@sudobility/music_player 0.1.0 → 0.1.2

package/dist/rn/playback/expression-table.js.map

@@ -0,0 +1 @@
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package/dist/rn/playback/expression.d.ts

@@ -0,0 +1,48 @@
+/**
+ * Velocity -> linear gain, following SF2's default velocity-to-attenuation
+ * modulator (spec §8.4.1: 960cB, concave, descending).
+ *
+ * fluidsynth's concave table is `1 + (40/96)·log10(v/127)`, and feeding that
+ * through `attenuation = 960·(1 - concave)` then `amplitude = 10^(-att/200)`
+ * reduces exactly to **(v/127)²**. Measured renders agree within the accuracy
+ * of a peak reading.
+ *
+ * This is not a refinement. The engine previously used a linear `v/127`, which
+ * at velocity 32 plays 0.252 where the truth is 0.063 — **12dB too loud**. Every
+ * soft passage was wrong, and wrong in the direction that flattens dynamics.
+ */
+export declare function velocityGain(velocity: number): number;
+/**
+ * The low-pass corner for `program` at `velocity`, or null where this
+ * instrument's timbre does not track velocity (71 of the 128 do not).
+ *
+ * Interpolated in log-frequency between the probed velocities, because pitch
+ * and filter corners are perceived logarithmically — a linear interpolation
+ * between 556Hz and 4989Hz puts the midpoint an octave and a half too high.
+ *
+ * Always a *reduction*: the packs were rendered at velocity 127, which the
+ * measurements confirm is the brightest the instrument gets, so a low-pass is
+ * always the correct direction and there is never a need to brighten — which a
+ * low-pass could not do anyway.
+ */
+export declare function cutoffFor(program: number, velocity: number): number | null;
+/**
+ * How long this instrument takes to fall silent after note-off.
+ *
+ * The engine used one 80ms constant for everything, which is roughly seven
+ * times too short against the measured median of 0.56s — a piano chord released
+ * at the end of a phrase was chopped rather than allowed to ring.
+ */
+export declare function releaseFor(program: number): number;
+/**
+ * Whether a note longer than the recording may be held by looping its tail.
+ *
+ * The packs are 3.13 seconds each, so anything longer — a whole note under 60bpm,
+ * a tied pad across a phrase — simply stopped sounding partway through. Looping
+ * fixes that for the 79 instruments that hold their level while the key is down.
+ * The other 49 are already decaying (piano, marimba, pizzicato), and looping
+ * their tail would sustain a note that is supposed to die away, which is a worse
+ * error than the one being fixed.
+ */
+export declare function sustains(program: number): boolean;
+//# sourceMappingURL=expression.d.ts.map

package/dist/rn/playback/expression.d.ts.map

@@ -0,0 +1 @@
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package/dist/rn/playback/expression.js

