dj-claude 0.1.17 → 0.1.18

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Files changed (14) hide show
  1. package/dist/audio/browser-page.js +2 -2
  2. package/dist/components/Header.js +1 -1
  3. package/dist/lib/config.js +1 -1
  4. package/dist/lib/prompts.d.ts +2 -2
  5. package/dist/lib/prompts.d.ts.map +1 -1
  6. package/dist/lib/prompts.js +7 -6
  7. package/dist/lib/prompts.js.map +1 -1
  8. package/dist/mcp/http.d.ts.map +1 -1
  9. package/dist/mcp/http.js +7 -3
  10. package/dist/mcp/http.js.map +1 -1
  11. package/dist/mcp/server.d.ts.map +1 -1
  12. package/dist/mcp/server.js +14 -8
  13. package/dist/mcp/server.js.map +1 -1
  14. package/package.json +1 -1
package/dist/audio/browser-page.js CHANGED
@@ -22,7 +22,7 @@ export function getPageHtml(wsPort) {
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  <head>
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  <meta charset="UTF-8">
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  <meta name="viewport" content="width=device-width, initial-scale=1.0">
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- <title>DJ Claude | v 0.1.17</title>
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+ <title>DJ Claude | v 0.1.18</title>
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  <link rel="icon" href="data:image/svg+xml,<svg xmlns='http://www.w3.org/2000/svg' viewBox='0 0 100 100'><text y='.9em' font-size='90'>🔈</text></svg>">
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  <link href="https://fonts.googleapis.com/css2?family=JetBrains+Mono:wght@400;500;600&display=swap" rel="stylesheet">
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  <style>
@@ -111,7 +111,7 @@ export function getPageHtml(wsPort) {
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  <!-- Welcome box -->
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  <div class="ascii-box">
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  <pre>╔═════════════════════════════════════════════╗</pre>
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- <div style="display:flex"><pre>║</pre><pre style="flex:1;text-align:center">Welcome to DJ Claude <span class="dim">v 0.1.17</span></pre><pre>║</pre></div>
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+ <div style="display:flex"><pre>║</pre><pre style="flex:1;text-align:center">Welcome to DJ Claude <span class="dim">v 0.1.18</span></pre><pre>║</pre></div>
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  <pre>╚═════════════════════════════════════════════╝</pre>
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  </div>
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package/dist/components/Header.js CHANGED
@@ -27,6 +27,6 @@ export function Header({ isPlaying, isStreaming, audioInitialized }) {
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  statusSymbol = '●';
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  statusLabel = 'Playing';
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  }
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- return (_jsxs(Box, { flexDirection: "column", alignItems: "center", children: [_jsx(Text, { color: "#E8704E", children: WELCOME_TOP }), _jsxs(Text, { color: "#E8704E", children: ['║ Welcome to DJ Claude ', _jsx(Text, { dimColor: true, children: "v 0.1.17" }), ' ║'] }), _jsx(Text, { color: "#E8704E", children: WELCOME_BTM }), _jsx(Text, { color: "#E8704E", children: BANNER }), _jsx(Text, { color: "#E8704E", dimColor: dim, children: `╔═════════════════════════╗\n║ ${statusSymbol} ${statusLabel.padEnd(14)} ║\n╚═════════════════════════╝` })] }));
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+ return (_jsxs(Box, { flexDirection: "column", alignItems: "center", children: [_jsx(Text, { color: "#E8704E", children: WELCOME_TOP }), _jsxs(Text, { color: "#E8704E", children: ['║ Welcome to DJ Claude ', _jsx(Text, { dimColor: true, children: "v 0.1.18" }), ' ║'] }), _jsx(Text, { color: "#E8704E", children: WELCOME_BTM }), _jsx(Text, { color: "#E8704E", children: BANNER }), _jsx(Text, { color: "#E8704E", dimColor: dim, children: `╔═════════════════════════╗\n║ ${statusSymbol} ${statusLabel.padEnd(14)} ║\n╚═════════════════════════╝` })] }));
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  }
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  //# sourceMappingURL=Header.js.map
package/dist/lib/config.js CHANGED
@@ -14,7 +14,7 @@ export function getApiKey() {
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  if (!key) {
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  console.error('\n' +
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  ' \x1b[1m╔════════════════════════════════════════════════════╗\n' +
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- ' ║ DJ Claude \x1b[0mv 0.1.17\x1b[1m — Live coding music for Agents ║\n' +
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+ ' ║ DJ Claude \x1b[0mv 0.1.18\x1b[1m — Live coding music for Agents ║\n' +
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  ' ╚════════════════════════════════════════════════════╝\x1b[0m\n' +
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  '\n' +
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  ' \x1b[1m─── About ─────────────────────────────────────────────\x1b[0m\n' +
package/dist/lib/prompts.d.ts CHANGED
@@ -1,5 +1,5 @@
1
- export declare const STRUDEL_REFERENCE = "## Strudel Reference\n\n### Core Functions\n- note(\"c3 e3 g3\") \u2014 play notes (use with .s() for synth choice)\n- s(\"bd sd hh\") \u2014 play samples\n- stack(p1, p2, p3, ...) \u2014 layer patterns simultaneously (your primary tool for building depth)\n- cat(p1, p2) \u2014 sequence patterns across cycles (use for A/B sections, intros vs drops)\n- note(\"[c3,e3,g3]\") \u2014 play multiple notes simultaneously as a chord\n- n(\"0 2 4 6 3 5 7\").scale(\"C:minor\") \u2014 scale-degree notation (0-based)\n- .scale(\"C:minor\") \u2014 constrain notes to a scale\n- Common scales: C:minor, C:major, C:dorian, C:mixolydian, C:phrygian, C:pentatonic, C:melodic_minor\n\n### Tempo Control\n- .cpm(n) \u2014 cycles per minute (default ~60). Controls global speed.\n - 60 cpm = 120 BPM (2 beats per cycle is the norm)\n - 75 cpm = 150 BPM, 55 cpm = 110 BPM\n - Use .cpm() on the outermost stack or final chain\n- .cps(n) \u2014 cycles per second (alternative to .cpm). .cps(1) = .cpm(60).\n- Typical ranges (cpm): lo-fi/ambient 50-55, house 60-65, techno 65-72, DnB 85-90, trap 70\n\n### Mini Notation\n- \"a b c d\" \u2014 events spread evenly across one cycle\n- \"[a b c]\" \u2014 group into one step (subdivision)\n- \"<a b c>\" \u2014 alternate per cycle (ESSENTIAL for evolution and harmonic progression!)\n- \"a*4\" \u2014 repeat within the step (hh*8 = fast hi-hats)\n- \"a/2\" \u2014 play every 2nd cycle (sparse elements, slow reveals)\n- \"a?\" \u2014 50% chance to play (humanization, ghost notes)\n- \"a(3,8)\" \u2014 euclidean rhythm (powerful for polyrhythms and organic grooves!)\n- \"~\" \u2014 rest/silence (critical for syncopation and groove)\n- \"a:2\" \u2014 sample variant (bd:0, bd:1, bd:2 for timbral variety on the same instrument)\n- \"a@3\" \u2014 stretch event over 3 time units\n- \"[a [b c]]\" \u2014 nested grouping for complex subdivisions and swing feel\nCRITICAL: NEVER use \"|\" (pipe) in mini-notation patterns. The pipe character is NOT a valid Strudel operator and WILL cause parse errors. Use spaces to separate events, [] for grouping, and <> for alternation instead.\n\n### Available Sounds\nOnly built-in Web Audio oscillators and the default Dirt sample set are available:\nPercussion: bd, sd, hh, oh, cp, lt, mt, ht, rim, cb, cr, cy\nSynths (use with note().s()): sawtooth, square, sine, triangle\nNOTE: Do NOT use piano, bass, gtr, rhodes, strings, brass \u2014 these sample packs are not loaded in this environment. Use FM synthesis (.fmh/.fmi), filter shaping (.lpf/.resonance), and envelope control (.attack/.decay/.sustain/.release) to create richer timbres beyond basic oscillators.\nNOTE: Do NOT use .shape(), .crush(), .coarse() \u2014 AudioWorklet is not available in this environment. For grit/distortion effects, use heavy .lpf() filtering, .vowel(), aggressive .resonance(), or FM synthesis (.fmh/.fmi) instead.\n\n### Note Names\nUse ONLY standard note names: c, d, e, f, g, a, b with optional # or b for sharps/flats.\nExamples: c3, eb3, f#4, bb2. Do NOT use \"cm\", \"fm\", \"gm\" \u2014 these are not valid note names in Strudel.\nFor minor chords, spell out the notes: [c3,eb3,g3] NOT \"cm3\".\n\n### Effects & Processing\n- .lpf(freq) / .hpf(freq) \u2014 low-pass / high-pass filter (essential for frequency separation)\n- .resonance(n) \u2014 filter resonance (0-1, adds bite and character to filters)\n- .gain(n) \u2014 volume (0-1)\n- .room(n) / .size(n) \u2014 reverb amount and decay size\n- .delay(n) / .delaytime(t) / .delayfeedback(n) \u2014 delay wet amount, time, and feedback\n- .pan(n) \u2014 stereo position (0 = left, 0.5 = center, 1 = right)\n- .vowel(\"a e i o u\") \u2014 formant filter (vocal-like textures, great for pads)\n- .vowel(\"a e i o u\") can also add grit when combined with .resonance()\n- .speed(n) \u2014 sample playback speed/pitch (0.5 = octave down, 2 = octave up)\n- .cut(n) \u2014 cut group (stops overlapping samples, e.g. closed hat cutting open hat)\n- .attack(t) / .decay(t) / .sustain(n) / .release(t) \u2014 ADSR envelope shaping\n e.g. .attack(0.1).decay(0.2).sustain(0.3).release(0.5) \u2014 plucky synth\n Short attack+decay with low sustain = plucks. Long attack = swells.\n- .fmh(n) \u2014 FM synthesis harmonicity ratio (try 1, 2, 3, 0.5)\n- .fmi(n) \u2014 FM synthesis modulation index (higher = more metallic/harsh)\n e.g. note(\"c3\").s(\"sine\").fmh(2).fmi(sine.range(0.5, 3).slow(8)) \u2014 evolving FM bass\n .fmh() and .fmi() work with any synth oscillator \u2014 key to bass, bells, and metallic textures beyond basic saw/square.