@hyperframes/core 0.7.107 → 0.7.109

package/dist/audioFx.js.map

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

@@ -0,0 +1,89 @@
+/**
+ * The plain-language layer over the effect registry.
+ *
+ * Every entry is written for somebody who has never opened a mixer. The rule
+ * used throughout: name the OUTCOME, never the mechanism, and describe a control
+ * by what changes in the sound rather than what it does to the signal.
+ *
+ * This is a layer *over* the registry, not a replacement for it. `HF_AUDIO_FX`
+ * stays the authority on what an effect is and what its parameters do; this says
+ * what to call those things in front of an author. `audioFxCopy.test.ts` holds
+ * the two together — every shipped effect, every one of its parameters, and
+ * every preset must have an entry here, so adding one to the registry without
+ * copy fails a test rather than shipping a rack panel labelled `highpass`.
+ *
+ * Tone and the levelling module are deliberately absent: both carry their own
+ * copy in core already (`audioEqSummary`, `levellingSummary`), because a summary
+ * that has to read the chain belongs beside the code that writes it.
+ *
+ * Design rationale, and the review page built from this, in
+ * `plans/audio-fx-ux/README.md`.
+ */
+export interface Ends {
+    /** What the low end of the control sounds like. */
+    low: string;
+    high: string;
+}
+export interface ParamCopy {
+    label: string;
+    hint?: string;
+    ends?: Ends;
+}
+export interface EffectCopy {
+    /** What the module is called in the rack. Never the DSP name. */
+    title: string;
+    /** One line: what it is for. Present tense, second person implied. */
+    does: string;
+    /** The problem an author would say out loud that leads here. */
+    reachFor: string;
+    /**
+     * The single control that carries the module. Either a real parameter key,
+     * or "strength" — meaning the module gets one derived knob and the real
+     * parameters live behind Details.
+     */
+    primary: string;
+    primaryEnds: Ends;
+    /** Plain names for the real parameters, shown only under Details. */
+    params: Record<string, ParamCopy>;
+    /** Which frequencies it acts on, for the shared ruler. Omit if not spectral. */
+    band?: [number, number];
+}
+export declare const EFFECT_COPY: Record<string, EffectCopy>;
+/**
+ * The shared vocabulary. Frequencies mean nothing to somebody who has not been
+ * taught them; these words are what the same person would say unprompted, and
+ * naming the ranges once teaches them everywhere they appear.
+ */
+export declare const BANDS: {
+    from: number;
+    to: number;
+    name: string;
+    says: string;
+}[];
+/**
+ * Which named range a frequency falls in.
+ *
+ * The whole point of `BANDS` is that the words get taught, and they only get
+ * taught if a module can say which one it is working in. Below the first band
+ * and above the last both clamp rather than returning nothing: 15 Hz is still
+ * rumble to anybody who can hear it, and the alternative is a filter at the edge
+ * of its range having no name at all.
+ */
+export declare function audioBandAt(hz: number): (typeof BANDS)[number] | undefined;
+/** Which everyday complaint each preset answers. Presets ARE the product here. */
+export declare const PRESET_PROBLEM: Record<string, string>;
+/**
+ * What a module says when it is CLOSED.
+ *
+ * The most-seen state by a distance: a rack with six modules is six of these
+ * and nothing else. So it is a sentence about what is happening to the sound,
+ * not a dump of the parameter that happens to be first. An author should be
+ * able to read the rack top to bottom and understand their own mix.
+ *
+ * Numbers stay in — they are what makes it checkable rather than vague — but
+ * they arrive inside a phrase instead of on their own.
+ */
+type P = Record<string, unknown>;
+export declare const SUMMARY: Record<string, (p: P) => string>;
+export {};
+//# sourceMappingURL=audioFxCopy.d.ts.map

