            re[i] = (voice[start + i] ?? 0) * window[i];
+        fft(re, im);
+        const power = [];
+        for (let k = 0; k < bins; k++)
+            power.push(re[k] * re[k] + im[k] * im[k]);
+        times.push((start + FRAME / 2) / sampleRate);
+        bands.forEach((band, b) => perBand[b].push(bandPower(freqs, power, band.freq)));
+    }
+    const duration = voice.length / sampleRate;
+    const attack = 1 - Math.exp(-(hop / sampleRate) / ATTACK_S);
+    const release = 1 - Math.exp(-(hop / sampleRate) / RELEASE_S);
+    return bands.map((band, b) => {
+        const powers = perBand[b];
+        const peak = Math.max(...powers);
+        let level = 0;
+        const raw = [];
+        powers.forEach((p, i) => {
+            // Relative to this band's own loudest moment, so a quiet band still gets a
+            // full envelope rather than a permanently shallow one.
+            const target = p > 0 && peak > 0 ? Math.max(0, 1 + (10 * Math.log10(p / peak)) / DYNAMIC_RANGE_DB) : 0;
+            level += (target > level ? attack : release) * (target - level);
+            const scaled = band.gainDb * level;
+            const v = Math.abs(scaled) < SNAP_DB ? 0 : Number(scaled.toFixed(1));
+            raw.push({ t: Number(times[i].toFixed(3)), v });
+        });
+        const points = simplifyStepPoints(raw, STEP_DB);
+        // The last point's value is held for the rest of the bed, so it has to be
+        // no cut and it has to be at the end of the voice.
+        points.push({ t: Number(Math.max(duration, points.at(-1).t).toFixed(3)), v: 0 });
+        return { freq: band.freq, points };
+    });
+}
+/** Level in dB of one window, or -Infinity for silence. */
+function windowDb(samples, from, count) {
+    let sum = 0;
+    let n = 0;
+    for (let i = from; i < from + count; i++) {
+        const s = samples[i];
+        if (s === undefined)
+            break;
+        sum += s * s;
+        n += 1;
+    }
+    if (n === 0)
+        return Number.NEGATIVE_INFINITY;
+    const rms = Math.sqrt(sum / n);
+    return rms > 0 ? 20 * Math.log10(rms) : Number.NEGATIVE_INFINITY;
+}
+/**
+ * The level envelope that keeps a bed under a voice.
+ *
+ * The spectral carve makes room in the frequency domain, which does nothing
+ * about a bed that is simply louder than the voice: the notches sit in the right
+ * places while the level goes on winning. This measures both tracks over the
+ * same windows and returns the gain the bed needs to sit `headroomDb` under the
+ * voice — no more than `duckDb`, and nothing at all where the voice is not
+ * speaking, so pauses stay open rather than being held down.
+ *
+ * Times are in seconds from the start of the *voice* clip; `offsetSeconds` is
+ * how far into the bed the voice's start falls, so the two are read at the same
+ * moment of the composition even when the clips begin at different times.
+ */
+export function analyseCarveDuck(voice, bed, sampleRate, profile, offsetSeconds) {
+    if (voice.length === 0 || profile.duckDb <= 0)
+        return [];
+    const hop = Math.max(FRAME, Math.ceil(voice.length / POINT_BUDGET));
+    const bedOffset = Math.round(offsetSeconds * sampleRate);
+    const voiceDbs = [];
+    const bedDbs = [];
+    const times = [];
+    for (let start = 0; start < voice.length; start += hop) {
+        voiceDbs.push(windowDb(voice, start, FRAME));
+        bedDbs.push(windowDb(bed, start + bedOffset, FRAME));
+        times.push((start + FRAME / 2) / sampleRate);
+    }
+    // Speaking, rather than merely non-zero: a room tone 30 dB under the voice's
+    // own peak is not something to duck for, and gating on it is what keeps the
+    // bed up through pauses.
+    const voicePeak = Math.max(...voiceDbs);
+    const speakingFloor = voicePeak - DYNAMIC_RANGE_DB;
+    const attack = 1 - Math.exp(-(hop / sampleRate) / ATTACK_S);
+    const release = 1 - Math.exp(-(hop / sampleRate) / DUCK_RELEASE_S);
+    let level = 0;
+    const raw = [];
+    voiceDbs.forEach((vDb, i) => {
+        const bDb = bedDbs[i] ?? Number.NEGATIVE_INFINITY;
+        // How far over the line the bed is, right now.
+        const over = vDb > speakingFloor && Number.isFinite(bDb) ? bDb - (vDb - profile.headroomDb) : 0;
+        const target = Math.min(profile.duckDb, Math.max(0, over));
+        level += (target > level ? attack : release) * (target - level);
+        const v = level < SNAP_DB ? 0 : -Number(level.toFixed(1));
+        raw.push({ t: Number(times[i].toFixed(3)), v });
+    });
+    // Let the release finish past the last word. A lane's final point has to be no
+    // cut — otherwise the bed stays dipped for the rest of the clip — but jumping
+    // there from a full duck is the same flip the slow release exists to prevent,
+    // moved to the end of the narration. So the decay carries on at its own rate
+    // beyond the voice until it is inaudible, and only then pins.
+    const hopSeconds = hop / sampleRate;
+    let tailTime = times.at(-1) ?? 0;
+    while (level >= SNAP_DB) {
+        level += release * -level;
+        tailTime += hopSeconds;
+        raw.push({
+            t: Number(tailTime.toFixed(3)),
+            v: level < SNAP_DB ? 0 : -Number(level.toFixed(1)),
+        });
+    }
+    const points = simplifyStepPoints(raw, STEP_DB);
+    // Pin the end at no cut, unless the release already got there — a second point
+    // at the same time and value is just noise in the lane.
+    const duration = voice.length / sampleRate;
+    const last = points.at(-1);
+    const endTime = Number(Math.max(duration, last.t).toFixed(3));
+    if (!(last.v === 0 && last.t >= endTime))
+        points.push({ t: endTime, v: 0 });
+    return points;
+}
+/** Carve bands as an ordinary FX chain of peaking filters. */
+export function carveBandsToChain(bands) {
+    const nodes = bands.map((b) => ({
+        type: "peaking",
+        enabled: true,
+        params: {
+            ...defaultAudioFxParams("peaking"),
+            frequency: b.freq,
+            gain: b.gainDb,
+            q: b.q,
+        },
+    }));
+    return { version: HF_AUDIO_FX_CHAIN_VERSION, nodes };
+}
+//# sourceMappingURL=audioCarve.js.map

package/dist/audioCarve.js.map

@@ -0,0 +1 @@
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