livepilot 1.26.0 → 1.26.1

package/livepilot/skills/livepilot-core/references/affordances/devices/drift.yaml

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+id: drift
+name: Drift
+type: instrument
+category: synth
+aliases:
+  - "drift"
+atlas_search_query: "Drift"
+
+musical_roles:
+  - warm analog-style pad
+  - detuned chord stab
+  - synthwave lead
+  - Rhodes-adjacent electric-piano tones
+  - minimal-techno single-source evolution
+
+strong_for:
+  - warm pads with subtle detune
+  - dub-techno chord stabs (short release, filtered delay on send)
+  - synthwave detuned leads (reduced spread)
+  - sustained textural drones
+  - single-source filter-automation aesthetic
+
+risky_for:
+  - aggressive acid lines (use Analog instead)
+  - FM-complex timbres (use Operator or Vector FM)
+  - granular textures (use Granulator III or Vector Grain)
+  - trap 808 replacement (use Bass instead)
+
+subtle_ranges:
+  osc_detune: [0.0, 0.15]          # 0-1 normalized in Drift's internal scale
+  filter_cutoff: [0.5, 0.75]
+  envelope_attack: [0.0, 0.1]
+  envelope_release: [0.1, 0.3]
+  lfo_amount: [0.0, 0.15]
+moderate_ranges:
+  osc_detune: [0.15, 0.35]
+  filter_cutoff: [0.3, 0.6]
+  envelope_release: [0.3, 0.7]
+  lfo_amount: [0.15, 0.4]
+aggressive_ranges:
+  osc_detune: [0.35, 0.7]
+  filter_cutoff: [0.1, 0.4]
+  envelope_release: [0.7, 1.0]
+  lfo_amount: [0.4, 0.8]
+
+pairings:
+  - device: Chorus-Ensemble
+    order: after
+    purpose: thicken pads and synthwave leads
+  - device: Auto Filter
+    order: after
+    purpose: additional filter movement beyond Drift's internal filter
+  - device: Echo
+    order: parallel  # via send
+    purpose: dub-chord stab tail
+  - device: Convolution Reverb
+    order: parallel  # via send
+    purpose: hall reverb on pads
+
+anti_pairings:
+  - "Heavy distortion (Saturator on drive) — Drift's warm character conflicts with aggressive saturation; use Analog for that sound"
+  - "Pitch Hack — Drift's internal pitch is clean; Pitch Hack compounds with oscillator character unpredictably"
+
+remeasure:
+  - plugin_health          # Drift is native but confirm load
+  - track_meters           # Drift's default Volume is NOT -12dB (Simpler is); confirm
+  - spectral_balance
+  - stereo_width           # detune widens
+
+dimensional_impact:
+  structural: low
+  rhythmic: low
+  timbral: high
+  spatial: low-moderate    # detune creates stereo width
+
+appears_in_packets:
+  artists:
+    - basic-channel
+    - isolee-luomo
+    - com-truise-tycho
+    - jeff-mills
+    - boards-of-canada
+  genres:
+    - dub-techno
+    - minimal-techno
+    - microhouse
+    - house
+    - synthwave
+    - downtempo
+    - uk-garage
+
+notes: |
+  Drift is the LivePilot answer for "warm, simple synth" — the first
+  device to reach for when the aesthetic calls for classic analog
+  character without the dedicated emulation (Analog = acid, Poli =
+  Juno, Drift = "none of the above, just warm").
+
+  Key signature techniques in atlas: "Neo-soul Rhodes-adjacent keys",
+  "Warm synthwave pad". See atlas `signature_techniques` for full
+  parameter recipes.
+
+  For dub-techno chord stab: short attack + short release + high
+  resonance + slight detune, then route to a send with Ping-Pong
+  Delay + Auto Filter + Convolution Reverb. The PATCH is minimal;
+  the SEND CHAIN carries the aesthetic.