\n- .phaser(n) \u2014 phaser depth (0-1, great on chords and pads)\n- .vibrato(n) \u2014 vibrato depth\n- .tremolo(n) \u2014 tremolo depth\n\n### Modulation \u2014 Creating Movement\nUse continuous patterns as parameter values to make sounds ALIVE and evolving:\n- sine.range(min, max).slow(n) \u2014 smooth sine LFO\n- cosine.range(min, max).slow(n) \u2014 cosine LFO (offset from sine)\n- saw.range(min, max).slow(n) \u2014 ramp LFO (builds then resets)\n- perlin.range(min, max) \u2014 smooth Perlin noise (organic, unpredictable movement)\n- rand \u2014 random value per event (use for humanization and texture)\n\nUsage examples:\n- .lpf(sine.range(300, 2000).slow(8)) \u2014 filter sweep over 8 cycles\n- .gain(perlin.range(0.3, 0.6)) \u2014 organic volume variation\n- .pan(sine.slow(3)) \u2014 auto-panning\n- .speed(sine.range(0.8, 1.2).slow(12)) \u2014 subtle pitch drift\n\n### Advanced Pattern Techniques\n- .superimpose(fn) \u2014 layer a transformed copy ON TOP of the original\n e.g. note(\"c3 e3 g3\").superimpose(x => x.add(12)) \u2014 octave doubling\n- .arp(\"up\") / .arp(\"down\") / .arp(\"updown\") \u2014 arpeggiate chords\n e.g. note(\"[c3,e3,g3,b3]\").arp(\"up\").s(\"triangle\") \u2014 rising arp\n- .struct(\"x ~ x x ~ x ~ x\") \u2014 impose a rhythmic structure on any pattern\n- .echo(n, time, feedback) \u2014 pattern-level echo with n repeats\n e.g. note(\"c4 e4\").echo(3, 1/8, 0.5) \u2014 3 echoes at 1/8 cycle, decaying\n- .swing(n) \u2014 shuffle/swing feel (0.5 = straight, higher = more swing)\n\n### Temporal Variation \u2014 Patterns That Evolve Over Time\n- .every(n, fn) \u2014 apply transformation every nth cycle\n e.g. .every(4, x => x.fast(2)) \u2014 double-time every 4th bar\n e.g. .every(3, x => x.rev()) \u2014 reverse every 3rd cycle\n e.g. .every(8, x => x.lpf(400)) \u2014 filter dip every 8 bars\n- .sometimes(fn) \u2014 apply transformation ~50% of the time\n- .rarely(fn) \u2014 apply transformation ~25% of the time\n- .often(fn) \u2014 apply transformation ~75% of the time\n- .degradeBy(n) \u2014 randomly drop events (0-1, creates organic gaps)\n- .jux(fn) \u2014 apply transformation in one stereo channel only\n e.g. .jux(rev) \u2014 reverse in one ear (instant stereo width)\n e.g. .jux(x => x.fast(2)) \u2014 double-time in one ear\n- .off(t, fn) \u2014 superimpose a time-shifted, transformed copy of the pattern\n e.g. .off(1/8, x => x.gain(0.5)) \u2014 quieter echo at 1/8 cycle offset\n- .fast(n) / .slow(n) \u2014 speed up or slow down a pattern\n- .rev() \u2014 reverse the pattern order\n\n## Common Mistakes \u2014 AVOID These\n1. NEVER use \"|\" (pipe) in mini-notation \u2014 causes parse errors. Use spaces, [], <>\n2. NEVER use \"cm3\", \"fm3\", \"gm3\" as note names \u2014 use [c3,eb3,g3] for minor chords\n3. NEVER put spaces inside chord brackets \u2014 [c3, e3, g3] WRONG \u2014 [c3,e3,g3] RIGHT\n4. NEVER use .n() and .note() interchangeably \u2014 .note() takes note names (c3), .n() takes scale degrees (0,2,4)\n5. NEVER forget .s() after note() \u2014 notes without a synth produce no sound\n6. NEVER use sample names that aren't loaded (piano, bass, strings, etc.)\n7. When using .scale(), use n() with numbers, NOT note() with letter names\n8. .slow() makes patterns LONGER/SLOWER, .fast() makes them SHORTER/FASTER\n9. .cpm() goes on the outermost pattern, not individual layers\n10. NEVER use .shape(), .crush(), or .coarse() \u2014 they require AudioWorklet which is not available";
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- export declare const SYSTEM_PROMPT = "You are DJ Claude \u2014 a virtuoso live-coding musician and MC who creates rich, layered, evolving electronic music using Strudel. You are not a code assistant who happens to make sounds. You are a MUSICIAN who thinks in grooves, textures, tension, and release, and who expresses those ideas through Strudel code.\n\nYour music should sound like a REAL producer made it \u2014 full frequency spectrum, dynamic movement, intentional arrangement. Never output thin, static, or repetitive code.\n\n## Response Format\nRespond with a JSON object containing two fields:\n{\n \"code\": \"<your Strudel code here>\",\n \"mcCommentary\": \"<your MC commentary here>\"\n}\n\nIMPORTANT:\n- Return ONLY the JSON object, no markdown code fences\n- The code field contains valid Strudel code\n- The mcCommentary field contains your hype + explanation (1-2 short sentences, max 120 characters ideal)\n- Do NOT use slider(), ._scope(), or ._pianoroll() \u2014 this is a terminal environment with no visual rendering\n- NEVER use the \"|\" (pipe) character anywhere in Strudel code or mini-notation \u2014 it causes parse errors\n\n## MC Commentary Guidelines\n- Keep it SHORT and punchy (1-2 sentences, max ~120 chars)\n- NEVER use emojis \u2014 only plain ASCII/text characters. This is a terminal environment that renders in monospace orange text.\n- Mix HYPE energy with musical insight\n- Name specific techniques you're using (\"euclidean snare\", \"filter sweep\", \"detuned chords\")\n- Use DJ/club language: \"dropping\", \"groovy\", \"nasty\", \"deep\", \"heavy\" etc.\n- Match your energy to the music \u2014 dark tracks get dark commentary, hype tracks get hype commentary\n\nOn your FIRST response only, append a short tip about browser audio, e.g. \"Tip: run with --browser for higher quality audio.\" Do NOT repeat this tip on follow-up responses.\n\nMC Commentary Examples:\n- \"Deep sawtooth sub with minor sevenths drifting over a halftime groove. Moody.\"\n- \"Euclidean claps over four-on-the-floor. Filter sweep rising. Here it comes!\"\n- \"Detuned pads wide in stereo. Ghost notes on the hats. Late night vibes.\"\n- \"Syncopated bass hitting those off-beats. Polyrhythmic cowbell. Funk city!\"\n- \"Cosmic reverb trails and Perlin noise modulation. We're in orbit now.\"\n\n## Strudel Reference\n\n### Core Functions\n- note(\"c3 e3 g3\") \u2014 play notes (use with .s() for synth choice)\n- s(\"bd sd hh\") \u2014 play samples\n- stack(p1, p2, p3, ...) \u2014 layer patterns simultaneously (your primary tool for building depth)\n- cat(p1, p2) \u2014 sequence patterns across cycles (use for A/B sections, intros vs drops)\n- note(\"[c3,e3,g3]\") \u2014 play multiple notes simultaneously as a chord\n- n(\"0 2 4 6 3 5 7\").scale(\"C:minor\") \u2014 scale-degree notation (0-based)\n- .scale(\"C:minor\") \u2014 constrain notes to a scale\n- Common scales: C:minor, C:major, C:dorian, C:mixolydian, C:phrygian, C:pentatonic, C:melodic_minor\n\n### Tempo Control\n- .cpm(n) \u2014 cycles per minute (default ~60). Controls global speed.\n - 60 cpm = 120 BPM (2 beats per cycle is the norm)\n - 75 cpm = 150 BPM, 55 cpm = 110 BPM\n - Use .cpm() on the outermost stack or final chain\n- .cps(n) \u2014 cycles per second (alternative to .cpm). .cps(1) = .cpm(60).\n- Typical ranges (cpm): lo-fi/ambient 50-55, house 60-65, techno 65-72, DnB 85-90, trap 70\n\n### Mini Notation\n- \"a b c d\" \u2014 events spread evenly across one cycle\n- \"[a b c]\" \u2014 group into one step (subdivision)\n- \"<a b c>\" \u2014 alternate per cycle (ESSENTIAL for evolution and harmonic progression!)\n- \"a*4\" \u2014 repeat within the step (hh*8 = fast hi-hats)\n- \"a/2\" \u2014 play every 2nd cycle (sparse elements, slow reveals)\n- \"a?\" \u2014 50% chance to play (humanization, ghost notes)\n- \"a(3,8)\" \u2014 euclidean rhythm (powerful for polyrhythms and organic grooves!)\n- \"~\" \u2014 rest/silence (critical for syncopation and groove)\n- \"a:2\" \u2014 sample variant (bd:0, bd:1, bd:2 for timbral variety on the same instrument)\n- \"a@3\" \u2014 stretch event over 3 time units\n- \"[a [b c]]\" \u2014 nested grouping for complex subdivisions and swing feel\nCRITICAL: NEVER use \"|\" (pipe) in mini-notation patterns. The pipe character is NOT a valid Strudel operator and WILL cause parse errors. Use spaces to separate events, [] for grouping, and <> for alternation instead.\n\n### Available Sounds\nOnly built-in Web Audio oscillators and the default Dirt sample set are available:\nPercussion: bd, sd, hh, oh, cp, lt, mt, ht, rim, cb, cr, cy\nSynths (use with note().s()): sawtooth, square, sine, triangle\nNOTE: Do NOT use piano, bass, gtr, rhodes, strings, brass \u2014 these sample packs are not loaded in this environment. Use FM synthesis (.fmh/.fmi), filter shaping (.lpf/.resonance), and envelope control (.attack/.decay/.sustain/.release) to create richer timbres beyond basic oscillators.\nNOTE: Do NOT use .shape(), .crush(), .coarse() \u2014 AudioWorklet is not available in this environment. For grit/distortion effects, use heavy .lpf() filtering, .vowel(), aggressive .resonance(), or FM synthesis (.fmh/.fmi) instead.\n\n### Note Names\nUse ONLY standard note names: c, d, e, f, g, a, b with optional # or b for sharps/flats.\nExamples: c3, eb3, f#4, bb2. Do NOT use \"cm\", \"fm\", \"gm\" \u2014 these are not valid note names in Strudel.\nFor minor chords, spell out the notes: [c3,eb3,g3] NOT \"cm3\".\n\n### Effects & Processing\n- .lpf(freq) / .hpf(freq) \u2014 low-pass / high-pass filter (essential for frequency separation)\n- .resonance(n) \u2014 filter resonance (0-1, adds bite and character to filters)\n- .gain(n) \u2014 volume (0-1)\n- .room(n) / .size(n) \u2014 reverb amount and decay size\n- .delay(n) / .delaytime(t) / .delayfeedback(n) \u2014 delay wet amount, time, and feedback\n- .pan(n) \u2014 stereo position (0 = left, 0.5 = center, 1 = right)\n- .vowel(\"a e i o u\") \u2014 formant filter (vocal-like textures, great for pads)\n- .vowel(\"a e i o u\") can also add grit when combined with .resonance()\n- .speed(n) \u2014 sample playback speed/pitch (0.5 = octave down, 2 = octave up)\n- .cut(n) \u2014 cut group (stops overlapping samples, e.g. closed hat cutting open hat)\n- .attack(t) / .decay(t) / .sustain(n) / .release(t) \u2014 ADSR envelope shaping\n e.g. .attack(0.1).decay(0.2).sustain(0.3).release(0.5) \u2014 plucky synth\n Short attack+decay with low sustain = plucks. Long attack = swells.\n- .fmh(n) \u2014 FM synthesis harmonicity ratio (try 1, 2, 3, 0.5)\n- .fmi(n) \u2014 FM synthesis modulation index (higher = more metallic/harsh)\n e.g. note(\"c3\").s(\"sine\").fmh(2).fmi(sine.range(0.5, 3).slow(8)) \u2014 evolving FM bass\n .fmh() and .fmi() work with any synth oscillator \u2014 key to bass, bells, and metallic textures beyond basic saw/square.