livepilot 1.10.7 → 1.10.8

package/livepilot/skills/livepilot-core/references/automation-atlas.md

@@ -1,272 +0,0 @@
-# Automation Atlas — LivePilot v1.6
-
-Complete knowledge corpus for musically intelligent automation. Load this reference when working with automation tools.
-
----
-
-## 1. Curve Theory
-
-### Why exponential for filters
-Filter frequency perception is logarithmic (octaves). 100Hz → 200Hz is the same perceptual distance as 1kHz → 2kHz. An exponential curve in the normalized 0–1 range maps to perceptually even movement across the frequency spectrum. Linear automation on a filter sounds like it's rushing through the highs and crawling through the lows. Use `exponential` with `factor` 2.0–3.0 for filter cutoff.
-
-### Why logarithmic for volume
-Human loudness perception follows a logarithmic curve (Weber-Fechner law). -6dB = half perceived loudness, not half amplitude. A logarithmic fade-in sounds smooth; a linear fade-in sounds like nothing happens then suddenly gets loud. Use `logarithmic` with `factor` 2.5–3.5 for volume fades.
-
-### Why S-curve for crossfades
-Natural acceleration/deceleration. Avoids the "hole in the middle" of linear crossfades where combined energy dips. The smoothstep function (3t² - 2t³) ensures the rate of change is zero at both endpoints, so the transition feels organic. Use `s_curve` for any A→B crossfade.
-
-### Why spike for throws
-Dub production technique — instant send level spike creates a single reflection that decays naturally through the reverb/delay tail. Any other shape creates unnatural sustained reflections. The exponential decay (peak × e^(-decay×t)) models how real acoustic energy dissipates.
-
-### Pan is linear
-Stereo position perception is roughly linear. A pan pot moving at constant speed sounds even. No need for perceptual correction on pan automation.
-
-### Resonance is dangerous
-Filter resonance is non-linear — subtle changes at low values, dramatic and potentially destructive at high values. Self-oscillation begins above ~0.85 on most filters. Never automate resonance above 0.85 without explicit user intent. Use `breathing` recipe with reduced amplitude (0.05–0.10) for subtle resonance movement.
-
----
-
-## 2. The Perception-Action Loop (5 levels)
-
-**MANDATORY for all automation work.** Never write automation blind — always perceive first.
-
-### Level 1: Reactive
-Single read, single action. The simplest loop.
-1. `get_master_spectrum` → read frequency content
-2. Identify one issue (e.g., "mud below 200Hz")
-3. Apply one automation (e.g., HP filter sweep)
-4. `get_master_spectrum` → verify improvement
-
-### Level 2: Diagnostic
-Multi-step investigation using EQ as a microscope. See Section 3 (Diagnostic Filter Technique).
-
-### Level 3: Verification
-Act → measure → adjust cycle. For every automation written:
-1. Read spectrum BEFORE
-2. Write automation
-3. Read spectrum AFTER
-4. Compare: did the problem frequency range improve?
-5. If not, `clear_clip_automation` → adjust parameters → try again
-6. Log the successful parameters in memory for reuse
-
-### Level 4: Cross-Track
-Solo each track, build spectral map, write complementary automation.
-1. For each track: solo → `get_master_spectrum` → record fingerprint
-2. Find frequency overlaps between tracks (masking)
-3. Write complementary automation: as kick's filter opens, bass's filter narrows
-4. Verify no new masking was introduced
-5. Store the cross-track map in memory
-
-### Level 5: Full Pipeline
-Per-track analysis across entire session.