package/livepilot/skills/livepilot-core/references/affordances/devices/echo.yaml

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+id: echo
+name: Echo
+type: effect
+category: delay
+aliases:
+  - "echo"
+  - "ping-pong delay"  # Echo can run in ping-pong mode
+atlas_search_query: "Echo"
+
+musical_roles:
+  - dub space
+  - rhythm shadow
+  - tail harvesting
+  - stereo widening via time-offset
+  - implied-groove creation (delayed hits complete the rhythm)
+  - "ping-pong delay (via Channel Mode = 1 — see note below)"
+
+strong_for:
+  - widening sparse material (low-density drum or chord clips)
+  - implied groove without adding notes
+  - dub-techno chord-stab tails
+  - creating off-beat rhythmic accents
+  - vocal doubling with slapback
+
+risky_for:
+  - dense high-hat patterns (Echo smears transients)
+  - muddy low-end sources (delayed sub-bass becomes undefined)
+  - already-percussion-heavy busses
+  - sources with their own strong reverb (double-spatial)
+  - kick drums (delayed kick kills groove)
+
+subtle_ranges:
+  feedback: [0.15, 0.30]
+  time_L: [1/16, 1/8]             # Ableton's sync-division
+  filter_freq: [400, 1200]        # when using internal filter on return
+moderate_ranges:
+  feedback: [0.35, 0.55]
+  time_L: [1/8, 1/4]
+  filter_freq: [200, 600]
+aggressive_ranges:
+  feedback: [0.60, 0.85]
+  time_L: [1/4, 1/2]
+  filter_freq: [80, 350]
+  # Above 0.85 feedback → self-oscillation, usable but requires Limiter after
+
+pairings:
+  - device: Auto Filter
+    order: before
+    purpose: dub sweeps — filter the input before it hits the delay
+  - device: Convolution Reverb
+    order: after
+    purpose: fog field — reverb the delayed tails for dub atmosphere
+  - device: Utility
+    order: before
+    purpose: mono-ize the input before stereo delay (cleaner dub-chord)
+  - device: Compressor
+    order: after
+    purpose: glue delayed repetitions when feedback is high
+
+anti_pairings:
+  - Another Echo in series (use one Echo with higher feedback instead)
+  - Any transient shaper immediately before (Echo needs stable input)
+
+remeasure:
+  - spectral_balance       # tails often shift EQ
+  - low_headroom           # feedback piles up level
+  - groove_motion          # check that delay doesn't kill groove
+  - stereo_width           # ping-pong mode widens
+
+dimensional_impact:
+  structural: low
+  rhythmic: moderate       # delayed hits add rhythmic texture
+  timbral: moderate        # filter on return shapes tone
+  spatial: high            # dominant consequence
+
+appears_in_packets:
+  artists:
+    - basic-channel
+    - gas
+    - hawtin
+    - boards-of-canada
+    - skream-mala
+  genres:
+    - dub-techno
+    - deep-minimal
+    - minimal-techno
+    - dubstep
+
+notes: |
+  Echo is THE dub-techno and dub-minimal workhorse. Typical deployment:
+  on a return track, with Auto Filter BEFORE the delay (not after —
+  filter the input, not the tail), and Convolution Reverb AFTER for
+  the fog field. Send sparingly (15–35% for subtle, 45–65% for
+  signature).
+
+  **Channel Mode parameter** (discrete enum, values 0–2, confirmed
+  against live device state v1.18.0 — value_string in set_device_parameter
+  response is the source of truth):
+  - 0 = Stereo (default) — left/right delay times can be independent
+  - 1 = Ping Pong — alternating L↔R bounce; this is the "Ping Pong Delay"
+        mode. No standalone Ping Pong Delay device exists in Live 12;
+        use Echo with Channel Mode = 1 instead. See
+        affordances/devices/ping-pong-delay.yaml for the mode-alias packet.
+  - 2 = Mid/Side — delay applied to mid/side rather than stereo L/R
+
+  Internal filter on return makes the tails "move" over time — this
+  is the "filtered delay return" technique that carries harmonic
+  content in Basic Channel / Rhythm & Sound.

package/livepilot/skills/livepilot-core/references/affordances/devices/eq-eight.yaml