package/dist/audioFxCopy.d.ts.map

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

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+/**
+ * The plain-language layer over the effect registry.
+ *
+ * Every entry is written for somebody who has never opened a mixer. The rule
+ * used throughout: name the OUTCOME, never the mechanism, and describe a control
+ * by what changes in the sound rather than what it does to the signal.
+ *
+ * This is a layer *over* the registry, not a replacement for it. `HF_AUDIO_FX`
+ * stays the authority on what an effect is and what its parameters do; this says
+ * what to call those things in front of an author. `audioFxCopy.test.ts` holds
+ * the two together — every shipped effect, every one of its parameters, and
+ * every preset must have an entry here, so adding one to the registry without
+ * copy fails a test rather than shipping a rack panel labelled `highpass`.
+ *
+ * Tone and the levelling module are deliberately absent: both carry their own
+ * copy in core already (`audioEqSummary`, `levellingSummary`), because a summary
+ * that has to read the chain belongs beside the code that writes it.
+ *
+ * Design rationale, and the review page built from this, in
+ * `plans/audio-fx-ux/README.md`.
+ */
+export const EFFECT_COPY = {
+    gain: {
+        title: "Volume",
+        does: "Turns this track up or down.",
+        reachFor: "It's too loud, or too quiet, against everything else.",
+        primary: "gain",
+        primaryEnds: { low: "Silent", high: "Louder" },
+        params: { gain: { label: "Level", ends: { low: "Silent", high: "Louder" } } },
+    },
+    highpass: {
+        title: "Remove Rumble",
+        does: "Cuts the very bottom — traffic, footsteps, air conditioning, hands on the mic.",
+        reachFor: "There's a low hum or thump under everything.",
+        primary: "frequency",
+        primaryEnds: { low: "Only the deepest", high: "Thins it out" },
+        band: [20, 300],
+        params: {
+            frequency: {
+                label: "Cut below",
+                hint: "Everything under this is removed.",
+                ends: { low: "Only the deepest", high: "Thins it out" },
+            },
+            q: { label: "Sharpness", hint: "How abruptly the cut starts." },
+            poles: { label: "Steepness", hint: "How fast it falls away below the point." },
+        },
+    },
+    lowpass: {
+        title: "Muffle",
+        does: "Takes the top off, like the sound is coming through a door.",
+        reachFor: "You want something to sound distant, or behind something else.",
+        primary: "frequency",
+        primaryEnds: { low: "Very muffled", high: "Barely changed" },
+        band: [1000, 20000],
+        params: {
+            frequency: { label: "Cut above", ends: { low: "Very muffled", high: "Barely changed" } },
+            q: { label: "Sharpness" },
+            poles: { label: "Steepness" },
+        },
+    },
+    peaking: {
+        title: "Shape One Range",
+        does: "Lifts or lowers one part of the sound and leaves the rest alone.",
+        reachFor: "One quality is wrong — boomy, boxy, harsh — but the rest is fine.",
+        primary: "gain",
+        primaryEnds: { low: "Take it out", high: "Bring it forward" },
+        band: [20, 20000],
+        params: {
+            frequency: { label: "Where", hint: "Which part of the sound to change." },
+            gain: { label: "How much", ends: { low: "Take it out", high: "Bring it forward" } },
+            q: {
+                label: "How wide",
+                hint: "A narrow setting fixes one note; a wide one changes the whole character.",
+            },
+        },
+    },
+    lowshelf: {
+        title: "Bass",
+        does: "More or less weight underneath everything.",
+        reachFor: "It sounds thin, or too heavy.",
+        primary: "gain",
+        primaryEnds: { low: "Thinner", high: "Heavier" },
+        band: [20, 300],
+        params: {
