livepilot 1.26.0 → 1.26.1

package/livepilot/skills/livepilot-core/references/device-knowledge/instruments-synths.md

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+# Synthesizer Instruments — Deep Parameter Knowledge
+
+## Wavetable
+
+Wavetable is Live's most versatile synth. Two oscillators scan through wavetable positions, each with independent effects, filtered through two analog-modeled filters, modulated by three envelopes, two LFOs, and MIDI sources.
+
+### Core Sound Design Parameters
+
+**Osc Position (Osc 1 Pos / Osc 2 Pos):** The most important parameter. Sweeping through the wavetable creates timbral evolution — this IS the sound design. Automate this with a slow LFO (0.05-0.3 Hz) for evolving pads. For aggressive sounds, use fast LFO (2-8 Hz) with high depth.
+
+**Osc Effect 1 / Effect 2:** These transform the wavetable in real-time:
+- **FM (Frequency Modulation):** Adds harmonics and metallic overtones. Low values (5-15%) add subtle complexity. High values (50%+) create aggressive, digital textures. Modulate with an envelope for plucky FM bass.
+- **Classic:** Phase distortion — fattens the sound without adding harsh harmonics. Good for warm pads (10-30%).
+- **Modern:** Waveshaping distortion — more aggressive than Classic. Good for leads and bass (20-50%).
+- **Sync:** Hard sync effect — creates screaming, tearing overtones when swept. Classic for aggressive leads.
+
+**Filter 1 Freq / Filter 2 Freq:** Lowpass is the default. Key insight: use Filter 1 as lowpass and Filter 2 as highpass simultaneously (parallel routing) for bandpass-like resonant sounds. Or use split mode to send each oscillator through its own filter.
+
+**Filter Circuit types:** Each emulates specific analog hardware:
+- **Clean:** Transparent, precise. Good for surgical work.
+- **OSR:** Emulates an MS-20 style filter — aggressive, screamy when resonance is high. Great for acid-style sounds.
+- **MS2:** Another MS-20 variant, slightly different character.
+- **SMP:** Sallen-Key topology — warm, rounded. Classic for pads.
+- **PRD:** Ladder filter emulation — creamy, musical. Classic for bass.
+
+**Unison modes:** Six types, each dramatically different:
+- **Classic:** Standard detuned voices — instant width and fatness.
+- **Shimmer:** Subtle pitch randomization — ethereal, glassy quality.
+- **Noise:** Adds noise to each voice — gritty, textured.
+- **Phase Sync:** Voices sync phases — hollow, metallic.
+- **Position Spread:** Each voice reads a different wavetable position — creates a choir-like spread. VERY powerful for evolving textures.
+- **Random:** Each note has slightly different characteristics — organic, alive.
+
+### Creative Applications
+
+**Evolving dub pad (minimal-techno style):**
+- Osc 1: "Basic Shapes" wavetable, Position 25%, Effect 1 = Classic at 15%
+- Osc 2: "Vintage" wavetable, Position 60%, Effect 1 = FM at 8%
+- Filter 1: Lowpass, Freq 35-45%, Res 15-25%, Circuit = SMP
+- LFO 1 → Osc 1 Pos at 20%, Rate 0.15 Hz (breathing wavetable)
+- LFO 2 → Filter 1 Freq at 10%, Rate 0.08 Hz (filter drift)
+- Unison: Position Spread, Amount 30-40%
+- Env 1 attack: 500ms-2s for slow pad entrance
+
+**SOPHIE-style metallic bass:**
+- Osc 1: "Digital" wavetable, Position 80%+, Effect 1 = Sync at 70%
+- Filter 1: Lowpass, Freq 55%, Res 70%+, Circuit = OSR
+- Short attack, medium decay, low sustain — plucky character
+- Pitch envelope: +12 to +24 semitones, 30-60ms decay — the "zap"
+- Post-processing: Saturator (Sinoid Fold at 60%) → Erosion (Wide Noise)
+
+**Aphex Twin glitch texture:**
+- Osc 1: "Noise" wavetable category, random position
+- Effect 1 = FM at 40-60%, modulated by Env 2 with fast decay
+- Filter: Bandpass, high resonance (70%+), freq modulated by fast LFO (4-12 Hz)
+- Very short notes (32nd, 64th) with random velocity
+- Unison: Noise mode, Amount 50%+
+
+---
+
+## Drift
+
+Drift is designed for organic, analog-sounding synthesis. Its standout feature is the **Drift** parameter — built-in oscillator instability that adds analog warmth automatically. Two oscillators, one noise generator, one filter, one LFO, one cyclic envelope, two standard envelopes.
+
+### Core Sound Design Parameters
+
+**Drift (0-100%):** The signature parameter. At 0% it's perfectly digital. At 25-35% it sounds like a well-maintained analog synth. At 50-70% it sounds like a temperamental vintage unit. At 100% it's beautifully unstable — each note is slightly different. For minimal techno, 35-55% is the sweet spot.