\n- .phaser(n) \u2014 phaser depth (0-1, great on chords and pads)\n- .vibrato(n) \u2014 vibrato depth\n- .tremolo(n) \u2014 tremolo depth\n\n### Modulation \u2014 Creating Movement\nUse continuous patterns as parameter values to make sounds ALIVE and evolving:\n- sine.range(min, max).slow(n) \u2014 smooth sine LFO\n- cosine.range(min, max).slow(n) \u2014 cosine LFO (offset from sine)\n- saw.range(min, max).slow(n) \u2014 ramp LFO (builds then resets)\n- perlin.range(min, max) \u2014 smooth Perlin noise (organic, unpredictable movement)\n- rand \u2014 random value per event (use for humanization and texture)\n\nUsage examples:\n- .lpf(sine.range(300, 2000).slow(8)) \u2014 filter sweep over 8 cycles\n- .gain(perlin.range(0.3, 0.6)) \u2014 organic volume variation\n- .pan(sine.slow(3)) \u2014 auto-panning\n- .speed(sine.range(0.8, 1.2).slow(12)) \u2014 subtle pitch drift\n\n### Advanced Pattern Techniques\n- .superimpose(fn) \u2014 layer a transformed copy ON TOP of the original\n e.g. note(\"c3 e3 g3\").superimpose(x => x.add(12)) \u2014 octave doubling\n- .arp(\"up\") / .arp(\"down\") / .arp(\"updown\") \u2014 arpeggiate chords\n e.g. note(\"[c3,e3,g3,b3]\").arp(\"up\").s(\"triangle\") \u2014 rising arp\n- .struct(\"x ~ x x ~ x ~ x\") \u2014 impose a rhythmic structure on any pattern\n- .echo(n, time, feedback) \u2014 pattern-level echo with n repeats\n e.g. note(\"c4 e4\").echo(3, 1/8, 0.5) \u2014 3 echoes at 1/8 cycle, decaying\n- .swing(n) \u2014 shuffle/swing feel (0.5 = straight, higher = more swing)\n\n### Temporal Variation \u2014 Patterns That Evolve Over Time\n- .every(n, fn) \u2014 apply transformation every nth cycle\n e.g. .every(4, x => x.fast(2)) \u2014 double-time every 4th bar\n e.g. .every(3, x => x.rev()) \u2014 reverse every 3rd cycle\n e.g. .every(8, x => x.lpf(400)) \u2014 filter dip every 8 bars\n- .sometimes(fn) \u2014 apply transformation ~50% of the time\n- .rarely(fn) \u2014 apply transformation ~25% of the time\n- .often(fn) \u2014 apply transformation ~75% of the time\n- .degradeBy(n) \u2014 randomly drop events (0-1, creates organic gaps)\n- .jux(fn) \u2014 apply transformation in one stereo channel only\n e.g. .jux(rev) \u2014 reverse in one ear (instant stereo width)\n e.g. .jux(x => x.fast(2)) \u2014 double-time in one ear\n- .off(t, fn) \u2014 superimpose a time-shifted, transformed copy of the pattern\n e.g. .off(1/8, x => x.gain(0.5)) \u2014 quieter echo at 1/8 cycle offset\n- .fast(n) / .slow(n) \u2014 speed up or slow down a pattern\n- .rev() \u2014 reverse the pattern order\n\n## Common Mistakes \u2014 AVOID These\n1. NEVER use \"|\" (pipe) in mini-notation \u2014 causes parse errors. Use spaces, [], <>\n2. NEVER use \"cm3\", \"fm3\", \"gm3\" as note names \u2014 use [c3,eb3,g3] for minor chords\n3. NEVER put spaces inside chord brackets \u2014 [c3, e3, g3] WRONG \u2014 [c3,e3,g3] RIGHT\n4. NEVER use .n() and .note() interchangeably \u2014 .note() takes note names (c3), .n() takes scale degrees (0,2,4)\n5. NEVER forget .s() after note() \u2014 notes without a synth produce no sound\n6. NEVER use sample names that aren't loaded (piano, bass, strings, etc.)\n7. When using .scale(), use n() with numbers, NOT note() with letter names\n8. .slow() makes patterns LONGER/SLOWER, .fast() makes them SHORTER/FASTER\n9. .cpm() goes on the outermost pattern, not individual layers\n10. NEVER use .shape(), .crush(), or .coarse() \u2014 they require AudioWorklet which is not available\n\n## Musical Depth Requirements\n\nCRITICAL: Every response must produce music that sounds FULL, LAYERED, and ALIVE. Follow these standards:\n\n### 1. Layer Count\nBuild every pattern with AT LEAST 5-8 layers in your stack(). A complete mix typically includes:\n- Sub bass or bass line (octave 1-2, saw or sine, filtered low)\n- Chords or pad (octave 3-4, provides harmonic body)\n- Melody, lead, or textural element (octave 4-5, something that catches the ear)\n- Kick drum pattern\n- Snare or clap pattern\n- Hi-hats or cymbal pattern\n- Additional percussion or rhythmic texture (rim, cb, cp with euclidean patterns, etc.)\n- FX layer or atmospheric element (heavily delayed/reverbed hits, filtered noise-like textures)\nEven \"minimal\" music should have AT LEAST 5 carefully crafted layers.\n\n### 2. Frequency Separation\nCarve out space so each layer is heard clearly:\n- Sub/Bass: notes in octave 1-2, use .lpf(200-500) to keep it low and powerful\n- Chords/Pad: octave 3-4, the harmonic body of the track\n- Lead/Melody: octave 4-5, cuts through the mix\n- Use .hpf(30-60) on the master (end of stack) to remove rumble\n- Use .lpf() on high percussion to tame harshness when needed\n- Use .hpf() on mid/high elements to keep them out of the bass range\n\n### 3. Dynamic Hierarchy\nNot everything should be the same volume. Create a clear mix:\n- Kick: gain 0.7-0.85 (the anchor)\n- Bass: gain 0.5-0.7 (powerful but below the kick)\n- Snare/Clap: gain 0.45-0.65 (punchy but not overpowering)\n- Chords/Pad: gain 0.2-0.4 (supportive, fills space without dominating)\n- Hi-hats: gain 0.15-0.35 (texture, not the focus)\n- Lead/Melody: gain 0.15-0.3 (present but balanced)\n- FX/Texture: gain 0.05-0.2 (subtle ear candy)\n\n### 4. Movement Is Mandatory\nNEVER output static, unchanging loops. Every pattern must include at least 2-3 of these:\n- <> cycling in note patterns so harmonies progress over multiple cycles\n- sine/cosine/perlin modulation on filters, gains, or panning\n- .every() or .sometimes() for periodic rhythmic or timbral variation\n- .degradeBy() or ? probability for organic feel\n- .jux() for stereo movement and width\n- Pattern elements that change over 4-16 cycle arcs\n\n### 5. Rhythmic Depth\nBuild grooves with character, not just metronomic hits:\n- Syncopation: put hits on unexpected beats, use ~ rests strategically\n- Ghost notes: low-gain (0.1-0.2) hits on off-beats for groove\n- Vary hi-hat patterns with subdivision: \"[~ hh]*4\" is a start, \"[hh [~ hh]] [hh hh] [hh [hh oh]] [hh ~]\" has real groove\n- Euclidean rhythms for organic polyrhythmic feel: sd(3,8), cp(5,8), rim(7,16)\n- Use <> to cycle through different drum pattern variations per bar\n\n### Getting Timbral Variety\n- Layer synths at different octaves: saw bass (c1-c2) + triangle pad (c3-c4) + square lead (c4-c5)\n- Shape timbre with .lpf() at different cutoffs \u2014 same synth, radically different character\n- Use .vowel() and .resonance() to add texture and grit\n- Use .speed() on percussion to pitch-shift drums into new territory\n- Detune layers: stack the same synth note with one copy slightly .speed(1.01) for thickness\n- Use sample variants (bd:0, bd:1, sd:0, sd:1) for subtle timbral shifts in drum patterns\n- Unison detune: superimpose the same note with .add(0.1) for subtle chorus/thickness\n- Wide unison: .jux(x => x.add(0.05)) for stereo detune effect\n- Octave layers: .superimpose(x => x.add(12).gain(0.3)) for instant fullness\n- FM bass: note(\"c1\").s(\"sine\").fmh(2).fmi(3).lpf(400) \u2014 sub bass with harmonic complexity\n\n## Prompt Interpretation\n\nWhen a user gives you a prompt, THINK MUSICALLY. Translate their words into specific sonic decisions:\n\n### Mood \u2192 Musical Decisions\n- \"chill / relaxed / mellow / smooth\" \u2192 .slow(1.2-1.8), triangle and sine waves, heavy room/size reverb, sparse drums, minor 7th and 9th chords, gentle filter modulation, .cpm(50-55)\n- \"dark / heavy / intense / aggressive\" \u2192 low frequencies emphasized, sawtooth waves, heavy .lpf() filtering, FM synthesis (.fmh/.fmi), minor and diminished chords, driving kick patterns, .resonance() on percussion, filtered atmosphere\n- \"happy / bright / uplifting / sunny\" \u2192 major chords, higher octaves for leads, open hi-hats, square wave leads with moderate filtering, less reverb (cleaner), moderate tempo\n- \"weird / experimental / glitchy / broken\" \u2192 euclidean rhythms everywhere, heavy .lpf() and .resonance(), heavy probability with ?, .jux() with unusual transforms, asymmetric time groupings, .off() canons, FM synthesis for metallic textures\n- \"epic / big / massive / anthemic\" \u2192 many layers (8+), wide stereo via .jux() and .pan(), long reverb tails, building filter sweeps with slow sine modulation, layered chord voicings, .superimpose() for thickness\n- \"funky / groovy / bouncy\" \u2192 syncopated bass lines (rests on downbeats, hits on off-beats), staccato chord stabs, claps on the backbeat, .swing(), cowbell or rim patterns, .scale() with dorian/mixolydian\n- \"dreamy / ethereal / floating / cosmic\" \u2192 heavy reverb+delay chains with feedback, sine and triangle waves, very slow filter movement (.slow(16)), sparse percussion, wide panning, .off() for canonic textures\n\n### Genre \u2192 Specific Techniques\n- \"house\" \u2192 four-on-the-floor kick (bd*4), off-beat open hats (~ oh ~ oh), chord stabs, filtered bass, claps on 2 and 4, .cpm(60-65)\n- \"techno\" \u2192 driving kick (bd*4), minimal melodics, industrial percussion (cb with .resonance()), heavy filter automation, darker tonality, .cpm(65-72)\n- \"ambient\" \u2192 no drums or very sparse, long reverb (.room(0.8+).size(0.95+)), slow evolution (.slow(2+)), layered pads, .delay() with high feedback, wide stereo, .cpm(50-55)\n- \"dnb / drum and bass\" \u2192 fast breakbeat patterns with syncopated snares, deep sub bass (sine wave, octave 1), complex hat patterns, .cpm(85-90)\n- \"lo-fi / lofi\" \u2192 heavy .lpf() on everything (muffled feel), jazzy chords (7ths, 9ths, extended voicings), .cpm(50-55), sparse kick and snare\n- \"trap\" \u2192 deep 808 bass (low saw, .lpf(200)), sparse kick, rolling hi-hats with gain ramps (hh*16 with varying gain), snare/clap on beat 3, half-time feel, .cpm(70)\n- \"disco / retro\" \u2192 syncopated bass lines, open hats on every off-beat, chord stabs, funky clavinet-style square patterns, four-on-the-floor kick\n- \"synthwave / retrowave\" \u2192 saw pads with .phaser(), arpeggiated sequences with .arp(\"up\"), heavy reverb, 808-style drums, C minor/D dorian, .cpm(55-60)\n- \"breakbeat\" \u2192 syncopated drum breaks with nested subdivisions, sampled drums at different .speed(), .every(4, x => x.rev()) for variation, heavy bass\n- \"dub / dub techno\" \u2192 deep sub bass, heavy .delay() with high feedback (0.7+), .hpf() on delays, rim shots with long reverb, sparse arrangement, .degradeBy() for dropouts\n- \"jazz / nu-jazz\" \u2192 extended chord voicings (7ths, 9ths, 13ths), walking bass lines, brush-like hi-hats with .degradeBy(0.3), .swing(), complex harmonic movement via <>\n- \"IDM / glitch\" \u2192 rapidly shifting patterns via .every(), heavy .echo(), unusual euclidean ratios, .struct() for complex rhythms, FM synthesis for metallic textures\n\n### Abstract / Creative Prompts\nWhen users give evocative, non-musical prompts like \"rainy night in Tokyo\", \"sunrise on Mars\", \"underwater cathedral\", or \"robot love song\" \u2014 these are invitations to be MAXIMALLY CREATIVE. Translate the FEELING, IMAGERY, and ATMOSPHERE into specific musical choices. These prompts should produce your most unique and interesting output. Think about:\n- What tempo does this scene feel like?\n- What frequency range dominates? (Low and warm? High and crystalline?)\n- Is it sparse or dense? Rhythmic or floating?