@@ -0,0 +1,120 @@
+/**
+ * The part of a soundfont that a recording cannot carry.
+ *
+ * The FluidR3 sample packs are recordings taken at full velocity. Playing one
+ * back at lower gain is not what a synth does with a soft note: fluidsynth also
+ * darkens it, shapes its release per instrument, and sustains it for as long as
+ * the key is held. None of that survives pre-rendering, and it is what made the
+ * RN engine sound flat next to the web one.
+ *
+ * It is recoverable, though, because it is *parameters* rather than audio.
+ * `scripts/measure-expression.mjs` recovers them by rendering all 128 programs
+ * through fluidsynth and measuring what changes; this module applies them.
+ *
+ * Measured rather than read out of the soundfont's generators, deliberately —
+ * see that script's header. Reading `initialFilterFc` gave Grand Piano a 300Hz
+ * low-pass, because FluidR3's piano preset layers two instruments and the
+ * recording is their sum. No single layer's generators describe a layered
+ * preset. The rendered sound does.
+ */
+import { EXPRESSION_TABLE } from './expression-table.js';
+const EXPRESSION = EXPRESSION_TABLE;
+/** The velocities `measure-expression.mjs` probes, descending. 127 is the reference. */
+const PROBES = [127, 96, 64, 32, 16];
+/**
+ * Treated as "no filter". Matches the script's own guard, and sits above
+ * anything a phone speaker reproduces anyway.
+ */
+const NO_FILTER_HZ = 18000;
+/**
+ * Below this a biquad is worth building; above it, skip the node entirely.
+ * One node per voice matters when a dense passage has forty voices running.
+ */
+const FILTER_WORTH_IT_HZ = 16000;
+/** Used where the probe never saw the tail reach -40dB. Longer than most, short enough not to smear a run. */
+const DEFAULT_RELEASE_SECONDS = 0.6;
+/**
+ * Velocity -> linear gain, following SF2's default velocity-to-attenuation
+ * modulator (spec §8.4.1: 960cB, concave, descending).
+ *
+ * fluidsynth's concave table is `1 + (40/96)·log10(v/127)`, and feeding that
+ * through `attenuation = 960·(1 - concave)` then `amplitude = 10^(-att/200)`
+ * reduces exactly to **(v/127)²**. Measured renders agree within the accuracy
+ * of a peak reading.
+ *
+ * This is not a refinement. The engine previously used a linear `v/127`, which
+ * at velocity 32 plays 0.252 where the truth is 0.063 — **12dB too loud**. Every
+ * soft passage was wrong, and wrong in the direction that flattens dynamics.
+ */
+export function velocityGain(velocity) {
+    const clamped = Math.min(127, Math.max(0, velocity));
+    return (clamped / 127) ** 2;
+}
+/**
+ * The low-pass corner for `program` at `velocity`, or null where this
+ * instrument's timbre does not track velocity (71 of the 128 do not).
+ *
+ * Interpolated in log-frequency between the probed velocities, because pitch
+ * and filter corners are perceived logarithmically — a linear interpolation
+ * between 556Hz and 4989Hz puts the midpoint an octave and a half too high.
+ *
+ * Always a *reduction*: the packs were rendered at velocity 127, which the
+ * measurements confirm is the brightest the instrument gets, so a low-pass is
+ * always the correct direction and there is never a need to brighten — which a
+ * low-pass could not do anyway.
+ */
+export function cutoffFor(program, velocity) {
+    const entry = EXPRESSION[String(program)];
+    if (!entry)
+        return null;
+    const at = (probe) => {
+        if (probe === 127)
+            return NO_FILTER_HZ;
+        return entry.cutoffs[String(probe)] ?? NO_FILTER_HZ;
+    };
+    const v = Math.min(127, Math.max(1, velocity));
+    let hz;
+    if (v >= 127)
+        hz = NO_FILTER_HZ;
+    else if (v <= 16)
+        hz = at(16);
+    else {
+        // PROBES descends, so walk until v sits between two of them.
+        let upper = 127;
+        let lower = 16;
+        for (let i = 0; i < PROBES.length - 1; i += 1) {
+            if (v <= PROBES[i] && v >= PROBES[i + 1]) {
+                upper = PROBES[i];
+                lower = PROBES[i + 1];
+                break;
+            }
+        }
+        const t = (v - lower) / (upper - lower);
+        hz = 2 ** (Math.log2(at(lower)) + t * (Math.log2(at(upper)) - Math.log2(at(lower))));
+    }
+    return hz >= FILTER_WORTH_IT_HZ ? null : hz;
+}
+/**
+ * How long this instrument takes to fall silent after note-off.
+ *
+ * The engine used one 80ms constant for everything, which is roughly seven
+ * times too short against the measured median of 0.56s — a piano chord released
+ * at the end of a phrase was chopped rather than allowed to ring.
+ */
+export function releaseFor(program) {
+    return EXPRESSION[String(program)]?.releaseSec ?? DEFAULT_RELEASE_SECONDS;
+}
+/**
+ * Whether a note longer than the recording may be held by looping its tail.
+ *
+ * The packs are 3.13 seconds each, so anything longer — a whole note under 60bpm,
+ * a tied pad across a phrase — simply stopped sounding partway through. Looping
+ * fixes that for the 79 instruments that hold their level while the key is down.
+ * The other 49 are already decaying (piano, marimba, pizzicato), and looping
+ * their tail would sustain a note that is supposed to die away, which is a worse
+ * error than the one being fixed.
+ */
+export function sustains(program) {
+    return EXPRESSION[String(program)]?.sustains ?? false;
+}
+//# sourceMappingURL=expression.js.map

package/dist/rn/playback/expression.js.map

@@ -0,0 +1 @@
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package/dist/rn/playback/gm-pack-name.d.ts