+
+**Osc 1 Wave:** Sine, Triangle, Saw, Square, Pulse, PWM (pulse width modulation), Noise. The Saw and Pulse waves are the bread and butter. PWM with slow shape modulation creates classic analog pad movement.
+
+**Osc 1 Shape (0-100%):** Morphs the wave shape continuously. For Saw, it adds even harmonics (warmer). For Pulse, it changes pulse width. Automate this with the cyclic envelope for timbral evolution.
+
+**Shape Mod Amt:** How much the LFO or cyclic envelope modulates the shape. At 5-15%, it's subtle organic movement. At 30-50%, it's obvious PWM-style modulation. At 70%+, it's aggressive waveshaping.
+
+**LP Freq / LP Reso:** Single lowpass filter. Key insight: Drift's filter has two "types" (I and II) that sound quite different. Type I is smoother, Type II has more resonance character. For dub techno, Type I at medium-low freq (200-500 Hz) with moderate resonance (25-40%).
+
+**LP Mod Amt 1 / LP Mod Amt 2:** How much Env 2 and the LFO modulate the filter. This is where the character lives. High Env 2 modulation = plucky, percussive. High LFO modulation = rhythmic filter movement.
+
+**Cyclic Envelope:** A unique feature — a looping envelope that creates rhythmic or pseudo-random modulation. At low rates (0.1-1 Hz) it adds slow organic movement. At higher rates (2-20 Hz) it creates tremolo or rhythmic pulsing.
+
+**Thickness / Strength / Spread:** Voice stacking parameters:
+- **Thickness:** Adds detuned copies — instant fatness (20-40% for pads)
+- **Strength:** How aggressively the thickness voices detune (10-25% for subtle, 40%+ for aggressive)
+- **Spread:** Stereo width of the thickness voices (30-60% for natural width)
+
+**Noise Gain:** Adding noise at very low levels (-30 to -40 dB) creates the impression of "air" and vintage character without muddying the mix.
+
+### Creative Applications
+
+**Deep minimal techno stab:**
+- Osc 1: Saw, Shape 20%, Drift 40%
+- Osc 2: Sine, -1 octave, slight detune (+2-3 cents) for sub weight
+- Filter: Type I, Freq 400 Hz, Reso 30%
+- Env 2: Fast attack, short decay (80-150ms), low sustain → LP Mod Amt 1 at 50%
+- Result: Short, dark, characterful stab that changes slightly every time (thanks to Drift)
+
+**Organic atmospheric pad:**
+- Osc 1: PWM wave, Shape 40%, Shape Mod 20%
+- Osc 2: Triangle, -1 octave for depth
+- Drift: 55% (very analog, each note is unique)
+- LFO: 0.12 Hz, Amount 35% → filter
+- Cyclic Env: 0.3 Hz, Tilt 60% → shape mod
+- Noise: -35 dB (barely there, adds air)
+- Thickness 30%, Spread 50%
+
+---
+
+## Analog
+
+Two oscillators, two filters, two amplifiers, two LFOs — a classic subtractive architecture that mirrors real analog polysynths. Each section (osc/filter/amp) has its own envelope.
+
+### Core Sound Design Parameters
+
+**Oscillator Shapes:** Sine, Saw, Square/Pulse, Noise per oscillator. Key insight: enabling **both** oscillators and setting them to slightly different tunings creates instant width and depth. Classic technique: Osc 1 = Saw, Osc 2 = Saw detuned +3-7 cents.
+
+**Sub/Sync modes:**
+- **Sub:** Osc 2 generates a sub-octave — instant bass weight
+- **Sync:** Osc 1 hard-syncs to Osc 2 — classic screaming sync sound when you sweep Osc 1's coarse frequency
+
+**Filter (F1/F2):** Each has 10 types including LP12, LP24, HP12, HP24, BP, Notch, and various drive types (Sym1, Sym2, Asym). The drive types add different saturation characters:
+- **Off:** Clean, transparent
+- **Sym1:** Gentle soft clipping — warm
+- **Sym2:** Harder clipping — crunchy
+- **Asym:** Asymmetric clipping — even harmonics, tube-like warmth
+
+**F1 Freq < Env / F1 Freq < LFO:** Filter modulation sources. Key: the filter envelope amount goes from -1 to +1. Negative values make the filter close on attack (unusual but useful for reversed-sounding plucks).
+
+**Glide:** Portamento between notes. Essential for 808-style bass slides. 10-20% for subtle, 30-50% for obvious glide. Enable **Legato** so glide only happens when notes overlap.
