@sudobility/music_player 0.1.0 → 0.1.2

package/dist/rn/playback/sample-engine.js.map

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

@@ -0,0 +1,71 @@
+/**
+ * FluidR3 sample packs: locating them, reading them, and choosing which sample
+ * plays a given note.
+ *
+ * All pure. The audio nodes are `sample-engine.ts`'s problem; everything here
+ * is string and number work, which is what makes the part of this engine most
+ * likely to be subtly wrong — pitch selection — testable without a device.
+ *
+ * The packs are Benjamin Gleitzman's pre-renderings of **FluidR3_GM.sf2**, the
+ * same font the web engine plays as `FluidR3Mono_GM.sf3`. That is the whole
+ * reason for choosing this route over synthesising something: React Native
+ * plays the same recordings the browser does, rather than an approximation of
+ * them.
+ *
+ * Each pack is a MIDI.js-era JavaScript file assigning an object of note name
+ * to base64 mp3 data URI:
+ *
+ *     MIDI.Soundfont.violin = { "A0": "data:audio/mp3;base64,...", ... }
+ *
+ * It is parsed rather than evaluated. Running fetched JavaScript to read a
+ * lookup table would be an arbitrary-code-execution hole for a data file.
+ */
+export type SamplePack = {
+    instrument: string;
+    /** MIDI note number -> base64 `data:audio/mp3` URI. Sparse: ~52 of 88 keys. */
+    samples: Map<number, string>;
+};
+export type SampleChoice = {
+    /** The sampled note actually played. */
+    midi: number;
+    uri: string;
+    /** How far to bend it to reach the requested note. 100 cents per semitone. */
+    detuneCents: number;
+};
+/**
+ * Where a GM instrument's pack lives. `base` lets an app self-host rather than
+ * depend on a third-party CDN at runtime — the packs are CC-BY 3.0, so copying
+ * them is allowed, and a music app that stops working when someone else's
+ * GitHub Pages does is not a good trade.
+ */
+export declare function sampleUrlFor(instrument: string, base?: string): string;
+/** `"F#4"` / `"Bb3"` / `"A0"` -> MIDI number, or null if it is not a note name. */
+export declare function noteNameToMidi(name: string): number | null;
+/**
+ * Reads a pack body. Throws rather than returning an empty pack: a 404 page
+ * parses to zero samples, and an instrument with no samples is silent playback
+ * with nothing reporting a problem.
+ */
+export declare function parseSamplePack(body: string): SamplePack;
+/**
+ * The sample to play `midi` with, and how far to bend it.
+ *
+ * Closest sample in either direction, not the greatest one at or below. The
+ * obvious downward-only rule stretches a sample by up to an octave near the top
+ * of each zone, which on a sustained note is plainly audible; picking the
+ * nearest halves the worst-case bend. Packs cover roughly every third key, so
+ * the usual bend is one or two semitones.
+ */
+export declare function nearestSample(pack: SamplePack, midi: number): SampleChoice | null;
+/**
+ * The sample for `midi` **only if the pack has that exact note**, never bent.
+ *
+ * For percussion. In a drum pack a note number names a *different instrument*,
+ * not a different pitch — 38 is a snare and 42 a closed hi-hat — so
+ * `nearestSample`'s whole premise is wrong here: reaching for the closest one
+ * would answer a missing cowbell with a detuned tom, confidently. A kit that
+ * does not define a slot must play nothing, which is what a real drum machine
+ * does too.
+ */
+export declare function exactSample(pack: SamplePack, midi: number): SampleChoice | null;
+//# sourceMappingURL=sample-pack.d.ts.map