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+id: eq_eight
+name: EQ Eight
+type: utility
+category: equalizer
+aliases:
+  - "eq eight"
+  - "eq 8"
+atlas_search_query: "EQ Eight"
+
+musical_roles:
+  - corrective EQ (cutting problem frequencies)
+  - tonal shaping (shelf / bell / pass filters)
+  - surgical notches (resonance removal)
+  - spectral tilt (adjusting overall brightness / darkness)
+  - dynamic-EQ via automation
+
+strong_for:
+  - surgical notch cuts (high-Q narrow bell)
+  - low-shelf / high-shelf tilt for warmth / brightness
+  - high-pass filter to remove low-end rumble
+  - mid-cut to create space for vocals / leads
+  - dynamic spectral shaping via automation
+
+risky_for:
+  - creative effect (EQ is subtractive shaping, not creative device — use Auto Filter for creative filter work)
+  - extreme cut/boost settings (>±12 dB — use multiple bands instead)
+  - transient shaping (EQ doesn't touch transients; use Compressor with attack)
+  - aggressive character (Saturator adds character, EQ just removes)
+
+subtle_ranges:
+  gain_per_band: [-3, 3]          # dB
+  q_factor: [0.5, 2.0]
+  cut_below: [20, 40]             # high-pass at
+  cut_above: [15000, 20000]       # low-pass at
+moderate_ranges:
+  gain_per_band: [-6, 6]
+  q_factor: [2.0, 5.0]
+  cut_below: [40, 80]
+  cut_above: [10000, 15000]
+aggressive_ranges:
+  gain_per_band: [-12, 12]
+  q_factor: [5.0, 18.0]           # surgical notch
+  cut_below: [80, 250]
+  cut_above: [5000, 10000]
+
+pairings:
+  - device: Compressor
+    order: after
+    purpose: de-essing pattern (EQ notch before compression)
+  - device: Saturator
+    order: after
+    purpose: EQ-first-then-saturate for warmth on shaped source
+  - device: Reverb / Convolution Reverb
+    order: after
+    purpose: high-pass the input BEFORE reverb to prevent mud
+  - device: Utility
+    order: either
+    purpose: utility is always compatible
+
+anti_pairings:
+  - "Multiple EQ Eights in series for minor adjustments (use bands in one)"
+  - "Auto Filter replicating a simple low-pass (use EQ — cheaper CPU)"
+
+remeasure:
+  - spectral_balance        # the whole point
+  - track_meters            # cuts/boosts change level
+  - master_spectrum
+
+dimensional_impact:
+  structural: none
+  rhythmic: none
+  timbral: moderate         # tone shaping affects timbre
+  spatial: none
+
+appears_in_packets:
+  artists:
+    - basic-channel
+    - hawtin
+    - com-truise-tycho
+    # ... appears universally, but listed in packets where it's specifically named
+  genres:
+    - dub-techno
+    - modern-classical
+    - ambient
+    # ... also near-universal
+
+notes: |
+  EQ Eight is plumbing for creative work. It's rarely THE move — it
+  supports creative moves by removing unwanted frequencies or adding
+  subtle tilt. A Phase-3 plan's dominant family should almost never
+  be an EQ Eight plan (that's a mix cleanup, not a creative move).
+
+  Per CLAUDE.md: always pair with read_value_string checks after
+  any parameter change — EQ Eight's gain parameter is actual dB,
+  frequency is actual Hz.

package/livepilot/skills/livepilot-core/references/affordances/devices/glue-compressor.yaml