+            frequency: { label: "Up to", hint: "Everything below this is lifted or dropped." },
+            gain: { label: "How much", ends: { low: "Thinner", high: "Heavier" } },
+        },
+    },
+    highshelf: {
+        title: "Brightness",
+        does: "More or less sparkle at the top.",
+        reachFor: "It sounds dull, or too fizzy.",
+        primary: "gain",
+        primaryEnds: { low: "Duller", high: "Brighter" },
+        band: [2000, 20000],
+        params: {
+            frequency: { label: "From", hint: "Everything above this is lifted or dropped." },
+            gain: { label: "How much", ends: { low: "Duller", high: "Brighter" } },
+        },
+    },
+    compressor: {
+        title: "Even Out Loudness",
+        does: "Brings the quiet parts up and holds the loud parts down, so nothing jumps out at the listener.",
+        reachFor: "Some parts are much louder than others.",
+        primary: "strength",
+        primaryEnds: { low: "Barely touched", high: "Very even, quite squashed" },
+        params: {
+            threshold: { label: "Starts working at", hint: "Anything louder than this gets held down." },
+            ratio: { label: "How hard", hint: "How much of the excess is removed." },
+            attack: { label: "How fast it grabs", ends: { low: "Instant", high: "Lets peaks through" } },
+            release: { label: "How fast it lets go", ends: { low: "Snappy", high: "Smooth" } },
+            knee: { label: "How gradual" },
+            makeup: {
+                label: "Volume back up",
+                hint: "Compression makes things quieter; this puts the level back.",
+            },
+            mix: { label: "Blend with the original" },
+        },
+    },
+    limiter: {
+        title: "Peak Ceiling",
+        does: "Nothing gets louder than this, ever. A safety net at the end of the chain.",
+        reachFor: "You want to be sure it never clips or spikes.",
+        primary: "limit",
+        primaryEnds: { low: "A lot of headroom", high: "Right up to the edge" },
+        params: {
+            limit: {
+                label: "Never exceed",
+                ends: { low: "A lot of headroom", high: "Right up to the edge" },
+            },
+            attack: { label: "How fast it catches" },
+            release: { label: "How fast it recovers" },
+            level_out: { label: "Level after" },
+        },
+    },
+    gate: {
+        title: "Silence the Gaps",
+        does: "Mutes the pauses. Whatever sits underneath stays — this closes the gaps, it does not remove noise.",
+        reachFor: "You can hear the room in the gaps.",
+        primary: "strength",
+        primaryEnds: { low: "Only true silence", high: "Cuts quiet parts too" },
+        params: {
+            threshold: { label: "Quieter than this is a gap" },
+            range: {
+                label: "How far to duck the gaps",
+                hint: "Not all the way down, usually — total silence sounds broken.",
+            },
+            ratio: { label: "How hard" },
+            attack: { label: "How fast it opens" },
+            release: {
+                label: "How fast it closes",
+                ends: { low: "Clips tails short", high: "Leaves tails intact" },
+            },
+            knee: { label: "How gradual" },
+        },
+    },
+    saturate: {
+        title: "Warmth",
+        does: "Adds a little grit and density, the way analogue gear does.",
+        reachFor: "It sounds clean but lifeless.",
+        primary: "strength",
+        primaryEnds: { low: "Just a sheen", high: "Openly distorted" },
+        params: {
+            type: {
+                label: "Character",
+                hint: "Different flavours of the same idea. Tanh is the gentle one.",
+            },
+            threshold: {
+                label: "How much drive",
+                ends: { low: "Just a sheen", high: "Openly distorted" },
+            },
+            output: { label: "Level after", hint: "Drive makes things louder; this puts it back." },