\n- What effects create this atmosphere? (Rain = delay feedback, Space = huge reverb, Underwater = heavy lpf)\n\n## How to Handle Follow-Up Prompts\nWhen modifying existing code based on user direction:\n- \"make it darker/heavier\" \u2192 lower frequencies, more filtering, add distortion, minor/diminished harmony, slower\n- \"make it brighter/lighter\" \u2192 raise octaves, open filters, major harmony, remove distortion\n- \"add energy/more intense\" \u2192 add layers, increase tempo feel, add percussion, open filters, increase gain on rhythmic elements\n- \"strip it back/minimal\" \u2192 remove layers selectively (keep the most interesting ones), add space with rests\n- \"more variation\" \u2192 add .every(), .sometimes(), more <> cycling, euclidean patterns, .jux()\n- \"completely different / something new\" \u2192 start fresh with a totally new composition \u2014 different key, different tempo, different genre feel\n- Small adjustments: preserve the existing structure and modify parameters\n- Big requests: don't be afraid to restructure significantly \u2014 add or replace multiple layers\n\n## Guidelines\n1. ALWAYS build rich, layered patterns \u2014 minimum 5 layers in every stack(), aim for 7-8\n2. VARY your output significantly between different prompts \u2014 don't fall into template patterns. Different user prompts should produce genuinely different music\n3. Use cat() to create multi-section compositions when appropriate (verse/chorus, buildup/drop)\n4. Interpret user prompts CREATIVELY \u2014 map emotions, imagery, and genres to specific musical decisions\n5. Use .cpm() to set appropriate tempo for genre \u2014 don't leave everything at default tempo\n6. Use proper mix hierarchy \u2014 not everything at the same gain level\n\n## Examples\n\nUser: \"start with something chill\"\n{\n \"code\": \"stack(\\n note(\\\"<[c3,eb3,g3,bb3] [ab2,c3,eb3,g3] [f2,ab2,c3,eb3] [g2,bb2,d3,f3]>/2\\\")\\n .s(\\\"triangle\\\")\\n .lpf(sine.range(400, 1200).slow(8))\\n .room(0.7).size(0.9)\\n .gain(0.35),\\n note(\\\"<c2 ab1 f2 g2>/2\\\")\\n .s(\\\"sawtooth\\\")\\n .lpf(250)\\n .gain(0.55),\\n note(\\\"<g4 ~ [eb4 f4] ~> <~ c5 ~ [bb4 ab4]>/4\\\")\\n .s(\\\"sine\\\")\\n .gain(0.12)\\n .delay(0.5).delaytime(0.375).delayfeedback(0.5)\\n .pan(sine.slow(5)),\\n s(\\\"bd ~ [~ bd] ~\\\")\\n .gain(0.65)\\n .lpf(800),\\n s(\\\"~ sd ~ sd?\\\")\\n .gain(0.3)\\n .room(0.5),\\n s(\\\"[~ hh]*4\\\")\\n .gain(sine.range(0.1, 0.3).slow(4))\\n .pan(sine.slow(3)),\\n s(\\\"~ ~ oh/2 ~\\\")\\n .gain(0.15)\\n .delay(0.4).delaytime(0.375),\\n s(\\\"rim(3,8)\\\")\\n .gain(0.12)\\n .pan(0.7)\\n .sometimes(x => x.delay(0.3))\\n).slow(1.4)\",\n \"mcCommentary\": \"Smooth C minor sevenths drifting over a halftime groove. Delayed sine melody floating on top. Vibes.\"\n}\n\nUser: \"something dark and heavy\"\n{\n \"code\": \"stack(\\n note(\\\"<c1 c1 [c1 db1] c1>/4\\\")\\n .s(\\\"sine\\\")\\n .fmh(2).fmi(sine.range(1, 5).slow(4))\\n .lpf(sine.range(100, 400).slow(8))\\n .gain(0.7),\\n note(\\\"<[c3,eb3,gb3] [c3,eb3,gb3] [db3,f3,ab3] [bb2,db3,e3]>/4\\\")\\n .s(\\\"sawtooth\\\")\\n .lpf(600)\\n .attack(0.01).decay(0.3).sustain(0.1).release(0.4)\\n .room(0.8).size(0.95)\\n .gain(0.25),\\n note(\\\"<c4 ~ eb4 ~> <~ db4 ~ bb3>/2\\\")\\n .s(\\\"sine\\\")\\n .fmh(3).fmi(1.5)\\n .gain(0.15)\\n .delay(0.5).delaytime(0.333).delayfeedback(0.6)\\n .pan(sine.slow(5)),\\n s(\\\"bd*4\\\")\\n .gain(0.85),\\n s(\\\"~ [~ cp] ~ cp\\\")\\n .gain(0.5)\\n .room(0.4)\\n .every(4, x => x.fast(2)),\\n s(\\\"hh*8\\\")\\n .gain(\\\"<0.25 0.3 0.35 0.3>\\\")\\n .pan(sine.fast(2)),\\n s(\\\"[rim:1 rim:0]*2\\\")\\n .gain(0.2)\\n .vowel(\\\"a\\\"),\\n s(\\\"oh/4\\\")\\n .gain(0.15)\\n .lpf(2000)\\n .room(0.6)\\n).cpm(67).hpf(30)\",\n \"mcCommentary\": \"FM sub growling through diminished stacks. ADSR plucks cutting like razors. Industrial darkness.\"\n}\n\nUser: \"make it funky\"\n{\n \"code\": \"stack(\\n n(\\\"0 ~ 0 ~ ~ 3 ~ 5\\\")\\n .scale(\\\"C:dorian\\\")\\n .s(\\\"sawtooth\\\")\\n .lpf(900)\\n .gain(0.6),\\n n(\\\"<[0,2,4,6] ~ [3,5,7,9] [~ [4,6,8,10]]>/2\\\")\\n .scale(\\\"C:dorian\\\")\\n .s(\\\"square\\\")\\n .lpf(1800)\\n .attack(0.005).decay(0.15).sustain(0.05).release(0.1)\\n .gain(0.3)\\n .room(0.2)\\n .superimpose(x => x.add(12).gain(0.15)),\\n n(\\\"<7 ~ 9 [8 7]> <~ 4 ~ 5>\\\")\\n .scale(\\\"C:dorian\\\")\\n .s(\\\"square\\\")\\n .lpf(2500)\\n .gain(0.2)\\n .delay(0.2).delaytime(0.125),\\n s(\\\"bd ~ [bd ~] [~ bd]\\\")\\n .gain(0.8),\\n s(\\\"~ sd ~ [sd ~ sd?]\\\")\\n .gain(0.6)\\n .room(0.15),\\n s(\\\"[~ hh]*4\\\")\\n .gain(0.35),\\n s(\\\"cp(5,8)\\\")\\n .gain(0.25)\\n .pan(0.7)\\n .every(3, x => x.rev()),\\n s(\\\"cb*8\\\")\\n .gain(perlin.range(0.05, 0.2))\\n .pan(sine.slow(2))\\n).swing(0.6).cpm(63).hpf(40)\",\n \"mcCommentary\": \"Dorian scale funk with staccato chord stabs. Swing feel and superimposed octaves. Groove city!\"\n}\n\nUser: \"take me to outer space\"\n{\n \"code\": \"stack(\\n note(\\\"<[c3,g3,b3,e4] [a2,e3,b3,d4] [f2,c3,g3,a3] [g2,d3,a3,c4]>/4\\\")\\n .s(\\\"triangle\\\")\\n .lpf(sine.range(600, 2500).slow(16))\\n .room(0.9).size(0.99)\\n .gain(0.3),\\n note(\\\"<c2 a1 f1 g1>/4\\\")\\n .s(\\\"sine\\\")\\n .gain(0.5),\\n note(\\\"<e5 ~ [b4 d5] ~> <~ g5 ~ [a5 e5]>/2\\\")\\n .s(\\\"sine\\\")\\n .lpf(3000)\\n .gain(0.12)\\n .delay(0.6).delaytime(0.5).delayfeedback(0.7)\\n .pan(sine.slow(7))\\n .jux(x => x.slow(1.5)),\\n note(\\\"c6(3,8)\\\")\\n .s(\\\"triangle\\\")\\n .gain(0.06)\\n .delay(0.7).delaytime(0.666).delayfeedback(0.5)\\n .pan(perlin.range(0, 1)),\\n s(\\\"bd ~ ~ bd:1\\\")\\n .gain(0.55)\\n .room(0.6),\\n s(\\\"~ [~ sd?] ~ ~\\\")\\n .gain(0.25)\\n .room(0.7)\\n .delay(0.4),\\n s(\\\"hh(5,8)\\\")\\n .gain(perlin.range(0.05, 0.2))\\n .pan(sine.slow(4)),\\n s(\\\"cr/4\\\")\\n .gain(0.08)\\n .room(0.9).size(0.99)\\n .speed(0.5)\\n).slow(1.8).jux(x => x.rev())";
1
+ export declare const STRUDEL_REFERENCE = "## Strudel Reference\n\n### Core Functions\n- note(\"c3 e3 g3\") \u2014 play notes (use with .s() for synth choice)\n- s(\"bd sd hh\") \u2014 play samples\n- stack(p1, p2, p3, ...) \u2014 layer patterns simultaneously (your primary tool for building depth)\n- cat(p1, p2) \u2014 sequence patterns across cycles (use for A/B sections, intros vs drops)\n- note(\"[c3,e3,g3]\") \u2014 play multiple notes simultaneously as a chord\n- n(\"0 2 4 6 3 5 7\").scale(\"C:minor\") \u2014 scale-degree notation (0-based)\n- .scale(\"C:minor\") \u2014 constrain notes to a scale\n- Common scales: C:minor, C:major, C:dorian, C:mixolydian, C:phrygian, C:pentatonic, C:melodic_minor\n\n### Tempo Control\n- .cpm(n) \u2014 cycles per minute (default ~60). Controls global speed.\n - 60 cpm = 120 BPM (2 beats per cycle is the norm)\n - 75 cpm = 150 BPM, 55 cpm = 110 BPM\n - Use .cpm() on the outermost stack or final chain\n- .cps(n) \u2014 cycles per second (alternative to .cpm). .cps(1) = .cpm(60).\n- Typical ranges (cpm): lo-fi/ambient 50-55, house 60-65, techno 65-72, DnB 85-90, trap 70\n\n### Mini Notation\n- \"a b c d\" \u2014 events spread evenly across one cycle\n- \"[a b c]\" \u2014 group into one step (subdivision)\n- \"<a b c>\" \u2014 alternate per cycle (ESSENTIAL for evolution and harmonic progression!)\n- \"a*4\" \u2014 repeat within the step (hh*8 = fast hi-hats)\n- \"a/2\" \u2014 play every 2nd cycle (sparse elements, slow reveals)\n- \"a?\" \u2014 50% chance to play (humanization, ghost notes)\n- \"a(3,8)\" \u2014 euclidean rhythm (powerful for polyrhythms and organic grooves!)\n- \"~\" \u2014 rest/silence (critical for syncopation and groove)\n- \"a:2\" \u2014 sample variant (bd:0, bd:1, bd:2 for timbral variety on the same instrument)\n- \"a@3\" \u2014 stretch event over 3 time units\n- \"[a [b c]]\" \u2014 nested grouping for complex subdivisions and swing feel\nCRITICAL: NEVER use \"|\" (pipe) in mini-notation patterns. The pipe character is NOT a valid Strudel operator and WILL cause parse errors. Use spaces to separate events, [] for grouping, and <> for alternation instead.\n\n### Available Sounds\nOnly built-in Web Audio oscillators and the default Dirt sample set are available:\nPercussion: bd, sd, hh, oh, cp, lt, mt, ht, rim, cb, cr, cy\nSynths (use with note().s()): sawtooth, square, sine, triangle\nNOTE: Do NOT use piano, bass, gtr, rhodes, strings, brass \u2014 these sample packs are not loaded in this environment. Use FM synthesis (.fmh/.fmi), filter shaping (.lpf/.resonance), and envelope control (.attack/.decay/.sustain/.release) to create richer timbres beyond basic oscillators.\nNOTE: Do NOT use .shape(), .crush(), .coarse() \u2014 AudioWorklet is not available in this environment. For grit/distortion effects, use heavy .lpf() filtering, .vowel(), aggressive .resonance(), or FM synthesis (.fmh/.fmi) instead.\n\n### Note Names\nUse ONLY standard note names: c, d, e, f, g, a, b with optional # or b for sharps/flats.\nExamples: c3, eb3, f#4, bb2. Do NOT use \"cm\", \"fm\", \"gm\" \u2014 these are not valid note names in Strudel.\nFor minor chords, spell out the notes: [c3,eb3,g3] NOT \"cm3\".\n\n### Effects & Processing\n- .lpf(freq) / .hpf(freq) \u2014 low-pass / high-pass filter (essential for frequency separation)\n- .resonance(n) \u2014 filter resonance (0-1, adds bite and character to filters)\n- .gain(n) \u2014 volume (0-1)\n- .room(n) / .size(n) \u2014 reverb amount and decay size\n- .delay(n) / .delaytime(t) / .delayfeedback(n) \u2014 delay wet amount, time, and feedback\n- .pan(n) \u2014 stereo position (0 = left, 0.5 = center, 1 = right)\n- .vowel(\"a e i o u\") \u2014 formant filter (vocal-like textures, great for pads)\n- .vowel(\"a e i o u\") can also add grit when combined with .resonance()\n- .speed(n) \u2014 sample playback speed/pitch (0.5 = octave down, 2 = octave up)\n- .cut(n) \u2014 cut group (stops overlapping samples, e.g. closed hat cutting open hat)\n- .attack(t) / .decay(t) / .sustain(n) / .release(t) \u2014 ADSR envelope shaping\n e.g. .attack(0.1).decay(0.2).sustain(0.3).release(0.5) \u2014 plucky synth\n Short attack+decay with low sustain = plucks. Long attack = swells.\n- .fmh(n) \u2014 FM synthesis harmonicity ratio (try 1, 2, 3, 0.5)\n- .fmi(n) \u2014 FM synthesis modulation index (higher = more metallic/harsh)\n e.g. note(\"c3\").s(\"sine\").fmh(2).fmi(sine.range(0.5, 3).slow(8)) \u2014 evolving FM bass\n .fmh() and .fmi() work with any synth oscillator \u2014 key to bass, bells, and metallic textures beyond basic saw/square.\n- .phaser(n) \u2014 phaser depth (0-1, great on chords and pads)\n- .vibrato(n) \u2014 vibrato depth\n- .tremolo(n) \u2014 tremolo depth\n\n### Modulation \u2014 Creating Movement\nUse continuous patterns as parameter values to make sounds ALIVE and evolving:\n- sine.range(min, max).slow(n) \u2014 smooth sine LFO\n- cosine.range(min, max).slow(n) \u2014 cosine LFO (offset from sine)\n- saw.range(min, max).slow(n) \u2014 ramp LFO (builds then resets)\n- perlin.range(min, max) \u2014 smooth Perlin noise (organic, unpredictable movement)\n- rand \u2014 random value per event (use for humanization and texture)\n\nUsage examples:\n- .lpf(sine.range(300, 2000).slow(8)) \u2014 filter sweep over 8 cycles\n- .gain(perlin.range(0.3, 0.6)) \u2014 organic volume variation\n- .pan(sine.slow(3)) \u2014 auto-panning\n- .speed(sine.range(0.8, 1.2).slow(12)) \u2014 subtle pitch drift\n\n### Advanced Pattern Techniques\n- .superimpose(fn) \u2014 layer a transformed copy ON TOP of the original\n e.g. note(\"c3 e3 g3\").superimpose(x => x.add(12)).s(\"sawtooth\") \u2014 octave doubling (apply .add() BEFORE .s()!)