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

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

@@ -0,0 +1,112 @@
+/**
+ * FluidR3 sample packs: locating them, reading them, and choosing which sample
+ * plays a given note.
+ *
+ * All pure. The audio nodes are `sample-engine.ts`'s problem; everything here
+ * is string and number work, which is what makes the part of this engine most
+ * likely to be subtly wrong — pitch selection — testable without a device.
+ *
+ * The packs are Benjamin Gleitzman's pre-renderings of **FluidR3_GM.sf2**, the
+ * same font the web engine plays as `FluidR3Mono_GM.sf3`. That is the whole
+ * reason for choosing this route over synthesising something: React Native
+ * plays the same recordings the browser does, rather than an approximation of
+ * them.
+ *
+ * Each pack is a MIDI.js-era JavaScript file assigning an object of note name
+ * to base64 mp3 data URI:
+ *
+ *     MIDI.Soundfont.violin = { "A0": "data:audio/mp3;base64,...", ... }
+ *
+ * It is parsed rather than evaluated. Running fetched JavaScript to read a
+ * lookup table would be an arbitrary-code-execution hole for a data file.
+ */
+const DEFAULT_BASE = 'https://gleitz.github.io/midi-js-soundfonts/FluidR3_GM/';
+/** Semitone offset of each pitch class from C. */
+const PITCH_CLASS = {
+    C: 0,
+    D: 2,
+    E: 4,
+    F: 5,
+    G: 7,
+    A: 9,
+    B: 11,
+};
+/**
+ * Where a GM instrument's pack lives. `base` lets an app self-host rather than
+ * depend on a third-party CDN at runtime — the packs are CC-BY 3.0, so copying
+ * them is allowed, and a music app that stops working when someone else's
+ * GitHub Pages does is not a good trade.
+ */
+export function sampleUrlFor(instrument, base = DEFAULT_BASE) {
+    const root = base.endsWith('/') ? base : `${base}/`;
+    return `${root}${instrument}-mp3.js`;
+}
+/** `"F#4"` / `"Bb3"` / `"A0"` -> MIDI number, or null if it is not a note name. */
+export function noteNameToMidi(name) {
+    const match = /^([A-Ga-g])([#b]?)(-?\d+)$/.exec(name);
+    if (!match)
+        return null;
+    const [, letter, accidental, octave] = match;
+    const base = PITCH_CLASS[letter.toUpperCase()];
+    if (base === undefined)
+        return null;
+    const shift = accidental === '#' ? 1 : accidental === 'b' ? -1 : 0;
+    // MIDI 60 is C4, so C-1 is 0 — hence the +1 on the octave.
+    return (Number(octave) + 1) * 12 + base + shift;
+}
+/**
+ * Reads a pack body. Throws rather than returning an empty pack: a 404 page
+ * parses to zero samples, and an instrument with no samples is silent playback
+ * with nothing reporting a problem.
+ */
+export function parseSamplePack(body) {
+    const header = /MIDI\.Soundfont\.([A-Za-z0-9_]+)\s*=/.exec(body);
+    if (!header) {
+        throw new Error('Response is not a MIDI.js sample pack: no `MIDI.Soundfont.<instrument> =` found.');
+    }
+    const samples = new Map();
+    const entry = /"([A-Ga-g][#b]?-?\d+)"\s*:\s*"(data:audio\/[^"]+)"/g;
+    for (const [, name, uri] of body.matchAll(entry)) {
+        const midi = noteNameToMidi(name);
+        if (midi !== null)
+            samples.set(midi, uri);
+    }
+    if (samples.size === 0) {
+        throw new Error('Response is not a MIDI.js sample pack: no note entries found.');
+    }
+    return { instrument: header[1], samples };
+}
+/**
+ * The sample to play `midi` with, and how far to bend it.
+ *
+ * Closest sample in either direction, not the greatest one at or below. The
+ * obvious downward-only rule stretches a sample by up to an octave near the top
+ * of each zone, which on a sustained note is plainly audible; picking the
+ * nearest halves the worst-case bend. Packs cover roughly every third key, so
+ * the usual bend is one or two semitones.
+ */
+export function nearestSample(pack, midi) {
+    let best = null;
+    for (const sampled of pack.samples.keys()) {
+        if (best === null || Math.abs(sampled - midi) < Math.abs(best - midi))
+            best = sampled;
+    }
+    if (best === null)
+        return null;
+    return { midi: best, uri: pack.samples.get(best), detuneCents: (midi - best) * 100 };
+}
+/**
+ * The sample for `midi` **only if the pack has that exact note**, never bent.
+ *
+ * For percussion. In a drum pack a note number names a *different instrument*,
+ * not a different pitch — 38 is a snare and 42 a closed hi-hat — so
+ * `nearestSample`'s whole premise is wrong here: reaching for the closest one
+ * would answer a missing cowbell with a detuned tom, confidently. A kit that
+ * does not define a slot must play nothing, which is what a real drum machine
+ * does too.
+ */
+export function exactSample(pack, midi) {
+    const uri = pack.samples.get(midi);
+    return uri ? { midi, uri, detuneCents: 0 } : null;
+}
+//# sourceMappingURL=sample-pack.js.map