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+id: glue_compressor
+name: Glue Compressor
+type: effect
+category: dynamics
+aliases:
+  - "glue compressor"
+  - "glue"
+atlas_search_query: "Glue Compressor"
+
+musical_roles:
+  - bus glue (drum bus, master bus, group glue)
+  - SSL-style cohesion
+  - low-compression-count master buss dynamics
+  - rhythmic density via slight compression pumping
+
+strong_for:
+  - drum-bus glue (2:1 or 4:1, slow attack, moderate release)
+  - master-bus light compression (1.5:1, auto-release)
+  - group-bus cohesion (similar sounds through one compressor)
+  - cohesion-focused production (house, pop, modern-classical)
+
+risky_for:
+  - individual-track dynamics (use Compressor instead — more control)
+  - sidechain pumping (use Compressor with Envelope Follower)
+  - aggressive transient shaping (Glue is smoother than Compressor)
+  - ambient / dub-techno / Gas-style aesthetics (avoids compression by design)
+
+subtle_ranges:
+  threshold: [-4, -1]
+  ratio: [1.5, 2.0]
+  attack: [10, 30]
+  release: [100, 400]
+  gain_reduction: [1, 2]
+moderate_ranges:
+  threshold: [-8, -4]
+  ratio: [2.0, 4.0]
+  attack: [3, 10]
+  release: [50, 100]
+  gain_reduction: [2, 4]
+aggressive_ranges:
+  threshold: [-14, -8]
+  ratio: [4.0, 10.0]
+  attack: [0.1, 3]
+  release: [auto]
+  gain_reduction: [4, 8]
+
+pairings:
+  - device: EQ Eight
+    order: after
+    purpose: post-glue tone shaping
+  - device: Saturator
+    order: before
+    purpose: saturation into glue for warmth
+  - device: Limiter
+    order: after                  # on master bus
+    purpose: final peak control after glue
+
+anti_pairings:
+  - "Compressor on the same bus (pick one — Glue is a Compressor specialist)"
+  - "Aggressive sidechain via Glue (use Compressor for sidechain work)"
+
+remeasure:
+  - track_meters
+  - spectral_balance
+  - low_headroom
+  - master_lufs             # on master-bus application
+
+dimensional_impact:
+  structural: none
+  rhythmic: low
+  timbral: low
+  spatial: none             # dynamics, not spatial
+
+appears_in_packets:
+  artists: []
+  genres:
+    - house
+    - drum-and-bass
+
+notes: |
+  Glue Compressor is specialist: bus glue, not individual tracks.
+  For drum-bus glue, 2:1-4:1 with slow attack (10-20 ms) and moderate
+  release (100-200 ms) gives SSL-style cohesion without crushing
+  transients.
+
+  Genres that explicitly avoid compression (Basic Channel, Gas,
+  ambient) should AVOID Glue on master; instead, send minimal
+  volume + Utility + Saturator for gentle warmth.

package/livepilot/skills/livepilot-core/references/affordances/devices/granulator-iii.yaml

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+id: granulator_iii
+name: Granulator III
+type: instrument
+category: granular_synth
+aliases:
+  - "granulator iii"
+  - "granulator 3"
+  - "granulator"
+atlas_search_query: "Granulator III"
+
+musical_roles:
+  - grain-cloud generator (Cloud mode)
+  - ambient-drone source from orchestral samples
+  - Gas-style crushed-orchestral textures
+  - Henke-style detailed granular design
+  - texture-bed creation from any source sample
+
+strong_for:
+  - ambient / drone textures (Tim Hecker, Gas)
+  - transforming orchestral loops into drone (Gas aesthetic)
+  - long sustained textures from short source
+  - pitch-spread / detuned clouds
+  - slow-motion sustain
+
+risky_for:
+  - rhythmic programming (grain cloud has no pulse)
+  - transient-critical sources (grains destroy transients)
+  - mixes that need source-recognizability
+  - tempo-synced work (grain rate works in time but feels timeless)
+
+subtle_ranges:
+  grain_size: [50, 150]           # ms — tight grain, source-recognizable
+  grain_density: [0.2, 0.5]       # 0-1
+  pitch_spread: [0, 10]           # cents
+  position_spread: [0, 0.1]
+moderate_ranges:
+  grain_size: [150, 400]
+  grain_density: [0.5, 0.8]
+  pitch_spread: [10, 50]
+  position_spread: [0.1, 0.5]
+aggressive_ranges:
+  grain_size: [400, 2000]         # ms — true cloud, source-unrecognizable
+  grain_density: [0.8, 1.0]
+  pitch_spread: [50, 1200]        # cents — up to an octave
+  position_spread: [0.5, 1.0]
+
+pairings:
+  - device: Convolution Reverb
+    order: after
+    purpose: cathedral space for grain cloud
+  - device: Auto Filter
+    order: after
+    purpose: slow LFO sweep on grain cloud (Gas signature)
+  - device: Erosion
+    order: after
+    purpose: digital grit on grain cloud
+  - device: Saturator
+    order: after
+    purpose: harmonic saturation (Tim Hecker)
+
+anti_pairings:
+  - "Vector Grain in same chain (redundant granular sources)"
+  - "Sharp transient shaper (transients are what grains destroy)"
+
+remeasure:
+  - plugin_health
+  - spectral_balance        # grain clouds have wide frequency content
+  - low_headroom
+  - stereo_width            # position-spread widens
+
+dimensional_impact:
+  structural: low
+  rhythmic: low
+  timbral: high
+  spatial: moderate
+
+appears_in_packets:
+  artists:
+    - gas
+    - tim-hecker
+    - stars-of-the-lid
+    - basinski
+    - villalobos
+    - robert-henke
+    - shackleton
+  genres:
+    - ambient
+    - microhouse
+    - deep-minimal
+    - idm
+    - modern-classical
+
+notes: |
+  Granulator III is the ambient / drone workhorse. Cloud mode with
+  200-500 ms grains is the Gas / Wolfgang Voigt canonical setting.
+  For Tim Hecker aesthetic: pitch-spread wide + saturation after.
+
+  Per atlas: "Granulator III Cloud mode" technique. Signature pair
+  with Convolution Reverb (cathedral IR) for ambient drone bed.
+
+  Henke's relationship to Granulator III is special — he made the
+  original. The Granulator III Cloud mode implementation reflects
+  his specific design choices. Reference packet/artist `robert-henke`
+  for technique-level parameter guidance.