@@ -0,0 +1,40 @@
+/**
+ * GM program -> FluidR3 sample-pack name.
+ *
+ * The packs are named after the General MIDI instrument names, but not by the
+ * slug rule you would guess. Punctuation is **removed** rather than turned into
+ * a separator, which is why `Honky-tonk Piano` is `honkytonk_piano` and not
+ * `honky_tonk_piano`, and why `Lead 8 (bass + lead)` keeps a double underscore
+ * where the `+` used to be — the `+` vanishes and both spaces around it become
+ * separators.
+ *
+ * That one rule covers 127 of the 128 programs. Program 54 is the exception,
+ * and it is a real disagreement rather than a formatting one: the GM standard
+ * calls it "Voice Oohs" and this catalogue calls it "Synth Voice". Both names
+ * are in circulation for that program.
+ *
+ * `gm-pack-name.test.ts` checks all 128 against the manifest the CDN actually
+ * serves, so a wrong name here cannot ship as a silent instrument.
+ */
+/**
+ * The pack holding a GM drum kit, named by the program that selects it.
+ *
+ * Not a slug of the kit's name, unlike the melodic packs: these are rendered by
+ * `scripts/build-percussion-packs.mjs` rather than fetched from a CDN whose
+ * naming we have to match, so the address can be the thing that actually
+ * identifies a kit. `gmKitAt` in music_lib resolves any program to the kit
+ * whose region contains it, so the caller passes a real kit program.
+ */
+export declare function percussionPackName(kitProgram: number): string;
+/**
+ * Every pack the CDN serves, vendored.
+ *
+ * Exported so the "every GM program resolves to a pack that exists" sweep can
+ * live in music_lib, which owns the catalogue the mapping starts from. That
+ * check spans both packages, so it cannot sit wholly in either — and it is the
+ * one that matters: a name that misses resolves to a 404, which parses to no
+ * samples, which is an instrument that plays nothing.
+ */
+export declare const PACK_NAMES: readonly string[];
+export declare function gmPackName(program: number, instrumentName: string): string;
+//# sourceMappingURL=gm-pack-name.d.ts.map

package/dist/rn/playback/gm-pack-name.d.ts.map

@@ -0,0 +1 @@
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package/dist/rn/playback/gm-pack-name.js

@@ -0,0 +1,61 @@
+/**
+ * GM program -> FluidR3 sample-pack name.
+ *
+ * The packs are named after the General MIDI instrument names, but not by the
+ * slug rule you would guess. Punctuation is **removed** rather than turned into
+ * a separator, which is why `Honky-tonk Piano` is `honkytonk_piano` and not
+ * `honky_tonk_piano`, and why `Lead 8 (bass + lead)` keeps a double underscore
+ * where the `+` used to be — the `+` vanishes and both spaces around it become
+ * separators.
+ *
+ * That one rule covers 127 of the 128 programs. Program 54 is the exception,
+ * and it is a real disagreement rather than a formatting one: the GM standard
+ * calls it "Voice Oohs" and this catalogue calls it "Synth Voice". Both names
+ * are in circulation for that program.
+ *
+ * `gm-pack-name.test.ts` checks all 128 against the manifest the CDN actually
+ * serves, so a wrong name here cannot ship as a silent instrument.
+ */
+/**
+ * The pack holding a GM drum kit, named by the program that selects it.
+ *
+ * Not a slug of the kit's name, unlike the melodic packs: these are rendered by
+ * `scripts/build-percussion-packs.mjs` rather than fetched from a CDN whose
+ * naming we have to match, so the address can be the thing that actually
+ * identifies a kit. `gmKitAt` in music_lib resolves any program to the kit
+ * whose region contains it, so the caller passes a real kit program.
+ */
+export function percussionPackName(kitProgram) {
+    return `percussion_${kitProgram}`;
+}
+/** Programs whose catalogue name is not the name the packs use. */
+const RENAMED = {
+    54: 'voice_oohs',
+};
+/**
+ * The pack name for a GM program with catalogue name `instrumentName`.
+ *
+ * Takes the name rather than looking it up, so this module stays free of
+ * music_lib's catalogue and the mapping rule can be tested on its own.
+ */
+import PACK_NAMES_JSON from './pack-names.json' with { type: 'json' };
+/**
+ * Every pack the CDN serves, vendored.
+ *
+ * Exported so the "every GM program resolves to a pack that exists" sweep can
+ * live in music_lib, which owns the catalogue the mapping starts from. That
+ * check spans both packages, so it cannot sit wholly in either — and it is the
+ * one that matters: a name that misses resolves to a 404, which parses to no
+ * samples, which is an instrument that plays nothing.
+ */
+export const PACK_NAMES = PACK_NAMES_JSON;
+export function gmPackName(program, instrumentName) {
+    const renamed = RENAMED[program];
+    if (renamed)
+        return renamed;
+    return instrumentName
+        .toLowerCase()
+        .replace(/[^a-z0-9 ]/g, '')
+        .replace(/ /g, '_');
+}
+//# sourceMappingURL=gm-pack-name.js.map

package/dist/rn/playback/gm-pack-name.js.map

@@ -0,0 +1 @@
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package/dist/rn/playback/pack-library.d.ts