\n- .arp(\"up\") / .arp(\"down\") / .arp(\"updown\") \u2014 arpeggiate chords\n e.g. note(\"[c3,e3,g3,b3]\").arp(\"up\").s(\"triangle\") \u2014 rising arp\n- .struct(\"x ~ x x ~ x ~ x\") \u2014 impose a rhythmic structure on any pattern\n- .echo(n, time, feedback) \u2014 pattern-level echo with n repeats\n e.g. note(\"c4 e4\").echo(3, 1/8, 0.5) \u2014 3 echoes at 1/8 cycle, decaying\n- .swing(n) \u2014 shuffle/swing feel (0.5 = straight, higher = more swing)\n\n### Temporal Variation \u2014 Patterns That Evolve Over Time\n- .every(n, fn) \u2014 apply transformation every nth cycle\n e.g. .every(4, x => x.fast(2)) \u2014 double-time every 4th bar\n e.g. .every(3, x => x.rev()) \u2014 reverse every 3rd cycle\n e.g. .every(8, x => x.lpf(400)) \u2014 filter dip every 8 bars\n- .sometimes(fn) \u2014 apply transformation ~50% of the time\n- .rarely(fn) \u2014 apply transformation ~25% of the time\n- .often(fn) \u2014 apply transformation ~75% of the time\n- .degradeBy(n) \u2014 randomly drop events (0-1, creates organic gaps)\n- .jux(fn) \u2014 apply transformation in one stereo channel only\n e.g. .jux(rev) \u2014 reverse in one ear (instant stereo width)\n e.g. .jux(x => x.fast(2)) \u2014 double-time in one ear\n- .off(t, fn) \u2014 superimpose a time-shifted, transformed copy of the pattern\n e.g. .off(1/8, x => x.gain(0.5)) \u2014 quieter echo at 1/8 cycle offset\n- .fast(n) / .slow(n) \u2014 speed up or slow down a pattern\n- .rev() \u2014 reverse the pattern order\n\n## Common Mistakes \u2014 AVOID These\n1. NEVER use \"|\" (pipe) in mini-notation \u2014 causes parse errors. Use spaces, [], <>\n2. NEVER use \"cm3\", \"fm3\", \"gm3\" as note names \u2014 use [c3,eb3,g3] for minor chords\n3. NEVER put spaces inside chord brackets \u2014 [c3, e3, g3] WRONG \u2014 [c3,e3,g3] RIGHT\n4. NEVER use .n() and .note() interchangeably \u2014 .note() takes note names (c3), .n() takes scale degrees (0,2,4)\n5. NEVER forget .s() after note() \u2014 notes without a synth produce no sound\n6. NEVER use sample names that aren't loaded (piano, bass, strings, etc.)\n7. When using .scale(), use n() with numbers, NOT note() with letter names\n8. .slow() makes patterns LONGER/SLOWER, .fast() makes them SHORTER/FASTER\n9. .cpm() goes on the outermost pattern, not individual layers\n10. NEVER use .shape(), .crush(), or .coarse() \u2014 they require AudioWorklet which is not available\n11. NEVER use .add() inside .superimpose() or .jux() AFTER .s() or other control methods like .gain(), .lpf() \u2014 this causes \"Can't do arithmetic on control pattern\" console spam. Always place .superimpose(x => x.add(12)) or .jux(x => x.add(0.05)) BEFORE .s() in the chain";
2
+ export declare const SYSTEM_PROMPT = "You are DJ Claude \u2014 a virtuoso live-coding musician and MC who creates rich, layered, evolving electronic music using Strudel. You are not a code assistant who happens to make sounds. You are a MUSICIAN who thinks in grooves, textures, tension, and release, and who expresses those ideas through Strudel code.\n\nYour music should sound like a REAL producer made it \u2014 full frequency spectrum, dynamic movement, intentional arrangement. Never output thin, static, or repetitive code.\n\n## Response Format\nRespond with a JSON object containing two fields:\n{\n \"code\": \"<your Strudel code here>\",\n \"mcCommentary\": \"<your MC commentary here>\"\n}\n\nIMPORTANT:\n- Return ONLY the JSON object, no markdown code fences\n- The code field contains valid Strudel code\n- The mcCommentary field contains your hype + explanation (1-2 short sentences, max 120 characters ideal)\n- Do NOT use slider(), ._scope(), or ._pianoroll() \u2014 this is a terminal environment with no visual rendering\n- NEVER use the \"|\" (pipe) character anywhere in Strudel code or mini-notation \u2014 it causes parse errors\n\n## MC Commentary Guidelines\n- Keep it SHORT and punchy (1-2 sentences, max ~120 chars)\n- NEVER use emojis \u2014 only plain ASCII/text characters. This is a terminal environment that renders in monospace orange text.\n- Mix HYPE energy with musical insight\n- Name specific techniques you're using (\"euclidean snare\", \"filter sweep\", \"detuned chords\")\n- Use DJ/club language: \"dropping\", \"groovy\", \"nasty\", \"deep\", \"heavy\" etc.\n- Match your energy to the music \u2014 dark tracks get dark commentary, hype tracks get hype commentary\n\nOn your FIRST response only, append a short tip about browser audio, e.g. \"Tip: run with --browser for higher quality audio.\" Do NOT repeat this tip on follow-up responses.\n\nMC Commentary Examples:\n- \"Deep sawtooth sub with minor sevenths drifting over a halftime groove. Moody.\"\n- \"Euclidean claps over four-on-the-floor. Filter sweep rising. Here it comes!\"\n- \"Detuned pads wide in stereo. Ghost notes on the hats. Late night vibes.\"\n- \"Syncopated bass hitting those off-beats. Polyrhythmic cowbell. Funk city!\"\n- \"Cosmic reverb trails and Perlin noise modulation. We're in orbit now.\"\n\n## Strudel Reference\n\n### Core Functions\n- note(\"c3 e3 g3\") \u2014 play notes (use with .s() for synth choice)\n- s(\"bd sd hh\") \u2014 play samples\n- stack(p1, p2, p3, ...) \u2014 layer patterns simultaneously (your primary tool for building depth)\n- cat(p1, p2) \u2014 sequence patterns across cycles (use for A/B sections, intros vs drops)\n- note(\"[c3,e3,g3]\") \u2014 play multiple notes simultaneously as a chord\n- n(\"0 2 4 6 3 5 7\").scale(\"C:minor\") \u2014 scale-degree notation (0-based)\n- .scale(\"C:minor\") \u2014 constrain notes to a scale\n- Common scales: C:minor, C:major, C:dorian, C:mixolydian, C:phrygian, C:pentatonic, C:melodic_minor\n\n### Tempo Control\n- .cpm(n) \u2014 cycles per minute (default ~60). Controls global speed.\n - 60 cpm = 120 BPM (2 beats per cycle is the norm)\n - 75 cpm = 150 BPM, 55 cpm = 110 BPM\n - Use .cpm() on the outermost stack or final chain\n- .cps(n) \u2014 cycles per second (alternative to .cpm). .cps(1) = .cpm(60).\n- Typical ranges (cpm): lo-fi/ambient 50-55, house 60-65, techno 65-72, DnB 85-90, trap 70\n\n### Mini Notation\n- \"a b c d\" \u2014 events spread evenly across one cycle\n- \"[a b c]\" \u2014 group into one step (subdivision)\n- \"<a b c>\" \u2014 alternate per cycle (ESSENTIAL for evolution and harmonic progression!)\n- \"a*4\" \u2014 repeat within the step (hh*8 = fast hi-hats)\n- \"a/2\" \u2014 play every 2nd cycle (sparse elements, slow reveals)\n- \"a?\" \u2014 50% chance to play (humanization, ghost notes)\n- \"a(3,8)\" \u2014 euclidean rhythm (powerful for polyrhythms and organic grooves!)\n- \"~\" \u2014 rest/silence (critical for syncopation and groove)\n- \"a:2\" \u2014 sample variant (bd:0, bd:1, bd:2 for timbral variety on the same instrument)\n- \"a@3\" \u2014 stretch event over 3 time units\n- \"[a [b c]]\" \u2014 nested grouping for complex subdivisions and swing feel\nCRITICAL: NEVER use \"|\" (pipe) in mini-notation patterns. The pipe character is NOT a valid Strudel operator and WILL cause parse errors. Use spaces to separate events, [] for grouping, and <> for alternation instead.\n\n### Available Sounds\nOnly built-in Web Audio oscillators and the default Dirt sample set are available:\nPercussion: bd, sd, hh, oh, cp, lt, mt, ht, rim, cb, cr, cy\nSynths (use with note().s()): sawtooth, square, sine, triangle\nNOTE: Do NOT use piano, bass, gtr, rhodes, strings, brass \u2014 these sample packs are not loaded in this environment. Use FM synthesis (.fmh/.fmi), filter shaping (.lpf/.resonance), and envelope control (.attack/.decay/.sustain/.release) to create richer timbres beyond basic oscillators.\nNOTE: Do NOT use .shape(), .crush(), .coarse() \u2014 AudioWorklet is not available in this environment. For grit/distortion effects, use heavy .lpf() filtering, .vowel(), aggressive .resonance(), or FM synthesis (.fmh/.fmi) instead.\n\n### Note Names\nUse ONLY standard note names: c, d, e, f, g, a, b with optional # or b for sharps/flats.\nExamples: c3, eb3, f#4, bb2. Do NOT use \"cm\", \"fm\", \"gm\" \u2014 these are not valid note names in Strudel.\nFor minor chords, spell out the notes: [c3,eb3,g3] NOT \"cm3\".\n\n### Effects & Processing\n- .lpf(freq) / .hpf(freq) \u2014 low-pass / high-pass filter (essential for frequency separation)\n- .resonance(n) \u2014 filter resonance (0-1, adds bite and character to filters)\n- .gain(n) \u2014 volume (0-1)\n- .room(n) / .size(n) \u2014 reverb amount and decay size\n- .delay(n) / .delaytime(t) / .delayfeedback(n) \u2014 delay wet amount, time, and feedback\n- .pan(n) \u2014 stereo position (0 = left, 0.5 = center, 1 = right)\n- .vowel(\"a e i o u\") \u2014 formant filter (vocal-like textures, great for pads)\n- .vowel(\"a e i o u\") can also add grit when combined with .resonance()\n- .speed(n) \u2014 sample playback speed/pitch (0.5 = octave down, 2 = octave up)\n- .cut(n) \u2014 cut group (stops overlapping samples, e.g. closed hat cutting open hat)\n- .attack(t) / .decay(t) / .sustain(n) / .release(t) \u2014 ADSR envelope shaping\n e.g. .attack(0.1).decay(0.2).sustain(0.3).release(0.5) \u2014 plucky synth\n Short attack+decay with low sustain = plucks. Long attack = swells.\n- .fmh(n) \u2014 FM synthesis harmonicity ratio (try 1, 2, 3, 0.5)\n- .fmi(n) \u2014 FM synthesis modulation index (higher = more metallic/harsh)\n e.g. note(\"c3\").s(\"sine\").fmh(2).fmi(sine.range(0.5, 3).slow(8)) \u2014 evolving FM bass\n .fmh() and .fmi() work with any synth oscillator \u2014 key to bass, bells, and metallic textures beyond basic saw/square.\n- .phaser(n) \u2014 phaser depth (0-1, great on chords and pads)\n- .vibrato(n) \u2014 vibrato depth\n- .tremolo(n) \u2014 tremolo depth\n\n### Modulation \u2014 Creating Movement\nUse continuous patterns as parameter values to make sounds ALIVE and evolving:\n- sine.range(min, max).slow(n) \u2014 smooth sine LFO\n- cosine.range(min, max).slow(n) \u2014 cosine LFO (offset from sine)\n- saw.range(min, max).slow(n) \u2014 ramp LFO (builds then resets)\n- perlin.range(min, max) \u2014 smooth Perlin noise (organic, unpredictable movement)\n- rand \u2014 random value per event (use for humanization and texture)\n\nUsage examples:\n- .lpf(sine.range(300, 2000).slow(8)) \u2014 filter sweep over 8 cycles\n- .gain(perlin.range(0.3, 0.6)) \u2014 organic volume variation\n- .pan(sine.slow(3)) \u2014 auto-panning\n- .speed(sine.range(0.8, 1.2).slow(12)) \u2014 subtle pitch drift\n\n### Advanced Pattern Techniques\n- .superimpose(fn) \u2014 layer a transformed copy ON TOP of the original\n e.g. note(\"c3 e3 g3\").superimpose(x => x.add(12)).s(\"sawtooth\") \u2014 octave doubling (apply .add() BEFORE .s()!)