-1. Run Level 4 for all tracks
-2. Build session-wide spectral map
-3. Write automation considering all interactions
-4. Verify global mix spectrum
-5. Iterate until balanced
-
----
-
-## 3. Diagnostic Filter Technique
-
-Using EQ Eight as a measurement instrument. Step-by-step:
-
-1. **Load EQ Eight** on target track via `find_and_load_device`
-2. **Configure band 1** as narrow bandpass: Q=8, gain=0dB, frequency=100Hz
-   - Use `set_device_parameter` to set Filter Type to Band Pass, Q to 8.0
-3. **Solo the track** via `set_track_solo`
-4. **Read spectrum** at 100Hz: `get_master_spectrum` → note the `sub` value
-5. **Sweep frequency** through key ranges:
-   - 100Hz, 200Hz, 300Hz, 500Hz, 1kHz, 2kHz, 5kHz, 10kHz
-   - At each: `set_device_parameter` (frequency) → `get_master_spectrum` → record
-6. **Build frequency map**: `{100Hz: 0.18, 200Hz: 0.25, 300Hz: 0.09, ...}`
-7. **Identify problems**: resonance buildup, mud, harshness, dead zones
-8. **Remove diagnostic EQ** — always clean up: `delete_device`
-9. **Un-solo the track**: `set_track_solo` (toggle off)
-10. **Write targeted automation** addressing what was found
-
-### What to look for:
-- **Mud** (200-400Hz): values > 0.20 suggest buildup → HP filter automation
-- **Resonance** (narrow peak in 300-800Hz): ringing → notch filter or gentle sweep
-- **Harshness** (2-5kHz): values > 0.25 suggest brightness → LP filter or shelf automation
-- **Dead zone** (any range with 0.00): frequency hole → boost or different device
-
----
-
-## 4. Genre Recipes
-
-### Techno
-- `filter_sweep_up` on LP cutoff, 32 bars, factor 2.0 — the classic build
-- `sidechain_pump` on pad volume via Utility gain, 1 beat loop
-- `stutter` on vocals before drop, 0.5 beats, frequency 16
-- `stereo_narrow` on master bus, 8 bars before drop → instant widen at drop
-- Long transitions: combine HP filter + reverb send + stereo width, all exponential
-
-### Dub
-- `dub_throw` on Send A at each snare position, 1 beat duration
-- `tape_stop` on clip transpose for transitions, 0.5 beats
-- `washout` on delay feedback, 4 bars → cut at phrase boundary
-- `breathing` on filter cutoff, 4 bars — everything breathes in dub
-- Tip: never automate delay feedback above 0.85 (infinite feedback risk)
-
-### Ambient
-- `breathing` on filter cutoff, 4 bars, amplitude 0.10 — subtle is key
-- `perlin` noise on reverb mix, 8 bars, amplitude 0.15, seed varies
-- `brownian` drift on wavetable position, 16 bars, volatility 0.05
-- Polyrhythmic automation: 3-beat filter + 5-beat reverb + 7-beat pan = 105-beat cycle
-- Less is more. Ambient automation should be felt, not heard.
-
-### Hip Hop
-- `tape_stop` on clip transpose, 0.5 beats — classic vinyl stop
-- `vinyl_crackle` on Redux bit depth, 16 bars — lo-fi character
-- `sidechain_pump` on bass under kick, 0.5 beat — tight pocket
-- `fade_out` on filter for transitions between sections
-- Keep automation sparse — hip hop is about groove, not modulation
-
-### IDM / Experimental
-- `stutter` on volume, 0.5 beats, frequency 16 — micro-editing
-- `euclidean` on filter cutoff: 5 hits across 8 steps — rhythmic intelligence
-- `stochastic` on grain parameters, narrowing 0.7 — controlled chaos
-- `spring` on filter cutoff for overshoot character
-- Layer multiple polyrhythmic automations for generative evolution
-
----
-
-## 5. Sound Design Automation
-
-### Wavetable position
-Exponential sweep for timbral morphing over 8–16 bars. The timbral change is often perceptually logarithmic, so exponential automation creates even-sounding evolution.
-
-### Grain size
-Sine modulation at 0.5–2Hz for alive textures. The slow oscillation prevents the grainular artifacts from sounding static. Use `breathing` recipe adapted: center 0.5, amplitude 0.15.
-
-### Reverb decay
-Link inversely to volume: quieter passages get longer tails for natural space. As volume drops, reverb decay increases. Automate both with complementary curves.
-
-### Delay feedback
-Spike for throws (dub technique). NEVER exceed 0.9 on feedback — infinite feedback creates dangerous signal buildup. Use `dub_throw` recipe with peak capped at 0.85.
-
-### Filter resonance
-Subtle sine modulation creates vocal/crying quality. Watch for self-oscillation above 0.85. Use amplitude 0.05–0.10 for subtle character, 0.15–0.25 for expressive.
-
----
-
-## 6. Arrangement Techniques
-
-### The Build (16–32 bars before drop)
-Combine multiple automations, all exponential:
-1. HP filter: 0→0.6 (remove low end gradually)
-2. Volume: 0.7→1.0 (subtle lift)
-3. Reverb send: 0→0.5 (add wash)
-4. Stereo width: 1.0→0.0 (collapse to mono)
-5. At drop: instant step back to defaults
-
-### The Drop (instant)
-Step automation restoring all build parameters to default values. No curves — immediate snap. Use `steps` curve with a single value at time 0.