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

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

@@ -0,0 +1,24 @@
+import type { RNAudioBuffer, RNBufferSource } from './audio-api.js';
+/**
+ * Points a source at a loop inside its own sustain, if it needs one and one fits.
+ *
+ * Returns whether looping was applied — false when the note is short enough to
+ * play straight through, or the recording too short to find a window in.
+ *
+ * **The loop spans a whole number of periods of the note being played.** That
+ * is what makes the seam quiet. Aligning both ends to rising zero crossings, as
+ * the first version did, removes the step discontinuity but not the *phase*
+ * one: an arbitrary-length window ends part-way through a cycle, so the
+ * waveform jumps back mid-period and every partial above the fundamental
+ * restarts out of phase. Rounding the window to whole periods lands the end of
+ * the loop at the same point in the cycle as its start, so the fundamental and
+ * its harmonics all continue smoothly.
+ *
+ * The sampled note is known — it is the pack entry being played — so its
+ * fundamental is known, and no pitch detection is needed. `sampleMidi` is the
+ * *sampled* note rather than the sounding one: the buffer holds the recording
+ * as rendered, and `detune` bends it afterwards, so the period in the buffer
+ * belongs to the sample.
+ */
+export declare function applySustainLoop(source: RNBufferSource, buffer: RNAudioBuffer, neededSeconds: number, sampleMidi?: number): boolean;
+//# sourceMappingURL=sustain-loop.d.ts.map