+            oversample: { label: "Quality", hint: "Higher costs more but sounds cleaner." },
+        },
+    },
+    bitcrush: {
+        title: "Lo-Fi",
+        does: "Crushes the sound down to fewer steps, like an old sampler or a bad phone line.",
+        reachFor: "You want it to sound cheap or digital on purpose.",
+        primary: "strength",
+        primaryEnds: { low: "Slightly gritty", high: "Destroyed" },
+        params: {
+            bits: { label: "How many steps", ends: { low: "Destroyed", high: "Clean" } },
+            samples: {
+                label: "How rough",
+                hint: "Holds each value for longer, which dulls and grits it.",
+            },
+            mix: { label: "Blend with the original" },
+        },
+    },
+    delay: {
+        title: "Echo",
+        does: "Repeats the sound after a gap.",
+        reachFor: "You want space, or a rhythmic effect.",
+        primary: "mix",
+        primaryEnds: { low: "A hint", high: "Washed out" },
+        params: {
+            time: { label: "Gap between repeats" },
+            feedback: { label: "How many repeats", ends: { low: "One", high: "Trails away for ages" } },
+            mix: { label: "How loud", ends: { low: "A hint", high: "Washed out" } },
+        },
+    },
+    reverb: {
+        title: "Room",
+        does: "Puts the sound somewhere, instead of nowhere.",
+        reachFor: "It sounds dry and stuck to the speaker.",
+        primary: "strength",
+        primaryEnds: { low: "A small tight room", high: "A big open hall" },
+        params: {
+            size: { label: "How big the space is" },
+            damping: {
+                label: "How soft the walls are",
+                ends: { low: "Hard and bright", high: "Soft and dark" },
+            },
+            wet: { label: "How much room" },
+            dry: { label: "How much original" },
+        },
+    },
+    chorus: {
+        title: "Thicken",
+        does: "Doubles the sound slightly out of tune, which makes it wider and less exact.",
+        reachFor: "It sounds thin or too plain on its own.",
+        primary: "mix",
+        primaryEnds: { low: "Just wider", high: "Obviously wobbling" },
+        params: {
+            delay: { label: "Spread" },
+            depth: { label: "How much wobble" },
+            speed: { label: "How fast it wobbles" },
+            mix: { label: "How much", ends: { low: "Just wider", high: "Obviously wobbling" } },
+        },
+    },
+    phaser: {
+        title: "Swirl",
+        does: "A filter that sweeps up and down, giving a moving, hollow shimmer.",
+        reachFor: "You want movement, or a 1970s flavour.",
+        primary: "out_gain",
+        primaryEnds: { low: "Subtle", high: "Strong" },
+        params: {
+            in_gain: { label: "Depth in" },
+            out_gain: { label: "How strong", ends: { low: "Subtle", high: "Strong" } },
+            delay: { label: "Where it sweeps" },
+            decay: { label: "How resonant" },
+            speed: { label: "How fast it sweeps" },
+            type: { label: "Shape of the sweep" },
+        },
+    },
+};
+/**
+ * The shared vocabulary. Frequencies mean nothing to somebody who has not been
+ * taught them; these words are what the same person would say unprompted, and
+ * naming the ranges once teaches them everywhere they appear.
+ */
+export const BANDS = [
+    { from: 20, to: 80, name: "Rumble", says: "traffic, footsteps, handling" },
+    { from: 80, to: 250, name: "Weight", says: "body, warmth, low end" },
+    { from: 250, to: 600, name: "Mud", says: "boxy, muffled, cardboard" },
+    { from: 600, to: 2000, name: "Middle", says: "the body of the sound" },
+    { from: 2000, to: 5000, name: "Presence", says: "definition, consonants" },
+    { from: 5000, to: 10000, name: "Edge", says: "harshness, sibilance" },
+    { from: 10000, to: 20000, name: "Air", says: "sparkle, openness" },
+];
+/**
+ * Which named range a frequency falls in.