package/livepilot/skills/livepilot-core/references/affordances/devices/hybrid-reverb.yaml

@@ -0,0 +1,83 @@
+id: hybrid_reverb
+name: Hybrid Reverb
+type: effect
+category: reverb
+aliases:
+  - "hybrid reverb"
+atlas_search_query: "Hybrid Reverb"
+
+musical_roles:
+  - "modern versatile reverb (algorithmic + convolution hybrid)"
+  - default reverb when IR specificity isn't needed
+  - modular-room reverb with shape parameters
+  - transparent hall / plate / chamber emulation
+
+strong_for:
+  - general-purpose reverb for house, techno, pop production
+  - when you want the sound of a good-IR reverb without choosing an IR
+  - vocal reverb (less character than Convolution Reverb's vintage IRs)
+  - moderate-density pad reverb
+  - sessions where CPU is tight (lower than full Convolution)
+
+risky_for:
+  - tracks that need SPECIFIC vintage character (Farfisa Spring, etc. — use Convolution)
+  - dub-techno (Convolution Reverb with Stocktronics/Farfisa IR is canonical)
+  - ambient drone (Convolution Reverb with cathedral IR is canonical)
+  - plate-reverb snare (Convolution Reverb with plate IR more authentic)
+
+subtle_ranges:
+  wet: [0.08, 0.22]
+  decay: [0.3, 1.5]              # seconds
+  predelay: [0, 20]              # ms
+moderate_ranges:
+  wet: [0.25, 0.50]
+  decay: [1.5, 4.0]
+  predelay: [20, 60]
+aggressive_ranges:
+  wet: [0.55, 1.0]
+  decay: [4.0, 12.0]
+  predelay: [60, 200]
+
+pairings:
+  - device: EQ Eight
+    order: before
+    purpose: shelf-cut bass from the dry input so reverb doesn't mud
+  - device: EQ Eight
+    order: after
+    purpose: shelf-cut bass from the wet return if multiple sources share reverb
+  - device: Compressor
+    order: after
+    purpose: tame reverb dynamic range on dense passages
+
+anti_pairings:
+  - "Another reverb in series (stack reverbs by bus-routing, not series)"
+  - "Convolution Reverb on the same return (redundant — pick one)"
+
+remeasure:
+  - spectral_balance
+  - stereo_width
+  - low_headroom
+  - mud_content
+
+dimensional_impact:
+  structural: low
+  rhythmic: low
+  timbral: moderate
+  spatial: high
+
+appears_in_packets:
+  artists: []
+  genres: []
+  # Hybrid Reverb is a modern Ableton device — not named in the current
+  # concept packets (which favor Convolution Reverb for character). Use
+  # when a packet doesn't specify an IR.
+
+notes: |
+  Hybrid Reverb is the reach-for reverb when the aesthetic doesn't
+  require a specific IR. For dub-techno, ambient, and modern-classical
+  — use Convolution Reverb with a specific IR. For house, techno,
+  pop, vocal — Hybrid Reverb is often the cleaner choice.
+
+  In pressure-test terms: if a concept packet's reach_for.effects
+  list names "Convolution Reverb" (as most do), do NOT substitute
+  Hybrid Reverb. The packet specifies the character explicitly.