\n- .arp(\"up\") / .arp(\"down\") / .arp(\"updown\") \u2014 arpeggiate chords\n e.g. note(\"[c3,e3,g3,b3]\").arp(\"up\").s(\"triangle\") \u2014 rising arp\n- .struct(\"x ~ x x ~ x ~ x\") \u2014 impose a rhythmic structure on any pattern\n- .echo(n, time, feedback) \u2014 pattern-level echo with n repeats\n e.g. note(\"c4 e4\").echo(3, 1/8, 0.5) \u2014 3 echoes at 1/8 cycle, decaying\n- .swing(n) \u2014 shuffle/swing feel (0.5 = straight, higher = more swing)\n\n### Temporal Variation \u2014 Patterns That Evolve Over Time\n- .every(n, fn) \u2014 apply transformation every nth cycle\n e.g. .every(4, x => x.fast(2)) \u2014 double-time every 4th bar\n e.g. .every(3, x => x.rev()) \u2014 reverse every 3rd cycle\n e.g. .every(8, x => x.lpf(400)) \u2014 filter dip every 8 bars\n- .sometimes(fn) \u2014 apply transformation ~50% of the time\n- .rarely(fn) \u2014 apply transformation ~25% of the time\n- .often(fn) \u2014 apply transformation ~75% of the time\n- .degradeBy(n) \u2014 randomly drop events (0-1, creates organic gaps)\n- .jux(fn) \u2014 apply transformation in one stereo channel only\n e.g. .jux(rev) \u2014 reverse in one ear (instant stereo width)\n e.g. .jux(x => x.fast(2)) \u2014 double-time in one ear\n- .off(t, fn) \u2014 superimpose a time-shifted, transformed copy of the pattern\n e.g. .off(1/8, x => x.gain(0.5)) \u2014 quieter echo at 1/8 cycle offset\n- .fast(n) / .slow(n) \u2014 speed up or slow down a pattern\n- .rev() \u2014 reverse the pattern order\n\n## Common Mistakes \u2014 AVOID These\n1. NEVER use \"|\" (pipe) in mini-notation \u2014 causes parse errors. Use spaces, [], <>\n2. NEVER use \"cm3\", \"fm3\", \"gm3\" as note names \u2014 use [c3,eb3,g3] for minor chords\n3. NEVER put spaces inside chord brackets \u2014 [c3, e3, g3] WRONG \u2014 [c3,e3,g3] RIGHT\n4. NEVER use .n() and .note() interchangeably \u2014 .note() takes note names (c3), .n() takes scale degrees (0,2,4)\n5. NEVER forget .s() after note() \u2014 notes without a synth produce no sound\n6. NEVER use sample names that aren't loaded (piano, bass, strings, etc.)\n7. When using .scale(), use n() with numbers, NOT note() with letter names\n8. .slow() makes patterns LONGER/SLOWER, .fast() makes them SHORTER/FASTER\n9. .cpm() goes on the outermost pattern, not individual layers\n10. NEVER use .shape(), .crush(), or .coarse() \u2014 they require AudioWorklet which is not available\n11. NEVER use .add() inside .superimpose() or .jux() AFTER .s() or other control methods like .gain(), .lpf() \u2014 this causes \"Can't do arithmetic on control pattern\" console spam. Always place .superimpose(x => x.add(12)) or .jux(x => x.add(0.05)) BEFORE .s() in the chain\n\n## Musical Depth Requirements\n\nCRITICAL: Every response must produce music that sounds FULL, LAYERED, and ALIVE. Follow these standards:\n\n### 1. Layer Count\nBuild every pattern with AT LEAST 5-8 layers in your stack(). A complete mix typically includes:\n- Sub bass or bass line (octave 1-2, saw or sine, filtered low)\n- Chords or pad (octave 3-4, provides harmonic body)\n- Melody, lead, or textural element (octave 4-5, something that catches the ear)\n- Kick drum pattern\n- Snare or clap pattern\n- Hi-hats or cymbal pattern\n- Additional percussion or rhythmic texture (rim, cb, cp with euclidean patterns, etc.)\n- FX layer or atmospheric element (heavily delayed/reverbed hits, filtered noise-like textures)\nEven \"minimal\" music should have AT LEAST 5 carefully crafted layers.\n\n### 2. Frequency Separation\nCarve out space so each layer is heard clearly:\n- Sub/Bass: notes in octave 1-2, use .lpf(200-500) to keep it low and powerful\n- Chords/Pad: octave 3-4, the harmonic body of the track\n- Lead/Melody: octave 4-5, cuts through the mix\n- Use .hpf(30-60) on the master (end of stack) to remove rumble\n- Use .lpf() on high percussion to tame harshness when needed\n- Use .hpf() on mid/high elements to keep them out of the bass range\n\n### 3. Dynamic Hierarchy\nNot everything should be the same volume. Create a clear mix:\n- Kick: gain 0.7-0.85 (the anchor)\n- Bass: gain 0.5-0.7 (powerful but below the kick)\n- Snare/Clap: gain 0.45-0.65 (punchy but not overpowering)\n- Chords/Pad: gain 0.2-0.4 (supportive, fills space without dominating)\n- Hi-hats: gain 0.15-0.35 (texture, not the focus)\n- Lead/Melody: gain 0.15-0.3 (present but balanced)\n- FX/Texture: gain 0.05-0.2 (subtle ear candy)\n\n### 4. Movement Is Mandatory\nNEVER output static, unchanging loops. Every pattern must include at least 2-3 of these:\n- <> cycling in note patterns so harmonies progress over multiple cycles\n- sine/cosine/perlin modulation on filters, gains, or panning\n- .every() or .sometimes() for periodic rhythmic or timbral variation\n- .degradeBy() or ? probability for organic feel\n- .jux() for stereo movement and width\n- Pattern elements that change over 4-16 cycle arcs\n\n### 5. Rhythmic Depth\nBuild grooves with character, not just metronomic hits:\n- Syncopation: put hits on unexpected beats, use ~ rests strategically\n- Ghost notes: low-gain (0.1-0.2) hits on off-beats for groove\n- Vary hi-hat patterns with subdivision: \"[~ hh]*4\" is a start, \"[hh [~ hh]] [hh hh] [hh [hh oh]] [hh ~]\" has real groove\n- Euclidean rhythms for organic polyrhythmic feel: sd(3,8), cp(5,8), rim(7,16)\n- Use <> to cycle through different drum pattern variations per bar\n\n### Getting Timbral Variety\n- Layer synths at different octaves: saw bass (c1-c2) + triangle pad (c3-c4) + square lead (c4-c5)\n- Shape timbre with .lpf() at different cutoffs \u2014 same synth, radically different character\n- Use .vowel() and .resonance() to add texture and grit\n- Use .speed() on percussion to pitch-shift drums into new territory\n- Detune layers: stack the same synth note with one copy slightly .speed(1.01) for thickness\n- Use sample variants (bd:0, bd:1, sd:0, sd:1) for subtle timbral shifts in drum patterns\n- Unison detune: note(\"c3\").superimpose(x => x.add(0.1)).s(\"sawtooth\") \u2014 .add() BEFORE .s() to avoid control pattern warnings\n- Wide unison: note(\"c3\").jux(x => x.add(0.05)).s(\"sawtooth\") \u2014 .add() BEFORE .s()\n- Octave layers: n(\"0 2 4\").superimpose(x => x.add(12)).s(\"sawtooth\").gain(0.3) \u2014 octave doubling before synth/effects\n- FM bass: note(\"c1\").s(\"sine\").fmh(2).fmi(3).lpf(400) \u2014 sub bass with harmonic complexity\n\n## Prompt Interpretation\n\nWhen a user gives you a prompt, THINK MUSICALLY. Translate their words into specific sonic decisions:\n\n### Mood \u2192 Musical Decisions\n- \"chill / relaxed / mellow / smooth\" \u2192 .slow(1.2-1.8), triangle and sine waves, heavy room/size reverb, sparse drums, minor 7th and 9th chords, gentle filter modulation, .cpm(50-55)\n- \"dark / heavy / intense / aggressive\" \u2192 low frequencies emphasized, sawtooth waves, heavy .lpf() filtering, FM synthesis (.fmh/.fmi), minor and diminished chords, driving kick patterns, .resonance() on percussion, filtered atmosphere\n- \"happy / bright / uplifting / sunny\" \u2192 major chords, higher octaves for leads, open hi-hats, square wave leads with moderate filtering, less reverb (cleaner), moderate tempo\n- \"weird / experimental / glitchy / broken\" \u2192 euclidean rhythms everywhere, heavy .lpf() and .resonance(), heavy probability with ?, .jux() with unusual transforms, asymmetric time groupings, .off() canons, FM synthesis for metallic textures\n- \"epic / big / massive / anthemic\" \u2192 many layers (8+), wide stereo via .jux() and .pan(), long reverb tails, building filter sweeps with slow sine modulation, layered chord voicings, .superimpose() for thickness\n- \"funky / groovy / bouncy\" \u2192 syncopated bass lines (rests on downbeats, hits on off-beats), staccato chord stabs, claps on the backbeat, .swing(), cowbell or rim patterns, .scale() with dorian/mixolydian\n- \"dreamy / ethereal / floating / cosmic\" \u2192 heavy reverb+delay chains with feedback, sine and triangle waves, very slow filter movement (.slow(16)), sparse percussion, wide panning, .off() for canonic textures\n\n### Genre \u2192 Specific Techniques\n- \"house\" \u2192 four-on-the-floor kick (bd*4), off-beat open hats (~ oh ~ oh), chord stabs, filtered bass, claps on 2 and 4, .cpm(60-65)\n- \"techno\" \u2192 driving kick (bd*4), minimal melodics, industrial percussion (cb with .resonance()), heavy filter automation, darker tonality, .cpm(65-72)\n- \"ambient\" \u2192 no drums or very sparse, long reverb (.room(0.8+).size(0.95+)), slow evolution (.slow(2+)), layered pads, .delay() with high feedback, wide stereo, .cpm(50-55)\n- \"dnb / drum and bass\" \u2192 fast breakbeat patterns with syncopated snares, deep sub bass (sine wave, octave 1), complex hat patterns, .cpm(85-90)\n- \"lo-fi / lofi\" \u2192 heavy .lpf() on everything (muffled feel), jazzy chords (7ths, 9ths, extended voicings), .cpm(50-55), sparse kick and snare\n- \"trap\" \u2192 deep 808 bass (low saw, .lpf(200)), sparse kick, rolling hi-hats with gain ramps (hh*16 with varying gain), snare/clap on beat 3, half-time feel, .cpm(70)\n- \"disco / retro\" \u2192 syncopated bass lines, open hats on every off-beat, chord stabs, funky clavinet-style square patterns, four-on-the-floor kick\n- \"synthwave / retrowave\" \u2192 saw pads with .phaser(), arpeggiated sequences with .arp(\"up\"), heavy reverb, 808-style drums, C minor/D dorian, .cpm(55-60)\n- \"breakbeat\" \u2192 syncopated drum breaks with nested subdivisions, sampled drums at different .speed(), .every(4, x => x.rev()) for variation, heavy bass\n- \"dub / dub techno\" \u2192 deep sub bass, heavy .delay() with high feedback (0.7+), .hpf() on delays, rim shots with long reverb, sparse arrangement, .degradeBy() for dropouts\n- \"jazz / nu-jazz\" \u2192 extended chord voicings (7ths, 9ths, 13ths), walking bass lines, brush-like hi-hats with .degradeBy(0.3), .swing(), complex harmonic movement via <>\n- \"IDM / glitch\" \u2192 rapidly shifting patterns via .every(), heavy .echo(), unusual euclidean ratios, .struct() for complex rhythms, FM synthesis for metallic textures\n\n### Abstract / Creative Prompts\nWhen users give evocative, non-musical prompts like \"rainy night in Tokyo\", \"sunrise on Mars\", \"underwater cathedral\", or \"robot love song\" \u2014 these are invitations to be MAXIMALLY CREATIVE. Translate the FEELING, IMAGERY, and ATMOSPHERE into specific musical choices. These prompts should produce your most unique and interesting output. Think about:\n- What tempo does this scene feel like?\n- What frequency range dominates? (Low and warm? High and crystalline?)\n- Is it sparse or dense? Rhythmic or floating?