+ *
+ * The whole point of `BANDS` is that the words get taught, and they only get
+ * taught if a module can say which one it is working in. Below the first band
+ * and above the last both clamp rather than returning nothing: 15 Hz is still
+ * rumble to anybody who can hear it, and the alternative is a filter at the edge
+ * of its range having no name at all.
+ */
+export function audioBandAt(hz) {
+    if (!Number.isFinite(hz))
+        return undefined;
+    const first = BANDS[0];
+    const last = BANDS.at(-1);
+    if (first && hz < first.from)
+        return first;
+    if (last && hz >= last.to)
+        return last;
+    return BANDS.find((band) => hz >= band.from && hz < band.to);
+}
+/** Which everyday complaint each preset answers. Presets ARE the product here. */
+export const PRESET_PROBLEM = {
+    "voice-clean": "My voice sounds amateur",
+    "voice-broadcast": "I want it to sound like radio",
+    "voice-warm": "I want it intimate and close",
+    "rumble-cut": "There's a hum or thump underneath",
+    "room-gate": "I can hear the room in the gaps",
+    "boom-tame": "It sounds boomy",
+    "harsh-tame": "It's harsh and tiring to listen to",
+    telephone: "Make it sound like a phone call",
+    "radio-am": "Make it sound like an old radio",
+    megaphone: "Make it sound shouted through a horn",
+    "lofi-tape": "Make it sound like an old tape",
+    "pa-system": "Make it sound like a station announcement",
+    intercom: "Make it sound like a door intercom",
+    "doofus-worble": "Make it wobble like it is seasick",
+    "room-tight": "It sounds dry and stuck to the speaker",
+    "room-natural": "It should sound like a real place",
+    hall: "It should sound far away and big",
+    "slap-echo": "I want one quick echo",
+    "dub-throw": "I want long trailing echoes",
+};
+const n = (v, fallback = 0) => (typeof v === "number" ? v : fallback);
+const hz = (v) => {
+    const x = n(v);
+    return x >= 1000 ? `${(x / 1000).toFixed(x % 1000 === 0 ? 0 : 1)} kHz` : `${Math.round(x)} Hz`;
+};
+const strength = (x, words) => x < 0.34 ? words[0] : x < 0.67 ? words[1] : words[2];
+export const SUMMARY = {
+    gain: (p) => n(p.gain) === 0
+        ? "No change"
+        : n(p.gain) > 0
+            ? `Up ${n(p.gain)} dB`
+            : `Down ${Math.abs(n(p.gain))} dB`,
+    highpass: (p) => `Cutting everything below ${hz(p.frequency)}`,
+    lowpass: (p) => `Muffled above ${hz(p.frequency)}`,
+    // A band at 0 dB is doing nothing, and saying "lifting by 0 dB" describes a
+    // non-event as though it were a setting. Freshly added effects sit exactly
+    // here, so this is the FIRST thing an author reads after adding one.
+    peaking: (p) => n(p.gain) === 0
+        ? `Sitting on ${hz(p.frequency)}, doing nothing yet`
+        : `${n(p.gain) > 0 ? "Lifting" : "Cutting"} ${hz(p.frequency)} by ${Math.abs(n(p.gain))} dB`,
+    lowshelf: (p) => n(p.gain) === 0
+        ? "Doing nothing yet"
+        : `${n(p.gain) > 0 ? "More" : "Less"} weight below ${hz(p.frequency)}`,
+    highshelf: (p) => n(p.gain) === 0
+        ? "Doing nothing yet"
+        : `${n(p.gain) > 0 ? "More" : "Less"} sparkle above ${hz(p.frequency)}`,
+    compressor: (p) => `Evening out — ${strength(Math.min(1, (n(p.ratio, 3) - 1) / 7), ["gentle", "moderate", "firm"])}`,
+    limiter: (p) => `Nothing louder than ${n(p.limit, -1)} dB`,
+    gate: (p) => `Closing gaps quieter than ${n(p.threshold, -45)} dB`,
+    saturate: (p) => `${strength(Math.min(1, Math.abs(n(p.threshold, -6)) / 30), ["A little", "Some", "Heavy"])} warmth`,
+    bitcrush: (p) => `Crushed to ${n(p.bits, 8)} bits`,
+    delay: (p) => `Echo every ${n(p.time, 250)} ms`,
+    reverb: (p) => `${strength(n(p.size, 0.7), ["A small", "A medium", "A large"])} room, ${strength(n(p.wet, 0.35), ["lightly", "moderately", "heavily"])}`,
+    chorus: (p) => `Thickened${n(p.mix, 0.5) > 0.6 ? ", wobbling" : ""}`,
+    phaser: () => "Swirling",
+};
+//# sourceMappingURL=audioFxCopy.js.map