+
+### Creative Applications
+
+**808 bass from scratch:**
+- Osc 1: Sine, Octave -1 (or -2 for very deep sub)
+- Osc 2: Sine, Octave -2, Mode = Sub
+- F1: LP24, Sym2 drive, Freq 28% (≈190 Hz)
+- F1 Freq < Env: 30-40% (pluck character)
+- FEG: Fast attack, short decay (150-250ms), low sustain
+- AEG: Fast attack, long decay (1.5-3s), medium sustain
+- Voices: 1 (mono), Glide ON at 15%
+- Post: Saturator → Pedal (Fuzz at 30%) for harmonics and grit
+
+**Acid bass (303 style):**
+- Osc 1: Saw (or Square for hollow variant)
+- F1: LP24, OSR circuit if available (or Sym2 for aggressive), Freq 30%, Reso 65%+
+- F1 Freq < Env: 60-80% (the acid squelch)
+- FEG: Zero attack, very short decay (30-80ms), zero sustain
+- Accent via velocity → filter cutoff mapping
+- Voices: 1 (mono), Legato ON, Glide 20%
+
+---
+
+## Operator
+
+Four-oscillator FM synth. Each oscillator can be a carrier (audible) or modulator (shapes another oscillator). 11 algorithms determine the routing. Also includes a filter and LFO.
+
+### Core Concept: FM Synthesis
+
+FM synthesis creates complex timbres from simple waveforms by modulating one oscillator's frequency with another. The **ratio** between modulator and carrier determines the harmonic content:
+- Integer ratios (1:1, 2:1, 3:1) = harmonic, musical sounds
+- Non-integer ratios (1:1.41, 3:2.7) = inharmonic, metallic, bell-like sounds
+
+The **modulator level** (Osc B/C/D Level when they modulate Osc A) determines intensity:
+- 0-20%: Subtle timbral coloring
+- 20-50%: Clear FM character, metallic harmonics
+- 50-80%: Aggressive, complex, potentially harsh
+- 80-100%: Extreme, noisy, glitchy
+
+### Core Sound Design Parameters
+
+**Algorithm:** Determines which oscillators modulate which. Key algorithms:
+- **Alg 1:** D→C→B→A (serial) — maximum complexity, each modulator stacks
+- **Alg 7:** All four independent carriers — additive synthesis, organ-like
+- **Alg 3:** Two pairs (C→A, D→B) — two independent FM voices, good for layering
+- **Alg 11:** Three modulators into one carrier — most extreme FM
+
+**Osc Coarse/Fine tuning:** The ratio control. Setting Osc B Coarse to 2, 3, 4 creates harmonic FM. Setting it to 1.41 or 7.13 creates metallic/bell timbres. The Fine tune (0-1000) allows micro-detuning for beating and organic quality.
+
+**Feedback (per oscillator):** Self-modulation — the oscillator modulates itself. Low values (5-15%) add warmth and body. High values (30-50%) add noise and grit. Very high values (70%+) create noise generators.
+
+**Pitch Envelope:** Essential for electronic sounds. A pitch drop on the carrier creates kick drums (Amount 100%, Peak +24st, Decay 15-50ms). A pitch rise on a modulator creates zaps and laser sounds.
+
+**Filter:** Operator's filter is the same engine as Wavetable's — Clean, OSR, MS2, SMP, PRD circuits. Using it after FM synthesis tames harsh harmonics while keeping character.
+
+**Tone:** Global brightness control (0-100%). At 50% it's neutral. Below 50% it progressively filters high harmonics (warmer). Above 50% it boosts presence. Quick way to shape without touching the filter.
+
+### Creative Applications
+
+**Glitch percussion (Autechre style):**
+- Algorithm 1 (serial): D→C→B→A
+- Osc A: Sine 8bit wave, Coarse 1, Feedback 15%, Short decay (30ms)
+- Osc B: Sine, Coarse 7, Fine 130 (inharmonic), Level 70%, Short decay (47ms)
+- Osc C: Sine, Coarse 3, Fine 50, Level 50%, Very short decay (27ms)
+- Osc D: Sine, Coarse 1, Level 0% (inactive but available for modulation)
+- Pitch Env: +24st, Decay 15ms (click/zap transient)
+- LFO: SwDown wave, High range, Rate 100 → filter for rhythmic gating
+- Shaper: Hard at 60% drive for digital crunch
+
+**FM bell/metallic hit:**
+- Algorithm 3 (two pairs)
+- Osc A: Sine, Coarse 1 (fundamental)
+- Osc B: Sine, Coarse 3.51 (inharmonic), Level 45%, Decay 800ms
+- Osc C: Sine, Coarse 1 (second fundamental, detuned +5 Fine)
+- Osc D: Sine, Coarse 7.03 (inharmonic), Level 30%, Decay 400ms
+- Long release on carriers (2-4s) for sustaining bell tone
+- Post: Reverb with long decay for shimmering bell
+
+**Sub bass with character:**
+- Algorithm 7 (all carriers — additive)
+- Osc A: Sine, Coarse 1, Level 85% (fundamental)
+- Osc B: Sine, Coarse 2, Level 30% (first harmonic — adds audibility on small speakers)
+- Osc C: Off
+- Osc D: Sine, Coarse 1, Feedback 40% (noise-like, level 15% for sub rumble)
+- Filter: LP24, Freq 65% (cuts harsh harmonics), Drive 6dB
+
+---
+
+## Meld
+
+Two "macro oscillators" with multiple synthesis methods per oscillator. The oscillators are named "engines" and each provides a different synthesis approach. Extensive modulation matrix.