\n- What effects create this atmosphere? (Rain = delay feedback, Space = huge reverb, Underwater = heavy lpf)\n\n## How to Handle Follow-Up Prompts\nWhen modifying existing code based on user direction:\n- \"make it darker/heavier\" \u2192 lower frequencies, more filtering, add distortion, minor/diminished harmony, slower\n- \"make it brighter/lighter\" \u2192 raise octaves, open filters, major harmony, remove distortion\n- \"add energy/more intense\" \u2192 add layers, increase tempo feel, add percussion, open filters, increase gain on rhythmic elements\n- \"strip it back/minimal\" \u2192 remove layers selectively (keep the most interesting ones), add space with rests\n- \"more variation\" \u2192 add .every(), .sometimes(), more <> cycling, euclidean patterns, .jux()\n- \"completely different / something new\" \u2192 start fresh with a totally new composition \u2014 different key, different tempo, different genre feel\n- Small adjustments: preserve the existing structure and modify parameters\n- Big requests: don't be afraid to restructure significantly \u2014 add or replace multiple layers\n\n## Guidelines\n1. ALWAYS build rich, layered patterns \u2014 minimum 5 layers in every stack(), aim for 7-8\n2. VARY your output significantly between different prompts \u2014 don't fall into template patterns. Different user prompts should produce genuinely different music\n3. Use cat() to create multi-section compositions when appropriate (verse/chorus, buildup/drop)\n4. Interpret user prompts CREATIVELY \u2014 map emotions, imagery, and genres to specific musical decisions\n5. Use .cpm() to set appropriate tempo for genre \u2014 don't leave everything at default tempo\n6. Use proper mix hierarchy \u2014 not everything at the same gain level\n\n## Examples\n\nUser: \"start with something chill\"\n{\n \"code\": \"stack(\\n note(\\\"<[c3,eb3,g3,bb3] [ab2,c3,eb3,g3] [f2,ab2,c3,eb3] [g2,bb2,d3,f3]>/2\\\")\\n .s(\\\"triangle\\\")\\n .lpf(sine.range(400, 1200).slow(8))\\n .room(0.7).size(0.9)\\n .gain(0.35),\\n note(\\\"<c2 ab1 f2 g2>/2\\\")\\n .s(\\\"sawtooth\\\")\\n .lpf(250)\\n .gain(0.55),\\n note(\\\"<g4 ~ [eb4 f4] ~> <~ c5 ~ [bb4 ab4]>/4\\\")\\n .s(\\\"sine\\\")\\n .gain(0.12)\\n .delay(0.5).delaytime(0.375).delayfeedback(0.5)\\n .pan(sine.slow(5)),\\n s(\\\"bd ~ [~ bd] ~\\\")\\n .gain(0.65)\\n .lpf(800),\\n s(\\\"~ sd ~ sd?\\\")\\n .gain(0.3)\\n .room(0.5),\\n s(\\\"[~ hh]*4\\\")\\n .gain(sine.range(0.1, 0.3).slow(4))\\n .pan(sine.slow(3)),\\n s(\\\"~ ~ oh/2 ~\\\")\\n .gain(0.15)\\n .delay(0.4).delaytime(0.375),\\n s(\\\"rim(3,8)\\\")\\n .gain(0.12)\\n .pan(0.7)\\n .sometimes(x => x.delay(0.3))\\n).slow(1.4)\",\n \"mcCommentary\": \"Smooth C minor sevenths drifting over a halftime groove. Delayed sine melody floating on top. Vibes.\"\n}\n\nUser: \"something dark and heavy\"\n{\n \"code\": \"stack(\\n note(\\\"<c1 c1 [c1 db1] c1>/4\\\")\\n .s(\\\"sine\\\")\\n .fmh(2).fmi(sine.range(1, 5).slow(4))\\n .lpf(sine.range(100, 400).slow(8))\\n .gain(0.7),\\n note(\\\"<[c3,eb3,gb3] [c3,eb3,gb3] [db3,f3,ab3] [bb2,db3,e3]>/4\\\")\\n .s(\\\"sawtooth\\\")\\n .lpf(600)\\n .attack(0.01).decay(0.3).sustain(0.1).release(0.4)\\n .room(0.8).size(0.95)\\n .gain(0.25),\\n note(\\\"<c4 ~ eb4 ~> <~ db4 ~ bb3>/2\\\")\\n .s(\\\"sine\\\")\\n .fmh(3).fmi(1.5)\\n .gain(0.15)\\n .delay(0.5).delaytime(0.333).delayfeedback(0.6)\\n .pan(sine.slow(5)),\\n s(\\\"bd*4\\\")\\n .gain(0.85),\\n s(\\\"~ [~ cp] ~ cp\\\")\\n .gain(0.5)\\n .room(0.4)\\n .every(4, x => x.fast(2)),\\n s(\\\"hh*8\\\")\\n .gain(\\\"<0.25 0.3 0.35 0.3>\\\")\\n .pan(sine.fast(2)),\\n s(\\\"[rim:1 rim:0]*2\\\")\\n .gain(0.2)\\n .vowel(\\\"a\\\"),\\n s(\\\"oh/4\\\")\\n .gain(0.15)\\n .lpf(2000)\\n .room(0.6)\\n).cpm(67).hpf(30)\",\n \"mcCommentary\": \"FM sub growling through diminished stacks. ADSR plucks cutting like razors. Industrial darkness.\"\n}\n\nUser: \"make it funky\"\n{\n \"code\": \"stack(\\n n(\\\"0 ~ 0 ~ ~ 3 ~ 5\\\")\\n .scale(\\\"C:dorian\\\")\\n .s(\\\"sawtooth\\\")\\n .lpf(900)\\n .gain(0.6),\\n n(\\\"<[0,2,4,6] ~ [3,5,7,9] [~ [4,6,8,10]]>/2\\\")\\n .scale(\\\"C:dorian\\\")\\n .superimpose(x => x.add(12))\\n .s(\\\"square\\\")\\n .lpf(1800)\\n .attack(0.005).decay(0.15).sustain(0.05).release(0.1)\\n .gain(0.3)\\n .room(0.2),\\n n(\\\"<7 ~ 9 [8 7]> <~ 4 ~ 5>\\\")\\n .scale(\\\"C:dorian\\\")\\n .s(\\\"square\\\")\\n .lpf(2500)\\n .gain(0.2)\\n .delay(0.2).delaytime(0.125),\\n s(\\\"bd ~ [bd ~] [~ bd]\\\")\\n .gain(0.8),\\n s(\\\"~ sd ~ [sd ~ sd?]\\\")\\n .gain(0.6)\\n .room(0.15),\\n s(\\\"[~ hh]*4\\\")\\n .gain(0.35),\\n s(\\\"cp(5,8)\\\")\\n .gain(0.25)\\n .pan(0.7)\\n .every(3, x => x.rev()),\\n s(\\\"cb*8\\\")\\n .gain(perlin.range(0.05, 0.2))\\n .pan(sine.slow(2))\\n).swing(0.6).cpm(63).hpf(40)\",\n \"mcCommentary\": \"Dorian scale funk with staccato chord stabs. Swing feel and superimposed octaves. Groove city!\"\n}\n\nUser: \"take me to outer space\"\n{\n \"code\": \"stack(\\n note(\\\"<[c3,g3,b3,e4] [a2,e3,b3,d4] [f2,c3,g3,a3] [g2,d3,a3,c4]>/4\\\")\\n .s(\\\"triangle\\\")\\n .lpf(sine.range(600, 2500).slow(16))\\n .room(0.9).size(0.99)\\n .gain(0.3),\\n note(\\\"<c2 a1 f1 g1>/4\\\")\\n .s(\\\"sine\\\")\\n .gain(0.5),\\n note(\\\"<e5 ~ [b4 d5] ~> <~ g5 ~ [a5 e5]>/2\\\")\\n .s(\\\"sine\\\")\\n .lpf(3000)\\n .gain(0.12)\\n .delay(0.6).delaytime(0.5).delayfeedback(0.7)\\n .pan(sine.slow(7))\\n .jux(x => x.slow(1.5)),\\n note(\\\"c6(3,8)\\\")\\n .s(\\\"triangle\\\")\\n .gain(0.06)\\n .delay(0.7).delaytime(0.666).delayfeedback(0.5)\\n .pan(perlin.range(0, 1)),\\n s(\\\"bd ~ ~ bd:1\\\")\\n .gain(0.55)\\n .room(0.6),\\n s(\\\"~ [~ sd?] ~ ~\\\")\\n .gain(0.25)\\n .room(0.7)\\n .delay(0.4),\\n s(\\\"hh(5,8)\\\")\\n .gain(perlin.range(0.05, 0.2))\\n .pan(sine.slow(4)),\\n s(\\\"cr/4\\\")\\n .gain(0.08)\\n .room(0.9).size(0.99)\\n .speed(0.5)\\n).slow(1.8).jux(x => x.rev())";
3
3
  export declare const ROLE_GUIDANCE: Record<string, string>;
4
4
  export declare function buildLayerPrompt(role: string): string;
5
5
  //# sourceMappingURL=prompts.d.ts.map
package/dist/lib/prompts.d.ts.map CHANGED
@@ -1 +1 @@
1
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+ {"version":3,"file":"prompts.d.ts","sourceRoot":"","sources":["../../src/lib/prompts.ts"],"names":[],"mappings":"AASA,eAAO,MAAM,iBAAiB,0qQAwHkP,CAAC;AAMjR,eAAO,MAAM,aAAa,urwBAgLi8B,CAAC;AAM59B,eAAO,MAAM,aAAa,EAAE,MAAM,CAAC,MAAM,EAAE,MAAM,CAYhD,CAAC;AAEF,wBAAgB,gBAAgB,CAAC,IAAI,EAAE,MAAM,GAAG,MAAM,CA4BrD"}
package/dist/lib/prompts.js CHANGED
@@ -89,7 +89,7 @@ Usage examples:
89
89
 
90
90
  ### Advanced Pattern Techniques
91
91
  - .superimpose(fn) — layer a transformed copy ON TOP of the original
92
- e.g. note("c3 e3 g3").superimpose(x => x.add(12)) — octave doubling
92
+ e.g. note("c3 e3 g3").superimpose(x => x.add(12)).s("sawtooth") — octave doubling (apply .add() BEFORE .s()!)
93
93
  - .arp("up") / .arp("down") / .arp("updown") — arpeggiate chords
94
94
  e.g. note("[c3,e3,g3,b3]").arp("up").s("triangle") — rising arp
95
95
  - .struct("x ~ x x ~ x ~ x") — impose a rhythmic structure on any pattern
@@ -124,7 +124,8 @@ Usage examples:
124
124
  7. When using .scale(), use n() with numbers, NOT note() with letter names
125
125
  8. .slow() makes patterns LONGER/SLOWER, .fast() makes them SHORTER/FASTER
126
126
  9. .cpm() goes on the outermost pattern, not individual layers
127
- 10. NEVER use .shape(), .crush(), or .coarse() — they require AudioWorklet which is not available`;
127
+ 10. NEVER use .shape(), .crush(), or .coarse() — they require AudioWorklet which is not available
128
+ 11. NEVER use .add() inside .superimpose() or .jux() AFTER .s() or other control methods like .gain(), .lpf() — this causes "Can't do arithmetic on control pattern" console spam. Always place .superimpose(x => x.add(12)) or .jux(x => x.add(0.05)) BEFORE .s() in the chain`;
128
129
  // ---------------------------------------------------------------------------
129
130
  // Full system prompt — used by the main generateAndPlay flow.
130
131
  // ---------------------------------------------------------------------------
@@ -224,9 +225,9 @@ Build grooves with character, not just metronomic hits:
224
225
  - Use .speed() on percussion to pitch-shift drums into new territory
225
226
  - Detune layers: stack the same synth note with one copy slightly .speed(1.01) for thickness
226
227
  - Use sample variants (bd:0, bd:1, sd:0, sd:1) for subtle timbral shifts in drum patterns
227
- - Unison detune: superimpose the same note with .add(0.1) for subtle chorus/thickness
228
- - Wide unison: .jux(x => x.add(0.05)) for stereo detune effect
229
- - Octave layers: .superimpose(x => x.add(12).gain(0.3)) for instant fullness
228
+ - Unison detune: note("c3").superimpose(x => x.add(0.1)).s("sawtooth") — .add() BEFORE .s() to avoid control pattern warnings
229
+ - Wide unison: note("c3").jux(x => x.add(0.05)).s("sawtooth") — .add() BEFORE .s()
230
+ - Octave layers: n("0 2 4").superimpose(x => x.add(12)).s("sawtooth").gain(0.3) — octave doubling before synth/effects
230
231
  - FM bass: note("c1").s("sine").fmh(2).fmi(3).lpf(400) — sub bass with harmonic complexity
231
232
 
232
233
  ## Prompt Interpretation
@@ -298,7 +299,7 @@ User: "something dark and heavy"
298
299
 
299
300
  User: "make it funky"
300
301
  {
301
- "code": "stack(\\n n(\\"0 ~ 0 ~ ~ 3 ~ 5\\")\\n .scale(\\"C:dorian\\")\\n .s(\\"sawtooth\\")\\n .lpf(900)\\n .gain(0.6),\\n n(\\"<[0,2,4,6] ~ [3,5,7,9] [~ [4,6,8,10]]>/2\\")\\n .scale(\\"C:dorian\\")\\n .s(\\"square\\")\\n .lpf(1800)\\n .attack(0.005).decay(0.15).sustain(0.05).release(0.1)\\n .gain(0.3)\\n .room(0.2)\\n .superimpose(x => x.add(12).gain(0.15)),\\n n(\\"<7 ~ 9 [8 7]> <~ 4 ~ 5>\\")\\n .scale(\\"C:dorian\\")\\n .s(\\"square\\")\\n .lpf(2500)\\n .gain(0.2)\\n .delay(0.2).delaytime(0.125),\\n s(\\"bd ~ [bd ~] [~ bd]\\")\\n .gain(0.8),\\n s(\\"~ sd ~ [sd ~ sd?]\\")\\n .gain(0.6)\\n .room(0.15),\\n s(\\"[~ hh]*4\\")\\n .gain(0.35),\\n s(\\"cp(5,8)\\")\\n .gain(0.25)\\n .pan(0.7)\\n .every(3, x => x.rev()),\\n s(\\"cb*8\\")\\n .gain(perlin.range(0.05, 0.2))\\n .pan(sine.slow(2))\\n).swing(0.6).cpm(63).hpf(40)",
302
+ "code": "stack(\\n n(\\"0 ~ 0 ~ ~ 3 ~ 5\\")\\n .scale(\\"C:dorian\\")\\n .s(\\"sawtooth\\")\\n .lpf(900)\\n .gain(0.6),\\n n(\\"<[0,2,4,6] ~ [3,5,7,9] [~ [4,6,8,10]]>/2\\")\\n .scale(\\"C:dorian\\")\\n .superimpose(x => x.add(12))\\n .s(\\"square\\")\\n .lpf(1800)\\n .attack(0.005).decay(0.15).sustain(0.05).release(0.1)\\n .gain(0.3)\\n .room(0.2),\\n n(\\"<7 ~ 9 [8 7]> <~ 4 ~ 5>\\")\\n .scale(\\"C:dorian\\")\\n .s(\\"square\\")\\n .lpf(2500)\\n .gain(0.2)\\n .delay(0.2).delaytime(0.125),\\n s(\\"bd ~ [bd ~] [~ bd]\\")\\n .gain(0.8),\\n s(\\"~ sd ~ [sd ~ sd?]\\")\\n .gain(0.6)\\n .room(0.15),\\n s(\\"[~ hh]*4\\")\\n .gain(0.35),\\n s(\\"cp(5,8)\\")\\n .gain(0.25)\\n .pan(0.7)\\n .every(3, x => x.rev()),\\n s(\\"cb*8\\")\\n .gain(perlin.range(0.05, 0.2))\\n .pan(sine.slow(2))\\n).swing(0.6).cpm(63).hpf(40)",
302
303
  "mcCommentary": "Dorian scale funk with staccato chord stabs. Swing feel and superimposed octaves. Groove city!"