-
-### The Strip (8–16 bars)
-Gradual HP filter rise removing elements one by one:
-1. First: HP filter on bass track (removes bass)
-2. Then: HP filter on drums (removes kick)
-3. Then: HP filter on pads (removes mids)
-4. Only high frequencies remain → transition point
-
-### The Crossfade (2–8 bars)
-S-curve volume automation between two sections:
-- Outgoing track: s_curve from 1.0 to 0.0
-- Incoming track: s_curve from 0.0 to 1.0
-- S-curve prevents the energy dip of linear crossfades
-
----
-
-## 7. Micro-Editing and Humanization
-
-### Velocity vs volume
-Velocity is timbre — it changes how the sound is generated (harder hits, brighter tone). Volume automation is loudness — it changes amplitude after generation. They are different tools.
-
-### Per-note filter accent
-Automate filter cutoff to spike on accented notes. Use `spike` with duration matching the note length. Creates timbral accents without touching velocity.
-
-### Spatial punctuation
-Send spikes on specific hits create spatial depth variation. Snare → reverb throw on beat 2 and 4. Hi-hat → delay throw on off-beats. Use `dub_throw` recipe.
-
-### Humanization via Perlin noise
-Tiny pitch/filter variations make programmed music feel human:
-- `perlin` on detune: amplitude 0.02, frequency 0.5
-- `perlin` on filter cutoff: amplitude 0.05, frequency 0.3
-- Different seeds per track — each voice drifts independently
-
----
-
-## 8. Polyrhythmic Automation
-
-### The concept
-Unlinked automation envelopes with different loop lengths create long, non-repeating cycles:
-- 4-beat clip loop + 3-beat filter envelope + 5-beat reverb envelope
-- Total cycle: LCM(4, 3, 5) = 60 beats before exact repetition
-- 60 beats ≈ 15 bars at 4/4 — feels evolving, never static
-
-### Prime number rule
-Use prime-number beat lengths for maximum non-repetition:
-- 3, 5, 7, 11, 13 beats
-- LCM of primes = their product (all coprime)
-- 3 × 5 × 7 = 105 beats ≈ 26 bars before exact repeat
-
-### Implementation
-1. Create clip with N-beat loop (your base rhythm)
-2. `apply_automation_shape` with `duration` = M beats (M ≠ N, preferably prime)
-3. The automation loops at M beats, the clip loops at N beats
-4. Add another automation with duration = P beats (another prime)
-5. Total cycle = LCM(N, M, P) beats
-
-### Use cases
-Essential for ambient, installation, generative work. Creates the sense of "always evolving" that distinguishes produced music from loops.
-
----
-
-## 9. Cross-Track Spectral Mapping
-
-### Process
-1. **Solo each track** one at a time
-2. **Read spectrum**: `get_master_spectrum` → record {sub, low, mid, high, presence, air}
-3. **Build spectral fingerprint** for each track:
-   ```
-   Kick:  sub=0.45, low=0.30, mid=0.05, high=0.02
-   Bass:  sub=0.35, low=0.40, mid=0.15, high=0.03
-   Pad:   sub=0.05, low=0.15, mid=0.35, high=0.25
-   ```
-4. **Find overlaps**: kick and bass both strong in sub/low = masking
-5. **Write complementary automation**: as kick opens, bass narrows
-6. **Verify**: un-solo all, check master spectrum for improvement
-
-### Complementary automation patterns
-- **Kick + Bass**: sidechain pump on bass volume, or complementary filter sweeps
-- **Vocals + Pads**: automate pad filter to duck in vocal frequency range (1–4kHz)
-- **Multiple synths**: different breathing rates (frequency 0.3, 0.5, 0.7) to weave in/out
-
-### Store findings
-Use `memory_learn` to save spectral maps and successful automation combinations. Build a knowledge base about the session's sounds for consistent decisions.
-
----
-
-## 10. Golden Rules
-
-1. **Always use Utility gain for volume automation** — preserve the mixer fader for mixing. Automate the Utility device's Gain parameter, not track volume.
-
-2. **Exponential for filters, logarithmic for volume** — never linear for either. This is perceptual science, not preference.
-
-3. **Subtle automation (5–15% range) for organic feel; dramatic (full range) for transitions.** Most automation should be felt, not heard. Save the big sweeps for builds and drops.
-
-4. **ALWAYS verify with `get_master_spectrum` after writing automation.** The feedback loop is mandatory, not optional.