package/dist/rn/playback/sustain-loop.d.ts.map

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

@@ -0,0 +1,111 @@
+/**
+ * Holding a note for longer than the recording lasts.
+ *
+ * Every FluidR3 sample pack entry is **3.13 seconds**, whatever the instrument.
+ * That is not a limit of the format, just how they were rendered — but it means
+ * a note written longer than that simply stops sounding partway through. A whole
+ * note at 60bpm is four seconds. A tied pad across a phrase is many. Those went
+ * silent, with the gain envelope still dutifully holding a level over nothing.
+ *
+ * SF2 solves this with loop points, and the packs lost them along with
+ * everything else in the `sdta` chunk. What survives is the audio, and for an
+ * instrument that *holds* its level — measured per instrument by
+ * `scripts/measure-expression.mjs` — a window inside its steady portion can be
+ * looped to sustain it indefinitely.
+ *
+ * Only for those instruments. Looping a piano's tail would hold a note that is
+ * supposed to die away, which is a worse and more obvious error than the
+ * truncation it fixes.
+ */
+import { midiToHertz } from '../../shared/midi.js';
+/** Kept clear of the end, which holds the rendered note's own release. */
+const TAIL_GUARD_SECONDS = 0.35;
+/**
+ * Longest loop window worth taking.
+ *
+ * Long enough that any period mismatch at the seam recurs rarely, short enough
+ * to sit inside the steady portion of a 3.13s recording.
+ */
+const MAX_LOOP_SECONDS = 1.0;
+/** Shorter than this and the seam recurs often enough to be heard as a pitch. */
+const MIN_LOOP_SECONDS = 0.25;
+/**
+ * Points a source at a loop inside its own sustain, if it needs one and one fits.
+ *
+ * Returns whether looping was applied — false when the note is short enough to
+ * play straight through, or the recording too short to find a window in.
+ *
+ * **The loop spans a whole number of periods of the note being played.** That
+ * is what makes the seam quiet. Aligning both ends to rising zero crossings, as
+ * the first version did, removes the step discontinuity but not the *phase*
+ * one: an arbitrary-length window ends part-way through a cycle, so the
+ * waveform jumps back mid-period and every partial above the fundamental
+ * restarts out of phase. Rounding the window to whole periods lands the end of
+ * the loop at the same point in the cycle as its start, so the fundamental and
+ * its harmonics all continue smoothly.
+ *
+ * The sampled note is known — it is the pack entry being played — so its
+ * fundamental is known, and no pitch detection is needed. `sampleMidi` is the
+ * *sampled* note rather than the sounding one: the buffer holds the recording
+ * as rendered, and `detune` bends it afterwards, so the period in the buffer
+ * belongs to the sample.
+ */
+export function applySustainLoop(source, buffer, neededSeconds, sampleMidi) {
+    const duration = buffer.duration;
+    if (neededSeconds <= duration)
+        return false;
+    const end = duration - TAIL_GUARD_SECONDS;
+    const target = Math.min(MAX_LOOP_SECONDS, end / 2);
+    if (end <= 0 || target < MIN_LOOP_SECONDS)
+        return false;
+    const channel = buffer.getChannelData(0);
+    const rate = buffer.sampleRate;
+    const endSample = nearestRisingZero(channel, Math.floor(end * rate), rate);
+    const lengthSamples = wholePeriods(target * rate, sampleMidi, rate);
+    const startSample = endSample - lengthSamples;
+    if (startSample <= 0)
+        return false;
+    const loopStart = startSample / rate;
+    const loopEnd = endSample / rate;
+    if (!(loopEnd > loopStart) || loopEnd - loopStart < MIN_LOOP_SECONDS)
+        return false;
+    source.loop = true;
+    source.loopStart = loopStart;
+    source.loopEnd = loopEnd;
+    return true;
+}
+/**
+ * `targetSamples` rounded to a whole number of periods of `sampleMidi`.
+ *
+ * Returned unchanged when the note is unknown — a caller with no pitch (a test,
+ * a future non-melodic use) still gets a working loop, just one whose seam is
+ * only zero-crossing-aligned.
+ */
+function wholePeriods(targetSamples, sampleMidi, sampleRate) {
+    if (sampleMidi === undefined)
+        return Math.round(targetSamples);
+    const period = sampleRate / midiToHertz(sampleMidi);
+    const periods = Math.max(1, Math.round(targetSamples / period));
+    return Math.round(periods * period);
+}
+/**
+ * The nearest sample index where the waveform crosses zero going upward.
+ *
+ * Searched within a few milliseconds either way — far enough to find a crossing
+ * at any musical pitch, near enough not to move the loop bound audibly.
+ */
+function nearestRisingZero(channel, at, sampleRate) {
+    const reach = Math.floor(0.005 * sampleRate);
+    const lo = Math.max(1, at - reach);
+    const hi = Math.min(channel.length - 1, at + reach);
+    for (let offset = 0; offset <= reach; offset += 1) {
+        for (const index of [at - offset, at + offset]) {
+            if (index <= lo || index >= hi)
+                continue;
+            if (channel[index - 1] <= 0 && channel[index] > 0)
+                return index;
+        }
+    }
+    return at;
+}
+//# sourceMappingURL=sustain-loop.js.map