@@ -0,0 +1,44 @@
+import type { SampleChoice } from './sample-pack.js';
+import type { RNAudioBuffer } from './audio-api.js';
+import { base64ToBytes } from '@sudobility/music_types';
+export type PackLibraryDeps = {
+    fetchPack: (url: string) => Promise<string>;
+    decodeAudioData: (bytes: ArrayBuffer) => Promise<RNAudioBuffer>;
+    /** Melodic packs. Defaults to the pre-rendered FluidR3 collection's own host. */
+    packBase?: string;
+    /** Drum kits. No default: these are app-hosted, since no CDN publishes usably-licensed GM percussion. */
+    percussionBase?: string;
+};
+export type Voicing = {
+    choice: SampleChoice;
+    buffer: RNAudioBuffer;
+};
+export declare class PackLibrary {
+    private readonly deps;
+    private readonly packs;
+    private readonly buffers;
+    private readonly inFlight;
+    constructor(deps: PackLibraryDeps);
+    /** True once `name` is decoded and ready to voice notes from. */
+    has(name: string): boolean;
+    /** Where a pack lives. Kits and instruments come from different places. */
+    urlFor(name: string): string;
+    /**
+     * Fetches, parses and decodes one pack, at most once.
+     *
+     * De-duplicated by name *and* in flight: a score with two violin parts, or a
+     * play racing an audition of the same instrument, must not each start their
+     * own download of the same 2.7MB.
+     */
+    ensure(name: string): Promise<void>;
+    /** The sample and buffer that sound `midi` from `name`, or null if nothing does. */
+    voice(name: string, midi: number, isPercussion: boolean): Voicing | null;
+}
+/**
+ * `data:audio/mp3;base64,...` -> bytes, without `atob` or `Buffer`.
+ *
+ * Hermes has neither reliably, and the decoder needs an ArrayBuffer regardless.
+ */
+export declare function dataUriToBytes(uri: string): ArrayBuffer;
+export { base64ToBytes };
+//# sourceMappingURL=pack-library.d.ts.map

package/dist/rn/playback/pack-library.d.ts.map

@@ -0,0 +1 @@
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package/dist/rn/playback/pack-library.js

@@ -0,0 +1,85 @@
+/**
+ * Fetching, decoding and caching sample packs — shared by live playback and
+ * offline rendering, so an exported file cannot be voiced differently from what
+ * was heard.
+ *
+ * Holds the two rules that decide *which* sample sounds:
+ *
+ * - a pitched note takes the nearest sample and bends it (normally by nothing,
+ *   since the FluidR3 packs cover every key);
+ * - a drum takes its exact slot or nothing, because a note number in a kit
+ *   names an instrument rather than a pitch.
+ */
+import { exactSample, nearestSample, parseSamplePack, sampleUrlFor } from './sample-pack.js';
+import { base64ToBytes } from '@sudobility/music_types';
+export class PackLibrary {
+    deps;
+    packs = new Map();
+    buffers = new Map();
+    inFlight = new Map();
+    constructor(deps) {
+        this.deps = deps;
+    }
+    /** True once `name` is decoded and ready to voice notes from. */
+    has(name) {
+        return this.buffers.has(name);
+    }
+    /** Where a pack lives. Kits and instruments come from different places. */
+    urlFor(name) {
+        if (!name.startsWith('percussion_'))
+            return sampleUrlFor(name, this.deps.packBase);
+        if (!this.deps.percussionBase) {
+            throw new Error('Percussion needs `percussionBase`: drum kits are app-hosted, since no CDN publishes ' +
+                'usably-licensed GM percussion. Build them with music_io/scripts/build-percussion-packs.mjs.');
+        }
+        return sampleUrlFor(name, this.deps.percussionBase);
+    }
+    /**
+     * Fetches, parses and decodes one pack, at most once.
+     *
+     * De-duplicated by name *and* in flight: a score with two violin parts, or a
+     * play racing an audition of the same instrument, must not each start their
+     * own download of the same 2.7MB.
+     */
+    ensure(name) {
+        const existing = this.inFlight.get(name);
+        if (existing)
+            return existing;
+        const work = (async () => {
+            const pack = parseSamplePack(await this.deps.fetchPack(this.urlFor(name)));
+            const decoded = new Map();
+            for (const [midi, uri] of pack.samples) {
+                decoded.set(midi, await this.deps.decodeAudioData(dataUriToBytes(uri)));
+            }
+            this.packs.set(name, pack);
+            this.buffers.set(name, decoded);
+        })();
+        this.inFlight.set(name, work);
+        return work;
+    }
+    /** The sample and buffer that sound `midi` from `name`, or null if nothing does. */
+    voice(name, midi, isPercussion) {
+        const pack = this.packs.get(name);
+        const decoded = this.buffers.get(name);
+        if (!pack || !decoded)
+            return null;
+        const choice = isPercussion ? exactSample(pack, midi) : nearestSample(pack, midi);
+        if (!choice)
+            return null;
+        const buffer = decoded.get(choice.midi);
+        return buffer ? { choice, buffer } : null;
+    }
+}
+/**
+ * `data:audio/mp3;base64,...` -> bytes, without `atob` or `Buffer`.
+ *
+ * Hermes has neither reliably, and the decoder needs an ArrayBuffer regardless.
+ */
+export function dataUriToBytes(uri) {
+    const comma = uri.indexOf(',');
+    if (comma < 0)
+        throw new Error('Malformed data URI in sample pack.');
+    return base64ToBytes(uri.slice(comma + 1));
+}
+export { base64ToBytes };
+//# sourceMappingURL=pack-library.js.map