+
+### Core Concept
+
+Meld's power is in combining two different synthesis engines. Each oscillator slot can be:
+- **Swarm:** Multiple detuned voices — supersaw-like
+- **Noise:** Filtered noise with tonal character
+- **Sub:** Clean sub oscillator
+- **FM:** Frequency modulation
+- **Virtual Analog:** Classic waveforms
+- **Grain:** Granular-like texture
+
+### Creative Applications
+
+**Wall of sound chords (from Ableton's tutorial):**
+- Engine 1: Swarm with high voice count, moderate detune
+- Engine 2: FM with subtle modulation
+- Matrix: LFO → Engine 1 detune amount for slow chorus movement
+- Post-processing: Roar (parallel mode, gentle saturation) → Hybrid Reverb
+
+**Sub bass with harmonics:**
+- Engine 1: Sub (clean sine)
+- Engine 2: Virtual Analog (saw, heavily filtered) for harmonic content
+- Matrix: Velocity → Engine 2 filter cutoff (harder hits = brighter harmonics)
+- Post: Saturator (Soft Sine curve) for gentle warmth

package/livepilot/skills/livepilot-core/references/genre-vocabularies.md

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+# Genre Vocabularies — Aesthetic → Tool Manifold
+
+A genre-level complement to `artist-vocabularies.md`. Where the artist file says
+"Villalobos uses X", this file says "microhouse aesthetic uses X regardless of who
+is making it."
+
+Each genre entry has:
+- **Tempo / time** — the sonic starting point
+- **Kick** — character + frequency / tempo recommendations
+- **Bass** — character + register
+- **Percussion** — style, layering, aesthetic
+- **Harmonic material** — synth/sampled, tonal vs atonal, key tendencies
+- **Texture / atmosphere** — what fills space
+- **Reach for** — LivePilot devices by role
+- **Avoid** — anti-patterns that kill the genre
+
+LLMs encountering "make me a <genre> track" should read this before choosing tools.
+**These are not recipes.** Every entry is a set of constraints and opinions that
+leave creative choice to the LLM + user.
+
+> **v1.18+ structured packets:** each genre below also has a machine-readable
+> YAML packet at `concepts/genres/<slug>.yaml`. The narrative here is the
+> human-facing overview; the YAML is the source-of-truth for director
+> compilation. When updating a genre, update BOTH. Schema: `concepts/_schema.md`.
+
+---
+
+## Microhouse
+**Tempo / time:** 122-128 BPM, straight 4/4 with constant micro-variation.
+**Kick:** Minimal, short decay, ~55 Hz fundamental. Not the feature.
+**Bass:** Filtered mid-bass, occasional sub-layer. Warm, sometimes tonal.
+**Percussion:** Hyper-chopped vocal snippets, glass/metal percussion, shakers,
+conga/cuica hits. The PERCUSSION is the genre, not the kick.
+**Harmonic:** Chord stabs filtered, sometimes pitched vocal fragments as hooks.
+In-key D minor / A minor / F minor common.
+**Texture:** Field recordings, vinyl crackle, reverb tails at -20 to -30 dB hidden
+under main elements.
+**Reach for:**
+- Instruments: Simpler (slicing, One-Shot for pitched chops), Snipper, Drift, Poli,
+  Granulator III
+- FX: PitchLoop89, Auto Filter (band-pass sweeps), Convolution Reverb, Gated Delay,
+  Variations (for stab morphing)
+- Packs: Voice Box, Chop and Swing, Latin Percussion, Lost and Found, Mood Reel
+**Avoid:** Loud kicks, sidechain, long-sustain melody, bright overtones, repeated
+8-bar loops.
+**Canonical artists:** Akufen, Isolée, Luomo, Villalobos (microhouse-leaning tracks),
+Robag Wruhme, Dimbiman.
+**Key techniques:** `"Vocal micro-chop (Akufen)"` (simpler), `"micro_chop"`, `"dub_throw"`,
+`"Hat replay pitch drift"` (snipper).
+
+---
+
+## Dub Techno
+**Tempo / time:** 120-130 BPM, rigid 4/4.
+**Kick:** Low mid (60-80 Hz fundamental), short, not aggressive. Serves the dub not
+the rave.
+**Bass:** Pure sine sub at fundamental, no modulation, very long release. Felt not
+heard.
+**Percussion:** 909-style hat, minimal closed/open interplay, occasional hand
+percussion, stick-click ghost hits.
+**Harmonic:** Single chord stab (minor 7th or suspended 4th) feeding delay → filter
+→ reverb. The FX chain IS the arrangement.