303
304
  }
304
305
 
package/dist/lib/prompts.js.map CHANGED
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package/dist/mcp/http.d.ts.map CHANGED
@@ -1 +1 @@
1
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1
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package/dist/mcp/http.js CHANGED
@@ -37,9 +37,13 @@ export async function startHttpServer(isBrowserMode = false) {
37
37
  const transport = new StreamableHTTPServerTransport({
38
38
  sessionIdGenerator: () => sid,
39
39
  });
40
- const server = new McpServer({
41
- name: 'dj-claude',
42
- version: '0.1.17',
40
+ const server = new McpServer({ name: 'dj-claude', version: '0.1.18' }, {
41
+ instructions: [
42
+ 'You are jamming live with other agents using DJ Claude — a shared audio engine where all layers combine in real-time.',
43
+ 'Use the jam tools to add layers (drums, bass, melody, chords, pads, fx). Call jam_status to see what others are playing.',
44
+ 'Pass key, tempo, notes, and added_by with each jam call so other agents can coordinate musically.',
45
+ 'Keep it musical. Don\'t ask — just play.',
46
+ ].join(' '),
43
47
  });
44
48
  registerTools(server);
45
49
  registerResources(server);
package/dist/mcp/http.js.map CHANGED
@@ -1 +1 @@
1
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1
+ {"version":3,"file":"http.js","sourceRoot":"","sources":["../../src/mcp/http.ts"],"names":[],"mappings":"AAAA,0EAA0E;AAC1E,2EAA2E;AAC3E,qDAAqD;AAErD,OAAO,EAAE,UAAU,EAAE,MAAM,aAAa,CAAC;AAGzC,OAAO,EAAE,SAAS,EAAE,MAAM,yCAAyC,CAAC;AACpE,OAAO,EAAE,6BAA6B,EAAE,MAAM,oDAAoD,CAAC;AACnG,OAAO,EAAE,mBAAmB,EAAE,MAAM,6CAA6C,CAAC;AAElF,OAAO,EAAE,YAAY,EAAE,MAAM,YAAY,CAAC;AAC1C,OAAO,EAAE,aAAa,EAAE,iBAAiB,EAAE,MAAM,aAAa,CAAC;AAK/D,MAAM,CAAC,KAAK,UAAU,eAAe,CAAC,aAAa,GAAG,KAAK;IACzD,YAAY,CAAC,aAAa,CAAC,CAAC,CAAC,SAAS,CAAC,CAAC,CAAC,MAAM,CAAC,CAAC;IAEjD,MAAM,IAAI,GAAG,MAAM,CAAC,OAAO,CAAC,GAAG,CAAC,cAAc,CAAC,IAAI,IAAI,CAAC;IACxD,MAAM,GAAG,GAAG,mBAAmB,EAAE,CAAC;IAElC,oCAAoC;IACpC,MAAM,QAAQ,GAAG,IAAI,GAAG,EAA2E,CAAC;IAEpG,sCAAsC;IACtC,GAAG,CAAC,IAAI,CAAC,MAAM,EAAE,KAAK,EAAE,GAAQ,EAAE,GAAQ,EAAE,EAAE;QAC5C,MAAM,SAAS,GAAG,GAAG,CAAC,OAAO,CAAC,gBAAgB,CAAuB,CAAC;QAEtE,IAAI,SAAS,IAAI,QAAQ,CAAC,GAAG,CAAC,SAAS,CAAC,EAAE,CAAC;YACzC,MAAM,OAAO,GAAG,QAAQ,CAAC,GAAG,CAAC,SAAS,CAAE,CAAC;YACzC,MAAM,OAAO,CAAC,SAAS,CAAC,aAAa,CAAC,GAAG,EAAE,GAAG,EAAE,GAAG,CAAC,IAAI,CAAC,CAAC;YAC1D,OAAO;QACT,CAAC;QAED,0DAA0D;QAC1D,IAAI,SAAS,EAAE,CAAC;YACd,GAAG,CAAC,MAAM,CAAC,GAAG,CAAC,CAAC,IAAI,CAAC;gBACnB,OAAO,EAAE,KAAK;gBACd,KAAK,EAAE,EAAE,IAAI,EAAE,CAAC,KAAK,EAAE,OAAO,EAAE,mBAAmB,EAAE;gBACrD,EAAE,EAAE,IAAI;aACT,CAAC,CAAC;YACH,OAAO;QACT,CAAC;QAED,mEAAmE;QACnE,qEAAqE;QACrE,iCAAiC;QACjC,MAAM,GAAG,GAAG,UAAU,EAAE,CAAC;QACzB,MAAM,SAAS,GAAG,IAAI,6BAA6B,CAAC;YAClD,kBAAkB,EAAE,GAAG,EAAE,CAAC,GAAG;SAC9B,CAAC,CAAC;QAEH,MAAM,MAAM,GAAG,IAAI,SAAS,CAC1B,EAAE,IAAI,EAAE,WAAW,EAAE,OAAO,EAAE,QAAQ,EAAE,EACxC;YACE,YAAY,EAAE;gBACZ,uHAAuH;gBACvH,0HAA0H;gBAC1H,mGAAmG;gBACnG,0CAA0C;aAC3C,CAAC,IAAI,CAAC,GAAG,CAAC;SACZ,CACF,CAAC;QAEF,aAAa,CAAC,MAAM,CAAC,CAAC;QACtB,iBAAiB,CAAC,MAAM,CAAC,CAAC;QAE1B,SAAS,CAAC,OAAO,GAAG,GAAG,EAAE;YACvB,QAAQ,CAAC,MAAM,CAAC,GAAG,CAAC,CAAC;QACvB,CAAC,CAAC;QAEF,MAAM,MAAM,CAAC,OAAO,CAAC,SAAS,CAAC,CAAC;QAChC,QAAQ,CAAC,GAAG,CAAC,GAAG,EAAE,EAAE,SAAS,EAAE,MAAM,EAAE,CAAC,CAAC;QAEzC,MAAM,SAAS,CAAC,aAAa,CAAC,GAAG,EAAE,GAAG,EAAE,GAAG,CAAC,IAAI,CAAC,CAAC;IACpD,CAAC,CAAC,CAAC;IAEH,iDAAiD;IACjD,GAAG,CAAC,GAAG,CAAC,MAAM,EAAE,KAAK,EAAE,GAAQ,EAAE,GAAQ,EAAE,EAAE;QAC3C,MAAM,SAAS,GAAG,GAAG,CAAC,OAAO,CAAC,gBAAgB,CAAuB,CAAC;QAEtE,IAAI,CAAC,SAAS,IAAI,CAAC,QAAQ,CAAC,GAAG,CAAC,SAAS,CAAC,EAAE,CAAC;YAC3C,GAAG,CAAC,MAAM,CAAC,GAAG,CAAC,CAAC,IAAI,CAAC,EAAE,KAAK,EAAE,kEAAkE,EAAE,CAAC,CAAC;YACpG,OAAO;QACT,CAAC;QAED,MAAM,OAAO,GAAG,QAAQ,CAAC,GAAG,CAAC,SAAS,CAAE,CAAC;QACzC,MAAM,OAAO,CAAC,SAAS,CAAC,aAAa,CAAC,GAAG,EAAE,GAAG,CAAC,CAAC;IAClD,CAAC,CAAC,CAAC;IAEH,gCAAgC;IAChC,GAAG,CAAC,MAAM,CAAC,MAAM,EAAE,KAAK,EAAE,GAAQ,EAAE,GAAQ,EAAE,EAAE;QAC9C,MAAM,SAAS,GAAG,GAAG,CAAC,OAAO,CAAC,gBAAgB,CAAuB,CAAC;QAEtE,IAAI,CAAC,SAAS,IAAI,CAAC,QAAQ,CAAC,GAAG,CAAC,SAAS,CAAC,EAAE,CAAC;YAC3C,GAAG,CAAC,MAAM,CAAC,GAAG,CAAC,CAAC,IAAI,CAAC,EAAE,KAAK,EAAE,oBAAoB,EAAE,CAAC,CAAC;YACtD,OAAO;QACT,CAAC;QAED,MAAM,OAAO,GAAG,QAAQ,CAAC,GAAG,CAAC,SAAS,CAAE,CAAC;QACzC,MAAM,OAAO,CAAC,SAAS,CAAC,KAAK,EAAE,CAAC;QAChC,QAAQ,CAAC,MAAM,CAAC,SAAS,CAAC,CAAC;QAC3B,GAAG,CAAC,MAAM,CAAC,GAAG,CAAC,CAAC,IAAI,CAAC,EAAE,OAAO,EAAE,iBAAiB,EAAE,CAAC,CAAC;IACvD,CAAC,CAAC,CAAC;IAEH,GAAG,CAAC,MAAM,CAAC,IAAI,EAAE,GAAG,EAAE;QACpB,OAAO,CAAC,KAAK,CAAC,kEAAkE,IAAI,MAAM,CAAC,CAAC;QAC5F,OAAO,CAAC,KAAK,CAAC,gEAAgE,CAAC,CAAC;IAClF,CAAC,CAAC,CAAC;AACL,CAAC"}
package/dist/mcp/server.d.ts.map CHANGED
@@ -1 +1 @@
1
- {"version":3,"file":"server.d.ts","sourceRoot":"","sources":["../../src/mcp/server.ts"],"names":[],"mappings":"AAIA,OAAO,EAAE,SAAS,EAAE,MAAM,yCAAyC,CAAC;AAyUpE,wBAAgB,aAAa,CAAC,MAAM,EAAE,SAAS,GAAG,IAAI,CA4hCrD;AAMD,wBAAgB,iBAAiB,CAAC,MAAM,EAAE,SAAS,GAAG,IAAI,CAqDzD;AAMD,wBAAsB,WAAW,CAAC,aAAa,UAAQ,GAAG,OAAO,CAAC,IAAI,CAAC,CAmBtE"}
1
+ {"version":3,"file":"server.d.ts","sourceRoot":"","sources":["../../src/mcp/server.ts"],"names":[],"mappings":"AAIA,OAAO,EAAE,SAAS,EAAE,MAAM,yCAAyC,CAAC;AAgVpE,wBAAgB,aAAa,CAAC,MAAM,EAAE,SAAS,GAAG,IAAI,CA6hCrD;AAMD,wBAAgB,iBAAiB,CAAC,MAAM,EAAE,SAAS,GAAG,IAAI,CAqDzD;AAMD,wBAAsB,WAAW,CAAC,aAAa,UAAQ,GAAG,OAAO,CAAC,IAAI,CAAC,CAmBtE"}
package/dist/mcp/server.js CHANGED
@@ -14,6 +14,11 @@ import { PRESET_MAP, PRESET_NAMES, getPresetsByCategory } from '../lib/presets.j
14
14
  import { getState, setEngineReady, updateAfterPlay, updateAfterHush, addMessage, setAudioMode, setLayer, removeLayer, clearLayers, getLayers, composeLayers, setContext, getContext, saveSnapshot, loadSnapshot, listSnapshots, } from './state.js';
15
15
  import { withEvalLock } from './eval-lock.js';
16
16
  // ---------------------------------------------------------------------------
17
+ // Jam continuation nudge — appended to jam/jam_status responses so any MCP
18
+ // client (not just Claude Code) is encouraged to keep the session going.
19
+ // ---------------------------------------------------------------------------
20
+ const JAM_NUDGE = '\n\n---\nKeep jamming — check jam_status to hear what changed, evolve your layers, add new ones. Don\'t stop.';
21
+ // ---------------------------------------------------------------------------
17
22
  // Engine initialization — kicked off eagerly (node) or lazily (browser).
18
23
  // ---------------------------------------------------------------------------
19
24
  let enginePromise = null;
@@ -507,7 +512,7 @@ export function registerTools(server) {
507
512
  content: [
508
513
  {
509
514
  type: 'text',
510
- text: JSON.stringify({ isPlaying, currentCode, mcCommentary, audioMode, ...layerInfo, ...contextInfo }),
515
+ text: JSON.stringify({ isPlaying, currentCode, mcCommentary, audioMode, ...layerInfo, ...contextInfo }) + JAM_NUDGE,
511
516
  },
512
517
  ],
513
518
  };
@@ -565,13 +570,14 @@ export function registerTools(server) {
565
570
  updateAfterPlay(composed, commentary);
566
571
  const layerCount = getLayers().size;
567
572
  const viz = getPatternViz();
573
+ const base = commentary
574
+ ? `${commentary}\n\nLayer "${role}" added (${layerCount} total):\n\`\`\`javascript\n${layerCode}\n\`\`\`${viz}`
575
+ : `Layer "${role}" added (${layerCount} total):\n\`\`\`javascript\n${layerCode}\n\`\`\`${viz}`;
568
576
  return {
569
577
  content: [
570
578
  {
571
579
  type: 'text',
572
- text: commentary
573
- ? `${commentary}\n\nLayer "${role}" added (${layerCount} total):\n\`\`\`javascript\n${layerCode}\n\`\`\`${viz}`
574
- : `Layer "${role}" added (${layerCount} total):\n\`\`\`javascript\n${layerCode}\n\`\`\`${viz}`,
580
+ text: base + JAM_NUDGE,
575
581
  },
576
582
  ],
577
583
  };
@@ -623,7 +629,7 @@ export function registerTools(server) {
623
629
  const layers = getLayers();
624
630
  if (layers.size === 0) {
625
631
  return {
626
- content: [{ type: 'text', text: 'No active layers. Use the jam tool to add layers.' }],
632
+ content: [{ type: 'text', text: 'No active layers. Use the jam tool to add layers.' + JAM_NUDGE }],
627
633
  };
628
634
  }
629
635
  const entries = Array.from(layers.values()).map((l) => {
@@ -646,7 +652,7 @@ export function registerTools(server) {
646
652
  content: [
647
653
  {
648
654
  type: 'text',
649
- text: JSON.stringify({ layers: entries, composed: composeLayers() }),
655
+ text: JSON.stringify({ layers: entries, composed: composeLayers() }) + JAM_NUDGE,
650
656
  },
651
657
  ],
652
658
  };
@@ -732,7 +738,7 @@ export function registerTools(server) {
732
738
  content: [
733
739
  {
734
740
  type: 'text',
735
- text: JSON.stringify({ layers: layerAnalyses, suggestions, totalLayers: layers.size }),
741
+ text: JSON.stringify({ layers: layerAnalyses, suggestions, totalLayers: layers.size }) + JAM_NUDGE,
736
742
  },
737
743
  ],
738
744
  };
@@ -1163,7 +1169,7 @@ export async function startServer(isBrowserMode = false) {
1163
1169
  }
1164
1170
  const server = new McpServer({
1165
1171
  name: 'dj-claude',
1166
- version: '0.1.17',
1172
+ version: '0.1.18',
1167
1173
  });
1168
1174
  registerTools(server);
1169
1175
  registerResources(server);
package/dist/mcp/server.js.map CHANGED
@@ -1 +1 @@
1
- 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1
+ 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package/package.json CHANGED
@@ -1,6 +1,6 @@
1
1
  {
2
2
  "name": "dj-claude",
3
- "version": "0.1.17",
3
+ "version": "0.1.18",
4
4
  "mcpName": "io.github.p-poss/dj-claude",
5
5
  "description": "AI-generated music in your terminal — DJ Claude CLI",
6
6
  "type": "module",