-
-5. **Use `clear_clip_automation` before rewriting.** Don't stack conflicting curves — clear first, then write fresh.
-
-6. **Use the diagnostic filter technique before guessing at problem frequencies.** Measurement beats intuition.
-
-7. **Store spectral findings in memory.** Build a knowledge base about this session's sounds. Cross-session awareness makes every future decision better.
-
-8. **Delay feedback NEVER above 0.9.** Infinite feedback creates dangerous signal buildup. Cap at 0.85 for safety, even in experimental contexts.
-
-9. **density 16–32 for most curves.** 16 points per bar gives smooth results for gentle curves. 32 for fast modulations or detailed shapes. Above 64 is rarely worth the overhead.
-
-10. **When in doubt, use a recipe.** The 15 built-in recipes encode production wisdom. Start with the recipe, then customize if needed.

package/livepilot/skills/livepilot-core/references/device-atlas/00-index.md

@@ -1,110 +0,0 @@
-# Device Atlas — Master Index
-
-> Last updated: 2026-03-18 | 10,600+ lines | 330+ devices | 139 drum kits | 350+ IRs | 1,850+ presets mapped
-
-## How to Use This Atlas
-
-**Agent loading strategy:**
-1. Read this index first to understand what's available
-2. Based on the user's request, load only the relevant 1-2 category files
-3. For compound requests ("add compression and reverb"), load both relevant files
-4. For vibe-based requests ("make it darker"), load `presets-by-vibe.md`
-5. Always verify device existence via `search_browser` before loading — the atlas tells you WHAT and WHY, the browser confirms it EXISTS
-
-## Atlas Files
-
-### Sound Processing
-
-| File | Scope | Devices | Lines |
-|------|-------|---------|-------|
-| [dynamics-and-punch.md](dynamics-and-punch.md) | Compressors, limiters, gates, transient shapers | 21 (6 native + 15 M4L) | 525 |
-| [distortion-and-character.md](distortion-and-character.md) | Saturators, fuzz, amp sims, tape, IRs | 17 + 350 IRs | 687 |
-| [space-and-depth.md](space-and-depth.md) | Reverbs, delays, diffusion, spatial | 19 (12 native + 7 M4L) | 571 |
-| [movement-and-modulation.md](movement-and-modulation.md) | Chorus, phaser, LFOs, tremolo, auto-pan | 21 (5 native + 16 M4L) | 874 |
-| [spectral-and-weird.md](spectral-and-weird.md) | Granular, glitch, spectral, experimental | 40 (5 native + 35 M4L) | 714 |
-| [eq-and-filtering.md](eq-and-filtering.md) | EQs, filters, resonators, vocoder | 13 (8 native + 5 M4L) | 402 |
-
-### Sound Generation
-
-| File | Scope | Devices | Lines |
-|------|-------|---------|-------|
-| [synths-native.md](synths-native.md) | All 11 Ableton instruments in depth | 11 native | 953 |
-| [synths-m4l.md](synths-m4l.md) | Fors, Mutable Instruments, Sonus Dept, Spektro, etc. | 34 M4L | 730 |
-| [plugins-synths.md](plugins-synths.md) | AU/VST plugin synths, samplers, drum machines, effects, MIDI tools | 49 entries (85+ plugins) | 1,300+ |
-| [drums-and-percussion.md](drums-and-percussion.md) | Drum Rack, DS synths, kits by genre, M4L drum tools | 18 + 139 kits | 753 |
-
-### MIDI & Composition
-
-| File | Scope | Devices | Lines |
-|------|-------|---------|-------|
-| [midi-tools.md](midi-tools.md) | Arpeggiators, chord tools, sequencers, generative | 45 (13 native + 32 M4L) | 963 |
-
-### Workflow & Utility
-
-| File | Scope | Devices | Lines |
-|------|-------|---------|-------|
-| [utility-and-workflow.md](utility-and-workflow.md) | Meters, mapping, routing, QOL tools | 42 (3 native + 39 M4L) | 843 |
-
-### Cross-References
-
-| File | Scope | Lines |
-|------|-------|-------|
-| [samples-and-irs.md](samples-and-irs.md) | 3,889 samples + Encoder Audio Mojo IR guide | 597 |
-| [presets-by-vibe.md](presets-by-vibe.md) | 14 vibe categories mapping natural language → devices/presets | 727 |