+**Texture:** Vinyl crackle, rain/nature field recordings, hiss, long reverb tails at
+-10 to -20 dB.
+**Reach for:**
+- Instruments: Poli (warm chord), Drift (simple stab), Simpler for dub-sub samples,
+  Harmonic Drone Generator (Drone Lab)
+- FX: Convolution Reverb (Farfisa Spring, Stocktronics), Echo (long delay with filter
+  on return), Auto Filter (on delay return), Utility (sub → mono)
+- Packs: Drone Lab, Chop and Swing (crackle), Lost and Found (found-sound texture)
+**Avoid:** Bright EQ, crisp transients, complex melody, fast tempo, sidechain
+compression.
+**Canonical artists:** Basic Channel, Rhythm & Sound, Deepchord, Porter Ricks,
+Yagya.
+**Key techniques:** `"The dub chord"` (sound-design-deep.md), `"Reverb as harmony"`,
+`"Delay throws"`, `"Dub sub-bass"` (bass).
+
+---
+
+## Deep Minimal / Villalobos-school
+**Tempo / time:** 125-135 BPM, 4/4 with extreme micro-timing variation and polyrhythms
+suggested via percussion.
+**Kick:** Deep fundamental (40-50 Hz — use `sub_low` analyzer band to verify), short
+envelope, sometimes with internal pitch movement.
+**Bass:** Sub at fundamental + mid-bass layer, often tonal.
+**Percussion:** Latin hand percussion (cuica, conga, guiro, claves) + digital glass/
+metal + heavily chopped vocals. Off-grid micro-timing on most hits.
+**Harmonic:** Chopped vocals AS melody, occasional chord stab, microtonal moments.
+**Texture:** Constant field-recording / found-sound subtext, reverb tails layered
+at -25 to -30 dB.
+**Reach for:**
+- Instruments: Simpler (slicing), Bass (Creative Extensions), Drone Lab (sub-bed),
+  Operator (Haas-style deep bass)
+- FX: PitchLoop89, Convolution Reverb, Phase Pattern (off-grid percussion), Microtuner
+- Packs: Latin Percussion, Lost and Found, Voice Box, Drone Lab, Chop and Swing,
+  Glitch and Wash
+**Avoid:** Quantized drums, 8-bar repetition, bright kicks, dry mix, sidechain.
+**Canonical artists:** Villalobos, Margaret Dygas, Zip, Petre Inspirescu, Raresh,
+rpr soundsystem.
+**Key techniques:** `"Villalobos sub-bass layer"` (simpler), `"Phase Pattern on drum
+clips"`, `"micro_chop"`, `"Arpiar dusty-horn"` (trumpet pp through PitchLoop89).
+
+---
+
+## Minimal Techno
+**Tempo / time:** 128-132 BPM, 4/4.
+**Kick:** Punchy-but-restrained, clean, ~60 Hz.
+**Bass:** Filtered sub with LFO-driven movement, moderate compression.
+**Percussion:** 909 hats, occasional hand percussion, no clutter.
+**Harmonic:** Single evolving source (filter automation IS the melody), occasional
+stab.
+**Texture:** Minimal — one or two background elements, always subtly evolving.
+**Reach for:**
+- Instruments: Analog (Hawtin subtractive), Drift, Operator, Simpler
+- FX: Auto Filter with slow LFO, Convolution Reverb, Echo, Saturator
+- Packs: Core Library synths, Drone Lab
+**Avoid:** Additive arrangement, thick layering, busy percussion, preset chains.
+**Canonical artists:** Plastikman / Richie Hawtin, Robert Hood, Lawrence, Daniel Avery.
+**Key techniques:** `"Hawtin subtractive pad"` (analog), `"Micro-Modulation"`,
+`"Subtraction over addition"`.
+
+---
+
+## Ambient / Drone
+**Tempo / time:** 60-90 BPM or no perceptible tempo. Duration 5-30+ minutes per piece.
+**Kick:** None, or very sparse.
+**Bass:** Sub-bass drone, sustained. Sometimes absent.
+**Percussion:** Absent, or occasional distant bell/chime/rim-shot.
+**Harmonic:** Sustained pads, drones, evolving harmonic fields. Modal or microtonal
+common.
+**Texture:** IS the composition. Reverb, granular, delay, tape degradation.
+**Reach for:**
+- Instruments: Granulator III (Cloud mode), Harmonic Drone Generator, Vector Grain,
+  Emit, Tension (bowed cello), Sampler (orchestral)
+- FX: Convolution Reverb (cathedral/hall), Vector Delay, Delay, Erosion, Dynamic Tube
+- Packs: Drone Lab, Inspired by Nature, Mood Reel, Orchestral Strings/Woodwinds
+  (pp only)
+**Avoid:** Drums, rhythmic patterns, fast elements, bright EQ, hard cuts.
+**Canonical artists:** Stars of the Lid, Tim Hecker, William Basinski, Wolfgang Voigt
+(Gas), Jóhann Jóhannsson, Aphex Twin (ambient phase), Thomas Köner.