package/dist/rn/playback/pack-library.js.map

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package/dist/rn/playback/pack-names.json

@@ -0,0 +1,130 @@
+[
+    "acoustic_grand_piano",
+    "bright_acoustic_piano",
+    "electric_grand_piano",
+    "honkytonk_piano",
+    "electric_piano_1",
+    "electric_piano_2",
+    "harpsichord",
+    "clavinet",
+    "celesta",
+    "glockenspiel",
+    "music_box",
+    "vibraphone",
+    "marimba",
+    "xylophone",
+    "tubular_bells",
+    "dulcimer",
+    "drawbar_organ",
+    "percussive_organ",
+    "rock_organ",
+    "church_organ",
+    "reed_organ",
+    "accordion",
+    "harmonica",
+    "tango_accordion",
+    "acoustic_guitar_nylon",
+    "acoustic_guitar_steel",
+    "electric_guitar_jazz",
+    "electric_guitar_clean",
+    "electric_guitar_muted",
+    "overdriven_guitar",
+    "distortion_guitar",
+    "guitar_harmonics",
+    "acoustic_bass",
+    "electric_bass_finger",
+    "electric_bass_pick",
+    "fretless_bass",
+    "slap_bass_1",
+    "slap_bass_2",
+    "synth_bass_1",
+    "synth_bass_2",
+    "violin",
+    "viola",
+    "cello",
+    "contrabass",
+    "tremolo_strings",
+    "pizzicato_strings",
+    "orchestral_harp",
+    "timpani",
+    "string_ensemble_1",
+    "string_ensemble_2",
+    "synth_strings_1",
+    "synth_strings_2",
+    "choir_aahs",
+    "voice_oohs",
+    "synth_choir",
+    "orchestra_hit",
+    "trumpet",
+    "trombone",
+    "tuba",
+    "muted_trumpet",
+    "french_horn",
+    "brass_section",
+    "synth_brass_1",
+    "synth_brass_2",
+    "soprano_sax",
+    "alto_sax",
+    "tenor_sax",
+    "baritone_sax",
+    "oboe",
+    "english_horn",
+    "bassoon",
+    "clarinet",
+    "piccolo",
+    "flute",
+    "recorder",
+    "pan_flute",
+    "blown_bottle",
+    "shakuhachi",
+    "whistle",
+    "ocarina",
+    "lead_1_square",
+    "lead_2_sawtooth",
+    "lead_3_calliope",
+    "lead_4_chiff",
+    "lead_5_charang",
+    "lead_6_voice",
+    "lead_7_fifths",
+    "lead_8_bass__lead",
+    "pad_1_new_age",
+    "pad_2_warm",
+    "pad_3_polysynth",
+    "pad_4_choir",
+    "pad_5_bowed",
+    "pad_6_metallic",
+    "pad_7_halo",
+    "pad_8_sweep",
+    "fx_1_rain",
+    "fx_2_soundtrack",
+    "fx_3_crystal",
+    "fx_4_atmosphere",
+    "fx_5_brightness",
+    "fx_6_goblins",
+    "fx_7_echoes",
+    "fx_8_scifi",
+    "sitar",
+    "banjo",
+    "shamisen",
+    "koto",
+    "kalimba",
+    "bagpipe",
+    "fiddle",
+    "shanai",
+    "tinkle_bell",
+    "agogo",
+    "steel_drums",
+    "woodblock",
+    "taiko_drum",
+    "melodic_tom",
+    "synth_drum",
+    "reverse_cymbal",
+    "guitar_fret_noise",
+    "breath_noise",
+    "seashore",
+    "bird_tweet",
+    "telephone_ring",
+    "helicopter",
+    "applause",
+    "gunshot"
+]