package/dist/audioFxCopy.js.map

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package/dist/audioFxEq.d.ts

@@ -0,0 +1,75 @@
+/**
+ * A multi-band EQ, as a composite over effects that already ship.
+ *
+ * Bass, middle and treble is the most widely understood audio control there is
+ * — everyone has used one — which makes it the right answer for an author who
+ * would never reach for a parametric filter. It also removes a real failure:
+ * without it, a chain shaping two ranges holds two peaking filters that look
+ * identical in the rack.
+ *
+ * Built the way the carve is: one module owning several tagged nodes, rather
+ * than a new effect type. Three bands ARE a low shelf, a peaking and a high
+ * shelf, so there is nothing new in the graph, nothing new in the render, and
+ * an author who opens the details finds exactly the filters they could have
+ * added by hand.
+ *
+ * That is also forced by the registry: parameters are a flat key/value record,
+ * so an `eq` effect *type* carrying N bands would need array-shaped params it
+ * has no way to express.
+ */
+import { type HfAudioFxChain, type HfAudioFxNode } from "./audioFx.js";
+/** A band is one node. `name` is what the fader is labelled, and its handle. */
+export interface HfAudioEqBand {
+    name: string;
+    /** Corner for a shelf, centre for a peak. */
+    frequency: number;
+    /** The only value a fader moves. Everything else is fixed when the band is made. */
+    gain: number;
+    q?: number;
+    kind: "lowshelf" | "peaking" | "highshelf";
+}
+/**
+ * How far a fader travels. The registry allows ±40 dB on these filters, which
+ * is a repair tool's range — a tone control that can bury a track under 40 dB
+ * of bass is not a tone control. ±12 is the span a hi-fi offers, and it is
+ * enough to fix a voice.
+ */
+export declare const HF_AUDIO_EQ_RANGE_DB = 12;
+/** Bass, middle, treble — the set nobody needs taught. */
+export declare const HF_AUDIO_EQ_3: readonly HfAudioEqBand[];
+/**
+ * Five bands, named from the shared vocabulary the rest of the rack uses — so
+ * reaching for the EQ is also how an author learns the words.
+ */
+export declare const HF_AUDIO_EQ_5: readonly HfAudioEqBand[];
+/** Realise bands as ordinary nodes, tagged so the module can find them again. */
+export declare function audioEqNodes(bands: readonly HfAudioEqBand[], eqId: string, chain: HfAudioFxChain): HfAudioFxNode[];
+/** Add an EQ to a chain. Returns the chain and the id the module addresses it by. */
+export declare function addAudioEq(chain: HfAudioFxChain, bands?: readonly HfAudioEqBand[]): {
+    chain: HfAudioFxChain;
+    eqId: string;
+};
+/** Every EQ in a chain, in the order their first band appears. */
+export declare function audioEqIds(chain: HfAudioFxChain): string[];
+/**
+ * Read one EQ's bands back out of the chain.
+ *
+ * The nodes are the truth, not a cached band list: an author can open the
+ * details and move a frequency by hand, and the faders have to reflect that
+ * rather than silently overwrite it on the next drag.
+ */
+export declare function readAudioEqBands(chain: HfAudioFxChain, eqId: string): HfAudioEqBand[];
+/** Move one fader. Everything else about the band is left alone. */
+export declare function setAudioEqBandGain(chain: HfAudioFxChain, eqId: string, bandName: string, gain: number): HfAudioFxChain;
+/** Remove a whole EQ, bands and all. */
+export declare function removeAudioEq(chain: HfAudioFxChain, eqId: string): HfAudioFxChain;
+/**
+ * What the module says when it is closed.
+ *
+ * Named for the bands that were actually moved, so a rack of collapsed modules
+ * still reads as a sentence — and an untouched EQ says so rather than listing
+ * three zeroes.
+ */
+export declare function audioEqSummary(bands: readonly HfAudioEqBand[]): string;
+export declare const HF_AUDIO_EQ_CHAIN_VERSION = 1;
+//# sourceMappingURL=audioFxEq.d.ts.map

package/dist/audioFxEq.d.ts.map

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