package/livepilot/skills/livepilot-core/references/affordances/devices/operator.yaml

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+id: operator
+name: Operator
+type: instrument
+category: synth
+aliases:
+  - "operator"
+atlas_search_query: "Operator"
+
+musical_roles:
+  - FM bell clusters (DX7-adjacent)
+  - Aphex-style FM pads
+  - sci-fi / metallic timbres
+  - Haas-style deep bass (minimal-techno)
+  - ring-modulator via internal modulation matrix
+
+strong_for:
+  - FM-heavy timbres (bells, metal, glass-like tones)
+  - atmospheric Aphex-style ambient pads
+  - DX7-era sound design
+  - inharmonic partials (microtonal bells)
+  - when the aesthetic explicitly calls for FM character
+
+risky_for:
+  - warm analog pads (use Drift or Poli)
+  - acid leads (use Analog's 303 mode)
+  - sampled percussion (use Simpler)
+  - wobble bass (use Wavetable)
+  - granular textures (use Granulator III or Vector Grain)
+
+subtle_ranges:
+  operator_ratio: [0.5, 3.0]      # ratio between operators
+  feedback: [0.0, 0.15]
+  envelope_release: [0.1, 0.4]
+moderate_ranges:
+  operator_ratio: [3.0, 8.0]
+  feedback: [0.15, 0.5]
+  envelope_release: [0.4, 1.5]
+aggressive_ranges:
+  operator_ratio: [8.0, 20.0]     # extreme FM (metallic, inharmonic)
+  feedback: [0.5, 0.9]
+  envelope_release: [1.5, 10.0]
+
+pairings:
+  - device: Erosion
+    order: after
+    purpose: digital grit complementing FM metallic timbre
+  - device: Pitch Hack
+    order: after
+    purpose: pitch-shift FM output for further timbral extremes
+  - device: Convolution Reverb
+    order: parallel
+    purpose: cathedral space for Aphex ambient pads
+  - device: Auto Filter
+    order: after
+    purpose: shape FM harmonics via filter automation
+
+anti_pairings:
+  - "Wavetable in same chain (redundant complex synth)"
+  - "Chorus-Ensemble (warms out the FM character Operator is for)"
+
+remeasure:
+  - plugin_health
+  - track_meters
+  - spectral_balance        # FM creates unpredictable high-frequency content
+  - low_headroom            # deep FM bass needs headroom
+
+dimensional_impact:
+  structural: low
+  rhythmic: low
+  timbral: high
+  spatial: low
+
+appears_in_packets:
+  artists:
+    - aphex-twin
+    - autechre
+    - jeff-mills
+    - shackleton
+    - villalobos
+  genres:
+    - idm
+    - minimal-techno
+    - deep-minimal
+    - dubstep
+    - experimental
+
+notes: |
+  Operator is the FM specialist. Reach for it ONLY when the aesthetic
+  explicitly names FM character (Aphex, Autechre, IDM-adjacent) — for
+  warmth use Drift, for analog classic use Poli/Analog.
+
+  Signature techniques in atlas: "Aphex ambient FM pad" (specific
+  algorithm), "DX7 bell cluster", "303 acid bass" (also Analog).
+  Check atlas signature_techniques for algorithm-level recipes.
+
+  Operator's 6-operator algorithm matters — the "FM pad" sounds use
+  different algorithms from the "metallic bell" sounds. Load from
+  atlas preset, don't invent from scratch.