-
-## Quick Routing Guide
-
-**User says something about...** → **Load this file:**
-
-| Request Pattern | Primary File | Secondary File |
-|----------------|-------------|----------------|
-| "make it punchier / harder / tighter" | dynamics-and-punch | distortion-and-character |
-| "add warmth / grit / saturation / fuzz" | distortion-and-character | dynamics-and-punch |
-| "more space / depth / reverb / delay / echo" | space-and-depth | — |
-| "add movement / modulation / wobble / pulse" | movement-and-modulation | — |
-| "glitch / granular / freeze / spectral / weird" | spectral-and-weird | — |
-| "EQ / filter / tone / brighten / darken" | eq-and-filtering | — |
-| "I need a synth / bass / pad / lead" | synths-native | synths-m4l, plugins-synths |
-| "Moog / Drambo / granular / modular / DX7 / sampler plugin" | plugins-synths | — |
-| "drums / beats / kick / snare / hat" | drums-and-percussion | — |
-| "arpeggio / chord / sequence / generative / random" | midi-tools | — |
-| "meter / gain / routing / utility / organize" | utility-and-workflow | — |
-| "dark / ethereal / aggressive / lo-fi / cinematic" | presets-by-vibe | (then load the relevant device file) |
-| "sample / one-shot / loop / IR / convolution" | samples-and-irs | — |
-| "what M4L devices do I have for X" | (search relevant category) | utility-and-workflow |
-
-## Scope Notes
-
-- **[universal]** files: synths-native, eq-and-filtering (native sections), dynamics-and-punch (native sections), space-and-depth (native sections), movement-and-modulation (native sections)
-- **[user-library]** files: All M4L device entries, drums-and-percussion (kit guide), samples-and-irs, presets-by-vibe, utility-and-workflow (M4L sections), synths-m4l, spectral-and-weird (M4L sections)
-- Always `search_browser` to verify M4L device availability before attempting to load
-- The atlas is a strong hint system, not a guarantee — when in doubt, discover via `get_device_parameters`
-
-## M4L Collection Mapping
-
-| Collection | Location in User Library | Atlas Coverage |
-|-----------|------------------------|----------------|
-| CLX_01 (QOL GUI) | MAX MONTY/_CLX_01 | utility-and-workflow |
-| CLX_02 (FX) | MAX MONTY/_CLX_02 | dynamics, distortion, space, eq, movement |
-| CLX_03 (MIDI) | MAX MONTY/_CLX_03 | midi-tools |
-| CLX_04 (GEN) | MAX MONTY/_CLX_04 | spectral-and-weird, synths-m4l |
-| CLX_05 (MOD) | MAX MONTY/_CLX_05 | movement-and-modulation |
-| Fors | MAX MONTY/M4L_fors | synths-m4l, space-and-depth |
-| Mutable Instruments | MAX MONTY/M4L_Mutable Instruments | synths-m4l, midi-tools |
-| Sonus Dept | MAX MONTY/M4L_Sonus Dept | synths-m4l, spectral-and-weird |
-| Confetti | MAX MONTY/M4L_Confetti | spectral-and-weird |
-| J74 | MAX MONTY/M4L_J74 | midi-tools |
-| Isotonik | MAX MONTY/M4L_Isotonik Studios | spectral-and-weird |
-| Altar of Wisdom | MAX MONTY/M4L_Altar of Wisdom | spectral-and-weird |
-| Oscilloscopemusic | MAX MONTY/M4L_Oscilloscopemusic | spectral-and-weird |
-| Soundmanufacture | MAX MONTY/M4L_Soundmanufacture | midi-tools |
-| Robert Henke | MAX MONTY/Robert Henke | utility-and-workflow, spectral-and-weird |
-| Suzuki Kentaro | MAX MONTY/M4L_Suzuki Kentaro | utility-and-workflow |
-| trnr | MAX MONTY/m4l_2024/_CLX_02/trnr | drums-and-percussion, distortion-and-character |
-| pATCHES | MAX MONTY/M4L_pATCHES | utility-and-workflow |
-| S8JFOU | MAX MONTY/M4L_S8JFOU | utility-and-workflow |
-| alexkid | MAX MONTY/M4L_alexkid | utility-and-workflow |
-| Slink | MAX MONTY/M4L_Slink Devices | movement-and-modulation |
-| Iris | MAX MONTY/rem4llives | movement-and-modulation |
-| All MIDI Tools | MAX MONTY/2024_august | midi-tools |
-| Encoder Audio Mojo | MAX MONTY/_CLX_02/Encoder Audio Mojo | distortion-and-character, samples-and-irs |