+**Key techniques:** `"Grain cloud (Tim Hecker)"` (emit), `"Basinski tape degradation"`
+(vector_grain), `"Slow-motion sustain"`, `"extreme_stretch"`, `"tail_harvest"`.
+
+---
+
+## IDM
+**Tempo / time:** 80-150 BPM, complex rhythms (quintuplets, polyrhythms, non-4/4 common).
+**Kick:** Varied — sometimes 808, sometimes Amen chop, sometimes synthesized.
+**Bass:** Heavy low-end, FM-generated common, sub-modulated.
+**Percussion:** Hyper-detailed, often computer-generated rhythms, non-quantized
+micro-timing, metal/glass samples.
+**Harmonic:** Atonal or microtonal common, melodic fragments rather than sustained
+melody.
+**Texture:** Granular, glitchy, digital artifacts embraced.
+**Reach for:**
+- Instruments: Operator (FM), Vector FM, Wavetable, Emit, Vector Grain, Simpler,
+  Tension, Collision
+- FX: Erosion, Pitch Hack, Roar, Spectral Blur, Grain Delay, Ring Modulator via
+  Operator
+- Packs: Inspired by Nature, Performance Pack (Variations), MIDI Tools (Polyrhythm,
+  Phase Pattern)
+**Avoid:** Clean production, simple 4/4, traditional harmony.
+**Canonical artists:** Aphex Twin, Autechre, Boards of Canada, μ-Ziq, Squarepusher,
+Venetian Snares, Oneohtrix Point Never.
+**Key techniques:** `"Aphex ambient FM pad"` (operator), `"Modulated bell cluster"`
+(vector_fm), `"Chaotic lock-in"` (vector_map), `"granular_scatter"`,
+`"euclidean_slice_trigger"`.
+
+---
+
+## Modern Classical / Cinematic
+**Tempo / time:** 60-90 BPM or rubato (no fixed tempo).
+**Kick:** None, or timpani.
+**Bass:** Cello, double-bass pizzicato, or orchestral bass drum. Not electronic.
+**Percussion:** Absent or orchestral (mallets, timpani, cymbals at pp).
+**Harmonic:** Sustained strings, piano fragments, occasional brass swells. Major/minor
+tonal with occasional chromatic motion.
+**Texture:** Natural hall acoustic, sustained strings, grand piano resonance.
+**Reach for:**
+- Instruments: Sampler (multi-velocity orchestral libraries), Tension (bowed cello),
+  Collision (mallets), Upright Piano (Spitfire), Orchestral Mallets
+- FX: Convolution Reverb (hall / cathedral IR), EQ Eight (gentle high-shelf), Compressor
+  (string bus)
+- Packs: Spitfire Strings/Brass, Orchestral Mallets, Upright Piano, SONiVOX Orchestral
+  Strings/Brass/Woodwinds (pp only)
+**Avoid:** Electronic drums, synthesizers (unless sparse & atmospheric), compressed
+mix, bright EQ.
+**Canonical artists:** Max Richter, Jóhann Jóhannsson, Hildur Guðnadóttir, Nils Frahm,
+Max Cooper.
+**Key techniques:** `"Orchestral multi-velocity"` (sampler), `"Bowed cello low register"`
+(tension), `"Single sustained note pedal-down"` (Upright Piano).
+
+---
+
+## Hip-Hop (Boom Bap / Lo-Fi)
+**Tempo / time:** 85-95 BPM, swing 60-70% (Dilla-feel requires manual micro-timing,
+not groove template).
+**Kick:** Warm, sometimes dusty. ~55-65 Hz fundamental.
+**Bass:** Electric bass samples, 808 alternative on modern tracks.
+**Percussion:** Chopped breaks (Amen, Funky Drummer, Impeach the President, The
+Mexican, Apache), dusty snares, vinyl-saturated hats.
+**Harmonic:** Chopped soul/jazz loops, Rhodes/Wurly samples, sometimes unintentional
+key clashes that become the sound.
+**Texture:** Vinyl crackle, tape hiss, saturator on drum bus.
+**Reach for:**
+- Instruments: Simpler (classic mode for stabs, slicing for drum breaks), Electric
+  Keyboards, Bass
+- FX: Saturator, Vinyl Distortion, Erosion, Dynamic Tube, Tape Delay via Grain Delay,
+  Gated Delay (Creative Extensions)
+- Packs: Chop and Swing, Golden Era Hip-Hop Drums, Drum Booth, Electric Keyboards,
+  Core Library samples
+**Avoid:** Quantized drums, clean production, modern trap hats, synth bass.
+**Canonical artists:** J Dilla, DJ Premier, Madlib, RZA, Pete Rock, Nujabes.
+**Key techniques:** `"J Dilla micro-timed kit"` (simpler), `"Tape-warped EP"` (electric),
+`"slice_and_sequence"`, `"stab_isolation"`.