package/dist/rn/playback/sustain-loop.js.map

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

@@ -0,0 +1,60 @@
+/**
+ * When one sampled note starts, how loud it is, and when it lets go.
+ *
+ * Pure, so the arithmetic that decides whether a note is audible at all can be
+ * tested without an audio device.
+ *
+ * There is no attack or decay stage here, deliberately. These samples are
+ * recordings of real instruments, so the attack is already *in* the audio — a
+ * synthesised attack ramp on top would smear the very transient that makes a
+ * plucked or struck note recognisable. What the envelope does provide is a
+ * release, because cutting a sample off at full amplitude produces a click.
+ */
+import type { SampleChoice } from './sample-pack.js';
+/**
+ * Fallback fade-out, for a voice with no instrument context (the metronome, a
+ * test). Real notes use the instrument's own measured release via
+ * `expression.ts` — this engine used to apply this 80ms to *everything*, which
+ * is about seven times too short against the measured median of 0.56s and
+ * chopped every released chord.
+ */
+export declare const RELEASE_SECONDS = 0.08;
+/**
+ * Floor on how long a voice sounds before it starts releasing.
+ *
+ * A note can arrive with a zero duration — a grace note, or something
+ * quantized down to nothing — and scheduling the release at the same instant
+ * as the start plays silence. This is short enough to still read as a grace
+ * note.
+ */
+export declare const MIN_VOICE_SECONDS = 0.05;
+export type VoicePlan = {
+    /** Low-pass corner reproducing this velocity's timbre, or null to leave it open. */
+    cutoffHz: number | null;
+    /** Context time to start the source node. */
+    startAt: number;
+    /** Context time the release ramp begins — the end of the written duration. */
+    releaseAt: number;
+    /** Context time the source node stops. */
+    endAt: number;
+    /** Peak linear gain, velocity and track level combined. */
+    gain: number;
+    /** Sample to play and how far to bend it. */
+    uri: string;
+    detuneCents: number;
+    sampleMidi: number;
+};
+export declare function planVoice({ atSeconds, durationSeconds, velocity, trackGain, choice, program, }: {
+    atSeconds: number;
+    durationSeconds: number;
+    velocity: number;
+    trackGain: number;
+    choice: SampleChoice;
+    /**
+     * GM program, for the instrument's own release and velocity-to-brightness.
+     * Omitted by callers with no instrument (the metronome), which fall back to
+     * the flat constants.
+     */
+    program?: number;
+}): VoicePlan;
+//# sourceMappingURL=voice-plan.d.ts.map

package/dist/rn/playback/voice-plan.d.ts.map

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

@@ -0,0 +1,38 @@
+import { cutoffFor, releaseFor, velocityGain } from './expression.js';
+/**
+ * Fallback fade-out, for a voice with no instrument context (the metronome, a
+ * test). Real notes use the instrument's own measured release via
+ * `expression.ts` — this engine used to apply this 80ms to *everything*, which
+ * is about seven times too short against the measured median of 0.56s and
+ * chopped every released chord.
+ */
+export const RELEASE_SECONDS = 0.08;
+/**
+ * Floor on how long a voice sounds before it starts releasing.
+ *
+ * A note can arrive with a zero duration — a grace note, or something
+ * quantized down to nothing — and scheduling the release at the same instant
+ * as the start plays silence. This is short enough to still read as a grace
+ * note.
+ */
+export const MIN_VOICE_SECONDS = 0.05;
+export function planVoice({ atSeconds, durationSeconds, velocity, trackGain, choice, program, }) {
+    // Never behind the context clock: a source node rejects a start time in the
+    // past, and `planDispatch` has already dropped anything genuinely late.
+    const startAt = Math.max(0, atSeconds);
+    const held = Math.max(MIN_VOICE_SECONDS, durationSeconds);
+    const releaseAt = startAt + held;
+    const release = program === undefined ? RELEASE_SECONDS : releaseFor(program);
+    return {
+        startAt,
+        releaseAt,
+        endAt: releaseAt + release,
+        // SF2's concave velocity curve, not a linear one — see `velocityGain`.
+        gain: velocityGain(velocity) * trackGain,
+        cutoffHz: program === undefined ? null : cutoffFor(program, velocity),
+        uri: choice.uri,
+        detuneCents: choice.detuneCents,
+        sampleMidi: choice.midi,
+    };
+}
+//# sourceMappingURL=voice-plan.js.map