+
+---
+
+## Trap / Modern Hip-Hop
+**Tempo / time:** 130-160 BPM (half-time feel = 65-80 BPM perceived).
+**Kick:** 808 sub-bass (sine with pitch envelope down), long decay.
+**Bass:** 808 IS the bass. No separate bassline.
+**Percussion:** Crisp snappy snares, hyper-fast hi-hat rolls (1/32, 1/64), metal shakers,
+claps doubled with snare.
+**Harmonic:** Minor-key melody, heavily-tuned synth stabs, sometimes strings/piano.
+**Texture:** Atmospheric pads, vocal chops, ad-lib snippets.
+**Reach for:**
+- Instruments: Bass (Creative Extensions — 808), Simpler (trap one-shots), Wavetable
+  (stabs), Drum Rack (programmed hats)
+- FX: Compressor (aggressive), Saturator, Reverb, Pitch Hack (ad-lib chops)
+- Packs: Trap Drums, Beat Tools, Splice 808 kits (via sample engine)
+**Avoid:** Live drums, major-key dominance, slow tempo.
+**Canonical artists:** Metro Boomin, Southside, 808 Mafia, Travis Scott (production
+style).
+**Key techniques:** `"808 sub replacement"` (bass), `"Wobble bass"` at reduced depth
+for tonal 808, hat-roll 1/32 programming.
+
+---
+
+## Dubstep / Bass Music (Modern)
+**Tempo / time:** 140 BPM, half-time feel (snare on 3).
+**Kick:** Punchy ~55 Hz, often layered with sub.
+**Bass:** Wobble bass (filter-modulated saw), growl bass (FM-heavy), sub drone.
+**Percussion:** Heavy snare on 3, snappy claps, 909 hi-hats, occasional glitch
+percussion.
+**Harmonic:** Minor-key stabs, filtered chords on breakdowns.
+**Texture:** Industrial atmosphere, noise risers.
+**Reach for:**
+- Instruments: Wavetable (wobble), Operator (FM growl), Bass, Drum Rack
+- FX: Auto Filter (wobble), Compressor (heavy), Saturator, Limiter, Ring Modulator
+- Packs: Drum Essentials (dubstep kits), Skitter and Step, Punch and Tilt
+**Avoid:** Full-step kick pattern, major key, clean mix.
+**Canonical artists:** Skrillex (modern), Skream (OG), Mala, Rusko, Excision.
+**Key techniques:** `"Wobble bass"` (wavetable), `"Reese-style bass"` (bass), half-time
+drum programming.
+
+---
+
+## House / Deep House
+**Tempo / time:** 120-126 BPM, 4/4 straight.
+**Kick:** Full-bodied, ~60 Hz fundamental, compressed, sidechain-friendly.
+**Bass:** Sub + mid-bass layer, tonal, follows chord changes.
+**Percussion:** Open hat on the off-beat, clap on 2+4, shakers.
+**Harmonic:** Chord pads (7th / 9th chords common), Rhodes-style keys, vocal samples.
+**Texture:** Clean digital, occasional vinyl samples.
+**Reach for:**
+- Instruments: Poli (pad), Drift, Electric Keyboards (Rhodes), Bass, Simpler
+- FX: Compressor (sidechained via Envelope Follower), Auto Filter, Reverb, Chorus-
+  Ensemble
+- Packs: Synth Essentials, Electric Keyboards, Core Library
+**Avoid:** Minor 7th dominance (unless jazz-house), dry production.
+**Canonical artists:** Larry Heard, Kerri Chandler, Moodymann, Theo Parrish (deep
+house), Masters at Work.
+**Key techniques:** `"Classic Rhodes"` (electric), `"Juno-style detuned chord"` (poli),
+sidechain compression on pad triggered by kick.
+
+---
+
+## Drum and Bass / Jungle
+**Tempo / time:** 160-180 BPM, 4/4 with half-time perception on Amen breaks.
+**Kick:** Punchy, layered with break kick.
+**Bass:** Reese bass (two detuned saws), sub-bass under the Reese.
+**Percussion:** Amen, Funky Drummer, Apache break chopped and rearranged.
+**Harmonic:** Minimal melody, occasional jazz/orchestral pad.
+**Texture:** Atmospheric pads, jungle vocal samples ("lick shot", "dread").
+**Reach for:**
+- Instruments: Simpler (Amen chopping), Analog (Reese), Bass, SONiVOX Strings (pp
+  pad)
+- FX: Compressor (drum bus glue), Saturator, Roar (modern neurofunk), Convolution
+  Reverb
+- Packs: Drum Essentials, Splice break packs
+**Avoid:** Quantized drums (Amen must be chopped and rearranged), synth bass in
+place of Reese.
+**Canonical artists:** Photek, Source Direct, Goldie, Roni Size (jungle/jazzstep),
+Noisia, Phace (modern neurofunk).
+**Key techniques:** `"Reese bass (drum & bass)"` (analog), `"slice_and_sequence"` on
+Amen at 174 BPM.
+
+---
+
+## Garage / UK Garage / 2-Step
+**Tempo / time:** 130-140 BPM, 2-step shuffle pattern (kick on 1, snare on 3, but
+broken hat pattern).
+**Kick:** Punchy, often offset off-grid.
+**Bass:** Sub-bass with slide + filter modulation.
+**Percussion:** Shuffled hats (NOT straight 16ths), occasional tom fills.
+**Harmonic:** R&B-chord influence, vocal samples chopped.
+**Texture:** Skippy, vibrant, sometimes dub-influenced reverb.
+**Reach for:**
+- Instruments: Simpler (vocal chops), Bass, Drift
+- FX: Auto Filter, Ping-Pong Delay, Compressor, Convolution Reverb
+- Packs: Skitter and Step (the pack literally for this genre), Voice Box
+**Avoid:** Straight 16th hats, trap-style snares, minor-9th minor dominance.
+**Canonical artists:** Todd Edwards, MJ Cole, Artful Dodger, Burial (post-garage).
+**Key techniques:** `"vocal_chop_rhythm"`, shuffled hat programming, bass-glide
+automation.
+
+---
+
+## Experimental / Noise / Found-Sound
+**Tempo / time:** Variable or no tempo.
+**Kick:** Absent or found-sound substitute.
+**Bass:** Drone, sub-bass, or absent.
+**Percussion:** Found-sound percussion (metal, glass, objects), not kit drums.
+**Harmonic:** Often atonal, microtonal, or noise-based.
+**Texture:** IS everything. Granular, spectral, saturated, reversed.
+**Reach for:**
+- Instruments: Vector Grain, Emit, Corpus, Tension (weird settings), Collision,
+  Bell Tower
+- FX: Erosion, Roar, Spectral Blur, Spectral Resonator, Shifter, Pitch Hack, Grain
+  Delay
+- Packs: Lost and Found, Glitch and Wash, Inspired by Nature, Building Max Devices
+**Avoid:** Predictable arrangement, traditional harmony, clean signal chains.
+**Canonical artists:** Arca, SOPHIE, Oneohtrix Point Never, Fennesz, Alva Noto, Pan
+Sonic.
+**Key techniques:** `"Noise Bow"` (corpus), `"Chaotic lock-in"` (vector_map),
+`"granular_scatter"`, `"Modulated bell cluster"` (vector_fm).
+
+---
+
+## Synthwave / Retrowave / Outrun
+**Tempo / time:** 85-115 BPM, 4/4 with mid-tempo groove. Vaporwave aliased here
+(slower, more detuned, more sample-flip-heavy).
+**Kick:** Analog-leaning, gated reverb signature. Not subby — sits in low-mid.
+**Bass:** Warm analog, Juno/Moog flavor, slight portamento, sub-tail short.
+**Percussion:** Gated snare reverb (the 80s hallmark), simple hi-hat patterns,
+linear drum programming.
+**Harmonic:** 80s polysynth chords (suspended, minor 7th, add9), arpeggiated
+16th-note sequences, minor-key progressions with dramatic key changes.
+**Texture:** Chorus-Ensemble on leads, gated reverb on snare, analog-tape
+character on the master. Warmth over crispness.
+**Reach for:**
+- Instruments: Poli (Juno-style detuned chord), Analog, Drift (warm pads),
+  Wavetable (supersaw lead)
+- FX: Chorus-Ensemble (mandatory on leads), Gated Delay (80s gated-snare
+  aesthetic), Arpeggiator (16th-note sequences), Echo
+- Packs: Synth Essentials, Performance Pack (Arpeggiator), Core Library
+**Avoid:** Modern dance production, aggressive compression, digital-only chains,
+bright/harsh synthesis, complex polyrhythm.
+**Canonical artists:** Com Truise, Tycho, Kavinsky, Mitch Murder, FM-84, Power
+Glove, Lazerhawk.
+**Key techniques:** `"Juno-style detuned chord"` (poli), `"Warm synthwave pad"`
+(drift), `"Supersaw trance lead"` (wavetable), `"Gated reverb snare"` (echo).
+
+---
+
+## How to use this file
+
+When asked for a specific genre:
+
+1. Find the entry (or closest genre).
+2. Use the **tempo**, **kick character**, **bass character**, **percussion** sections
+   to set session parameters (`set_tempo`, time signature, track structure).
+3. Use the **Reach for** list to populate device chains via `atlas_search` +
+   `load_browser_item`.
+4. Cross-reference the **Key techniques** with `signature_techniques` in per-device
+   YAML files or named techniques in `sample-techniques.md` / `sound-design-deep.md`.
+5. Respect the **Avoid** list — it represents the genre's negative constraints, not
+   just opinions.
+
+Genres blend. "Deep-minimal-dub-techno" borrows from deep_minimal, minimal_techno,
+and dub_techno simultaneously. Read multiple entries and synthesize.