package/dist/rn/playback/voice-plan.js.map

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

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+/**
+ * The high-frequency half of playback, kept out of the store.
+ *
+ * Position arrives ~30 times a second and the sounding set changes on every
+ * note boundary. Routing either through Zustand means every subscriber in the
+ * app is notified at that rate, which is why the editor grew five separately
+ * isolated readout components and a rule in CLAUDE.md reminding everyone not to
+ * read those fields at a component's top level. The rule was correct and
+ * enforced by memory: one `store((s) => s.positionTick)` in the wrong place
+ * silently cost twenty renders a second.
+ *
+ * Here the fields simply are not in the store, so that subscription cannot be
+ * written. What remains in Zustand is the low-frequency state — transport
+ * state, loop, tempo, metronome, volume, load progress — which behaves like
+ * ordinary React state because it is.
+ *
+ * Three separate channels rather than one "playback changed" event: a
+ * subscriber that cares about position must not wake when a note starts, and
+ * the caret and the piano keyboard genuinely care about different things.
+ */
+import type { SoundingNote, TransportPlaybackState } from '@sudobility/music_types';
+export type Unsubscribe = () => void;
+export declare class PlaybackBus {
+    private readonly positionListeners;
+    private readonly soundingListeners;
+    private readonly transportListeners;
+    /** The last values published, so a subscriber joining mid-playback is not blind until the next event. */
+    private lastSounding;
+    private lastTransport;
+    onPosition(listener: (tick: number) => void): Unsubscribe;
+    onSounding(listener: (notes: readonly SoundingNote[]) => void): Unsubscribe;
+    onTransport(listener: (state: TransportPlaybackState) => void): Unsubscribe;
+    /**
+     * Every caret move in the app arrives here — the engine's position reports,
+     * a seek, a click on the staff, an arrow key — which is what makes this the
+     * one place that has to tell `IMusicPosition` about it. Reporting from the
+     * controller's report handler instead would have covered playback only, and
+     * left the shared position stale the moment somebody moved the caret by
+     * hand.
+     *
+     * The anchor is stamped **here**, inside the engine's own callback, rather
+     * than wherever a React subscriber eventually runs: that is the difference
+     * between measuring from the audio clock and measuring from event-loop
+     * latency, and it is why the caret used to drift away from the highlights
+     * and the keyboard under load.
+     */
+    publishPosition(tick: number): void;
+    /**
+     * The engine already emits only on change (`SoundingSet`), so this does not
+     * filter again — doing so would hide a deliberate re-publish after a seek.
+     */
+    publishSounding(notes: readonly SoundingNote[]): void;
+    publishTransport(state: TransportPlaybackState): void;
+    /**
+     * Where playback last reported it was. Read once on subscribe; do not poll
+     * this.
+     *
+     * Delegated to the playhead rather than kept here. The bus used to store its
+     * own copy of the reported tick beside the one `IMusicPositionSource` holds,
+     * which made two objects each own the same fact — and they duly came apart:
+     * when the engine's throttle stopped reporting, the playhead went on
+     * projecting while this copy stayed where it was, so the caret glided the
+     * length of the score with the scroll and the readouts still at bar one.
+     * Reading through means the smoothed position and the reported one are two
+     * views of one state, which is what the interface promises.
+     */
+    get positionTick(): number;
+    get sounding(): readonly SoundingNote[];
+    get transport(): TransportPlaybackState;
+    /** Drops every listener. For teardown; a live app never calls this. */
+    clear(): void;
+}
+//# sourceMappingURL=bus.d.ts.map

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